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s
INDEX TO VOLUME IX
MOTOGRAPHY
January 1st To June 30, 1913
A
A Drama of the Underworld 461
Accuse Universal Directors of Fraud
Admittance, Two Rat Tails
Advantages of State Censorship. By SI. A. Xeff 207
Advises Censors for Kansas City
Advises Shows for Residence Districts
Aid for Flood Victims
Aisles, Congested, Picture Proprietor Fined
All Star Juvenile Cast
American Films Land Rush
American Gets Capt. Roald Amundsen
American Has Novel Plan
American Has Two Headline Stories
American Players Find Baby
American Scenario. By White
American Secures Xevv Director
American vs. English Films (Editorial)
American Offers Xevv Service
American's Camera Man Has Accident
Arrested for Evading State Tax
And Xow the Promoter (Editorial;
Animated Fashion Plates 269
Another "Calamity Anne"
Another Calamity Anne Picture
Another Edison Railroad Drama
Another Scoop for Kinemacolor
Another Step Forward (Editorial)
Alabama Organized 285
Another Pathe Triumph
Another Two Reel Feature 332
Another Selig Animal Feature 357
Annual Passes Were Issued
An Unusual Picture 333
Auto Operates Motion Picture Machine
Auto Picture Show for Rural School 370
B
•462
.126
,398
-208
10
198
321
154
448
244
274
326
39S
290
.211
458
300
442
358
32
300
■270
344
212
248
246
262
■286
294
■333
■358
-242
■334
120
■371
Barney Oldfield in Keystone Speed Film 206
"Battle of Gettysburg" Shown 414
Beloit College Adopts Pictures 220
Benefit for Fire Sufferers 138
Berlin Cinematograph Congress and Exhibition 81- 82
Berlin's Finest Theater. By Americans 24
Better Way," Tbe First Ramo, "The 138
Big Convention at Columbus. By A. L. Haase 83- 88
Biograph Identities Revealed
Board of Education Wants Kinemacolor
Boost Denver Pageant Pictures
Brevities of the Business 26-28, 64-66, 101-104, 139-142, 178-180
214-216, 255-258, 295-296, 335-336, 375-3811, 415-416, 451-452, 487
Bromhead Succeeds Blache
Burt Bill Defeated
Bus Drivers Taught by Pictures
222
118
43
488
480
286
112
Church Conducts Weekly Picture Show 122
Cincinnati Xotes 324
Cines and Eclipse Xews 96- 97
Cleveland Film War Arouses Comment 22
Cleveland Xow Has Censor Board 100
Cleveland to Have Film Censor 32
Gilford Buys a Bungalow 358
Clothing Business on an Industrial Film, The. By Watterson R.
Rothacker 46- 48
Cobl) Made Sales Manager 247
Cobb Motion Picture Bureau, The 413
Colored and Talking Pictures Coming 201
Comedy — Melodramas Popular 330
Come on With Challenges 374
Coming Conventions 324
Coming Essanay Pictures 293
Commercial Films (Editorial) 70
Company Snow-Bound on Mt. Lowe 196
Company to Make and Show Films 249
Complete Record of Current Films.. .29-30, 67-68, 105-106, 143-144, 181-
182, 217-218, 259-260, 297-298, 337-338, 381-382, 417-418. 453-454, 489-490
Convention Activity 479
Convention Xotes 440-441
Convention Well Attended 241
Convict Ship -in Pictures 432
Copyright Suit Won by Crown Feature 213
Council Favors Selig Zoo 481
Critic's Notice Brought Job 404
Crystal Actress, Popular 294
Current Cines and Eclipse Films 61- 62
Current Educational Releases 23-24, 53-54, 92-93, 121-122, 165-166,
203-204, 231-232, 289-290, 315-316, 367-368, 409-410, 445-446, 473-474
Current Kleine Comment 209-210, 317-318, 342-343, 403, 467-468
Cuvillier Bill Provides for Matron 56
D
Dancing on the Sky-line 404
Defies Death in Daring Leap.: 412
Delaware Elects Officers 442
Denmark's Big Film Plant 62
Details of the Thanhouser Fire 98
Development of the Advertising Film. By Watterson R. Rothacker. .77- 78
Diamond-S Potpourri, A 89-90, 123-124, 233-234. 281-282, 481-482
Dime Xovel Effect, The (Editorial) 31-32
Dinner to Screen Club President 38
Director Hale Joins Universal Staff 274
Disagree on Film Censorship Plan 114
Disease Symptoms to be Recorded 253-254
Dr. Frank Crane's View (Editorial) 69- 70
"Dual Personality" Stunt 291
Duluth Holds Picture Machine Test ; 10
Duplication of Titles (Editorial) 419.420
Dustin Farnum Considering Picture Work IIP'
Duty on Films May Be Reduced 33 °
"Calamity Anne" Picture at Venice 360
Canada's Exhibitors Form League 159-160
Can Make Vour Own Juice 449
Cat Ends a Feud 458
Celebrates His Birthday 369
Censorship Bill Asked for Minneapolis 250
Censorship Example, A ( Editorial) 145-146
Central West Photoplaywrights' Dinner 318
Change in Officers at Patents Company 213
Children's Theater and Ben Greet, The 137
China Enjoys Silent Dramas 254
Early California Days Filmed 371
Edison's "Mary Stuart" 430
Edison Players Chased Kitten 352
Edison Players in Georgia 430
Edison Players Sail for England 374
F.iwood Horn Cheerful Baby Actor 320
England's Shows in Working District 372
English Kinemacolor Studios by W111. H. Hickey 421-422
Entertained Strange Guests 396
Enthusiastic Iowa Convention 400-402
INDEX TO VOLUME IX.
Essanay Cowboys in Horse Show 36
Essanay 's "Into The North" 351-352
Essanay 's "The Final Judgment" 385-386
Exchange of Gifts at Selig's Western Studio 63
Exclusive Supply Company Formed 291
Exhibitors Attention 366
Exhibitor to Fight Censorship 249
Exposition to Be Vast in Scope 192
Exposition's Success Assured 286
European Film Manufacture (Editorial) 2
Factory Efficiency Studied by Films 71-73
Famous Players are Legal Victors "9
Fantasies of the Flying — A 167-168
Feature Film Purchasers 485
Fielding Decidedly Busy 306
Film Causes War on Impure Milk 369-370
Film Company Need Not Serve (Editorial) 107-108
Film Courtship Stirs Gary 346
Film Depicts Making of Pictures ^
Film Gets Praise of Wealthy Workers 45
Film Has Strong Climax 230
Filming the Dayton Flood 283-284
Film May Save His Job 240
Film Ordinance Devised for Milwaukee 19s
Film Players in Vaudeville 292
Film Player Owns Orange Groves 282
Films As An Advertising Medium (Editorial) 3S4
Film Screen a Bulletin Board 384
Film Tells Unique Story 424
Film Unites a Family 394
Film Would Aid in Court Appeal 40
First Colorgraph Film 288
First International Exposition, The 15
First Intervention in Texas Filed 80
First Picture House for Amoy, China 366
First Ramo Release Is Made 213
Flood Conditions Beggar Description 321-322
Flood Funds Distributed 411-412
"Flying A" Cowboys Race Their Ponies 214
"Flving A" Quartet a Winner 462
Forcing Cut Prices (Editorial) 299-300
Free Repairs to Machines 100
Frontispiece 1, 31, 69. 107, 145, 183, 219. 261, 299, 339, 383, 419
Gaumont "Talkers" Nearly Ready 270
General Film Buys Kinetograph Co 331
George Kleine Now in Europe 486
Gertrude Robinson's Life Endangered 412-413
Getting Ready for Convention 363
Gift from Selig's London Office, A 15
Globe Trotters are Still Busy 343
Graham Now With Universal ■ 426
Great Film's Second Edition, A 49-51
Great School of Morals 300
H
Halt Police March for Film
Harvey Carter Meets a Snake
Hay's Home in "Jim Bludsoe" Pictures
He Has Never Seen Them (Editorial')
Held Business Meeting
Here's Where the Plots Come From
Historical Incident in Two Reel Feature 185
Hite Makes Correction
How Picture Shows Affect Denver
Home Projector and Its Development, The 33
low the Chicago Censor Board Works. By Mabel Condon 197
low the Photoplayers Club Did It 155
low "Toothless Ted" Got Name
Hudson Accepts New Position
Hudson Leaves Universal Company
Hundred Thousand Pictures a Second, A 109
Hungry Realism in "Robespierre"
Husband's Mistake," "A 425
134
318
278
31
369
246
186
390
18
36
198
156
360
450
465
-110
366
426
I. C. Uses Picture Instruction Car 122
Illinois Headquarters Open Daily 442
Illinois Holds State Convention 477
Illinois League Elects Officers 114
Illumination of Denver's Picture Theaters 41- 43
Illumination of Projectors 350
Improved Carbon Holder 56
In Australia and Canada 224
Indiana Convicts See Pictures -. 22
Indiana League for More Film Popularity 25
Inspector Forbids Use of Motor Drive 128
Interesting Incidents of the Fire 330
International Exhibition, The (Editorial) 262
Iowa Exhibitors to Meet 273
Issues Three-Color Bulletin 308
Is the City Beauty Heartless? 318
Is the Day of Scenics Past ? 4 ?0
J
Jack Kerrigan Makes Aeroplane Flight 410
Jenkins' "Phantascope" and Camera, The. By John B. Rathbun. . .263-265
Just A Moment Please. By Neil G. Caward 30S, 360, 392, 424, 460
K
Kaiser a Confessed Film Fan 22
Kansas to Tax Films 247
Karr's Car Is No More 468
Kathlyn Williams Now Mrs. Frank Allen 213
Kathlyn Williams to Produce Picture. 374
Kennedy Forms Kinetograph Company 63
Kentucky Exhibitors Meet 363-364
Kessel Buys a Yacht 444
Kessel Heard It All 474
Kinemacolor After Jungle Films 288
Kinetograph Busy in New Orleans 247
Kinemacolor Elects Officers 486
Kinemacolor Feature Films 302
Kinemacolor for Ladies Only 414
K-'nemacolor Gets Inauguration 213
Kinemacolor Increases Staff 320
Kinemacolor to Start Road Shows 211-212
Kinemacolor Weekly Fashion Film 25
Klaw and Erlanger to Enter Picture Field 224
Kleine's Cines and Eclipse 136
L
Laemmle Office Burned 333
Latest Wonders of Gaumont Studios 456
Laughs That Cost Company $25,000 99
League Forms Branch at Pierre, S. Dak 154
League Notes 128, 242, 402
League to Meet and Frame Laws 61
Leaves Stage to Act in Films 270
Legislating Ventilation (Editorial) 339-34J
Lieblers and Vitagraph Unite 486
Lillian Russell Begins Picture Work 36
Lillian Russell Kinemacolored 136
Limit on Chicago Programs 61
Lindsay Advocates Films for Churches , 17S
Live Lubin Two-Reel, A 21- 22
Lobbies Should Be Attractive 449.45c
Loft Theaters Closed in Chicago 120
Los Angeles Diamonds Increasing 99
Lost Son," a Two-Reel Lubin, "The 134
Lottie Pickford With Pilot 422
Louisiana Joins League' 285
Lubin Anxious to Build German Plant 16
Lubin Director Builds a Depot 328
Lubin Editor Has Birthday 222
Louise Lester as "Calamity Anne" 25
Lubin to Entertain Exhibitors 365-366
Lubin to Film Charles Klein Success 1C0
M
Magazine Buys New Home 372
Makes Film of Magazine Story 247
Many Edison Installations 485
Marc Mac Dermott No Sailor 436
Mary Garden Writes For a Doll 486
Maryland Organized 479
May Buckley Joins Selig Forces 234
Mace Developing a "White Hope" 222
Mary Fuller in Odd Role 291-292
Mary Pickford Coming Back 392
Mayor Gaynor Vetoes Folk's Ordinance 59
McVickers and Colonial Sold 411
Messter to Show Talk Pictures 110
Methodists L'sing Motion Pictures 420
Method of Itala Players 362
Michigan Exhibitors to Meet 402
I XL) EX TO VOLUME IX.
in
Iwaukee -Man Invents Talking Picture 252
Mississippi Exhibitors Meet 285
Missouri League Notes 324
Miss Willams to Build Bungalow 290
Mistakes Carney for "YVap;" Fires Him Ill:l
Mistakes Court Room for Show House 24
More of State Censorship (Editorial) 183-18-1
Motion Picture Exhibitors' League of America, The 13-15, 60-61,
207-209, 241-242, 285-286, 321-324. 363-365, 399-402, 437-442, 477-480
Motion Picture Export Great 7S
Motion Picture Making and Exhibiting. By John B. Rathbun
...187-19(1. 225-22*, 275-278, 309-312, 353-356, 405-40S, 427-429, 469-472
Moving Pictures and Electrical Progress 18
Motion Pictures and the Mind of the Child. By William H. Walker.. 39
Motion Pictures to Clear Church Debt 254
Motograpiiy's Gallery of Picture Players
9, 37, 79, 127, 155, 191, 235, 279, 307, 359, 391, 423, 459
Moving Into New Studio 372
Moving Pictures Advertise Horse Shoes 334
"Moving Picture Sections" (Editorial) 219-220
Municipal Show Success in Cbico 10
Mutual Program at Fulton's ■ 392
Mutual Film Declares Dividend 63
r.ew
vew
New
New
New
Nashville Man Added to Staff
Neff Busy With Lawmakers
Nehls Affects Economies
Neil G. Caward Joins Us
New Advertising Stunt
Nick Carter Films Legal
New Concern Opens Offices
Diffusion System
Film Reel, A
Film's Mysterious Debut
Kinemacolor Shows
Leads for American
New Motiograph Equipment Ready
New Offices for Chicago Local 241
New Player Is Engaged
New Posters for American Leads
New Publicity Stunt
New Salem Playhouse Opened
New Star with "Flying A" Western
New States Soon to Organize
New Thanhouser Laboratories
New Use for Motion Pictures (Editorial)
Newman Equips Empress Theater
Newman Frames to Be Displayed
Niles Cowboys Build Carpenter Shop
Nineteen Thirteen (Editorial) 1
No Picture Shows for Vassar Girls
No Transferring To Majestic
Not a Snap, After All
Notes on League Doings
Novel Series of Animated Cartoons
Nursery a Feature at Picture House
. J02
. 242
.177
.183
.373
.291
.414
.436
.177
. 61
.371
.386
.212
-242
.432
.398
.240
.292
. 15
.210
.136
.220
.249
.334
. 76
- 2
.253
.450
460
.324
481
. 45
O
Occupations of the Philippines in Films 344
O. F. Doud Joins George Kleine 485
Offers Fortune for Denver Picture Rights IS
Of Interest to the Trade 25-26, 61-63, 96-100, 132-138, 173-178,
211-214, 247-254, 291-294, 331-334, 369-374, 411-414, 449-450, 485-486
Odd Film by American 63
Ohio Censorship Bill, The 175-176
Ohio Convention this Month 13- 15
Ohio Passes Censor Bill : 322
Old Soldiers' Home Has Picture Program 248
Old Story Prettily Told 394
On the Outside Looking In. By the Goat Man
5-6, 43-45, 73-76, 115-118, 157-159,
193-195, 237-240, 271-273, 303-306, 347-350. 3S7-390, 433-436, 463-465
Opie Read's "Starbuck" Mail Heavy 21 1
Organization of the Yanoscope Company 137
Our New Book 1S4
Passing of the "Legitimate," The. By Horace H. Delano 3- 4
Pastor Illustrates Sermon 32
Pastor in Praise of Motion Pictures 373
Pastor Quits Pulpit for Films (Editorial) 2
Pathe Pictures Indians On Tented Roof 247
Pathe Players in Real Wreck 266
Pathe's Weekly Twice a Week 485
Pauline Hush Back at Work 314
"Pauline Cushman," Civil War Story 175
Peerless People Have New Player
Pennsylvania Exhibitors Hold Ball
Perfects Developing Device . . .' 476
Per aps They're Not So Bad (Editorial) 340
Perpetuating Childhood's Fleeting Hours. By Watterson K. Rothacker
115-114
Personal Notes 26-27, 64-65,
101-102, 139-140, 178 179, 214-215, 255-256, 295, 335, 375, 415-416, 451
Photoplayers' First Ball Ticket Brings $75.00 101
Photoplay Magazine Revived 456
Photoplays from Essanay's
11-12, 57-59, 94-96, 129-132, 171-172, 205-206, 243-244, 327-32^
Photoplaywright Under Knife 284
Picture Bear Terrifies and is Terrified 16
Picture Houses Now "Poor Man's Club" 80
Pictures Mean "Pin Money" to Indians 100
Picture Men Protest Fire Bill 120
Picture Show, The. By Alta May Coutas 412
Pictures at Electric Club Meeting 13S
Pictures Feature of Columbus Church 159
Pictures for Prisoners 420
Pictures for School's Higher Grades 10
Pictures of Mental Diseases Shown 40
Pictures Popular in Turkey 251-252
Pictures Teach Railroad Employees Safety 252
Pilot's First Release 133-134
Pilot Player in Jail 429
Pipe Nearly Spoiled It All 27S
Plan Picture Shows for Schools 26
Player Badly Injured 326
"Playerposters" Popular 458
Players Issue Challenge 328
Police Censors Unchanged 332
Police Must Pay to See Shows 210
Popular Hoyt Comedy Revived 313-314
Poster — a Poser, The. By Harry Furniss 7- 8
Post Uses Advertising Films, C. W. By Watterson R. Rothacker. .221-222
Powerful Story, A 410
Power of Pictures, The (Editorial) 220
Powers Resigns from Universal 177
Praise for Itala Features 138
Preparing for Screen Club Ball 212
Preparing for the Ohio Convention 60
Preventing Panics (Editorial) 146
"Prisoner of Zenda" Shown in Chicago 213
Prizes for Scenario Writers 450
Professor Sees This, Fifty Years Hence 170
Program Brought $1,000 369
Prominent Exhibitors 366, 410, 446, 484
Props Worth Over $5,000 362
Provisions of Rosenkrans Bill 128
Publicity Man a Musical Genius 404
Punch Changes Its Policy I3g
Puts Snap Into Pictures... 136-137
Q
Queen of Spades," "The 245-246
"Quicksands" is Scenically Beautiful 457-458
Quiz Official as to Picture "Trust" 73
"Quo Yadis?" in Eight Reels 341-342
R
Ramo Films Italian Life 293-294
Ramo Comedies Ready for Release 177
Reading Exhibitors Organize 402
Recent Paints in Motography. By David S. Hulfish 199-201
Reel Club Changes Its Name 25
Reel Fable of Today, A. By Watterson R. Rothacker 156
Releases Diplomatic Feature 22S
Reliance Studio Notes 372
Remarkable Camera Work 474
Remarkable Dual Ro'e Drama 431-432
Reorganize Universal Scenario Department 9S- 99
Return of Lady Linda," "The 19
Revise Rules for Minors in Denver 60- 61
Rewinding Film No Longer Necessary 333
Rising from the Ruins 369
Rival Engineers," "The 448
Rodman Law in New Thriller 466
Roll of the States 27-28, 65-66, 102-104,
140-142, 179-1S0, 215-216, 256-258, 295296, 335-336, 375-380, 416, 452
Romaine Fielding "Shows 'Em" 90
Rousing West Yirginia Convention 364
Rowland Enjoins General Film Company 176
IV
INDEX TO VOLUME IX.
s
Sans Grease Paint and Wig. By Mabel Condon 17-18, 55-56, 91-92,
111-112, 169-170, 229-230, 267-268, 325-326, 345-346, 397-398, 475-476
Says "Let City Run Picture House" 13S
Scenario Prize Offered 370
Scenarios Not Wanted by Gaumont 246
Schedule of Germany's Picture Houses 16
Screen Club Had Close Shave 293
Screen Message Prevents Runaway 252
Sculptor's Masterpiece Inspired by Film 137
Second Crystal Release 370
Seeking Broadway Theater 360
Seeking New Players 3/4
Selig Artists Guests at Auditorium 82
Service Department Established 24S
Selig Flood Pictures 294
Selig Has Another Animal Picture 443-444
Selig Kangaroo in Vaudeville 3/ 4
Selig Releasing Western Thriller 395-396
Selling Patented Articles (Editorial) 420
Selig Plant Being Enlarged 476
Selig Players Assist Chicago Press Club 266
Selig Produces Inauguration Week Picture 118
Selig Releases for Week of June 30 482
Selig to Revive Hoyt Comedies 294
Sherlock Holmes on Thanhouser Film 135
Show Pictures at Marquette Prison 38
Show Exhibitors' Strength to City Officials 192
Showings for Feature Film Buyers. 138
Simple Story Prettily Told 460
"Smiling Billy's" New Golf Scheme 392
Society Folks in Film 373
Solax Featuring Children's Play 280
Solax Has Comedy Release 240'
Some Censorship This 274
Some Coming Conventions 365
Some Dog Story This 318
Some Don't Want Sunday Shows 118
Some Motiograph Installations 412
Some New Wrinkles 486
Special Picture Machine for Educators 198
Special Rates for Film Players 392
S. S. Hutchinson Back in Chicago 358
S. S. Hutchinson Bound for Honolulu 234
S. S. Hutchinson Returns to Coast 412
State Hospital to Show Pictures 32
State Rights Selling Fast 450
Steam Laundry Gets Picture Boost 16
Stomach Shown at Work 291
Streyckinans Is Married 291
Strong Week for Kleine, A 173-174
Suggestions for a Model Ordinance 320
Suggests Pictures . for the Poor , 56
Sumptuous Western Home for American 97
Surreptitious "Ads" In Films (Editorial) 184
Syracuse Picture League to Dance 25
T
Taft Vetoes Film Censorship Bill 176-177
Taking Those Tiger Pictures 302
Talking Motion Pictures, The 331
Talking Pictures (Editorial) 108
Talking Pictures Make Big Hit 177
Talking Pictures Reading for Public 38
Telephone Advertising Film 374
Tell Their Congregations of Film 51-52
Thanhouser Activities 63
Thanhouser Borrows New York Police 10
Thanhouser Films Get Praise of Censor 214
Thanhouser Fire in Thanhouser Film 118
Thanhouser Plant Burned 63
Thanhouser's California Activities 138
That Censorship Question (Editorial) 383-384
That Photoplayers' Pennant 236
That Popular Ticket Box 247
The New Life Target 484
The Suffragettes Win 476
The Tangled Web 480
Theater Magnates Form Film Company 152
Theme from the Merchant of Venice, A 119
These Bought Kalem's Biblical Masterpiece 485
These Long Features (Editorial) 261-262
They Were Only Taking Pictures 320
They Looked Suspicious 372
They Call Him "Thanhouser" 444
"Thirteen" the Vitagraph Billiken 26
Thomas Comerford Joins Essanay Company 413
Those Awful Cinematograph Faces 329-330
Thousand Dollar Camera Wrecked 481
Three Minutes Before the Camera. By Mabel Condon... 125-126
Three Reel Problem, The (Editorial) ." 455-456
Ticket Boxes on Rental Basis 212
To Abolish Posters in Cleveland 45
To Break Ground for American Studio 196
To Censor Pictures in Minneapolis 168
To Examine Carbons 252
To Help Flood Sufferers • 273
To Make Traveling Collection of Pictures ....118
To Present "Broncho Billy" on Stage 214
To Protest Poem Infringement 118
To Run for Mayor 308
To Show Motion Pictures by Telegraph 251
To Stage Another Thriller 448
"Toddles" Rescues W. N. Selig 390
Toledo' to Have $90,000 House 2
Took Perilous Auto Trip , 320
Toothache Film, A ... .240
Tries to Form European Film Trust 177
'Twill Warn Jealous Girls 371
Two Features Per Month 476
Two Interesting Educationals 369
Two More Educational Converts 4
Two New Leads for Selig 320
Two-Reel Film of Mexican Border 174-175
Two-Reel French Costume Play 390
Two- Year Contract is Signed 33i-332
U
LTniversal Barbecue Event of Year 394
Universal Gives Big Lithograph Order 308
Universal Officers and Exchangemen Meet 99
Universal Plant Burns 292
Universal Players Mis-named 137
Universal Secures Two Celebrated Players 265
LTniversity City to Have Zoo 436
Unique Educational Film, A 301-302
V
Vaudeville Houses Install Kinetophones 133
Yanoscope Company's Camera Man 98
Vanoscopy — a Continuous Projection System. By Lewis C. Van
Riper 161-164
Vaudeville Experience Helps a Lot 358
Virginia Exhibitors to Meet 402
Virginia Exhibitors Organized 441-442
Virginia School to Show Pictures 22
Visitors at the Columbus Convention 132
Vitagraph's Merry Christmas, The 4
W
Want An "Alkali" Ike Doll? 370
Want Light Rate Lowered 478
Watch the Building Grow 413-414
Watch Out for Imposter 308-
Webb's Talking Pictures Shown 290
West Virginia Convention 286
Western Studio Nears Completion 242
What Happens to the Scenario. By Mabel Condon 147-152
When a Feller Needs a Friend 173
Where the "Mystery Studio" Is 63
Who's Who in the Film Game
223-224, 287-288, 319-320, 361-362, 393, 447, 483
Why Legal Censorship is Necessary. By M. A. Neff 399-400
Wichita Schools to Have Motion Pictures 52
Wills' Plays to be Filmed 346
Winnifred Is So Bashful 360
Winnipeg's Columbia Theater 20
Wisconsin State Convention 322-324 "
Women to Establish Censor Board 16
Woods Now An Imp Director 268
Would Have Motion Pictures Licensed 7g
Yale-Princeton Game in Pictures 61
Yellow Journalism and Thanhouser Fire 97
Zaconni's Artistic Thoroughness 450
VOL. IX.
JANUARY 4, 1913.
No. 1
EXPLOITING
Published Bi-Weekly by Electricity Magazine Corporation, Monadnock Building, Chicago
LILLIAN
CHRISTIE
IN
AMERICAN
FILMS.
Jan. 20
1913
THE WAYS OF DESTINY
COLORED PHOTOGRAPHY
PATHE
2 Reels
Horace Blackwell, being mortally injured by lightning striking the tree beneath which he was standing, tells his adopted daughter, Dorothy, of her
parentage, and how she, a tiny mite, was found on his doorstep. He gives her the locket found about her neck, containing the picture of a beautiful woman,
and which he believes to be her mother. With Horace Blackwell's death, Dorothy is dispossessed of her home and because of jealousy of her charm and
beauty, she is forced into the ranks of the unemployed. She, however, finds employment in a department store but is accused of theft and brought before the
proprietor who questions her closely as to her history. Her story, together with the locket and picture, solves the mystery of her birth and Dorothy finds a
home with her father.
Jan. 17
1913
THE MEXICAN SPY
LUBIN
2 Reels
Tom Loring, a handsome but dissipated youth, loves Mary Lee, daughter of the regiment's paymaster. In order to pay his gambling debts to the Mex-
ican, Senor Rivera, supposedly rich but in reality a spy, Tom steals $5,000 from the paymaster's safe. The Mexican threatens exposure unless Tom secures
the plans of certain forts in the Southwest, but Mary hears of the situation and pawns her jewels to replace the stolen money. Realizing the sorrow he has
caused his father and sweetheart. Tom disappears, leaving a note that he will not return until he has redeemed himself. He enlists under an assumed name and
his regiment is ordered to the Mexican frontier. Mary becomes a Red Cross nurse and is also ordered to the Mexican border. Tom's bravery and strategy
during a desperate encounter with the Mexicans, under Rivera, wins him promotion to lieutenant but he is seriously wounded and Mary is greatly surprised to
And among her patients her lover. Her careful nursing restores him to health and having redeemed his former misdeeds by his faithful and heroic service to
his country, he claims Mary for his wife.
Jan. 13
1913
THE LITTLE MINISTER
VITAGRAPB
3 Reels
A young Scotch minister falls in love with a gypsy girl. The ban of the "Kirk" and the condemnation of the austere town folk intervene as a barrier to
their marriage. Unexpected circumstances, of a startling nature happen and their prejudice and intolerance are removed. Love conquers, the "Little Minister" and
"Babbie" are married.
Jan. 10
1913
THE WIVES OF JAMESTOWN
KALEM
2 Reels
Bryan O'Sullivan, an Irish lad of humble birth, rescues Lady Geraldine from drowning as her boat capsizes, thereby meriting her lasting gratitude. For-
getful of his station, Bryan falls madly in love with Lady Geraldine who momentarily listens to his pleadings. Her acceptance of attentions from O'Eourke
angers Bryan and he upbraids her for falseness. The nobleman draws his sword but Bryan wrenches it from his hand and breaks it to pieces. Knowing that
he cannot now remain Bryan bids farewell to Lady Geraldine and sails for America. Bryan O'Sullivan, Irishman, becomes John Pierce, colonist, of James-
town, Virginia. Years later Lady Geraldine suffers many vicissitudes; her castle is besieged by the Cromvvellians and she, with many others, is sent to James-
town to be sold to the colonists as wives. John Pierce is startled to see Lady Geraldine, but she fails to recognize him because of a heavy beard. Seeing that
he is an honest man she offers to become his wife. He takes her to his cottage and stepping into another room shaves off his beard, and begins to play the
flute which he so loved in days gone by. Lady Geraldine. who is about to end her life, hears the music and stepping to the door, recognizes John Pierce, her
husband, as Bryan O'Sullivan, her lover, and love claims its own.
Jnn. 6
1913
IT IS NEVER TOO LATE TO MEND
EDISON
2 Reels
The Fielding Brothers, farmers, are served with notice of foreclosure of mortgage on their farm. George, the elder brother, is engaged to Susan Morton,
who is also beloved by John Meadows, the wealthiest man in town. Meadows realizes the futility of his efforts to win Susan by fair means and plans
George's undoing and his own aggrandizement. George goes to Australia to seek his fortune, and Meadows, sure of success, selects the house for his bride, and
ousts the present tenant, Isaac Levy, thus gaining the enmity of the old Jew. Levy has been protected from Meadows' cane by George Fielding and he now
determines to protect George from the plotters. He rents an office next to Meadows' and through a hole, which he bores in the wall, keeps informed of their
plans. Meadows' schemes are fustrated and George returns with six thousand pounds to clear the home and claim his bride.
Jan. 3
1913
ROMEO AND JULIET
Wonderfully Colored Picture of Great Shakespeare Play
PATHE
2 Reels
BRANCHES:
San Francisco, Cal., 138 Eddy St. Los Angeles, Cal., 729 S. Main St. Denver, C
Chicago, III., 117 N. Dearborn St.; 429 S. Wabash Ave.; 435 N. Clark St.; 19 S
Union St. Boston. Mass., 564 Washington St.; 657 Washington St. Detroit, Mich
Chestnut St. Minneapolis, Minn., 704 Hennepin Ave. Butte, Mont., Broadway an
Buffalo, N. Y., 272 Washington St. New York City, 19 East 21st St.; 107 East I
510 Central Building. Portland, Ore, 68 Seventh St. Cleveland, O., 1022 Super
26 W. Naghten St. Oklahoma City, Okla., 211 W. 22nd St. Philadelphia, Pa., I
Fourth Ave.; 436 Fourth Ave. Memphis, Tenn., Lotus Building. Dallas, Texa
Bank of Commerce and Savings Bldg.. 7th and E. Sts., N. W. Spokane, Wash.,
erlne St., West. St. John, N. B„ 87 Union St. Toronto, Canada, 7 Front St., E
Phoenix Block.
olo., Nassau Building, 16th and Lorimer St. Atlanta, Ga., 314 Rhodes Building,
. Wabash Ave. Indianapolis, Ind., 24 W. Washington St. New Orleans, La., 840
., 71 Griswold St. Kansas City, Mo., 921 Walnut St. St. Louis, Mo., 604
d Main St. Omaha, Neb., 208 South 13th St. Albany, N. Y., 737 Broadway.
7th St.; 219 Sixth Ave.; 41 East 21st St.; 260 West 42d St. Rochester, N. Y.,
ior Ave. N. E. Cincinnati, 0., S. E. Cor. 7th and Walnut Sts. Columbus, 0.,
308 Vine St. Wilkesbarre, Pa., 47 S. Pennsylvania Ave. Pittsburgh, Pa., 119
1917 Main St. Salt Lake City, Utah, 260 Floral Ave. Washington, D. C,
20 Wall St. Seattle, Wash., 819 Third Ave. Montreal, Canada, 194 St. Cath-
ast. Vancouver, B. C, 440 Pender St., West. Winnipeg, Canada, 220-221
GENERAL jFILJVI COMPANY
January 4, 1913.
MOTOGRAPHY
THE EDISON
KINETOSCOPE
An Unsurpassed Moving Picture Machine from
every point of view. "Once used, always used"
WHEN the crowds begin to drift by your place at
night and get jamming around the entrance of
the movies on the next block, don't stick an
extra arc light out in front and think you've fixed things.
Look at the heart of your business — at your moving pic-
ture machine.
Pictures look wobbly and spotty and are full of
specks? Keep the audience waiting for repairs every
once in a while? No wonder the crowds are going some-
where else.
Ever seen an edison Kinetoscope? Ever noticed how
simple and strong it was— how there wasn't any pos-
sibility of fire risk in running it? Ever noticed the pic-
tures it threw— bright and clear and steady as real life?
Ever thought of its economy? Of course you have? Then
sit right down and ask us to send you a copy of the Edison
Kinetogram and Catalog 500. You'll be glad.
COMING EDISON FILMS
Tell Your Exchange You Want Them
Release
Release
Release
Classifica-
Dale
Numb.
TITLE.
Length
tion.
Jan. 3
7213
The Running Away oi Doris, by M. B.
Havey.
1000
Dramatic
" 4
7214
The Red Man s Burden, by Bannisler
Merwin.
1000
Dramatic
" 6
7215
The New Day's Dawn, by Rev. E. Bou-
dlnot Stockton.
1000
Dramatic
.. 7
7216
An Unsullied Shield, by Chas. J. Bra-
bin.
1000
Dramatic
'• 8
7217
Interrupted Wedding Bells.
1000
Comedy
" 10
7218
The Eldorado Lode, by H. B. Marriatl
Walson.
1000
Dramatic
" 11
72 19
The Maid ol Honor, by Bannister Mer-
w.n._
1000
Dramatic
" 13
7220
The Lake Geneva Camp ol the Y. M. C.
A., Lake Geneva. Wis.
400
Descriptive
7221
The Ollice Boy's Birthday, by Chas. M.
Seay,
600
1000
Comedy
" 14
7222
At Bear Track Gulch, by R. P. Janelte.
1000
" 15
7223
The Title Cure, by Geo. A. Imlach.
1000
Comedy
" 17
7225
Leonie. by Bannister Merwin.
1000
" 18
/226
The Mountaineers, by Bannister Mer-
win.
1000
• 20
7227
The Man He Might Have Been, by
James Oppenheim.
1000
" 21
7228
The Ambassador's Daughter, by Ban-
nister Merwin.
1000
'• 22
7229
The Power ol Sleep, by James Oppen-
heim.
1000
Comedy
- 24
7230
False to Their Trust, being the 7th story
ol What Happened to Mary.' , produced
in collaboration with "The Ladies'
World".
1000
" 26
7231
The Lorelei, adapted from the song and
legend.
1000
■' 27
7232
The Dancer, by James Oppenheim.
1000
•' 28
7233
A Day That Is Dead, adapted irom
Tennyson's famous poem, "Break,
Break. Break .
1000
" 29
7234
A Serenade by proxy, by A. H. Giebler.
1000
Comedy
" 31
7235
A Perilous Cargo, by James Oppenheim
1000
Dramatic
The A. B. C. Co. will make post-
ers for all except Nos. 7211 and 7220.
* They will also make a 3-sheet for
No. 7216 andi.7226.
Special Features:
Adjustable Outside Revolving Shutter, Chain Take-
up, Extra Large House with square condenser holder,
Double Magazine Rollers, Heavy Brass Terminals on
connecting cords, set of Heavy Extension Legs, four
of which are 1 1-4 inches in diameter. A very sub-
stantial stand.
Price, with Rheostat, 110 volt, 25-40 amperes,
$225.00.
Price, with 110 volt, 60 cycle Transformer, $245.00.
THOS. A. EDISON, Inc., 265 Lakeside Ave., Orange, N. J.
Edison Directors Producing a College Boy Story.
Several Sets in Operation on Edison's Studio Floor.
WITH WHICH IS INCORPORATED THE NICKELODEON
Vol. IX
CHICAGO, JANUARY 4, 1913
No. 1
PUBLISHED BI-WEEKLY BY
ELECTRICITY MAGAZINE CORPORATION
MONADNOCK BUILDING, CHICAGO
Telephones: Harrison 3014 — Automatic 61028
Ed. J. Mock and Paul H. Woodruff, Editors
Mabel Condon, Associate Editor
Allen L. Haase, Advertising Manager
Entered as second-class matter at the postoffice at Chicago, Illinois, under
act of March 3, 1879.
TERMS OF SUBSCRIPTION
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Foreign countries within the Postal Union.... Per year 3.00
Single copy 10
NOTICE TO ADVERTISERS
Changes of advertising copy should reach the office of publication not
less than ten days in advance of date of issue. Regular date of issue, every
other Saturday. New advertisements will be accepted up to within five days
of date of issue, but proof of such advertisements can not be shown in
advance of publication.
NOTICE TO SUBSCRIBERS
Remittances— Remittances should be made by check, New York Draft
ar money order, in favor of Motography. Foreign subscriptions may be
remitted direct by International Postal Money Order, or sent to our London
Office.
Change of Address — The old address should be given as well as the
new, and notice should be received two weeks in advance of the desired
change.
London Office 36 Maiden Lane, Covent Garden
S. Rentell & Co., Representatives
This publication is free and independent of all business or house con-
nections or control. No manufacturer or supply dealer, or their stockholders
or representatives, have any financial interest in Motography or any voice in
its management or policy.
CHICAGO, JANUARY 4. 1913
TABLE OF CONTENTS
Scenes in the Edison Studio Frontispiece
Editorial 1-2
Nineteen Thirteen 1-2
Pastor Quits Pulpit for Films 2
European Film Manufacturers 2
The Passing of the Legitimate. By Horace H. Delano 3-4
The Vitagraph's Merry Christmas 4
Two More Educational Converts 4
On the Outside Looking In. By the Goat Man 5-6
The Poster — -a Poser. By Harry Furniss 7-8
Motography 's Gallery of Picture Players 9
Thanhouser Borrows New York Police 10
Duluth Holds Picture Machine Test 10
Ptotoplays from Essanay's 11-12
The Motion Picture Exhibitors' League of America 13-15
Ohio Convention This Month 13-14
The First International Exposition 15
New Star with "Flying A" Western 15
Sans Grease Paint and Wig. By Mabel Condon 17-18
Moving Pictures and Electrical Progress 18
"The Return of Lady Linda" 19-20
A Live Lubin Two-Reel 21-22
Current Educational Releases 23-24
Of Interest to the Trade 25-30
Brevities of the Business 31-36
Complete Record of Current Films 37-38
NINETEEN THIRTEEN.
JANUARY, nineteen hundred and thirteen, is the first
month of Motography^s fifth year. It sounds
young, does it not? In some industries perhaps it would
be. But in five years in the motion picture business one
can become old in experience. In that time we have wit-
nessed and recorded a great part of the real history of
motography. It has been a period of extraordinary de-
velopment. In it were accomplished the formation of
the Motion Picture Patents Company and the General
Film Company, whose operations have established the
commercial solidity of the industry; the rise and fall of
the Motion Picture Distributing and Sales Company and
the formation and successful operation of its successors,
the Film Supply Company of America and the Universal
Film Company; and the organization upon a permanent
and efficient basis of the Motion Picture Exhibitors'
League of America and its affiliated state and local
branches — to say nothing of the Screen Club of New
York and the Photo Players of Los Angeles. Many of
these events, indeed, have been markers of the past year.
Politically and socially the last few years have been
extremely active ones. Whether 1913 will show a con-
tinuance of activity along these lines no one can yet say.
The pending case of the United States government
against the Motion Picture Patents Company under the
Sherman anti-trust law may effect ultimate changes in
the motion picture political map — and it may not. There
may, and doubtless will, be further changes among the
so-called independents ; for they are young, many of
them, and turbulent of spirit, and not content. They will
separate and reunite and make new combinations, and
some exhibitors who are taking one service will be forced
to change to another, and programs will be disarranged
and rearranged, until the fires of self-sufficiency burn
themselves out and the more arrogant makers learn that
one studio cannot produce a program.
More in this than in any other line of effort is co-
operation the watchword. Its concentrated materializa-
tion is the program. There is apparent, even to the lay
observer, the harmony or discord of the producers whose
works follow each other upon the screen. And if there
is a weakness in the independent field, it is lack of sin-
cere co-operation. Only last November we saw again,
in national politics, that a split party is doomed to defeat.
Industrially the process is slower, of course, for there is
no decisive climax. The independent makers, even di-
vided as they are, will not fall. But they cannot hope
for the high efficiency of unity of purpose and the broad-
er co-operation. Now the licensed forces are united;
the exhibitors are one ; but the independent producers are
at war. Therefore, however excellent their product, how-
ever aggressive their management, they are handicapped.
That condition the new year should see remedied.
MOTOGRAPHY
Vol. IX, No. 1.
Students of the motion picture, however, must re-
alize that it is an entity of itself, apart from all political
or factional disputes. Serene in its university and power
it goes marching onward and upward, ever finding new
ways to interpret the old problems of life, bringing new
viatlity to the worn and frayed discussions of the ages.
It is the world's teacher, the language of the universe,
the essence of the joy^of life. In its magic mirror is re-
flected yourself, and all that you are; your hopes and
fears and passions, the marvels of your youth and the
reminiscences of your age.
Motion pictures are young ; and when they have dou-
bled their years they will still be young. Most of us who
have cast our lot with them are young too. When we
are old we will doubtless have seen many motographic
marvels — tricks of the mechanician, the optician and the
chemist — that now we cannot even imagine. Yet after
all we have the picture today, as we will always have it,
complete in its faithful representation of life. We can
refine its physical characteristics, we can evolve new sub-
jects for it to record; but the vital principle, conceived in
the ancient Zoetrope and born when the first _ changing
light ray impinged upon a white screen — the living soul
of Art — is already perfect.
and amid the fusillade Dr. Jones completed the service.
Five Spanish bullets passed through his clothing. For
his bravery he received a gold medal from Congress.
PASTOR QUITS PULPIT FOR FILMS.
Convinced, he says, that a moving picture which
preaches a sermon is far more efficacious in advancing the
cause of religion than a thousand sermons delivered from
the pulpit, the Rev. Dr. Harry W. Jones, who became
famous in the Spanish-American war as "the fighting
chaplain" of the United States battle ship Texas, has re-
signed his pastorate of the First Reformed Churchy in
Valley Stream, L. I., and is now engaged in the exploita-
tion of moving pictures of the class known as educational
and religious.
Dr. Jones was invited a month ago to view a moving
picture depicting the Pilgrim's Progress. These were
the first moving pictures of a religious character ever be-
held by him and they impressed him keenly.
"I realized that I was wasting my time," he said, "for
I had before me living characters whose actions as they
unfolded their sublime story were far more potent than
anything I could say in the pulpit. I accordingly re-
solved to resign my pastorate in Valley Stream and en-
gage permanently in the moving picture business as 'man-
ager. I have no sympathy for the melodramatic moving
pictures, but a religious subject tactfully and reverently
treated in my opinion will do more to advance the cause
of religion and to uplift humanity than a thousand elo-
quent preachers ever can hope to accomplish by their
oratory."
The parishioners of Dr. Jones were loath to accept
the resignation of their pastor, who had been with them
three years, but it was finally accepted, and Dr. Jones
went to Freeport, L. I., where he gave his first moving
picture exhibition at the Plaza. It is said that every
member of every church in the town attended the picture
display and his success on this occasion prompted Dr.
Jones to make bookings which are likely to keep him busy
for the remainder of the winter season.
When chaplain of the battle ship Texas Dr. Jones
on June 10, 1898, was conducting the funeral service over
the remains of a dozen soldiers and sailors who had been
killed in action at Guantanamo Bay, Cuba, when Spanish
troops fired upon the Americans. The fire was returned,
EUROPEAN FILM MANUFACTURE.
There is no truly non-inflammable film manufac-
tured in Berlin. There is, however, a film of acety-
cellulose whose makers claim that it is waterproof
like nitrocellulose films and otherwise similar to them,
except that it is rather difficult of ignition and slow-
burning when ignited. It is on this latter ground
that the term "non-inflammable" is applied to it.
Safety from fire at cinematograph or moving-
picture exhibitions in Paris, says Consul General Frank
H. Mason, Paris, is secured not by inclosing the appa-
ratus in a fireproof booth or cell but by the construc-
tion of the apparatus itself. In the case of large cine-
matograph theaters, the apparatus is generally placed
outside the auditorium ; but the chief security is in
the construction of the machine, which may be chiefly
described as follows :
The film is wound in a metallic cylinder called a
"choker." When in use the film passes downward in
front of the lens and is automatically coiled in another
metallic, fireproof "choker." Only a small section of
the film — about six inches in length is exposed to the
rays from the lens, and should this section take fire
it could not possibly ignite the portions of the film
inside the "chokers" or cause a conflagration ; but to
avoid even this danger there is placed between the
lamp and the lens a crystal vase or tank filled with
water, which effectually prevents overheating the film
by rays from the light.
To further secure this result a flap or movable
diaphragm of metal is placed close to and in front of
the film, and this is opened only when the apparatus
is put in motion and closes automatically when it
stops, shutting off the light from contact with the film
the moment the projection is finished or suspended.
This device and the existing police regulations appear
to be quite effective, and there is, so far as appears,
no demand that the apparatus shall be further inclosed
in a fireproof booth.
TOLEDO TO HAVE $90,000 HOUSE.
An expenditure of $90,000 for the building of an
exclusively moving picture theater announced by Wil-
liam C. Bettis, of the Colonial theater, Summit and Jack-
son streets, marks the beginning of the development of
a new era in the photoplay industry insofar as Toledo
is concerned.
It is asserted that the new play house, to be located
on Summit street, near Madison, will be the largest ex-
clusively moving picture theater between New York and
Chicago. Work will be begun on it next April.
Motion picture play houses, of which there are many
in Toledo, customarily have been located in remodeled
store rooms and commercial buildings. Mr. Bettis be-
lieves that this species of amusement has reached the
stage in popular favor justifying the expenditure of a
large sum in building for the film-play a permanent
home.
The theater will be built by the Inter-State Amuse-
ment Company, soon to be incorporated, comprised solely
of local capital. Stockholders and incorporators of the
new company are : William C. Bettis, Leslie William Bet-
tis, Vivian L. Bettis, Margaret E. Bettis and Mabel Bettis.
January 4, 1913.
MOTOGRAPHY
The Passing of the "Legitimate
By Horace H. Delano*
^
THE scene is laid in that famous retreat so closely
identified with stage life, the Lambs' Club in New
York. It marks one of the world's great tragedies —
not bathed in the red blood of men's fiery passions — only
the bowing of heads in humble and complete defeat be-
fore the mighty onslaughts of progress.
For, over-night almost, the old-time standard theater
had been robbed of its power and prestige; its patrons
suddenly dwindled away; many a manager faced bank-
ruptcy ; many a road company was forced to suspend ;
many an actor found himself without future engage-
ments.
To the associates of the stage, where they had for so
long looked for their bread and butter, and had always
been rewarded. Progress in the form of moving pictures
appeared as the thief in the night who had cruelly robbed
them of all that had been so dear.
Another scene shifts to a position within our vision.
It is that of a humble cottage, occupied by an honest,
hard-working laboring man,_his faithful wife and fifteen
children. A "bully" family is the message from Oyster
Bay. The hour is seven-thirty in the evening; the sup-
per dishes have been washed and put away ; and oh, joy,
*Prize- Winning Article, Chicago Press Club,
1912, by Selig Polyscope Company.
Selig Contest. Copyright
oh, joy, it is the one night of the week. In a broken cup
on top of the cupboard are seventeen dimes, representing
a deposit of one dime a week from each member of the
family.
Each dime spelled an evening's enjoyment for a sev-
enth part of that household, for it meant witnessing the
comedies and tragedies, the past, present and even the
future, the real and the unreal of this mortal existence,
as flashed on the moving-picture screen. It meant an
evening of instruction and pleasure — it meant sometimes
an extra heart throb or two — it meant a "dual" associa-
tion, between the animate audience and the inanimate
subjects in motion.
Just a single dime; but what a world of pleasure — -
good, wholesome pleasure that at least insured a broader,
more educated mind — it brought to each member of that
family.
And that family is representative of the great com-
mon or middle class of humanity who, through sheer pov-
erty, cannot afford to visit the "standard theater."
To that class — the vast majority of the world's popu-
lation— the moving picture is not the cruel thief in the
night — it is their very Life and Hope ; it is that stimulus
that increases the number of red corpuscles in their blood ;
it is that absolutely essential recreation, pleasure, educa-
tion, that they had been so heartlessly deprived of before.
Scene from "Roderick's Ride," an Unusual Selig Story of Western Life.
MOTOGRAPHY
Vol. IX, No. 1.
Accompanying each new creation of the inventors,
genius is of necessity some sorrow. That is the so-called
law of the material mind.
Returning to that scene enacted only a few weeks
ago in the Lambs' Club, we see eighty-five actors — well
known and general favorites — sitting down to a "hard
luck" banquet. They are the "victims" of moving pic-
tures ; they are there to discuss their misfortunes.
They believe themselves to be the victims of that
sorrow, disappointment, pain, that they had believed
"must follow" each great step of progress. Tomorrow
they themselves, instead of prancing about the stage of
a "standard theater," will find themselves, as other favor-
ites have before, "stars" in moving-picture plots, at larger
salaries than they have even before received.
ture stands out in bold relief as one of the most marvel-
ous inventions in history.
What a wonderful page in the lives of eighty-five
actors will be that night of the "hard luck" banquet ! An
event brought about through the cruel hand of progress,
they at the time believed. In reality the marking of a
great step in advancement, for the demands of the mov-
ing-picture manufacturers call for real "stars" in their
casts.
Nothing is too good for the moving picture !
William A. Brady is quoted as follows :
"If a manufacturer of photo plays can afford to
spend $100,000 for a single offering on the screen, he has
us beaten many a mile, for. that is just twice as much as
it cost to produce 'Ben Hur,' a play that ran for twelve
years."
Mr. Brady's remarks were prompted by the won-
derful moving picture portraying in all their splendor
the scenes during the coronation of George the Fifth of
England, at an expense of $100,000. The production of
"Dante's Inferno" is said to have cost $125,000, and now
along comes the information that after two years' work,
and at a cost of $200,000, the "Return of Ulysses" will
soon be released by an Italian film company. In one of
the scenes 2,000 persons were required to give the proper
effect.
Mabel Taliaferro, a noted headliner of the stage, is
reported to have received a larger sum from the Selig
Polyscope company, of Chicago, for appearing as the
star in "Cinderella" than during an entire season on the
regular stage. The "divine Sarah" Bernhardt is reported
to have been engaged by a moving-picture film company
to appear as "Marguerita Gautier" in "Camille" for
$50,000.
Thomas Edison predicts that one can soon see grand
opera and dramatic productions on the moving-picture
screen, with sound, dialogue, color and action all scientif-
ically produced. Wonderful experiments have been made
with "talking pictures," through the aid of the phono-
graph, while New Yorkers are contenting themselves
with motion-picture productions of grand opera wherein
the classical music is furnished by an orchestra of quality.
It is folly to venture a prediction as to what the
future will bring in the moving-picture world. It is even
too difficult to intelligently comprehend the wonderful-
ness of the present moving picture.
Partially, at least, to attempt to realize how rapid
have been the strides made in motion-picture produc-
tion within the past five years, is to place a fairly honest
valuation upon what the future has in store for us.
Truly this is a wonderful age, and the moving pic-
Only a short time ago thousands of Chicagoans were
enabled by the moving picture to witness at first sight, it
seemed, one of this country's prominent historical events,
the remarkable raising and floating of the historic battle-
ship "Maine" from out of the mire and mud of Havana
harbor where it had rested for thirteen years. A few
days later, thanks to moving pictures, Chicago witnessed
the third and last great chapter in connection with the
"Maine" — her sinking to a final resting place far below
the surface of the mighty deep.
Would it not be reasonable, judging the future by
what has happened in the moving-picture world in the
past, to believe that some day we, the vast audience, will
be able to witness the first chapter of so great an historical
event as that connected with the ill-fated "Maine" — the
blowing up of a mighty battleship? Not our first "Maine,"
of course, but some great sea fighter which some day
may be the victim of a cruel agency of destruction?
The Vitagraph's Merry Christmas
The distribution of $24,000 among the employes of
the Vitagraph Company of America made a very Merry
Christmas and a Happy New Year for them. The em-
ployes of the main studios located in Brooklyn, New
York, received $14,000, the Paris factory, $7,000 and the
London branch, $3,000. No one received less than $5.
In addition to this liberal recognition of services ren-
dered, each and every one received a turkey weighing
from 12 to 20 pounds. The nucleus of the $24,000 dis-
tributed was the accumulation of the employes' fund,
which the company deposits every year at the rate of
$1,000 a month in the Nassau National Bank, of New
York, which created a total at the end of the year of
$12,115. To this was added further bonuses amounting
in all to $24,000.
The evidences of appreciation of the employes upon
receipt of their gifts was a sight which filled the spectator
with the spirit in which they were presented by the heads
of the concern, Messrs. Blackton, Smith and Rock, who
personally wished all of their co-workers a Merry
Christmas and a Happy New Year, as the line passed by.
Two More Educational Converts
Everywhere public officials and educators are awak-
ening to the possibilities of the moving pictures as a means
of instructing large bodies of people. Two of the latest
converts are Park Commissioner Stover of Manhattan
and Richmond, and President Meeker of the Centenary
Collegiate Institute, Hackettstown, N. J., both of whom
have installed Edison underwriters' kinetoscopes.
The park commissioner has placed the machine in
the arsenal at Central Park, where it will be of inestimable
value in helping the residents of the menagerie to pass
the long winter evenings and will serve many other use-
ful purposes.
The girls of the Centenary Institute are to receive
part of their instruction via the picture screen and there
is no doubt that they will find the new method far more
interesting than the old text-books.
The Edison people are very well pleased over the
choice of their machine in both cases. No pains were
spared by either the commissioner or President Meeker in
their efforts to secure the best possible projecting ma-
chine, and the selection of the Edison is looked upon as an
indication of its excellent quality.
January 4, 1913.
MOTOGRAPHY
On the Outside Looking In
By the Goat Man
IN MY cat-naps I've felt the thrill, sort of an exultant
shiver, that maybe, sometime, the caption that was
wished on this department might change, but there
seems to be little hope. "On the Outside Looking In"
applies to-day with the same force it did more than a
year ago. There have been changes of all kinds in every
phase of the m. p. business, but these alterations to the
film map simply gave more freedom to the Goat, who
has no near competitor. He is on the outside. To be
sure, he has horned around a lot and does some butting,
but all goats have that habit. Nor is it to be charged
against the goat. It is his nature and his right. He may
imagine he knows a little more about the operations of
the inside, but imagination, followed too zealously, often
leads to the bug-house. I have been in the darkrooms of
film factories. I knew that the work was going on in
them, but I can't tell what it was like. I know about the
film game because I'm mixed up in it, but I can't tell you
how it works. That's why I am outside.
^ ^ ^
But the changes are run in right along. If you have
followed me, or kept ahead of me, which should be easy
of accomplishment, you may recall my warning to the
promoter to let this business alone. Without the best of
reasons, I'm beginning to believe that the promoter will
have his inning in spite of those plans which were in-
tended to keep him out. The evidence favors the com-
ing in of the outsider. Promoters, you know, are pro-
moters. They are insistent. They are as hard to dis-
pense with as a cucumber bug. What shall prevent the
promoter ? If he is outside, he has been kept there by a
well devised system. A year ago there were only three
available programs — General Film or licensed; the inde-
pendents, all in a bunch ; and junk. To-day the exhib-
itor has a wide range of programs by comparison. While
I have heard that there is to be a split among licensed
makers, I disregard it. However, there is opportunity
for four programs within that circle, due to the greatly
increased output of subjects and the specials. The in-
dependents have been shot to pieces in three ways. You
know about that and then there are several places where
you can get a continuous supply of subjects that do not
contemplate any of the factions mentioned.
5-C J-J ;Jc
However, there is no open market. You see the
statement now and then, but in the sense of the full
meaning, the open market is far away. The exhibitors
of Europe may select their programs every week — make
their bookings — from more than a hundred subjects. An
Eclair and an Essanay and a Thanhouser may consti-
tute to-day's show. An American, a Selig and a Rex for
tomorrow. The next day may be a three-reel, privately
owned educational subject on a 40-60 split at the ticket
office. The exhibitor is boss of his bailiwick every min-
ute. You can't emulate him in this country, nor suc-
ceed very far along his lines unless you play a rabbit's
foot overtime.
jfc I«C :£
With the disintegration of the selling plans of a year
ago, came the renewed hope of the promoter. He has
found his horizon cleared. The stumbling block has been
removed. He can engage in the making of films with
less friction. The public cannot call the turn on him.
As a matter of truth, the films that have run their course
in the usual renting scheme are all coming back to do
service outside the picture theaters. These negatives of
the makers will be taken from the shelves of their vaults
and new positives will find an untouched market — the
schools, the churches, the shops — anywhere and every-
where outside the theater. I have always hoped they
would. It won't hurt the exhibitor. It will get him new
customers. Folks will have the films brought to them
and then they will get the habit of hunting out the regular
amusement places. With this sort of competition, the
clever promoter can get a substantial start. He can hire
his camera man — camera and all. He can slip into the
abandoned factories that were the creation of an earlier
effort and he can make and lecture his subjects, maybe
in the council chamber, or the opera house or the armory.
He will find the process remunerative from the start and
he will become more pretentious. He will be content to
start with less today than ever before. He will show his
investors a quick and satisfactory return and then, he'll
hire a man to keep the mob from smothering him with
money. For it is true that money never itched for any-
thing like it does for the film business. While amuse-
ment can never be classed with utility, it closely resem-
bles it. A utility must rest upon franchise which the
public grants. A utility is something the public wants,
whether gas, electric light, or telephone. The franchise
is necessary, that the plant may be established. Upon
the plant and the franchise, the investor depends. In
amusement enterprises, the public has nothing but pat-
ronage to bestow. But the investor realizes that amuse-
ment is necessary to human life, at least the public craving
for wholesome entertainment is akin to it. Without
franchise, capital will seek investment in permanent the-
aters, whether for the legitimate stage or for motion
pictures. So we find that the business is assuming per-
manency and this aspect is more encouragement for the
promoter.
sfc ^ ^
I used to think that the men higher up were infal-
lible— that they knew it all ; but I'm inclined to believe
that in their tremendous success they might have over-
looked a bet or two. They lost a big card in the patent
contest. It relieves the situation from its biggest buga-
boo. The promoter rubs his hands in glee. He gets
larger quarters ; some new furniture and new floor cover-
ings and hedges himself in with more exclusiveness. He
has been watching the patent office and in this he may
have found something else that the money-getters over-
looked. For you must remember that the money-getter
has been tremendously active while the getting has been
good and the promoter has only been watching. I know
of several outsiders who have their sleeves loaded and
who are very, very patient. They are holding back the
crowd who want to give up their money and get in. It
takes a shrewd promoter to resist such temptation.
^ ^ ^
The trouble is, he is an outsider. He must mark
time, just like the Goat. Men like Jerry Kennedy and
Percy Waters can do about as they please. If they want
MOTOGRAPHY
Vol. IX, No. 1.
to establish an exchange for film rental, they do that and
get a license to do it. They are inside — way in. If
Jacques Berst wants to retire from the presidency of the
biggest renting concern in the world, that he may devote
his whole time to his film manufacturing company, he
does that. He is inside — far and away in. Suppose
Frank Dyer prefers -the top floor of 200 Fifth ave., to
Orange. He saunters over there — no questions asked.
He took Bill Pelzer with him, because they are throne
men instead of cave men. And they are top-notch
throne men of the insidest variety. Sam Long wants to
go to Europe; Sam Long goes to Europe. What mat-
ters? Nothing. He is of the elect. Nothing matters
when you're in. If I let my foot slip it costs me any
sum you want to prophesy. I've let it slip to my great
regret, and at awful cost, but I was outside. Were I
inside, I could fall off a precipice and the gang would be
down below with a life net. They never lose an insider.
But at that, I'm fairly content. Last month was
the best I've ever known since my affiliation with the
business — even as an outsider. The blood courses freer
and the sun shines brighter when you get the season's
greetings by wire. From all over this country, more
cheer for the Goat. The boys are gathering around and
I'm glad.
♦ % ^
You remember those sassy little puzzles Selig gave
away beginning sometime in July and continuing right
on through convention days ? I made quite a fuss about
them at the time. To prove that making a fuss counts
for something if you make it in the right place, I found a
replica of the Selig puzzle among my Christmas gifts.
However, this Christmas present is full grown — regular
man's size. The table is fourteen by eighteen inches ;
regulation height ; all hard wood. Each block has a han-
dle and it makes as much noise as a film convention when
you work it. Observe that I say when you work it. I
would like to see Alf Saunders try it, but then Alf is too
darned busy running the business.
^ ^K ^
They tell me that Heck Stryckman's has hung
around the Screen Club so much of late that they fall
for his songs. When G. M. Anderson lifted the lid at
headquarters last week, Stryck sprung this one to the
tune of "Marching Through Georgia" : At the Screen
Club Raver sat, playing with King Baggott's cat and the
hour was crowding three in the a. m. ; when a racket at
the door, followed by a cowboy's roar, made the hair rise
on the backs of both of them! "Hip! Hip! Hip!" the
stranger shouted, "Don't you know why I am rough?
I'm the Bronc, they call me Bill and I'm here to fill the
till ; you and I and Thomas Cat is crowd enough." Then
they snuggled near the heat and partook of Broncho's
treat — he had hit the town with quite a bunch of dough —
he was there to celebrate at the Screen Club's open grate
for he's the v. p. of the works I'd have you know.
% ^ ^K
Be a booster.
Essanay's Comedy "What George Did," with Augustus Carney.
January 4, 1913.
MOTOGRAPHY
The Poster— a Poser
By Harry Furniss*
THERE is no gainsaying the fact that the cinemato-
graph moving pictures have attracted the masses in
every civilized country under the sun. The ques-
tion, however, cannot fail to present itself to one — why is
it they have not yet to any extent touched the classes ?
The pictures themselves have, in character and ar-
tistic merit improved by prodigious leaps and bounds.
Absolutely no expense is spared in presenting them to
the public. In the vast majority of cases the subjects are
well chosen and refined in character; invariably they are
interesting, and, from a pictorial point of view, they are
magnificent. How is it, therefore, that the superior per-
son, who peruses inferior magazines and illustrated pa-
pers, and patronizes anaemic plays and feeble music-hall
"turns," steadfastly turns his back upon the newest and
most charming development of latter-day entertainments,
the cinematograph theater?
There is no difficulty in finding an adequate reply to
this obvious question. The reason for the withholding
of the superior person's patronage is to be found in the
common, vulgar, garish picture posters placed outside the
cinematograph theaters in order to advertise the show
within. They are absolute atrocities, and until they are
abolished it is worse than useless to expect people of the
better class to venture into shows devoted to the moving
picture.
Any ordinary theatrical venture would be ruined in-
stanter by the exhibition of posters such as these. They
are 50 per cent worse than the most atrocious poster ad-
vertising the most plebian play in the evilest and most
poverty stricken purlieus frequented by the veriest riff-
raff of the amusement-going public. Decent people are
instantly shocked and repelled by their flaunting hideous-
ness, and that the less educated section of the community
is in any way attracted by them is open to considerable
doubt. It is questionable whether the latter study them to
*The Bioscope, London.
any extent, for they do not enter a cinematograph show
for the purpose of seeing any one particular picture ; the
nature of the bill of fare is perfectly familiar to them,
and they pay their reckoning with the intention of indulg-
ing in a full feast. For those, however, who hesitate to
enter on the score of the possible vulgarity of the enter-
tainment to be witnessed, one glimpse of those awful
posters is amply sufficient. They shudder, and, in Scrip-
tural manner, pass by on the other side.
It really seems an anomaly that companies which
have invested perhaps thousands of dollars in the produc-
tion of an elaborate play should be compelled to submit
to the picture-poster producer's idea of whatever cheap
and trashy rubbish it is possible to get out for the pur-
pose of heralding a play of artistic merit. To secure the
latter, neither trouble nor outlay is spared. Every item
is required to be of the highest possible standard of
merit. Selection is made of the best available story,
actors and actresses of the highest class are engaged, the
most up-to-date accessories are obtained without thought
of the cost, and yet, after all this outlay, the vilest and
vulgarest poster is deemed good enough to advertise the
costly play! Why, I ask again, when one has a really
good thing, brand it with the hall-mark of common-place
crudity as typified by the cheap and nasty poster? I am
told that it has to be done ; that, in fact, it is a sine qua non
that the middleman handling the sale of films should also
supply the poster. It is his monopoly, I am informed,
and again I am moved to inquire "Why?" Cannot a com-
pany showing a return of a quarter of a million per an-
num afford to snap its fingers at any middleman ? The
whole thing is a mystery to me, and why the aforesaid
middleman fails to recognize and appreciate the fact that
by the exhibition of these twopence colored posters he is
killing his own chances, is the greatest mystery of all.
These diabolical posters are redrawn from the "still
picture," that is, a special set scene of some incident with-
out action. These still photographs are never, by any pos-
8
MOTOGRAPHY
Vol. IX, No. 1.
sibility, as good as the same incident in the moving pic-
ture— a fact that must be patent to the veriest tyro. They
are subsequently redrawn by an inferior lithographic ar-
tist, atrociously colored, and cheaply printed, and these
ghastly productions are what are placed on exhibition
with the idea of drawing the public!
Personally, I have no objection to the enlarged pho-
tograph ; although, as I have just pointed out, the still
picture has not the verve and sparkle of the one in action.
It does at least bear some resemblance to the actual play.
But these redrawn, crudely colored, common or cinemato-
graph posters are not only an abomination and an offense
to the eye, but an actual barrier to the uninitiated better-
class amusement seeker, who might otherwise be induced
readily to cross the threshold of the various picture halls
and theaters. These tawdry posters lower the class of en-
tertainment they purport to advertise to the level of the
penny novelette or the ha'penny "colored comic."
Oftentimes before now has the success of a play been
made by a really artistic poster. When the latter is a
genuinely artistic production, it is without a doubt the
most lucrative form of advertisement for the highest
class of entertainment, the top grade article of commerce,
and the most superior health resorts. In other words, it
pays to exhibit the best class posters. It cannot fail to be
detrimental, on the contrary, to attempt to advertise really
good pictures through the medium of shockingly inferior
posters. It is absurd, as our one-time enemy, Euclid, was
wont to remark, to expect anyone anxious to see a nice,
refined picture to be attracted by a flamboyant mon-
strosity.
It seems to be the general rule that the merit respec-
tively of the actual picture and the poster announcing it
should be in directly inverse ratio, that is, the better the
f 11= li IS
of the upper classes as being vulgar, low-class, and com-
mon. Indubitably it is to this fact, and to this fact alone,
that the present aloofness of the better-class public may
h^O^
picture the viler the poster. Taken singly, these libels on
the name of art are bad enough in all conscience, but the
spectacle of a whole collection of these objectionable eye-
sores outside a picture palace damns the show in the eyes
IN
NttrHT
be attributed. By them the comic scenes are vulgarized,
and the serious ones are rendered comic.
In posters it is quite possible to be sensational with-
out being repulsive, and funny without being vulgar, but
to achieve the desired result it requires the hand of an
artist, and not that of a hack lithographic draughtsman.
I have seen one or two English cinematograph posters
drawn by artists and reproduced as works of art, and
most effective I am bound to say they are, but what are
single spies compared with the battalions of screeching,
flaring, cheap and nasty productions to be seen in front of
every cinematograph theater?
If we are to elevate the cinematograph to the lofty
level to which it is entitled, the first thing to do is to elim-
inate this objectionable feature holus bolus. America is
largely, if not entirely, responsible for its presence, for
some of the French and Italian, and as I say, the English,
are drawn by artists and reproduced with proper care. To
a great extent this glaring American poster suits the five-
cent motion picture show in the States. They know what
attracts the public they cater for, but the class of people
patronizing motion picture shows in America is relatively
of a lower grade than that in Europe, and the better class
ignores them altogether. Why is it? I have already an-
swered the question. It is because these badly drawn,
flashily colored, cheap-and-tawdry picture posters convey
a wrong impression of the show within, and drive decent
people shuddering away.
January 4, 1913.
MOTOGRAPHY
Motographys Gallery of Picture Players
LLOYD B. CARLTON excels in producing dramtics,
and it is he who is "the man behind" the majority of
the Lubin successes of that variety. He likes big things,
does Mr. Carlton — big work, accomplished in a big way
and on a big scale.
Literature and travel,
in addition to drama-
tics, spell life for this
director, who has had
a big portion of each
and now claims to like
the producing of mo-
tion pictures a little
better than anything
else. A much ex-
perienced man is Mr.
Carlton in the way of
stage direction, as he
gave of his knowledge
for years to the pro-
ductions of Maude
Adams, E. S. Willard,
Annie Russell and
others of the Froh-
man management. At
one day's notice, he
sailed to Australia,
Lioyd Carlton. where he made "Peter
Pan" one of the biggest successes of the Frohman output.
The busy atmosphere and the bigness of the motion pic-
ture industry appealed to him, and he alighted in the
Lubin studio, where he has made himself at home.
ORMI HAWLEY always has things and people come
her way. It seems perfectly natural for them to do
so and Ormi lets them, trusting to fate and the scenario
editors to have events turn out right, and they always do.
Furthermore, it is
Miss Ormi's lot to play
the society girl, which
part permits of her
wearing the loveliest
clothes, and it is also
Miss Ormi with
whom the rich young
man and the poor but
deserving rival always
and ever fall in love.
So her lot is not a hard
one by any means as
the Lubin actors are
gallantry personified
and, anyway, Miss
Ormi likes her work
as ingenue and juven-
ile so well that the pic-
ture-making is a con-
stant pleasure to her.
She is an attractive
girl. Miss Ormi, and
Ormi Hawiey. has a foremost place
in the gallery of motion picture beauties. But greater
than that honor she prizes the knowledge that people like
her. She can't help knowing about it, because they write
and tell her.
EDNA PAYNE has been especially fitted by nature to
see and be seen, particularly "seen," as she is very,
very pretty. That is one reason for her being so well
suited to the art of film acting. Another reason is her
talent for putting her
whole self into what-
ever character she
portrays, so it is no
wonder at all that the
pictures in which she
appears and which are
trademarked with the
"Clear as a bell" slo-
gan, bespeaking the
house of Lubin, get
the popularity vote of
the photoplay lover.
Miss Edna has been
doing picture work
for two years; prev-
ious to that she did
stock company work.
Her adaptness at pan-
tomime won for her
an offer from the Lu-
bin people, and she
likes the work and
prospects so well that Edna Payne-
she has forsaken every legitimate stage hope she ever had.
Miss Payne's dark type of beauty often leads people to
mistake her for French origin, but she is anxious that all
who see her shall know her for a true American.
T OSEPH SMILEY, they call him. His disposition is
J naturally that way and people seem to sense it, for he
springs into immediate favoritism everywhere. He is a
director and is beloved of all the children who know him.
That is why he is
given charge of the
productions which the
Lubin little people
make so desirable and
which are testimonials
to the patience and
care of the children's
director. It was un-
der his guidance that
the Buster series of
pictures were made in
which those taking
part ranged from
three and one-half to
nine years of age. Bos-
ton is the Smiley home
city and the stage — ■
first, legitimate, and
now photoplay — has
benefited by all of
Smiley's working
days. He was with
Fanny Davenport and J°sePh Smiley.
the Klaw and Erlanger productions for a number of years
and later Liebler and company sent him to Australia to
produce "Mrs. Wiggs of the Cabbage Patch." He also has
to his credit the direction of a photoplay studio in Havana.
10
MOTOGRAPHY
Vol. IX, No. 1.
Thanhouser Borrows New York Police
A department of city police — the Aqueduct division
of the New York force — were loaned to C. J. Hite, of
Thanhouser, for use in the production of a film entitled
"With the Mounted Police." It was a new achievement
for even an enterprising film producer, and the coppers
proved splendid actors, as the picture shows. Some of
'em look more like actors in police uniform than does
William Garwood, the real actor-in-form, who had the
lead. He looked a modest, everyday cop. The Board
of Water Supply of the City of New York has arranged
with Mr. Hite to have the film at its annual entertain-
ment at the Palm Garden, New York, January 19. The
Aqueduct police guard a great deal of territory under the
supervision of the board, and all the high chiefs of that
body will see the policemen as photo-players.
Municipal Show Success in Chico
Believing that a municipally owned moving picture
show will be of greater benefit to the community than
those owned by individuals, the Town Trustees of Biggs,
Cal., have established a municipal show and the affair
has proven to be a great success. An admission of ten
and fifteen cents is charged. Other towns in this section
are considering following the example. In Chico it is
planned to have vaudeville as well as pictures.
Duluth Holds Picture Machine Test
As the result of motion picture machine tests made
in Duluth, Minn., it is expected that steps will be taken at
once to purchase one for social center work in the public
schools. A test as to the inflammable character of the
film in the machine, demonstrated that the apparatus is
sufficiently safe to entitle the school board to the same
insurance rates on the buildings with the machines in-
stalled as now. The first machine will be paid for by
entertainments to which a small admission fee will be
charged, and other machines will be secured in similar
manner until all the buildings have been equipped.
Pictures for School's Higher Grades
Motion pictures will be introduced in the schools of
Crawfordsville, Ind., soon to aid in the training of the
children along various lines of study. An Edison kineto-
scope has been purchased for the higher grades at the
Central school and it is intended to install machines in the
other buildings as soon as possible. Arrangements are
being made to obtain educational films and these will be
exchanged with other schools at a small cost.
Advises Censors for Kansas City
Sixty-five thousand persons daily attend the motion
picture shows of Kansas City, and one-fifth of the pic-
tures presented are objectionable, according to a report by
a committee of thirty clubwomen who have investigated
carefully conditions there. Every show in the city ex-
hibits at least a few offensive films, the report states.
The committee recommended the establishment of a board
of five censors, with absolute power.
'Where Destiny Guides," January 20. Copyright 1913, American Film Mfg. Co.
January 4, 1913.
MOTOGRAPHY
11
Photoplays From Essanay's
Starting the New Year
THE first month of the New Year seems to be a ban-
ner one, with excellent and exceptional releases.
Two "Broncho Billy" subjects with G. M. Ander-
son as Billy, releases worthy of headline type and good
strong billing, will be attractions. One funny comedy
with Augustus Carney in itself would be a headline fea-
ture in any theater.
"The Girl At the Brook," released January 15, is a
beautiful story well told, Bedford Austin, bored with
social life, decides to go camping. Evylyn Greyton, a so-
ciety girl, persuades her father to go camping with
her. One day while fishing at the brook, young
Austin accidentally falls and sprains his ankle. Miss
Greyton finds him unconscious and, dipping her hand-
kerchief in the water, places it on Austin's forehead.
• Love at first sight makes Austin forget his aching
ankle. A few days later, Austin shows Miss Crey-
ton a ring that he prizes highly. The ring is dropped
unnoticed by either of them. Miss Creyton finally dis-
covers the ring two or three days later and writes a note,
pins it on a twig of a tree and sticks it into the ground on
the spot where Austin is accustomed to sit while fishing.
Austin discovers the note the following morning. In it,
Miss Creyton tells Austin that she has returned to the
city, and if he ever comes there, to look for his ring that
he lost one day at the brook, and that where he finds the
ring he will find her. Austin gives instructions to his
valet to pack up and return to the city immediately. A
few months later, Austin attends a reception where he
meets the fair Evelyn. The ring is returned to its owner
and a new one placed on the engagement finger of the
charming young society debutant. Miss Dolores Cassi-
nelli as the fair Evelyn, portrays the part beautifully.
E. H. Calvert as the handsome Bedford Austin does jus-
tice to that part.
"Broncho Billy's Brother," released January 18, G.
M. Anderson is sensation in this story surrounded by
thrilling atmosphere from the beginning, it is told in a
powerful style. Broncho Billy's brother Dick is madly in
love with Nellie Parsons. Jack Dupont, a mining engineer
from the East, sees pretty Miss Parsons and becomes in-
fatuated with her. Not waiting for an introduction Du-
pont follows and introduces himself. A few days later
Dupont proposes and is accepted. Nellie returns the
engagement ring to Dick. Dick informs his brother.
Broncho Billy, about the engagement being broken, and
Broncho Billy determines to bring the two together.
That night ' at the town saloon, where the men are
engaged in a game of poker, he asks permission to
take a hand, and is permitted to do so. After tak-
ing away all of Dupont's money by the modern method
of card playing, Broncho Billy agrees to play him for the
diamond ring, his scarf pin and a solitaire engagement
ring, which Dupont has purchased that day for Miss
Parsons. Broncho Billy wins everthing. Being a "game"
gambler, Dupont agrees to play for anything that Broncho
Billy may suggest. Broncho Billy tells him he will play
for his signature on a note that he will write. Dupont
agrees. Broncho Billy writes the following : "Dear Nell :
I am not on the square with you. Am leaving today. For-
get me." Broncho Billy then puts up all of his winnings
and they draw cards. Broncho again wins. Dupont
leaves town. Dick, Broncho Billy's brother, returns to
his sweetheart, and Broncho Billy fills a two heart flush
by breaking a pair. G. M. Anderson is artistic and ori-
ginal in his portrayal of "Broncho Billy" in this feature.
"The Laird of McGillicuddy," released January 23,
depicts some funny and interesting comedy situations.
Ruth, a charming young coed, breaks her engagement
with William Mason. She tells him she wants a titled
husband with a fortune. Mason, with a gloomy counten-
ance, returns to his room at the frat house. There
gathered are his chums, "Cal Robbins" Wash Bryant and
Sid Rathbun. Noticing the look of discontentment on the
face of Mason, they ask the reason for it. Mason
tells them. "Cal," looking out the window, sees the
milkman and motions for him to come up. Mason
leaves the room. The milkman is persuaded and
bribed to go to the ball that evening as the Laird of
McGillicuddy. The editor of the college paper is given
the information that the Laird of McGillicuddy will be
present at the ball. ' Ruth, with a number of her girl
friends, read the paper and prepare for the big festivities.
That evening "Skinny," the milkman, in the costume of a
Broncho Billy's Brother.
12
MOTOGRAPHY
Vol. IX, No. 1.
Scotch Highland nobleman, is presented to the ladies at
the ball. He dances with Ruth, tears her dress, and dis-
graces himself generally. Mason, discovering his sweet-
heart's dress torn, pins it up for her. and she smiles at
him. Finally, when the clock strikes twelve, the Laird
of McGillicuddy, transforming himself into "Skinny,"
the milkman, by pulling his false beard from his face, tells
the group about him that it about time he was starting
on his milk route. Being thoroughuy disgusted with
royalty, pretty Ruth consents to be the charming bride
of Mason. Augustus Carney portrays the part of the
Laird of McGillicuddy.
"The Farmer's Daughter," released January 24, is
a genuine, true-to-nature rural story of a farmer's
daughter eloping with a city chap. Reginald Hoops, Jr.,
son of a wealthy financier, meets with an automobile acci-
dent. The car turns turtle and young Hoops is pinned
beneath the wreckage. Farmers in the immediate
vicinity go to the rescue. John Allen, a farmer, carries
young Hoops to his home and sends for a doctor. Hoops
is informed by the doctor that he must remain in the
The Laird of McGillicuddy.
farmer's home until he has recovered. Nellie Allen,
beautiful daughter of Farmer Allen, nurses Hoops back
to his normal condition. Hoops becomes infatuated with
Nellie and proposes to her. They elope because it's con-
sidered more romantic. In the meantime Mrs. De-
Puyster-Ives St. John, mother of Alice, the young debu-
tant to whom Reginald has been . engaged, prior to his
meeting with the pretty farmer's daughter, issues engage-
ment announcements. Reginald and his charming Nellie
arrive in the city. He takes her to a friend's home until
he can persuade his father to consent to the marriage.
Alice St. John calls on Reginald's father. Mr. Hoops
The Girl at the Brook.
asks Alice if she would marry his son if he were poor.
She tells him most emphatically that she certainly would
not. Mr. Hoops tears up the engagement announcement,
and asks the lady to kindly leave his home. Mr. Allen
arrives in town and calls at the Hoops' mansion. He is
met by Reginald, who tells the farmer that he is not
married to his daughter. Reginald then gains consent
from his father to be married. Mr. Allen wires to his
wife, telling her to come to town, that wedding cards
have been issued. The family arrive and a quiet wedding
takes place. Beverly Bayne distinguishes herself admir-
ably in the role of Nellie Allen.
The Essanay Company determines and promises
better subjects, better portrayal and better scenic effects
for the New Year — not that the year of 1912 did not
develop huge feature releases of exceptional merit. With
a new and promising equipment for dissolving, Essanay
will no doubt do some interesting work in this special
scientific development. Then there is the big spectacular
three-reel "King Robert of Sicily" to be released very
soon.
January 4, 1913.
MOTOGRAPHY
13
The Motion Picture Exhibitors' League
of America
General Headquarters
703 Euclid Ave., Cleveland, Ohio
OFFICERS OF NATIONAL ASSOCIATION.
President, M. A. Neff, Lock Box 15, Cincinnati, O.; Secretary, C. M. Christenson, 703 Euclid Av., Cleveland, O.; Treasurer, J. J. Rieder, Jackson,
Mich.; Vice-Presidents, S. E. Morris, Cleveland, O.; Wm. J. Sweeney, Chicago, 111.; Fred J. Herrington, Pittsburgh, Pa.; B. L. Converse, Owassa,
Mich.; H. S. Dickson, Winchester, Ind. ; E. W. Waugh, Huntington, W. Va. ; Orene Parker, Covington, Ky. ; Geo. H. Wiley, Kansas City, Mo.;
Chas. Rothschild, San Francisco, Calif.; Sidney Asher, New York, N. Y. ; Fulton Brylawski, Washington, D. C. ; L. F. Blumenthal, Jersey City, N. J.;
H. C. Farley, Montgomery, Ala.; E. V. Richards, Shreveport, La.; F. W. Young, Cedar Rapids, la.; W. H. Wassman, Nashville, Tenn. ; Anthony J.
Xydias, Houston, Tex.; Carl Gregg, Tulsa, Okla. ; Paul LeMarquand, Winnipeg, Can.; M. C. Everstein, Jacksonville, Fla. ; Geo. Osborn, St. Paul, Minn.
Ohio Convention This Month
The big annual state convention of Ohio is causing
the exhibitors all over the state to get busy. Great enthu-
siasm is apparent everywhere. The exhibitors of Ohio
now realize that they have a chance to secure a square
deal for the first time in the history of the organization.
They propose to present such progressive bills to the leg-
islature as will meet the approval of the people of Ohio
as well as the motion-picture men. It is confidently ex-
pected that there will be at least one thousand exhibitors
in the city of Columbus on the 21st and 22nd of Janu-
ary. Letters are pouring into the state president's office
stating that their writers will be at the convention. The
only program for the convention will be a very small
one, one announcing the time and date of the convention
and the entertainment to be given. The program will be
as follows :
January 21st the convention will be called to order
at 1 :30 p. m. at Southern Hotel Hall, to adjourn at 5
p. m. It will again meet at 7 :30 p. m., where pictures,
vaudeville and other entertainment will be given until 9
p. m., when all will go to the Colonial theater and enjoy
a splendid entertainment arranged for them by the local
committee.
At 10 a. m. Wednesday morning, January 22. the
convention will meet in executive session and will ad-
journ promptly at 11 :30 a. m. and on the invitation of
Gov. J. M. Cox, will proceed to march in a body to the
Scene from "A Rough Ride with Nitroglycerine," a Selig Story of the Oil Fields.
14
MOTOGRAPHY
Vol. IX, No. 1.
capitol, where Governor Cox and his staff will be in wait-
ing to receive them. After paying their respects to the
governor, they will go with him in a body to the front of
the state capitol, where a motion picture will be taken ;
then they will adjourn until 1 :30 p. m., when another
executive session will be held. At 7 :30 p. m. the night
of the 22nd, a big banquet will be given in the large,
beautifully decorated dining room of the Southern Hotel,
where it is expected not less than five hundred will par-
take of the bountiful feast prepared by the hotel. Gov-
ernor Cox, Senator J. B. Foraker, Attorney J. J. Lentz,
associated attorneys and several other distinguished
speakers will be present. M. A. Neff will act as toast-
master.
During the banquet arrangements have been made
to secure some of the most attractive and pleasing artists
in the vaudeville world to assist in the entertainment. If
there is no time left after the banquet is over, the na-
tional vice presidents' committee will meet on the morn-
ing of the 23rd of January and remain in session until
the executive business is transacted. It will probably
take more than one day to get through with the national
committee's business, as many things of great import-
ance will come before the committee.
The first day meeting will be an open one. Every-
body is invited, all of the manufacturers, film men and
those who are not members of the league, in fact, every-
body that has an interest in the uplift of cinematography
will be welcome.
The committee on local arrangements appointed by
the state president are as follows : Clem Kerr, Dayton,
chairman; John Pekras, Dreamland theater, Columbus,
first vice chairman ; W. R. Wilson, Columbus, second
vice chairman; J. W. Swain, Pastime theater, secretary;
Max Stearn, Exhibit theater, treasurer; J. H. Maddox,
Colonial theater, chairman of press committee.
The convention will be held under one roof. There
will be ample time given for all to see the exhibits, as
every exhibit will be in the lobby of the hotel, in the
parlor, or on the second floor, where there is plenty of
room for the exhibition of goods. A reasonable price
will be charged and as there will be no program adver-
tising, all who wish space to exhibit their goods are re-
quested to write to M. A. Neff, 1003 Mercantile Library
building, Cincinnati, and diagrams and prices will be fur-
nished.
The Dayton convention was a large one ; the Colum-
bus convention will be second to none that has ever been
held. There will be no delay or confusion and no room
for complaint. A bureau of information will be estab-
lished at the west end of the Union Depot, which will
furnish all information to those attending the convention.
A reservation committee will be in waiting, a committee
on securing new members and a committee to arrange
for the comfort and convenience of the ladies attend-
ing; in fact there will be committees to look after the
comfort and wishes of everybody attending the conven-
tion, and it is proposed to make this one of the greatest
and most pleasant conventions possible.
This will be a real legislative convention so far as
"His Old Fashioned Mother," January 18. Copyright 1913, American Film Mfg. Co.
January 4, 1913.
MOTOGRAPHY
15
the motion-picture exhibitors of Ohio are concerned.
Owing to the fact that the legislative committee of the
Ohio State Branch League No. 1 has been working
on some bills to be presented to the legislature, however,
before they are presented to the state legislature they will
be read and considered by the members of the Ohio
League. In other words even member of the state of
Ohio will know exactly the kind of legislation that is
being presented in their interest, and will be prepared to
discuss these measures thoroughly and intelligently.
The most important of the measures that will be pre-
sented to the convention will be the state censor-board
and state examining board for operators and a measure
to classify state inspectors. In other words Ohio will ask
that inspectors be classified and that only competent in-
spectors for theaters be appointed, who are familiar with
the business in every particular and who will work for
the interest of protecting the life of the public and prop-
erty of the owners and to assist in bringing about a con-
dition beneficial to all concerned in the amusement busi-
ness, especially motion pictures. Other features will
come up for discussion, as to how many reels will con-
stitute a show.
This will afford a great opportunity for all exhibitors
attending the executive meeting to meet the national vice
presidents from all over the United States, and one from
Canada. The excutive meeting of the national vice presi-
dents will meet on the evening of the 22nd of January,
1913, and will probably hold over until the 23rd of Janu-
ary, after the state convention has adjourned.
The First International Exposition
It is but a short time ago that the Ntw York Branch
of the M. P. E. L. of America decided to hold an
International Exposition of the Motion Picture Art, in
conjunction with the third national convention of the
Motion Picture Exhibitors' League of America. With
this object in view, the following members were appoint-
ed as committees to manage what will be known as the
First International Exposition of the Moving Picture
Art, at the New Grand Central Palace, New York City,
July 7 to 12. 1913.
The general committee consists of Frank Tichenor,
chairman ; F. E. Samuels, secretary ; L. F. Blumenthal.
treasurer; and M. Needle, L. Rosenthal. J. King, B. E.
Cornell, and S. H. Trigger, president ex-officio; the ad-
visory committee is made up of Sidney Ascher, chair-
man ; R. L. McNabb, secretary ; E. Yalenct, A. Baueren-
freund. Grant W. Anson, M. J. Goldfarb, M. L. Fleisch-
man, R. M. Davidson, G. F. Wright, William Douque.
A. N. Wolff, E. N. Day, and R. C. Whitten. The gen-
tlemen have had a number of meetings, and a great
deal of preliminary work has been accomplished.
A number of show promoters have endeavored to buy
the exhibitors' franchise, but the committee have refused
to allow any one to handle the propositron and will run
it themselves from the offices of the exposition commit-
tee on the second floor of the German Bank building,
4th avenue and 14th street. New York City. Space on
the main floor of the new Grand Central Palace will be
sold to manufacturers of all articles pertaining to the
motion-picture industry.
A novel plan has been suggested by Mr. Samuels,
which will undoubtedly be used to advantage. He sug-
gests building four modern motion-picture theaters on
the mezzanine floor of the new Grand Central Palace,
and in these theaters install everv known device to make
them what every moving-picture theater should be, and
what in the future every moving-picture theater will be.
At the present time there is much criticism about some
picture theaters, and some of it is undoubtedly true. The
motion-picture exhibitors of Greater New York are, for
the most part, law abiding citizens, and are endeavoring
to conduct their theaters on a law abiding basis.
The exposition will give an opportunity to 20,000
exhibitors from all over the world to see the very latest
theatrical construction and interior decoration pertain-
ing to the industry. The idea is to have the latest ven-
tilating systems installed, the best lighting effects, the
most comfortable chairs, the best projecting machines,
the recognized leading screens, and everything that will
make the motion-picture theater pleasing to the public,
Manufacturers will undoubtedly be anxious to show their
products to exhibitors, so these theaters will be numbered
1, 2, 3 and 4. Film manufacturers comprising the Pat-
ents' Company will be given an opportunity to show their
pictures in one theater, the Film Supply Company of
America in another, the Universal in a third, and the in-
dependent manufacturers not allied with any combine, in
the fourth. Different machines, etc., will be used in each
theater, and every individual will be given the opportuni-
ty to choose for himself which he likes best.
These proposed theaters will be erected on floor
space approximately 80 by 20 feet, and admittance to
them will be free. The committee deserve great credit
for their generosity, and without doubt this exposition,
handled in such a manner and in such competent hands,
will be the greatest ever held in any commercial or amuse-
ment industry.
Copies of the prospectus and diagrams of floor space
are being distributed on application to F. E. Samuels, sec-
retary of the committee, second floor, German bank build-
ing. New York City.
By a special act of Congress, all articles imported
from foreign countries to the Grand Central Palace,' for
exposition purposes, will be absolutely free of all duties.
New Star with "Flying A" Western
A distinguished lead came in over the stock route
and is the first acquisition of his type since the advent of
the American Film company at Santa Barbara. He is a
lusty, robust little actor of ten and one-quarter avoirdu-
pois and bids fair to excel all possible competition.
"Chick" Morrison, his father, feels more like the boss of
the ranch than ever, and he certainly has every reason
to be, for the time being at least until we hear from the
other benedicts at the "Flying A" studios.
The year 1912 was particularly productive for the
matchmakers in the American company. Wedding bells
sounded some five or six times during the year, but
Pauline Bush, Jessalyn Van Trump, Kerrigan, Richard-
son and the other leads are still enjoying single blessed-
ness.
A Gift from Selig's London Office
All the way from London, England, E. H. Montagu
has sent us a cigar case. It is made of pigskin and
stamped upon its side in gold is the familiar Diamond-S,
the mark of the Selig Polyscope Company; and the legend
"The Master Mark of Filmdom." It is a useful little
souvenir. Thank you, Monty, and a Happy New Year
to you and yours !
16
MOTOGRAPHY
Vol. IX. No. 1.
Steam Laundry Gets Picture Boost
It was announced at the recent convention of the
Laundryman's National Association, which met at De-
troit, that the American Laundry Machine Company
stood ready to supply a most interesting film for a moving
picture machine for use by any laundry association or in-
dividual laundry that presented the pruper credentials.
While this is conceded to be an advertising stunt, a repre-
sentative of the company, in an interview, stated that the
object of the company in exhibiting these moving pictures
is to promote general interest in the laundry business and
to acquaint the public with the details of the business,
upon the theory that if the people cannot be induced to
come into the laundry to see the operation, the operation
will be taken to them.
"Among the laundrymen, themselves," he said, "we
want to develop broader ideas and a higher regard for
their profession. To do this we produce these pictures,
which, if our object is attained, is only a beginning.
These pictures, and our apparatus for showing them, are
at the service of any association, local, state or otherwise,
directly or indirectly interested in the laundry business,
and it will be our pleasure to co-operate with them to
exhibit the pictures."
in several barns and garages, not being able to locate his
own.
Picture Bear Terrifies and Is Terrified
The big tame brown bear whose antics furnish de-
light when they are shown on the screens in the moving
picture houses that patronize the films made by the pic-
ture concern owning the bear, escaped from his stable in
Fort Lee one recent afternoon and gave a free show — at
least his keeper says he escaped. Some residents of the
neighborhood fear that their antics when they saw the
bear at large may later be shown in moving pictures.
The animal wandered about for an hour or more be-
fore he was roped by his keeper and taken back to his
stable. The bear, which is perfectly tame, was about as
badly frightened when he found himself at liberty as
the residents were who saw him. Bruin sought refuge
He did some damage at the garage of Mayor Ker-
wein on Centre avenue, but if there were pictures taken
of the crowd the damage might easily be paid for from
the film's returns. Anyhow, all damage is to be settled
for.
Schedule of Germany's Picture Houses
According to the Cine-Journal, Paris, the number of
moving picture theaters in Germany is as follows :
Population. C'mas.
Berlin and suburbs 4.000,000 300
Breslau and suburbs 520,000 40
Elberfeld 180,000 49
Essen 300,000 7
Franckfort-s-Mein 420,000 40
. Fribourg-en-B 84,000 4
Hannover 350,000 40
Halberstadt ., 45,000 6
Hildesheim 60,000
Zena 40,000 <)
Karlsruhe 134,000 5
Mainz 110,000 4
Mannheim 197,000 6
Metz 60,000 8
Mulhouse 96,000 9
Strasbourg 180,000 5
Stuttgart 230,000 23
Women to Establish Censor Board
The Recreation Conference Committee, composed of
representatives from the principal women's organizations
in Philadelphia. Pa., decided to establish a moving-picture
censorship. A subcommittee was appointed to investi-
gate moving picture shows and other amusement places
frequented by children and immature pleasure seekers.
After moving picture places have been investigated,
a crusade for "elevating" the moving picture show will be
conducted by means of a model moving-picture exhibi-
tion to demonstrate what the cheap playhouse ought to be.
The next step then will be to establish a censorship,
either with the consent of the big moving picture firms or
by enforced legislation.
The organizations represented by the Recreation
Conference Committee in this work, are the Pennsyl-
vania Association of Women Workers, the City Club, the
Consumers' League, the New Century Club, the Civic
Club, the Girls' Friendly Society, the Children's Aid So-
ciety, the Society for the Protection of Children from
Cruelty, the Public Education Society, the Sleighton
Farms, and the Girls' House of Refuge.
'The Poster — A Poser." See Page 7.
Lubin Anxious to Build German Plant
Siegmund Lubin has been visiting Berlin and pro-
poses to Americanize the German capital in the system of
promoting the moving picture art. The newspapers
hailed him as a moving picture king and gave him every
encouragement. Mr. Lubin says that they are far be-
hind us in advertising and running photoplay theaters.
The public is not informed what pictures are to be ex-
hibited, and they do not take advantage of continuous
performances. Mr. Lubin is anxious to construct a
plant in Berlin and offers to put $1,000,000 into the
venture.
Unitary 4. 1913.
MOTOGRAPHY
17
Sans Grease Paint and Wig
By Mabel Condon
Lillian Leighton.
TAP. TAP— went
my guide's
knuckles on the
cloor of Lillian Leigh-
ton's dressing room at
the Selig studio.
"Yes?" came a
softly inquisitive
voice from the other
side of the door.
"Are you decent?"
inquired my guide
with his hand on the
knob and his ear to
the panel.
"Yes," returned the
voice without any
semblance of affright-
ed negligee in its tone,
"come in !" Cautiously
my guide produced a
crack in the door ; I
slid through the
crack into a room of
sunshir.e, vellow dimity and Lillian Leighton herself.
And she ws perfectly decent, from becoming coif-
fure and monogramed. gray flannel shirt-waist with a
rolled collar and red silk tie to small black street shoes.
Furthermore, she was embroidering a big "L" on a pillow-
case and I beseeched her to continue as I was curious to
know how she was going to work out the fate of the curls
at the end of the letter.
So Lillian resumed the pillow-case, I hitched my
rocker out of the sun's way and, from the corridor, came
the voice of my guide vouchsafing, primarily for me and
incidentally for everybody else who happened to be on
the second floor, the information that he would return
for me in fifteen minutes.
"Mercy! we'll have to hurry." we told each other
and then Lillian gave me the history of her pretty room
and how she made the yellow-flowered curtains and cush-
ions and sofa cover herself. For sewing is one of the
pleasantest things she does and she often makes her own
waists and house-dresses and always alters and repairs
her own costume wardrobe.
And that isn't all, by half ; for on the evenings Lillian
doesn't sew or have company or go places, she gets out
her little old cook-book and makes wonderful things.
She revels in concocting new dishes and pastries ; I can't
tell you, though, upon whom or what she tries them, as
she neglected to say and I was too polite to ask.
"I'm very domestic," commented Miss Leighton as
her plump fingers kept needle and silk thread flying back
and forth over the blue-stamped "L." "It has been so
long since I had a permanent home that I can't get enough
of it now. During the thirteen years I played in stock
and road companies I lived wherever it was most con-
venient to my work. Once or twice I tried to have a
home, but I'd be on the move before I would get used to
it. and finally, I became so tired of rambling that I quit
the stage on a vacation and at the end of the vacation
decided I just wouldn't go back.
"It was then I got a try-out in Selig pictures and
when I was offered an engagement here, 1 accepted. That
was two years ago; I've been perfectly happy ever since
and never, never will go back to the stage, no matter
what!" There was vengeful determination in Lillian's
voice and vengeful determination in her wielding of the
big-eyed 'broidery needle and its thread of shiny silk
which tangled itself into a knot at the very beginning of
the "L's" twining loops. With lovely patience Lillian un-
tangled the thread and talked on in a sweet voice.
"The first thing I did was to rent a little flat, about
a twenty minutes' ride from here, for mother and me,
and I selected all the furniture and put up the curtains
and arranged the kitchen things and — oh. ves. I had a
little garden, too."
Lillian laughed and I waited to hear why.
"The poor little garden!" T looked sympathetic. "But
I never will try another little garden."
"Indeed !" my anxiety was intense.
"No, never. You see — "
There were rapidly aproaching foot-steps in the cor-
ridor ; they halted outside the door and then, over the
transom, came the voice of my guide in a raucous, "Fif-
teen minutes 're up !"
"Not ready," I returned, just as raucously, for I
thought of the mystery of the garden and determined to
stay and hear it out.
"Twenty minutes, then," shouted the voice.
"Make it half an hour," I shouted back.
There was no reply other than retreating foot-steps
and I sighed with relief and turned to Miss Lillian, who
continued : "No, I'll never try another little garden be-
cause I don't know the vegetables from the weeds and I
pulled the vegetables and tended the weeds. The dis-
appointment was awful, simply awful. But you couldn't
blame me, could you. when the weeds came up so pretty
and green?"
"Hardly," I admitted.
"I'd just love to be farmer, though," and the busy
Lillian took time off to sigh a big sigh and rest her eyes
on a meek cow sunning herself on the east wall, in oils
and a gilt frame. Then the pillow-case was resumed.
"But all the energy I put into that little garden I have
transferred to my kitchen and spend about three evenings
a week there in a cover-all apron and chef's cap. I have
made it a rule to have the pans washed and everything in
order by ten o'clock. I enjoy those evenings in my kitchen
more than going out — and I can truly cook."
There was a pause, for the crucial moment had ar-
rived for the final turn in the last loop of the "L" and
Miss Lillian did not intend that the event should suffer
by anything she might have to say on any subject foreign,
and so inferior in importance to the marking of a pillow-
case.
The moment of suspended conversation over, Miss
Lillian launched into the topic of motion pictures by de-
claring that the life afforded ever so much more oppor-
tunity for athletics if anyone were so inclined. For her-
self, she is not so inclined; she dislikes athletics and can't
swim, though she lays claim to the ability to float along
beautifully, with help.
"I get a lot of teasing about being plump, but I guess
it's just natural, for I'm comfortable that way." And if
Miss Lillian doesn't object to weighing in at one hun-
18
MOTOGRAPHY
Vol. IX, No. 1.
dred and seventy-five, more or less, why should others,
I'd like to know?
"I like playing characters," went on she of the satis-
fied plumpness. "I just revel in it. It provides ever so
much variety and it is so interesting — much more so, in
picture work, I find, than on the stage. But oh ! such a
time when I was playing 'Ma Katzenjammer.' The pic-
tures were made in the summer and I had to wear thirty-
two pounds of padding. I was just sure I would dwindle
away to a mere shadow."
But 'nary a dwindle, evidently.
"I have one awful fault," digressed the character
woman, as though to establish her utter equality with the
rest of humanity, "I can't remember names and I cause
myself such dreadful embarrassment. But I'm delighted
when I discover that fault in somebody else, for it is such
a comfort to know that other people forget, too."
A flash of silver scissors, a snipping of thread and
a pleased, "There! that's done!" and the embroiderer
spread the pillow-case out for inspection.
"Pretty," I admired.
"Think so?" Miss Lillian returned as she held her
head first on one side, then on the other and half-shut her
pretty brown eyes, the better to judge of the appearance
of her muchly curved initial.
"How long did it take?" I wanted to know and was
answered by a decisive, "Half'n hour-r!" in the voice of
my forgotten guide, as he made a vigorous return along
the corridor.
With a friendy good-bye, Miss Lillian ushered me
out and I followed in the wake of the voice, regretful at
so abrupt a leave-taking and at the perversity of fate in
wishing me two initials, neither of which has a curly tail.
Moving Pictures and Electrical P rogress
The influence of the moving picture theater upon the
public mind is not easily overestimated in these days, and
in the educational possibilities of the low-cost playhouse
lie opportunities for the molding of popular opinion
which are as yet only partially appreciated, says the Elec-
trical Review. Reference was made some time ago in
these columns to the usefulness of electrical plays from
the instructive standpoint, and the contention made that
where such entertainments illustrate the methods of per-
forming real work in the field, as in the splicing of cables
in manholes, much valuable publicity on behalf of elec-
trical service is obtained, and above all, at a time when
the popular mind is unusually susceptible to impressions.
Similar considerations apply to the treatment of electrical
subjects in motion pictures. .
In a recent visit to a picture house making a spe-
cialty of clean and instructive displays, the harnessing
of a mountain stream was shown in a realistic fashion,
with moving views of flume inspection, supply of water
to pipe lines and penstocks, the operation of a water-
wheel governor in the power house, the running of a di-
rect-connected alternator and finally, the discharge of
the tail water from the draft tubes. The pictures gave the
most uninformed observer a clear idea of the character
of country through which hydroelectric developments are
often carried, and while the selection of pictures might
have been improved by other views showing the transmis-
sion and utilization of electrical energy from the har-
nessed stream, there is no question that the semi-serious
entertainment afforded was a step in the direction of
arousing popular interest in a subject with which a great
many persons are utterly unacquainted. Certainly the
display of such views, improved as it might be by scenes
illustrating all the important stages of hydroelectric de-
velopment down to the reading of switchboard instru-
ments and the operation of shops by motors, would tend
to interest the public in the best form of water power con-
servation by its use and might be a positive factor in
stimulating the popular demand that such resources be
more generally turned to account.
Not only the general public but technically trained
men are finding the moving picture a useful institution
in connection with society and club meetings, lectures on
behalf of central-station service, and campaigns designed
to arouse the interest of special classes in such matters as
the use of the electric truck and the manipulation of elec-
tric heating apparatus. At a recent electric-railway-club
meeting a special process of welding motor cases, shafts
and other equipment was shown to a large assemblage
in most effectual style, and it is obvious that the manufac-
turer of such instructive views has in the world of in-
dustry practically an unlimited selection of profitable sub-
jects.
How Picture Shows Affect Denver
Last year in Denver seventeen small drug stores
failed within sixty days largely on account of motion pic-
ture shows. The fall in the receipts of the soda foun-
tains and attendant trade accounts for this. The saloons
and pool halls have suffered because the moving picture
shows have absorbed the time and some of the money
of their customers.
At the moving picture show the young man can spend
5 cents in forty-five minutes. At the. saloon or pool hall
he would be likely to spend many times that much. In
this way the homes of Denver have saved much money
and more misery. From an economic standpoint the
most important thing about the moving picture show is
that it absorbs time at very little expense.
It has absorbed the time of tourists to an amazing
degree. After touring Denver and having dinner the
first question with the majority of tourists is: "Where
are your moving picture shows?"
They scarcely take time to purchase postcards to
mail to their friends. This of course affects the business
that would come from the patronage of tourists.
It has affected the sale of books and magazines. It
has increased the reading habit in some and decreased it
in others. These two effects just about balance each oth-
er. It has vastly stimulated the reading of many who
formerly read little. It has furnished suggestive lines to
be followed up.
It has awakened new interest. One prominent book
dealer said that after Dante's "Inferno" was shown, ev-
erything that he had on Dante was sold at once. The
pictures of Dickens' characters had the same kind of ef-
fect. This is the report from the two biggest stores in
Denver, and is a characteristic effect of the moving
pictures.
Offers Fortune for Denver Picture Rights
Twenty-five thousand dollars, payable one year in
advance, was the offer received from one of the largest
moving picture concerns in New York for the exclusive
moving picture privileges of Denver's great Indian festi-
val in 1915.
Ten thousand dollars has been offered by two Denver
men for the privilege of reproducing Blake street of fifty
vears ago with representations of Moffat's bank, the old
dance hall, bars and gambling halls.
January 4, 1913.
MOTOGRAPHY
19
"The Return of Lady Linda
An Eclair Feature
m
A GORGEOUS two reel film to
be released January ninth is
"The Return of Lady Linda,"
an Eclair product. The story has
to deal with titles, coronets and
hearts.
On the eve of her marriage to
Claudio, Duke of Rimini, the lovely
Lady Linda and Sir Enrico, a pen-
niless baron whose impoverished es-
tate adjoins the lordly villa, whither
the lady's father has brought his
brilliant train to celebrate his
daughter's nuptials, first meet and
read each other's eyes. They are
surprised in their love making by
the prospective bridegroom and the
old Duke Alonzo. Thinking to
shame the pauper in the lady's
sight they send him a mock courte-
ous bidding to attend a masqued
ball at the villa.
To their astonishment and
chagrin, the "Baron of Patches,"
having secretly pledged his last
jewels, appears at the ball arrayed
as finely as the best, and boldly
plays off his gallantries to the lady.
A duel is fought in which the
baron is unfairly wounded by the
enraged Claudio. A few days later Sir Enrico passively
sees the woman he loves married to the fraudulently vic-
torious duke.
After an absence of ten years the widowed Linda,
Duchess of Rimini, returns to take up her abode in the
villa. On the other side of the dividing wall Enrico,
poorer than ever, is living in solitude. His establishment
is reduced to a solitary servant. His sole and cherished
possession is a fawn. One day a little gentleman with
^w^ .'-"a, ' ~fi::-ZQ
The Duel.
Lady I.inda
"The Return of Lady Linda."
golden curls appears in the garden and boldly announces
that he has come to play with the fawn. It is little
Pietro, the widowed lady's son.
The games continue each day, and each day Enrico's
love for the boy increases. Suddenly the visits cease.
A week later, the Lady Linda presents herself at the
baron's gate. To honor his royal guest, the baron wishes
to spread a fitting repast but his larder is empty, as empty
as his purse. He resolves to make a sacrifice and his
treasured fawn dies to provide the
feast.
When the repast is spread, the
duchess declares her errand. It is
that the baron bring his fawn to
the bedside of her little son, who is
dying and calls constantly for his
neighbor's pet. But she has spoken
too late. That night Death enters
the villa.
After the years of separation,
the baron and duchess are at last
united.
In "The Return of Lady Lin-
da," Barbara Tennant and Clara
Horton, those two excellent
Eclair artists, are seen to great
advantage. The settings, too,
are fine. Some slight idea of
them may be gained from the few
illustrations, taken from the film,
which are presented on this page.
"The Return of Lady Linda" has
been booked for release on Thurs-
day, January 9th.
20
MOTOGRAPHY
Vol. IX, No. 1.
"Winnipeg's Columbia Theater
The city of Winnipeg, Canada, boasts of some of the
finest picture theaters in North America and the latest ad-
dition to these ranks among the very best.
The electric mains are 3 No. 00 cables, led through
the basement, where provision is made for service from
both the city and street-railway circuits, to the main dis-
tribution box in exit hall. Here the circuit is split up and
led through two meters, three No. 4 wires from one meter
leading to the operating room, where the power rate is
charged, and three No. 2 wires through the other meter go
to the lamp distribution box, where the commercial light-
ing rate is charged. From this main distribution box. all
the lighting for front, offices, foyer, halls and basement
is controlled.
The foyer shades are rather a novelty, consisting of
four panels of colored glass edged with brass and hung by
hooks from a square canopy, fitting over a Russell recept-
acle on the conduit outlet boxes. Three of these panels
are amber-colored, the fourth, facing the aisles, being
ruby, and acting as a red exit light, while the foyer is
finely lighted.
The wall brackets, 10 in number, one on each pilaster
forming the panels, are of the plain square type, with
green and ruby-colored cone shades, but the canopy is
deepened to allow a socket to be inserted and soldered in,
so that a fan can be attached to any one of these during
the hot season. This does away with extra outlets and
wiring for these very necessary accessories.
The ceiling is divided into five panels, each panel be-
ing adorned with two 5-lamp fixtures of special design,
to allow of these lamps being used when the pictures are
being shown. The two panels nearest the screen have
their lamps switched off by the operator when he com-
mences each show, the rest give a beautiful diffused light
over the audience, making it a pleasure to sit there.
The operating room, a fireproof apartment 24x12
feet, is the finest that experience and money can furnish.
The supports for the two machines and one diffusing
stereopticon are one-inch pipe with flanges, fastened to
floor beams before the fireproof floor is laid, and when
braced at the upper end to the wall, make a rigid fastening
for the machine, no shake whatever being discernible.
Three No. 4 cables enter the operating room through
an L-condulet, 1.25 inch, to a switchboard, whereon all
the switches under the operator's control are mounted.
One 30-ampere mercury-arc rectifier, General Electric
type, and two Fort Wayne compensators are connected
through two double-throw switches to the machines, each
arc of the stereopticon being fed through these same com-
pensators. Two No. 4 cables feed each arc lamp from
the low-voltage side of the rectifier.
This comprises one of the best laid out operating
rooms that can be imagined. The house lamps being un-
der the control of the operator by six 30-ampere knife
switches on the board, he has everything required to
facilitate his duties. An electric program sign, under the
control of the musicians, the necessary exit lamp and mu-
sicians' lamps go to make up one of the best electric in-
stallations in any theater.
'The Rose of Mexico," January 25. Copyright 1913, American Film M fg. Co.
January 4, 1913.
MOTOGRAPHY
21
A Live Lubin Two-Reel
One of the January Specials
ANOTHER of those live Lubin two-reels is on the
books for early release — January 17, to be exact.
It is to be handled through the General Film Com-
pany as a special feature.
The title is "The Mexican Spy." It was written by
Emmett Campbell Hall and produced by Wilbert Mel-
ville. The cast is as follows :
Tom Loring Earle Metcalf
Colonel Loring L. C. Phillips
Senor Luis Rivera Edwin Carewe
Mary Lee Edna Payne
Paymaster Lee William Wells
As the story runs, Tom, son of Colonel Loring, is a
handsome but dissipated youth, easily influenced to moral
transgressions. Mary Lee, the paymaster's daughter,
loves Tom despite his failings, and tries desperately,
though vainly, to reform him. Senor Luis Rivera, pol-
ished and apparently wealthy (but in reality a spy), be-
comes intimate with Tom, who, to keep up his end and
pay his gambling losses to Rivera, steals $5,000 from the
paymaster's safe. Rivera threatens to expose Tom's theft
unless he steals for him the plans of forts in the South-
west, proposing to give back the money, which Tom may
replace in the safe, if he does so. Tom cannot resist the
temptation and secures the plans from his father's office ;
but before he has delivered the drawings to Rivera, Mary
learns of the situation, and by pawning her jewels and
using a little legacy, raises enough money to replace that
stolen. She then forces Tom to defy Rivera, and re-
places the plans.
No one suspects Tom, but he realizes that he is break-
,1 1
i 'MJB/Bfi™*^,^
r-
: £i
1
— "*
■
1
Hospital Scene from the "Mexican Spy."
Tom Loses at Cards.
ing the hearts of his father and the girl, and swears that
he will prove worthy of their love. Rivera has gone
away. Tom disappears, and under another name enlists
in the army, leaving a note for Mary in which he tells
her that she will not see him again until he has redeemed
his shameful past. Shortly afterward the regiment to
which Tom has become attached is ordered to the south-
western border on account of difficulty arising with the
Republic of Mexico.
In the meantime Mary has applied for and received
an appointment as a Red Cross nurse, and is herself
sent to the border. One day after her arrival she is sent
by the surgeon in charge to a point some distance away
from the hospital, and is greatly surprised to find the
soldier assigned to drive the wagon furnished for her
transportation none other than Tom. The two young
folks are overjoyed to see one another again. Tom takes
his seat with Mary and the escort inside and the journey
starts.
Rivera with his troop learns of the trip and seizes
an opportunity to secure revenge and the same time deal
a blow at the hated Americans. He starts in pursuit of
the little party. A running fight follows ; and as a result
Mary and Tom are the only ones left alive on the wagon.
Tom stops the wagon, and hastily mounting Mary on one
of the mules, sends her in search of aid while he under-
takes to hold back the attacking Mexicans. Upon Mary's
22
MOTOGRAPHY
Vol. IX, No. 1.
return with a troop of cavalry, they find Tom lying
wounded. Tom is taken to the hospital and with Mary's
careful nursing is restored to health. Later Tom is made
lieutenant and secures Mary's hand.
Cleveland Film "War Arouses Comment
In a letter received by one of the Cleveland moving-
picture exhibitors arrested for showing pictures of crime,
W. P. Root of Medina referred to the crusade on picture
shows in Cleveland as an "infringement of popular
rights."
"One of the most dangerous and inexcusable in-
fringements of popular rights seems now to be under full
swing in Cleveland, where the mayor is empowered to
stop any picture show which portrays crime," Root wrote.
"Since when has the portrayal of crime been a
crime ? Throughout the whole gamut of art the illustra-
tions of crime and murder have played an important
part, and nobody as yet has raised any objection, although
Mayor Baker may change our views in regard to the mat-
ter. That these views suggest crime is no argument
against them especially as crime is always made repulsive
and virtue attractive."
Root mentioned pictures of brutality and murder
which he said are shown in illustrated Bibles.
Victor O. Woodward manager of a Sandusky (O.)
theater held different opinions. He said the future of
the moving-picture theater lies in the success of such
campaigns as Mayor Baker is making. Until last Sep-
tember Woodward was general manager of the Ajax Film
& Supply Company with headquarters in Cleveland.
"Some of the films exhibited in Cleveland are a dis-
grace to civilization," he said. "The sooner Mayor Baker
and Chief Kohler succeed in their work the better it will
be, not only for the people of Cleveland, but for the man-
agers of the theaters."
Woodward said he was sorry for the exchanges that
suffered financial loss by the seizure of films by Kohler.
Naming the city of Cleveland, Mayor Baker and
Chief Kohler as defendants, Schwartz & Lustig, attor-
neys, yesterday filed injunction suits in common pleas
court to prevent further seizure of films. The action
was taken in the names of the General Film Co., the
Lake Shore Film & Supply Co., the Warner Feature JFilm
Co., and the Victor Film Service Co.
Judge Collister refused to grant a temporary re-
straining order, and set the cases for trial.
Indiana Convicts See Pictures
A moving picture show with convicts as the patrons
is an innovation that has been introduced at the Indiana
Reformatory, Jeffersonville, for the edification of the
1,200 shut-ins for whom amusement of some kind must
be provided to divert their minds from the troubles that
resulted in their being committed to the institution. Dur-
ing the summer months baseball was the amusement
served to the convicts on Saturday and holiday after-
noons. This took well. That the ball season would have
to come to an end with cold weather was a sequence of
nature, and plans were begun some time ago to arrange
some other amusement, moving pictures being decided
upon. A curtain was manufactured and a picture ma-
chine operator was secured on the outside to install a
plant for the first performance. This was given in the
chapel one afternoon and was a drawing card, as nearly
every inmate had a ticket. Some of them had never seen
a moving picture show, and the reproductions, thrown
upon the canvas from the films, were a source of much
wonderment.
Scores of the shut-ins had seen shows of the kind
and the one given seemed like home to them. Indian
fights, cowboy rescues, stage coach hold-ups and things
like that were not on the programme, but there were
many comics and a few dramatic films. The comics
made a great hit. The dramatics took well also. The
films were secured from a Louisville agency and 1,000
feet of pictures were exhibited at the first show.
Kaiser a Confessed Film Fan
The Kaiser is the latest recruit to the growing ranks
of film show enthusiasts. He has had a motion picture
theater built in the Potsdam palace and dedicated it with
a performance for the benefit of a distinguished company
of military and political guests.
A number of films exhibited were of recent events
wherein the Kaiser himself participated, including a royal
hunt given in honor of the Archduke Franz Ferdinand
of Austria, near Hanover.
The cinematograph industry is so grateful' to the
Kaiser for his imperial patronage that it has just issued
a handsome volume called "The Kaiser on Film" as a
Christmas book, which is also intended to commemorate
his Majesty's silver jubilee in 1913.
The book is handsomely gotten up, with reproduc-
tions of motion pictures, showing the Kaiser in the midst
of all his varied activities.
The text discloses the fact that the Kaiser first be-
came interested in motion pictures during one of his re-
cent summer cruises aboard the Hohenzollern to the
North Cape. He caught the court photographer, who
always travels with him, making motion snapshots one
day, and when they were reproduced on film aboard the
yacht the same night the Kaiser at once became a con-
fessed "fan," and ever since has posed cheerfully under
all sorts of circumstances for the men working moving
picture cameras.
Virginia School to Show Pictures
The Driver Agricultural High School at Suffolk, Va.,
one of the progressive institutions of the state, has
planned to install at once a moving-picture machine with
which to teach geography, history and reading.
Principal J. B. L. Dejarnette is enthusiastic over the
idea. Already he has shown a geography film, and has
obtained most satisfactory results from the class, on the
plants and animals of the different zones.
Mr. Dejarnette believes the use of the moving-pic-
ture machine as an educational factor will revolutionize
certain school work.
"Ground that it takes months now to cover," he said,
"will be easily and delightfully covered in a week. I
can teach more history in an hour with a moving-picture
film than I can teach in a week from a book."
He has arranged to secure Edison educational films,
and hopes to interest the Jefferson school in the plan, so
that films may be exchanged between the two schools.
In the reading lessons Mr. Dejarnette's plans are to
show the colored films of Red Riding Hood. Cinderella
and such childhood classics, and then have the children
read them. Specially prepared history films, and films
showing animals and plants of various countries, the scen-
ery, etc., will be used in connection with history and
geography.
January 4, 1913.
MOTOGRAPHY
23
Current Educational Releases
Crawfish. — Eclair. The crawfish is sometimes
called "The small lobster of fresh water." This particu-
lar crustacean is of nocturnal habits, remaining hidden
during the day in crevices and under stones at the river-
bottom. All this is portrayed in this film. We also see
females at hatching time and the methods by which craw-
fish are caught in specially constructed nets. Then we
are shown the worst enemy of this little fish — which is
the water-rat ; and last the exposition of the several sci-
entific methods employed for the artificial acceleration of
breeding and replenishing or restocking of river-beds with
this delicate sea food, which once threatened to become
extinct.
Radiography in Practice. — C. G. P. C. X-ray
photographs are still one of the foremost wonders of sci-
ence, but X-ray motion pictures are an innovation. In
this film the action of the knee joint, the fingers, hand and
wrist are seen, as well as views of various small animals
under the penetrating rays, showing the workings of their
interior organs.
The Life of Ants. — Pathe. This industrious in-
sect gives a lesson in thrift and systematic working which
will be a revelation to a great many people and an inter-
esting and instructive film for everyone.
Sand Hoppers. — Pathe. An important addition to
our growing oceanographic series. Microscopic views of
an almost unknown inhabitant of the seashores.
Our Enemy, the Wasp. — C. G. P. C. Perhaps you
have been accorded a close view of the wasp but did not
wait long enough in the vicinity to add to your store of
useful information the knowledge of the habits and na-
ture of the insect. A view of this film will supply the
missing lesson with illustrations which are missing from
the text books, and you will not, by any chance, get stung.
Along the Coast of Dalmatia. — Eclipse. A most
fascinating travelogue spreading before us the territory
on the Adriatic sea adjacent to where the Balkan war
has been carried on with such great loss of life.
The Palace of Fontainbleau (Colored). — C. G.
P. C. Scenes in and about the famous palace built by
Francis I of France which has been the home of French
kings ever since.
Along the Riviera (Colored). — C. G. P. C. A
series of views of the most beauteous resort in all the
world, including views of the famous Monte Carlo.
Manila. — Commercial Motion Picture Company.
Scene 1. Scene along' Pasig river. Scene 2. Old Span-
ish horses along San Miguel river. Scene 3. Santa Cruz
bridge and bridge of Spain showing wharves and ship-
ping. Scene 4. The governor's palace from the river.
Scene 5. Typical Philippino villages and village life along
banks of river. Scene 6. Monument erected to Luneta
Gardens in memory of the earliest Spanish conqueror of
the Philippines, Legaspi, and his companion, the Jesuit
priest Urdeneta. Scene 7. Views of the city walls of
Manila surrounding the old Spanish town ; and showing
the Puerta Real or Royal Gate. Scene 8. Review of
United States sailors and marines in Lunetta Gardens.
Scene 9. Scene in the Escolta, the principal business
street, and showing the bridge of Santa Cruz and river
life.
Japan. — Commercial Motion Picture Company.
Nagasaki — Scene 1. Coaling ships. This method is
unique and affords a livelihood to thousands of people.
Scene 2. The famous bronze horse in the temple of
O Suwa. believed by the Japanese to be the father of all
horses. Scene 3. Steps leading down from O Suwa tem-
ple and showing Terii or memorial stone arches. Kobe
— Water front, customs house, hotels, banks and consul-
ates. Scene 4. Upper walls of Honehiki from which
the well known Tanzan mineral water is piped. Scene
5. View of Motomachi, or principal street of Kobe, show-
ing in foreground an advertising stunt for the flower
show. Scene 6. Views of rice harvesting in Japan.
Scent 7. Views of rice harvesting in Japan. Scene
8. The Great Temple in the Maryama park, Kyote,
Japan, with country folk going and coming from warship.
Scene 9. Street in Kyote, showing canals which intersect
the city in all directions ; note the curious Japanese cattle.
Scene 9. Street in Kyote, Japan. Scene lU. Duplicate of
scene 9.
The Jelly Fish and the Plankton. — C. G. P. C.
Although hardly visible to the naked eye, there are thou-
sands of sea animals that perform useful functions in the
scheme of things. They are known as Plankton and ex-
posed herein to microscopic view. The life and habits of
the jelly fish are also illustrated and explained for the
benefit of everyone since there is no one who has not
made its acquaintance while bathing at the sea shore.
China and the Chinese. — Essanay. We are
transported to China. We are shown the Shanghai Bund
from the river boat. Landing on the shore, we are
taken to the race course in Shanghai by a Chinese racer
in a jinriksha. Hundreds of American tourists are seen
there. The first jinriksha was made in the state of In-
diana. This seems strange but nevertheless true. From
the race course we are taken through the streets in and
around Shanghai. Next into the country we are taken,
where we see a Chinaman plowing with the carabao.
Xext a Chinese saw-mill. From there we are taken up
the Nan Siang. where we see the natives cormorant fish-
ing. The steam roller in China is a funny and impressive
thing to see. A large iron roller such as we may use in
America on our steam rollers, is used in China, but the
steam is lacking. Instead about two hundred Chinamen
pull this gigantic roller up and down the pavement.
While strolling down the street we see revolutionary sol-
diers capture a Manchu and cut his queue from his head. .
This is considered quite severe punishment. Along the
water front we see thousands and thousands of river
boats where the Chinese are born, live and die. These
boats are fifteen feet long by four feet wide. At the
wharfs we see the Chinese coolies at work carrying large
and heavy pieces of freight. Up the Yangtse river, we
see a forest of masts, where unnumbered Chinese vessels
are anchored. War junks on the Wangpoo ready for
immediate action are seen with colors flying. Sailing
24
MOTOGRAPHY
Vol. IX, No. 1.
into the harbor we see an array of warships representing
the world's great powers. Thousands of miles from
home we realize, no matter what country we are from,
that we shall be protected.
San Xavier Mission. — Lubin. A beautiful educa-
tional picture showing the atmosphere of a typical Mexi-
can Mission house. The building is a stone and adobe
structure of large proportions, which will impress the
traveler. Interesting scenes are pictured of the negro
boys and the Sisters of the Mission going to Mass. In-
side of the Mission we see the employment. Boys and
girls are weaving and fashioning Mexican hats, baskets
and other useful articles. The picture will be much ap-
preciated by those interested in customs of Spanish
America.
Mistakes Court Room for Show House
An individual who had been drinking rather freely
staggered into the New Jersey avenue police court in
Brooklyn, N. Y., during a noon recess and, finding a seat
on a bench in the rear of the courtroom, made himself as
comfortable as possible.
There were about a half-dozen persons in the room,
including the court attendants, and the man's presence at-
tracted no special attention until after a wait of twenty
minutes or so he jumped to his feet and in an angry tone
shouted: "Say, when does this bloomin' show start?"
"What show do you mean?" asked Officer Keating.
"What show?" exclaimed the stranger, "why, you
chump, the movin' picture show, of course."
"This moving picture show, friend," said Keating,
"starts right away," and the man was grabbed by a couple
of the attendants and shoved out into the street. A young
man who had witnessed the incident tried to explain to
the ejected person that the building was a courthouse and
that the nearest moving picture place was just around the
corner, but the stranger had his doubts, and walked indig-
nantly away, after taking a long drink from a flask which
served as a balm for his wounded feelings.
Berlin's Finest Theater by Americans
Berlin's finest and newest cinematograph playhouse,
the Nollendorf Theater, which is about to open its doors,
is the creation and property of two Americans, the
Messrs. Goldsoll and Kinsella. The building, which is
like a Greek temple, is architecturally one of the most
striking structures in the Kaiser's capital, and does much
to beautify the big Nollendorf Platz, on which it stands.
The new theater contains one feature which is an
absolute novelty in German motion picture houses, name-
ly, that it does not require to be darkened while the films
are being shown. Its domed roof is also an innovation,
as it is built to be removed in summer and during other
propitious weather, so that at night the spectators have
nothing above them but the starlit heavens. The theater,
which it is hoped to make society's cinematograph mecca,
will hold 700 people.
Essanay Drama, "The Thirteenth Man.
January 4, 1913.
MOTOGRAPHY
25
Of Interest to the Trade
Louise" Lester as "Calamity Anne"
Here is an excellent likness of Miss Louise Lester,
rapidly becoming famous among picture fans in the role
of "Calamity Anne." There goes with "Calamity Anne"
a burro, "Woodrow," much loved by the various members
of the American Film
Manufacturing Com-
pany's Santa Barbara
studio, who is doing
much to make Miss
Lester the most fa-
mous comedienne in
pictures, as well as
himself the most fa-
mous jackass known
to cinematography.
The "Calamity
Anne" series was orig-
inated by Director Al-
len Dwan, and is vast-
ly popular already de-
spite the fact that
"Calamity Anne" has
figured in only three
productions thus far.
The various fortunes
of "Calamity," hover-
ing between dire pov-
erty and Soaring to Louise Lester.
heights of financial affluence, are followed in serial form.
Miss Louise Lester has had many years of stage ex-
perience prior to her connection with the "Flying A,"
both in stock and traveling shows, and the long familiarity
with work has made possible her wonderful interpreta-
tion of "Calamity Anne," a hanger-on of mining camps,
quick with a gun, fond of a pipe, a Satan with her tongue
and temper, but beneath it all. a warm and human heart
and an innate sense of fairness.
It is a more than difficult role for woman to inter-
pret. It is comparatively easy to show this creature of the
camps, clad in short riding skirt, boots, wide sombrero
hat, sporting a handy six-shooter, in the more laughable
guise; but to do so would destroy the real character of
"Calamity Anne," for "Calamity Anne" is a woman, sub-
ject to the foibles and vanities of woman, and possessed
of a woman's heart, a strong, sympathetic nature hid be-
neath a rough exterior. It requires a genuine artist to
portray a rough woman of the camps, who can make you
laugh good-naturedly one moment and bring the quick
tears of sympathy the next. Miss Lester does this in
"Calamity Anne" productions.
Reel Club Changes Its Name
About one hundred members of the Los Angeles
Reel Club (temporarily so named) met at the Gamut
Club, on the evening of Saturday, December 21, and by a
unanimous vote of those present, decided that the articles
of incorporation, now being filed at Sacramento, should
bear the name of the "Photo Players" and in the name of
the club, a letter was mailed to the New York kindred
club, the Screen Club, so advising, and extending the
hand of co-operation and affiliation.
Another meeting was held Saturday evening, Decem-
ber 28, to decide upon the permanent leasing of a club
house. Upon this occasion stars from the Lombardi
Opera Company, the Great Raymond, and leading acts
from the vaudeville theaters added to the joy of the affair.
Among the plans will be a masked ball on or about
February 14, and somewhat later a double-header vaude-
ville performance by the club members, who, aided by
the auxiliary talent of the actresses employed in the
photoplay industry of Southern California, will present
a diversified array of histrionic ability.
Kinemacolor "Weekly Fashion Film
And now it's a fashion special. The Kinemacolor
company will issue it and things look rosy for its suc-
cess. It should have all the women enlisted as enthusi-
asts and with such a following there can be but one result,
and that popularity.
By arrangement with the leading creators of fashion
in women's apparel the Kinemacolor people will have the
color films cut to the houses subscribing to their service
in many cases before the model gown has left their mo-
diste's. Besides gowns and dresses and trappings of fur
and cloaks for the opera there will be included the latest
hair-dressing styles, and all the startling innovations of
attire which increase milady's beauty. Kinemacolor will
show the sheen of satin and the lustre of fine silks or
deep hued velvets, even the fire and gleam which lies
hidden in the depths of precious gems will be seen just
as they are in life in these "Fashion Weeklies." Every-
thing that a woman desires to know about fashion in dress
will be put into the new color-films, which are being pro-
duced without regard to expense.
Indiana League for More Film Popularity
At the second annual state convention of the Indiana
Moving Picture Exhibitors' League about 350 members
were in Indianapolis attending the meetings. They rep-
resented approximately $2,000,000 invested in moving-
picture shows.
Discussions relative to the reasons for public animos-
ity to moving-picture shows featured the meetings. It is
the opinion of the picture men that the opposition springs
from people who have never seen a picture show. An-
other question discussed was the city ordinance prohibit-
ing owners of shows from admitting children under 16
without their being accompanied by adults.
Owing to the absence of H. S. Dickson of Winches-
ter, president, who was in the south on a special business
trip, F. J. Rembusch of Shelbyville, vice-president, pre-
sided at the meetings. Rembusch probably is the best
known of the state moving-picture proprietors. He is
the inventor of a special screen which permits of pictures
being shown in daylight.
Syracuse Picture League to Dance
The Motion Picture Exhibitors' League of Syracuse,
N. Y., will hold a ball January 28 at the New York State
Armory. Besides the dance, there will also be a picture
show. John Bunny, Maurice Costello, Lillian Walker,
Margaret Snow and King Baggott, well known picture
players, have promised to lead the grand march. The
league is composed, of the proprietors of the twenty-
eight picture theaters there. Twelve other houses are
now in course of construction.
26
MOTOGRAPHY
Vol. IX, No. 1.
"Thirteen," The Vitagraph Billiken
"The Vitagraph Globe Trotters" was conceived on
Friday, June 13. Some of the Trotters left New York
on Friday, the 6th, the balance on Saturday, the 7th,
making a total of thirteen ; leaving on the 2 :13 train, and
one of the company was assigned to Lower 13 in the
Pullman. They left San Francisco for Hawaii, on Fri-
day, December 13. They had twenty-six pieces of bag-
gage, which, divided by two, makes 13.
They will take steamer from Nagasaki for Shanghai
on Monday, January 13, 1913. They will reach Rangoon
on February 13, 1913, and call at Aden on their way to
Port Said on Wednesday, March 13, 1913.
They are expected to turn homeward on Friday,
June 13, 1913, and will probably arrive in New York City
on Saturday, September 13, 1913.
Five of the Trotters have thirteen letters in their
names: William S. Smith, William Ranous, Eugene F.
Mullen, Harry L. Keepers and Helen Costello.
Count them ! Just thirteen letters in "Globe Trot-
ters."
May the Year 1913 add still greater leaves to the
Vitagraph Company's laurel wreath.
Plan Picture Shows for Schools
Moving pictures are going to play a large part in the
school extension work program of the board of public
education at Pittsburgh, Pa., if the plans now being form-
ulated by Superintendent of Schools S. L. Heeter ma-
terialize. The idea at present is to equip each of the
school auditoriums with a moving picture machine and
conclude all the "neighborhood" entertainments given by
the board with a motion picture show.
Brevities of the Business
PERSONAL NOTES.
Henry Reimers, of the camera force of the Selig company
in Colorado, is a pneumonia patient at the Canon City hospital.
Roy Aitkin has come from London and received a hearty
welcome at the Majestic studio. A visit to Milwaukee, his home
town, is also an object of his trip to the states.
Eddie Roskam now signs himself president of the Commer-
cial Motion Pictures Company.
George Bunny, son of John Bunny, has launched into the
industrial and educational section of the motion picture indus-
try, in his own interests, and is his own camera man.
William Ray, a newspaper man and producer, has written
a sketch entitled, "The Gossip at the Movies." This is the
third "Movie" act that has bobbed up in New York of late.
F. M. Shelton, principal, plans to establish moving pic-
tures in the high school at Canton, Ohio, as part of the stu-
dent's course.
M. G. Watkins is in charge of the Foster avenue factory,
in Chicago, of the Nip Manufacturing Company, which has at
its head Walter DuBrock of the Dubrock Feature Film Com-
pany, and a former camera man, Charles Spinks. The Nip
company will manufacture everything in the line of motion
pictures.
Carl L. Gregory went to Los Angeles to find a studio for
the Thanhouser company, intending, when that mission had been
fulfilled, to return to New York. Latest report says he will
remain and assume the responsibility of the directorship of the
southern California company and official representative of the
company on the coast. The quarters provided for the company
are those that formerly housed the Imp company.
Charles Kessel spent. the holidays in New York, where he
found time to attend to business for the Keystone, Kay Bee
and Broncho companies, all of which he is part owner, and
also paid an official visit to the Screen club. Mr. Kessel is
on the charter membership roll of both the Screen and Reel
clubs.
Mack Sennet, Keystone director, spent $2,500 for the staging
of a battle scene at Santa Monica, Cal., the scene to be but a
short one in a five hundred foot comedy reel.
William Paley, who is still a patient in a Los Angeles
hospital, is the beneficiary of a fund contributed to by motion
picture people all over the country. The Reel club, at its last
meeting, passed the hat and raised the sum of one hundred
dollars for the relief of the elderly actor.
David Horsley, who transferred his affections from the
Nestor company to a controlling interest in the entire Universal
group, is expected to build a home and settle down in Los
Angeles shortly.
Joseph Farrell MacDonald, of the Powers company, is the
director in charge of the newly arrived company at the Holly-
wood studio, Los Angeles.
Bert Angeles is a new director at the Vitagraph studio.
He brings experience from Frohman, Belasco and Klaw &
Erlanger companies.
Beverly Bayne, of the Essanay eastern stock company, and
Fred Conklin. treasurer of the Cappa Phi fraternity, led the
grand march in the gold room of the Congress Hotel, Chicago,
December 27, at the frat's annual dance.
Robert North, a stage director at New York city's New
Theater, is a new member of the Vitagraph's directors' staff.
"Smiling Billy" Mason of the Essanay appeared in the
criminal court last week to testify in a pickpocket case in which
he was very much interested. The thief was given three months
in the county jail. Mason, in trying to testify, was repri-
manded by the court for his funny facial expressions. He was
gently but firmly told that he was not acting before a camera.
Miss Helene Marten is back in the Eclair Stock company.
She will be remembered as one of its original members.
Miss Ruth Stonehouse had an odd experience one day last
week. During the noon hour Miss Stonehouse, in her costume
of a little Jap girl, went to a nearby restaurant. A Jap passing
entered and began talking to her. Miss Stonehouse became
frightened anld called the proprietor. It finally developed that
the Jap thought Miss Stonehouse was his sweetheart he had left
behind in sunny Japan.
Frank L. Dyer, elected president recently of the General
Film Company, is now installed in the ofifi.ee of that concern as
its active executive head. In his new position Mr. Dyer believes
he will have a larger scope than in that which he occupied with
the Edison company. It is certain that the General Film Com-
pany will benefit greatly by Mr. Dyer's management.
Mr. and Mrs. Rollin S. Sturgeon (formerly Miss Edna
Fisher) have returned to Los Angeles and the Vitagraph com-
pany after spending the holidays in Wisconsin with Mr. Stur-
geon's parents.
Charles K. French, director with the Los Angeles Pathe
company, has been chosen president of a million dollar mining
corporation. The mines are located in Arizona.
Adele Lane, leading woman, and Burt L. King, director,
with the New York Motion Picture Company, have gone to
Santa Monica Canon, California, to work in picture making.
Robert Goodman is regretting his having to refuse an offer
from Gaston Melies, who, on his trip around the world, wired
Mr. Goodman to join the company at Surabaya, Java. On
account of the illness of his little daughter, who is in a hospital,
Mr. Goodman wired his refusal of the unusual offer.
E. H. Calvert, leading man of Essanay's eastern stock com-
pany, played lead in a pantomime sketch, written for an enter-
tainment held December 31 in the Fine Arts building, and given
by the Daughters of the American Revolution.
Josephine Ricketts has declared herself sufficiently rested
and is again acting before the camera. She is an old film
favorite, having helped make the popularity of Victor films.
Lee Moran, with a bandaged arm as the result of his recent
automobile mishap, is again at work in Director Christie's
company.
Dustin Farnum made his debut in motion pictures on his
recent visit to Universal city, where he was in the saddle the
greater part of the day and took pleasure in performing the
small part allotted him in one of the pictures.
J. Warren Kerrigan, he of "Flying A" leads, paid a visit of
January 4, 1913.
MOTOGRAPHY
27
inspection to the Universal colony recently as the guest of
General Manager Kennedy.
Jefferson Osborne has two months ahead of him in a hos-
pital in Los Angeles, where his burns, sustained in the recent
burning of Hotel George, are still painful but continuing to heal.
Mr. Osborne is credited with rescuing several women and chil-
dren from the burning hotel.
Miss Ruth Stonehouse, leading lady of Essanay's eastern
stock company, danced at a Christmas benefit performance
given under the auspices of the Faulkenstein Settlement for
poor children. Hidden behind a Christmas tree, which was
laden with beautiful ornaments and glowing candles, Miss Stone-
house in the garb of a fairy queen, came forth and treated the
little folks to a number of pretty dances.
Francis X. Bushman, late lead of the eastern Essanay com-
pany, is making a short-talk tour of picture theaters in picked
cities in the east. His tour terminates with the end of
January.
ROLL OF THE STATES.
ARKANSAS.
The Savoy, Little Rock's new photo playhouse, located at
517 Main street, Little Rock, has been formally opened.
CALIFORNIA.
L. C. Meyer, owner picture theater building to cost $6,000
and to be built at 6016 Moneta avenue, Los Angeles.
F. E. Armstrong will erect a motion picture theater on
Shattuck avenue, near Vine street, Berkeley, to cost $10,000.
A Chicago millionaire, who has subdivided 60,000 acres in
Tehama county, will use motion pictures of Sacramento Valley
and his property in advertising it in the East.
A deal was closed at Long Beach by Maurice H. Kuhn, a
Long Beach theater owner ; J. M. Krausneck. a theatrical man-
ager from Rochester, N. Y., and S. P. Bradford, whereby one-
half of the large concrete building to be erected on the ocean
front, opposite Salt Lake railway station, will be used for theater
purposes. This will be the first theater established north of the
Pike. It will have a seating capacity of 1,000. The lessees in-
tend to use the theater for moving picture shows and stock com-
pany productions.
J. Galliman will be owner and builder of a one-story moving
picture theater at 2318 Park avenue. $6,000.
The building at Circus avenue and Cajon street, Redlands,
is being remodeled to be used as a moving picture theater. It
will be the largest theater of the kind in the city.
The exclusive West Adams residential district of Los Ange-
les is to have its moving picture theater. The building, which
will conform in its high-class architecture to the surrounding
spacious dwellings, will be located at West Adams street and
Halldale avenue. Plans for the structure have been drawn by
Architect A. W. Riewe, and work of construction will be started
at once. It will be erected for Mrs. Esther Kantrovitz, who has
already named it the Sun Flower Electric. The theater will
have a seating capacity of 650, and will be equipped with three
loges.
COLORADO.
A fire damaged the new Goff theater, which was to be
opened at Pueblo on New Year's Day.
DELAWARE.
The Inter-State Feature Film Corporation, Wilmington, has
incorporated: capital stock, $20,000; to acquire, manufacture and
distribute and operate motion picture and other feature films.
Incorporators: W. Ralph Ewart, Clarence J. Jacobs. Harry W.
Davis, all of Wilmington.
FLORIDA.
Mayor McKay has issued an order to the police department
to close all vaudeville and other theater shows on Sunday in
Jacksonville, with the exception of moving picture shows, which
are not embraced in the ordinance. However, moving picture
shows will not be allowed to put on vaudeville in connection
with the pictures.
GEORGIA.
A moving picture show, under the management of Messrs.
E. P. Simpson, Jr., J. D. Adams, and S. M. Watson, has been
started in Toccoa and is attracting good crowds at all per-
formances.
ILLINOIS.
Xezmann Moving Picture Machine Company has incorpo-
rated at Chicago. $6,000, manufacturing moving picture ma-
chines. Henry W. Aim, Ed. Logan Reeves.
John Boden has opened a new moving picture theater in
the H. H. Quaintance building at Viola.
Plans for a brick theater building are being prepared for
Julius Bern, 717 Sheridan road, Chicago. G. S. Kingsley,
architect. $30,000.
North Princeton's new moving picture theater has opened
for business. The location is the building formerly occupied by
the Emily theater.
Dearborn Film Company, Chicago; capital, $1,000; manu-
facturing and dealing in moving pictures, moving picture ma-
chines, etc. ; incorporators, Thomas J. Lynch, John J. Lupe K.
Jennings.
John Peterson has rented the Ryan building on California
street, Sycamore, and will refit the building for a modern
theater.
The South Side Theater Company, Chicago has increased
its capital stock from $600 to $25,000.
John Brumleve and William Guecker, of Mattoon, have
purchased the Normal theater at Charleston, which they will
reopen.
Anderson, Watkins Film Company, Chicago; capital, $5,000;
making and exhibiting moving pictures ; incorporators, Louis
B. Anderson, William F. Watkins, John R. Marshall, Charles
S. Jackson, Frank L. Hamilton.
The Bio theater, at Fifth avenue, between Sixth and Seventh
streets, Moline, has opened.
The Billiken theater at Paris has been sold to J. C. Stevens
of Crawfordsville, Ind.
INDIANA.
Terre Haute will have a new picture theater, to be erected
in the near future by Lewis J. Cox and Harry J. Baker, owners
of the buildings.
The motion picture house on North Main street has been
sold to Ralph Wines, Kokomo.
George Frish has moved his moving picture show from
Bridgeton, Ind., to Perth and announces that he will give shows
Wednesdays, Saturdays and Sundays.
In the proposed new city building code submitted to the In-
dianapolis city council by Thomas A. Winterrowd, city building
inspector, are rigid regulations concerning the construction and
operation of motion picture theaters. Incidentally the ordinance
provides an annual license fee of $100 a year instead of the
arbitrary license fee of $25 a year which has been charged. That
the walls of a room to be occupied by a motion picture theater
shall be of incombustible material and that the entire floor of
the auditorium, foyer and the exits to the street shall be con-
structed of fireproof material throughout, or, if joist construc-
tion is used in such floor, the space between the joists must be
filled to a depth of at least four inches with fireproof material.
The Albion moving picture show has changed hands, H. W.
Webster, of -Mishawaka, has taken charge of the same. Mr.
Graves, the former owner, will go on the road, in the interests
of a firm which furnishes supplies of all kinds for such shows.
Petitions are being circulated in New Albany asking the
Indiana General Assembly, which convenes in Indianapolis this
month, to consider favorably a bill that will be presented provid-
ing that motion picture shows may operate on Sundays, with
certain restrictions. Similar petitions, it is understood, have
been circulated in all of the towns and cities in the state where
motion pictures are operated. It is said that in New Albany the
petitions have received a large number of signatures. While
there is no warrant in law for such concession, the motion pic-
tupre shows in New Albany have been permitted to show on
Sunday afternoons and nights, with the provision that there is to
be no piano players or outside music on Sundays.
IOWA.
Frank Pouder will build a new and modern theater in Gris-
wold.
The Crystal theater at Moulton has been sold to Charles
Palmer, of Queen City, Mo.
George C. Martin, manager of the Mirror theater, will
open a moving picture theater in the Young building on Fifteenth
street, Davenport.
■ E. J. Bruntlett and E. M. Meyle, of Scranton, have remod-
eled the old Cox restaurant building at Gowrie and will open a
moving picture house, to be known as the Star.
Martin Clayton will erect a playhouse at corner of the city
along the Ottumwa Branch railroad, Ft. Madison, near the
Carter Film Company.
Plans are being considered for the erection of a new the-
ater building in Cedar Rapids.
Plans have been prepared for the erection of a large moving
picture theater on West Locust street, Des Moines. Keyes
Brothers, proprietors.
A new amusement house will be opened at 219 West Third
street. Davenport. Attorney Charles Grilk and J. A. Lisy,
proprietors.
KANSAS.
Gordon Brothers will erect their theater building at 107
West Eighth street, Topeka, about March 1.
Walden & Sager, proprietors of Gem theater, are contem-
28
MOTOGRAPHY
Vol. IX, No. 1.
plating erecting a moving picture building in Wellsville.
LONG ISLAND.
At 139 Canal street, Stapleton, the first floor of the two-
story brick building, occupied by Abraham Leo as moving pic-
ture show, burned. Damage, $500. Insured. Cause, overheated
stove.
LOUISIANA.
A new motion picture house will be erected on Canal street,
New Orleans, and will cost $20,000. Herman Fichtenberg, man-
ager and owner, expects to open the doors of the new house
February 1 with an exclusive film service, in keeping with the
elegant appointments of the house, which will be christened the
"Gem." The new house, as well as the present Fichtenberg
Enterprises, will continue to be managed by William Gueringer
with Carl Goldenberg assisstant manager.
MARYLAND.
Permission has been granted George P. Klein to erect a
moving picture theater at 1225 Columbia avenue, Baltimore,
plans by Architect F. E. Beal.
MASSACHUSETTS.
John S. Whistler, of 22 Maplewood avenue, Springfield, has
taken a three years' lease of the Unity church property on North
street, owned by William T. Butler, and will conduct a moving
picture house there. The building is being remodeled, and Mr.
Whistler hopes to have the new theater ready by February.
The ground floor will seat 700.
MICHIGAN.
The city fire department at Manistique has leased the Prin-
cess moving picture house for six months and will conduct the
house on its own account and for its own profit.
Frank O'Melay announces that he will begin at once to
remodel the building now occupied by him at Jackson into a
moving picture theater.
MINNESOTA.
Frank Latta, of the Cozy theater, is drawing plans for a
new theater to be built in Austin next spring.
G. H. Reif, county superintendent of schools at St. Paul,
has asked the county commissioners to appropriate $80 for a
stereopticon for showing educational "slides" in the country
schools. The request was placed on file.
MISSOURI.
E. W. Johnson was in St. Joseph on business in connection
with the new motion picture show which he will open in the
Lippman building at Burlington Junction.
An overheated film caught fire in the picture show at
Maysville and threatened to destroy the whole town. Earl
Cundiff, manager of the show, was probably fatally burned in
rescuing his mother from the theater. Several spectators re-
ceived slight burns.
Lafayette Barker will erect a moving picture theater at 4804
East Ninth street, Kansas City. Cost, $3,600.
The United Feature Film Company, St. Louis ; O. T. Craw-
ford, 9,998 shares; J. W. Dubbs and N. L. Sunley, 1 share each.
To manufacture moving picture films ; also to rent and lease
same. Capital stock, fully paid, $50,000.
Mrs. Charles C. Hammond, of Salisbury, has bought the
Elite theater at Milan and will conduct a high class moving pic-
ture entertainment there.
The new Orpheum theater will be built on a 100-foot lot on
the west side of Baltimore avenue, Kansas City, just south of
Twelfth street, according to present plans. The property was
purchased by Mr. Lehman, manager of the Orpheum, from A.
C. Billicke of Los Angeles, Cal., for $150,000.
MONTANA.
By a deal just consummated Miss Madge Rothrock has be-
come part owner of the Isis theater at Billings. She has been
playing the piano and singing in several of the local play houses
for several years. She will continue to preside over the piano
at the Isis and will be assisted by H. E. McCausland, drummer.
NEBRASKA.
William Patterson, of Stromsburg, has gone to Chadron
where he has bought out a moving picture theater and will locate
in that city.
DAILY "FILM SUPPLY" RELEASES
(Independent)
MONDAY: American, Comet, All Star.
TUESDAY: Thanhouser, Majestic, Gaumont.
WEDNESDAY: Reliance, Solax, Gaumont Weekly.
THURSDAY: American, All Star, Gaumont.
FRIDAY: Thanhouser, Solax, Lux.
SATURDAY: Great Northern, Reliance. Comet.
SUNDAY: American, Thanhouser, Majestic.
NEW JERSEY.
A permit was issued to Morris Krebs to erect a brick mo-
tion picture theater at 583 Orange street, Newark. Cost, $15,000.
NEW YORK.
Postmaster S. S. Lewis and Lewis C. Elliott have purchased
property at 119 Market street, New York City, and motion pic-
ture concerns of Baltimore and Philadelphia are trying to lease
same for a motion picture theater.
A fire destroyed the Grand moving picture theater in Third
avenue, Bay Ridge, New York. Damage, $10,000.
Commercial Motion Picture Company, Inc., Manhattan ;
motion pictrue films, etc. ; capital, $25,000. Incorporators : W.
Winifred Doheney, 459 West 49th street; William Goldberg, 20
East 90th street ; Harry Lever, 830 West End avenue, New York
City.
Upper James street, Syracuse, is to have its first moving
picture show this winter. Plans have been made in the office of
Architects Taber & Baxter for a brick building to be erected at
James street and Peck avenue by Captain Frank Boyer, which
will include a theater with a seating capacity of 500.
S. Steingut & Company have leased to the Union Amuse-
ment Company the moving picture theater, which will be erected
at the corner of Second avenue and Eighth street, New York.
Pennsylvania Film Supply Company of Queens; $20,000;
Herbert Blache, Frank Balladur, Joseph Borries, Lemoine ave-
nue, Fort Lee, N. J.
Plans for the erection of a moving picture theater in Cen-
tral avenue, near Suydam street, were filed in the Brooklyn
department by Vincenzo Buscemi of 153 Central avenue. The
structure is to cost $7,000 and will be of brick. It will have a
frontage on Central avenue of 23 feet and a depth of 248 feet.
Grant Brothers sold for the Ridgewood Park Realty Com-
pany, Henry A- Meyer, president, the Corbin plant, at avenue U
and 57th street, Brooklyn, to the Exhibitors' Co-operative Mo-
tion Picture Company, a newly organized producing and manu-
facturing company of motion pictures. The Corbin property
consists of about twelve acres, having 1,600 feet of dock front-
age and twenty-two feet of water, and is improved with factory
buildings, power plant and artesian well water works system.
The New Lyndhurst theater at corner North and Lyndhurst
streets, Rochester, opened for business.
NORTH CAROLINA.
Charlotte is to have another large theater building. Otto
Haas has made arrangements for the remodeling of the theater
moving picture place on West Trade street.
NORTH DAKOTA.
Flasher is to have a moving picture theater.
Fire recently destroyed the Walker theater at Fargo. The
loss is $40,000.
OHIO.
The W. B. Thomas Company, Columbus ; moving picture
screens, machines, films, etc., $10,000, 1,000 shares of $10. J.
M. Sheets, C. W. Brandon, W. B. Thomas, E. S. Van Home
and D. W. Beoddy.
Dayton moving picture theater men have combined in the
movement to resist the payment of an annual license fee of
$40 and have decided to test the matter in the courts, if neces-
■ sary. Mayor Phillips has attempted in vain to secure renewals
and placed the matter in the hands of City Solicitor Breene.
The Coliseum photoplay house on Ashland avenue, near Ban-
croft street, Toledo, has been sold to J. S. Brailey, Senior, by the
Mark-Brock Company, of Buffalo, and, according to announce-
ment, will be operated during the winter as a roller skating rink.
It will continue as a motion picture theater during the other
three seasons of the year.
A moving picture theater, under construction at 3350 East-
ern avenue, near Stanley avenue, Cincinnati, collapsed recently,
killing one person and inflicting injuries on the other nine men
employed on the structure at the time. It is believed that adding
fresh weight to the building before the concrete of the founda-
tions and supports was thoroughly dry, was the cause of the col-
lapse.
DAILY UNIVERSAL RELEASES
(Independent.)
MONDAY: Imp, Nestor, Champion.
TUESDAY: Gem, Bison, Eclair.
WEDNESDAY: Powers, Nestor.
THURSDAY: Rex, Imp, Eclair.
FRIDAY: Victor, Powers, Nestor.
SATURDAY: Bison, Imp, Milano.
SUNDAY: Eclair, Rex.
Animated Weekly.
January 4, 1913.
MOTOGRAPHY
29
Complete Record of Current Films
Believing the classification of film pictures by the nature of their subjects to be of greater importance to the exhibitor than classification by maker,
Motography has adopted this style in listing current films. Exhibitors are urged to make use of this convenient tabulation in making up their programs.
Films will be listed as long in advance of their release dates as possible. Film manufacturers are requested to send us their bulletins as early as possible.
Reasonable care is used, and the publishers cannot be responsible for errors. Synopses of current films are not printed in Motography as they may be
obtained of the manufacturers.
LICENSED
DRAMA.
Date Title Maker Length
12-13 Fog Edison 1,000
12-13 Buster and the Cannibal's Child Lubin 729
12-13 The Crooked Path Lubin 2,000
12-13 The Song of the Shell VitagraDh 1,000
12-14 A Christmas Accident Edison 1,000
12-14 Trapping the Conspirators Cines 1,010
12-14 Ireland, the Oppressed Kalem 990
12-14 When Love Leads Lubin 1,000
12-16 The Burglar's Dilemma Biograph
12-16 The Red Man's Honor Eclipse 2,000
12-16 The Finger of Suspicion Kalem 1,000
12-16 Bar "K" Foreman Lubin 1,000
12-16 Opitsah (Apache tor Sweetheart) Selig 1,000
12-17 As Fate Wills Cines 1,000
12-17 Lady Clare Edison 1,000
12-17 The Virtue of Rags Essanay 1,000
12-17 Madeline's Christmas Lubin 1,000
12-17 Buck's Romance Selig 1,000
12-17 The Night Before Christmas Vitagraph 1,000
12-18 An Old Appointment Edison 1,000
12-18 The Mayor's Crusade Kalem 1,000
12-18 The Receiving Teller Pathe 1,000
12-19 The Sheriff's Luck Essanay 1,000
12-19 His Western Way Lubin 1,000
12-19 A Woodland Christmas in California Melies 1,000
12-19 The Hat Vitagraph 1,000
12-20 The First Settler's Story Edison 1,000
12-20 The Last Performance Pathe 2,000
12-20 The Last of Her Tribe Selig 1,000
12-20 Following the Star Vitagraph 1,000
12-21 Broncho Billy's Promise Essanay 1,000
12-21 The Indian Uprising at Santa Fe Kalem 1,000
12-21 Home, Sweet Home Lubin 1,000
12-21 A Simple Maid Pathe
12-23 A Cry for Help Biograph
12-23 The Shaughraun Kalem 3,000
12-23 The Two Runaways Kalem 1,000
12-23 The Montebank's Daughter Lubin
12-23 Harbor Island ■ Selig 1,000
12-24 The Christmas Miracle C. G. P. C.
12-24 What Katie Did Edison 1,000
12-24 The End of the Feud Lubin 1 ,000
12-24 Roderick's Ride Selig 1,000
1 2-25 The Cat's Paw Essanay 1 ,0.00
12-25 A Counterfeit Santa Claus Selig 1,000
12-25 Two Women and Two Men Vitagraph 1,000
12-26 The Good Within Biograph
12-26 Jack's Burglar Melies 1,000
12-26 The Beach Combers Pathe
12-26 The Little Organ Player of San Juan Selig 1,000
2-27 A Clew to Her Parentage (Sixth story of "What Happened
to Mary" series Edison 1,000
12-27 A Business Buccaneer Kalem 1,000
12-27 The Better Man Vitagraph 1,000
12-27 The Reincarnation of Karma Vitagraph 2,000
12-28 The Reward of Broncho Billy Essanay 1,000
12-28 A Mountain Tragedy Kalem 1,000
12-28 The Blind Cattle King Lubin 1,000
12-28 The Bear Trap Pathe
12-30 The Crime of Carelessness Edison ],000
12-30 The Power of Silence Lubin 2,000
1 2-30 A Mother's Strategy Lubin 1 ,000
12-30 Our Lady of the Pearls Selig 1,000
12-31 The Caprices of the King C. G. P. C.
1 2-3 1 For Her Edison 1 ,000
12-31 Requited Love Essanay 1,000
12-31 The Bravery of Dora Lubin 1,000
12-31 A Rough Ride with Nitroglycerine Selig 1,000
12-31 A Woman Vitagraph 1,000
1-1 The Mission of a Bullet Kalem 1,000
1-1 A Loyal Deserter Selig 1,000
1-1 Love Hath Wrought a Miracle Vitagraph
1-2 Three Friends Biograph
1-2 The Miner's Request Essanay 1,000
1-2 John Arthur's Trust Lubin 1,000
1-2 Tempest Tossed Melies 1,000
1-2 The Frame-Up Pathe
1-2 Greater Wealth Selig 1,000
1-2 The Adventures of the Counterfeit Bills Vitagraph 1,000
1-3 The Running Away of Doris Edison 1,000
1-3 The Treacherous Shot Kalem
1-3 Romeo and Juliet Pathe 2,000
1 -3 Mr. Bolter's Niece Vitagraph 1,000
1-4 A Sister's Heart Cines 1,000
1-4 The Red Man's Burden Edison 1,000
14 Broncho Billy and the Maid Essanay 1,000
1 -4 The Flag of Freedom Kalem 1 ,000
1-4 The Love Token Lubin 1 ,000
1-4 The Doctor's Blind Child Pathe
1-4 A Bit of Blue Ribbon Vitagraph 1,000
Date
12-19
12-19
12-20
12-20
12-20
12-20
12-20
12-21
12-21
12-21
12-23
12-23
12-24
12-24
12-24
12-24
12-24
12-25
12-25
12-25
12-25
12-25
12-26
12-26
12-26
12-27
12-27
12-27
12-27
12-28
12-28
12-28
12-30
12-30
12-30
12-30
12-30
12-31-
1-1
1-1
1-1
1-1
1-1
1-1
1-3
1-3
1-3
1-3
1-3
12-13
12-14
12-16
12-25
12-27
12-27
12-27
1-3
12-18
12-19
12-21
12-24
12-25
12-31
1-1
12-18
12-20
12-23
12-28
12-30
COMEDY.
Title Maker
Papering the Den Biograph
Sammy Orpheus Selig
A Farm House Romance C. G. P. C.
Giuseppe's Good Fortune Essanay
Pulque Pete and the Opera Troupe Kalem
Hogan vs. Schnidt Lubin
Nora, the Cook Lubin
A Proposal Under Difficulties Edison
Nearly Lion Tamers Cines
A Marriage of Convenience Vitagraph
An Old Fashioned Elopement Edison
While She Powdered Her Nose Vitagraph
A Ladies' Man Cines
His "Spring" Overcoat Cines
The Sheriff's Inheritance Essanay
It All Came Out in the Wash Vitagraph
Ida's Christmas Vitagraph
The "Angel" Child Eclipse
Love Among the Geysers Edison
A Busy Day in the Jungle Kalem
Brave Old Bill Kalem
Dynamited Love Pathe
Bill Mixes with His Relations Essanay
Two Boys Lubin
Freckles Vitagraph
Love Through a Lens Essanay
Once Was Enough Lubin
How the "Duke of Leisure" Reached His Winter Home
Selig
A Pair of Boots Selig
He Swore Off Smoking Edison
How a Horseshoe Upset a Happy Family Edison
Sue Simpkins' Ambition Vitagraph
Bill Boggs' Windfall Biograph
A Day's Outing Biograph
The Peace Offering Kalem
Why Tightwad Tips Kalem
Planting the Spring Garden Vitagraph
Amy's Choice Cines
Laughing Bill Eclipse
A Four-Footed Cupid Eclipse
Tow They Got the Vote Edison
Seeing is Believing Essanay
The Cowboy and the Baby Pathe
Casey at the Bat Vitagraph
Between Two Girls C. G. P. C.
Guilty Conscience Lubin
Just Out of College Lubin
A Curious Family Selig
Steak and Onions Selig
EDUCATIONAL.
In a Japanese Garden Selig
Reindeer Hunting in Norway Pathe
Public and Private Care of Infants Edison
Wood Industry in French Jura Eclipse
French Naval Maneuvers C. G. P. C.
The Chaffinch and Her Family C. G. P. C.
Palmetto Hat Industry Lubin
Sand Hoppers C. G. P. C.
SCENIC.
Picturesque Delmatio Eclipse
Glimpses of Montana Pathe
The Tivoli Hills and the Falls of Anio Cines
Picturesque Sorrento, Italy Cines
Beauty Spots in the South of Wales Eclipse
Among the Abruzzi Mountains Cines
Yosemite National Park and Big Trees of California. Edison
TOPICAL.
At the Dog Show Vitagraph
Rush Hours in New York Kalem
Pathe's Weekly, No. 52 Pathe
Balkan War Scenes Cines
Pathe's Weekly No. 1 Pathe
Length
1,000
1,000
1,000
570
1,000
1,000
1,000
300
375
1,000
450
1,000
1,000
1,000
1,000
1,000
525
475
1,000
1,000
750
400
600
625
1,000
1,000
300
450
430
325
250
350
375
DAILY LICENSED RELEASES
MONDAY: Biograph, Edison, Kalem, Lubin, Pathe, Selig, Vita
graph.
TUESDAY: Edison, Essanay, Cines-Kleine, Pathe, Selig, Vita
graph.
WEDNESDAY : Edison, Essanay, Kalem, Eclipse-Kleine, Lubin
Pathe, Selig, Vitagraph.
THURSDAY : Biograph, Essanay, Lubin, Melies, Pathe, Selig
Vitagraph.
FRIDAY: Edison, Essanay, Kalem, Lubin, Pathe, Selig, Vita
graph.
SATURDAY : Edison, Essanay, Cines-Kleine, Kalem, Lubin
Pathe, Vitagraph.
30
MOTOGRAPHY
Vol. IX, No. 1.
INDEPENDENT
Maker Length
DRAMA.
Date Title Maker Length
12-5 Through Shadowed Vales Imp
12-5 Paul and Virginia Rex 2,000
12-5 The Animal Within American 1,000
12-6 The Face at the Window Solax 449
12-6 A Romance of the U. S. Navy Thanhouser 1,000
12-6 For the Cause Kay Bee 2,000
12-7 The Rights of a Savage Bison
12-7 Diamond Cut Diamond Milano 2,000
12-7 Bludsoe's Dilemma American 1,000
12-7 The Rival Sisters. Comet 1,000
12-8 The Wheel of Destiny Rex
12-8 The Winning of Helen Majestic
12-9 The Reporter's Courage Comet 1,000
12-9 The World-Weary Man Imp
12-9 The Law of God American 1,000
12-10 The Awakening of John Bridd Gem
12-10 A Four- Footed Hero Bison 2,000
12-10 The Black Sheep Eclair
12-10 The Mission of the Carols Gaumont
12-10 His Day Majestic
12-10 Aurora Floyd Thanhouser 2,000
12-11 Home and Mother Nestor
12-11 The Last Quest Powers
12-11 The Goat Girl of Bear Canyon Frontier
12-11 Joe's Reward Reliance
12-12 Lass o' the Light v Imp
12-12 To the City Rex
12-12 The Poisoned Pool Eclair
12-12 Nell of the Pampas American 1,000
12-12 An Elephant Sleuth Gaumont
12-13 The Mountain Girl's Self-Sacrifice Nestor
12-13 The Natural Son Powers 2,000
12-13 Blood Will Tell Kay-Bee 2,000
12-13 The Girl in the Arm-chair Solax
12-14 A Ride for Life Bison
12-14 A Change for the Better Comet 1,000
12-14 The Apache Vow Milano 2,000
12-14 The Heart of a Soldier American 1,000
12-15 Into the Darkness Rex
12-15 The Clue in the Bust Majestic
12-16 A Love That Never Fades Comet 1,000
12-16 The Long Strike Imp 2,000
12-16 Right Shall Prevail Champion
12-16 Daughters of Senor Lopez American 1,000
12-17 One Day Gem
12-17 Before the White Man Came Bison 2,000
12-17 A Hazard for a Heart Gaumont
12-17 The Wonders of Surgery Majestic
12-17 The Other Half Thanhouser
12-18 The Ranchman's Wooing Frontier
12-18 His Sense of Duty Broncho
12-18 The Stigma Nestor
12-18 Fires of Conscience Reliance 2,000
12-18 Hearts Unknown Solax
12-19 Mother • Rex
12-19 The Vengeance of the Fakir Eclair
12-19 The Power of Love American 1,000
12-20 The Power of the Cross Nestor
12-20 A Man Powers
12-20 The Consequences Victor
12-20 The Race Thanhouser 1,000
12-21 Love Sublime ... Milano 2,000
12-21 Bringing a Husband Home Comet 1,000
12-22 For His Sake Rex
12-22 Jack in the Box Majestic
12-22 The Repeater Thanhouser 1,000
12-23 The Old Folks' Christmas Imp
12-23 Poor Jones' Vacation Nestor
12-23 The Recognition American 1,000
12-24 The Amulet Gem
12-24 The Heroine of the Plains Bison
12-24 A Peach for a Prisoner Gaumont
12-24 All on Account of a Banana Majestic
12-24 The Star of Bethlehem Thanhouser 3,000
12-25 The Prospector's Daughter Broncho
12-25 Tracked to the Mountains Frontier
12-25 Their Christmas Turkey Powers
12-25 The Finger Prints Solax
12-26 The New Magdalen Imp 2,000
12-26 A Business Man's Wife i Rex
12-26 Blackened Hills American 1,000
12-27 Toys of Destiny Powers 2,000
12-27 The Padre's Gift Nestor
12-27 The Woman Behind the Man Solax
12-28 El Capitan and the Land Grabbers Bison
12-28 Her Inspiration Milano
12-28 The Girl of the Manor American 1,000
12-29 An Ill-Wind Rex
12-30 White Heron Champion
12-31 Dorothy's Birthday Gem
12-31 The Redemption of White Hawk Bison 2,000
12-31 Jim's College Days Majestic
1-1 The Fight for Right Nestor
1-1 The Horse Race at Hawley's Ranch Frontier
1 - 1 Duty and the Man Reliance
1-1 The Burning Brand Broncho 2,000
1-2 The Bearer of Burdens Imp
1-2 The Ride of Jennie McNeil Rex
1-2 Love and the Law American 1,000
1-3 The Blackmailers .' Nestor
1-3 Wheels of Fate Powers
1-3 The Great Sacrifice Kay-Bee 2,000
1-3 A Poor Relation Thanhouser 1,000
1-4 A Maid at War Bison 2,000
1-4 A Father's Strategem Milano
1-4 The Fraud That Failed American 1,000
1-4 A Jolly Good Fellow Reliance
COMEDY.
Date Title
12-8 At Liberty — Good Press Agent Thanhouser 1,000
12-9 Beauty Takes a Tramp Nestor
12-9 The floneymooners Champion
12-9 Peeping Tom ftala
12-11 The Petticoat Detective ..Powers
12-11 The Hater of Women Solax
12-12 The Two Chefs Punch
12-12 His Dress Suit Punch
12-13 Owing More Victor
12-13 Weary Gussie Finds a Job Lux 430
12-13 All Aboard Lux 494
12-14 Aunt Dinah's Plot Imp
12-14 His First Patient Great Northern
12-14 A Fairyland Bride Reliance
12-15 The Mind Cure Crystal
12-15 Oh, That Lemonade Crystal
12-15 Funnicus Hunting Exploits Eclair
12-15 Brains vs. Brains Thanhouser 1,000
12-16 Cops and Cowboys Nestor
12-16 Mabel's Adventures Keystone
12-16 Useful Sheep Keystone
12-17 When an Old Maid Gets Busy Eclair
12-19 The New Fire Chief Imp
12-19 A Telephone Entanglement Gaumont
12-19 Twixt Devil and the Deep Sea Gaumont
12-19 Rough on Rats Punch
12-19 The Baby and the Cop Punch
12-20 Cleanliness Is Next to Godliness Lux 462
12-20 Only the Chiropodist Lux 416
12-20 Five Evenings Solax
12-21 The More Haste, the Less Speed Imp
12-21 Mrs. Brown's Baby American 1,000
12-21 Building an Automobile Gaumont
12-21 The Christmas Gift Great Northern 768
12-22 His Wife's Strategem Crystal
12-22 Mixed Bottles Crystal
12-22 An Unforeseen Event . . . Eclair
12-23 Hey Rube Comet 1,000
12-23 Hoffmeyer's Legacy Keystone
12-23 The Drummer's Vacation Keystone
12-23 The Chaperons '. Champion
12-23 Easy to Return Home Itala
12-23 A Good Hunting Dog Itala
12-24 The Story of a Kiss .' Eclair
12-25 The Big White Chief Nestor
12-25 Who's the Boss ? Powers
12-25 Bedelia Has a Toothache Reliance
12-26 A Dry Town g Eclair
12-26 Zigoto Drives a Locomotive Gaumont
12-26 The Man with the Pull Gaumont
12-26 Wanted — A Husband Punch
12-26 The Devil of a Time Punch
12-27 The Professor's Dilemma Victor
12-27 Pat and the Minister Lux 445
12-27 A New Use for the Bike Lux 458
12-28 Winning a Bet from Dad Comet 1 ,000
12-28 As the Doctor Ordered Imp
12-28 A Widow's Wiles Imp
12-28 The Emergency Waiter Great Northern 636
12-28 Trying to Keep Bedelia Reliance
12-29 Her Visitor Crystal
12-29 The Elopment Crystal
12-29 Gontran, a Kidnapper Eclair
12-29 A Militant Suffragette Thanhouser
12-30 Jones' Wedding Day Imp
12-30 The Trap Comet
12-30 Arabella's Ankle Nestor
12-30 The City Boarder Champion
12-30 The Duel Keystone
12-30 Knock Wood Itala
12-30 Mabel's Strategem Keystone
12-30 Two Little Devils Itala
12-31 The Wager Eclair
1-1 The Wise One Powers
1-1 Cousins of Sherlock Holmes Solax
1-2 A Tammany Boarder Eclair
1-2 Her Mischievous Brother Punch
1 -2 A Near-Tragedy Punch
1-3 The Grouch Victor
1-3 Canine Rivals Solax
1-4 What Katy Did Imp
1-4 Outwitting a Rival Great Northern 941
EDUCATIONAL.
12-14 Battlefields of the Balkans Gaumont
12-14 A Dav at West Point (Military) Imp
12-15 The Busy Bee Eclair
12-21 Indian Dances and Pastimes Bison
12-21 Saving the Innocents American
12-22 Sea Anemones Eclair
12-29 Insect Hunting Eclair
12-31 With the Mounted Police Thanhouser
1-4 Prize Winners at the Poultry Show Imp
1-4 The Glove Industry Gaumont
SCENIC.
12-7 A Storm on the French Coast Gaumont
12-10 Travels in the Ural Mountains Gaumont
12-10 Danish Hussars Great Northern 250
12-23 Views of the U. S. Capitol Nestor
1-2 Northern Egypt Gaumont
TOPICAL.
12-11 The Animated Weekly No. 40 Universal
12-11 Gaumont's Weekly No. 40 Gaumont
12-18 Gaumont's Weekly No. 41 Gaumont
12-25 Gaumont's Weekly, No. 42 Gaumont
1-1 Animated Weekly, No. 43 Universal
1-1 Gaumont's Weekly, No. 1 Gaumont
1-1 Duty and the Man Reliance
VOL. IX.,
JANUARY 18, 1913.
No. 2
EXPLOITING
Published Bi- Weekly by Electricity Magazine Corporation, Monadnock Building, Chicago
DORTOTHY
PHILLIPS
WITH
ESSANAY.
ever experienced during the long period of time
in which I have been engaged in importing films.
TT will soon be a year since the first Cines release was placed
upon the American market bearing my mark of approval, and it
is a great satisfaction to look back over the last twelve months and
call to mind the huge successes, one after another, that have come
from this manufacturer. Exhibitors are still showing Brutus, Joseph
in Egypt, The Inventor's Secret, Richard, the Lion Hearted, and of
recent offerings such as Rameses, King of Egypt, The Daughter
of the Spy, The Lion Tamer's Revenge and At Napoleon's
Command, showmen and the public with one accord confess to
their general excellence and to their marked superiority in every
particular.
Eclipse films have been even more popular than ever before.
This make contains more high grade educational films that are at
the same time extremely interesting, than any other in the world.
Aside from Eclipse educational releases, which for the first time
in the history of the business have brought to the public their
heart's desire, I wish to refer to The Red Man's Honor, the two
reel feature release of December 16th, 1912, as one of the most re-
markable characterizations of Indian life, love and law that ever
brightened a curtain.
Progressive exhibitors demand Cines and Eclipse films. Their
patrons wait for them because they contain the fullest measure of
entertainment possible in Motion Pictures.
I want you to be successful. Watch for coming Cines and
Eclipse releases, both regular and special. They will be the strongest
on the market.
166 North State Street,
CHIGAGO, ILLINOIS
January 18, 1913.
MOTOGRAPHY
Jan. 24,
1913
Vitagraph
2 Reels
The Vengeance of Durand
Or the Two Portraits
Specially Written for the Vitagraph Company by Rex Beach
The vengeance which he nurtured for another enters his own soul. The weapon
which he sharpened with jealousy and hatred and placed in his daughter's hand, is
turned against himself. He is cut down in the fury of his wrath.
Jan. 20,
1915
The Ways of Destiny
Pathe
2 Reels
Colored Photography
Horace Blackwell, being mortally injured by lightning striking the tree beneath which he was standing,
tells his adopted daughter, Dorothy, of her parentage, and how she, a tiny mite, was found on his doorstep.
He gives her the locket found about her neck, containing the picture of a beautiful woman, and which he
believes to be her mother. With Horace Blackwell's death, Dorothy is dispossessed of her home, and because
of jealousy of her charm and beauty she is forced into the ranks of the unemployed. She, however, finds
employment in a department store, but is accused of theft and brought before the proprietor, who questions
her closely as to her history. Her story, together with the locket and picture, solves the mystery of her
birth, and Dorothy finds a home with her father. ■ . .
Jan. 17,
1913
The Mexican Spy
Lubin
2 Reels
Tom Loring, a handsome but dissipated youth, lo
In order to pay his gambling debts to the Mexican, S
steals $5,000 from the paymaster's safe. The Mexica
certain forts in the Southwest, but Mary hears of the s
money. Realizing the sorrow he has caused his fathe
he will not return until he has redeemed himself. He e
ordered to the Mexican frontier. Mary becomes a Re
der. Tom's bravery and strategy during a desperate e
promotion to Lieutenant, but he is seriously wounde
patients, her lover. Her careful nursing restores him t
his faithful and heroic service to his country, he claim
ves Mary Lee, daughter of the regiment's paymaster,
enor Rivera, supposedly rich but in reality a spy, Tom
n threatens exposure unless Tom secures the plans of
ituation and pawns her jewels to replace the stolen
r and sweetheart, Tom disappears, leaving a note that
nlists under an assumed name, and his regiment is
d Cross nurse and is also ordered to the Mexican bor-
ncounter with the Mexicans under Rivera wins him
d, and Mary is greatly surprised to find among her
o health, and having redeemed his former misdeeds by
s Mary for his wife.
Jan. 13
1913
The Little Minister
Vitagraph
3 Reels
^
A young Scotch Minister falls in love with a Gypsy girl. The ban of the
of the austere town folk intervene as a barrier to their marriage. Unexpected circumstances of a startling
nature happen and their prejudice and intolerance are removed. Love conquers.
"Babbie" are married.
'Kirk" and the condemnation
rcumstances of a startling
The "Little Minister" and
Jl
If you saw it in MOTOGRAPHY, SAY SO!
From the Oil Painting by Hoskins, Used in the Second Reel of Selig's "The Cowboy Millionaire.
WITH WHICH IS INCORPORATED THE NICKELODEON
Vol. IX
CHICAGO, JANUARY 18, 1913
No. 2
PUBLISHED BI-WEEKLY BY
ELECTRICITY MAGAZINE CORPORATION
MONADNOCK BUILDING, CHICAGO
Telephones: Harrison 3014 — Automatic 61028
Ed.
J. Mock and Paul H. Woodruff, Editors
Mabel Condon, Associate Editor
Allen L. Haase, Advertising Manager
Entered as second-class matter at the postoffice at Chicago, Illinois, under
act of March 3, 1879.
TERMS OF SUBSCRIPTION
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Single copy 10
NOTICE TO ADVERTISERS
Changes of advertising copy should reach the office of publication not
less than ten days in advance of date of issue. Regular date of issue, every
other Saturday. New advertisements will be accepted up to within five days
of date of issue, but proof of such advertisements can not be shown in
advance of publication.
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Remittances — Remittances should be made by check, New York Draft
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This publication is free and independent of all business or house con-
nections or control. No manufacturer or supply dealer, or their stockholders
or representatives, have any financial interest in Motography or a-ny voice in
its management or policy.
CHICAGO, JANUARY 18. 1913
TABLE OF CONTENTS
Cowboy, from a Painting by Hoskins Frontispiece
Editorial 31-32
He Has Never Seen Them 31
The Dime Novel Effect 31-32
The Home Projector and Its Development 33-36
Lillian Russell Begins Picture Work 36
Motography's Gallery of Picture Players 37
Talking Pictures Ready for Public 38
Motion Pictures and the Mind of the Child. By William H. Walker 39
Pictures of Mental Diseases Shown ; 40
Illumination of Denver's Picture Theaters 41-43
On the Outside Looking In. By the Goat Man 43-45
The Clothing Business on an Industrial Film. By Watterson R.
Rothacker 46-48
A Great Film's Second Edition 49-5 1
Tell Their Congregations of Film 51-52
Wichita Schools to Have Motion Pictures 52
Current Educational Releases 53-54
Sans Grease Paint and Wig. By Mabel Condon 55-56
Improved Carbon Holder 56
Photoplays from Essanay's 57-59
Mayor Gaynor Vetoes Folk's Ordinance 59
The Motion Picture Exhibitor's League of America 60-61
Preparing for the Ohio Convention 60
Revise Rules for Minors in Denver 60-61
League to Meet and Frame Laws 61
Limit on Chicago Programs 61
Of Interest to the Trade 61-63
Brevities of the Business 64-66
Complete Record of Current Films ........'.'.'..'.'. 67-68
HE HAS NEVER SEEN THEM.
REVEREND LOUIS E. STOUT, pastor of the larg-
est congregation of Friends in Wichita, Kansas, does
not want motion pictures in the public schools. He says :
"There is danger of the children's acquiring the mov-
ing picture habit, so that they will want to go to the
shows. The atmosphere of the shows I do not approve
of. . . . / have never seen a moving picture in my
life, just because I do not believe in setting an example
by attending even the best of the shows."
We are thankful that we are not assigned the task
of convincing the Rev. Mr. Stout he is in error. We
may advance arguments to that effect; but they will not
be for his eye. To feel the force of any argument a
man, reverend or otherwise, must have some meed of
logic. No man who could give utterance to such a state-
ment as his without a sense of the ridiculous, can be
accused of harboring a logical mind.
We could feel little respect for a court who would
pronounce a man guilty because he did not like his face.
But judges like Mr. Stout — and he is not alone — go
farther than that. They deliver their verdict without
even seeing the defendant, because, forsooth, his name
does not please them, or on testimony like that of Kip-
ling's Tomlinson :
Oh, this I have felt, and this I have guessed, and this I
have heard men say,
And this they wrote that another man wrote of a carl in
Norroway.
We have had enough of this judgment without evi-
dence. For pure bigotry it transcends the early Colonial
imposition of taxation without representation. Right-
minded men and women, however limited their own
knowledge of modern exhibiting standards, cannot but
feel the utter incompetence of such a statement. It de-
feats its own purpose by the very vanity of its proclama-
tion :
"The motion picture is bad ; I have never seen one !"
THE DIME NOVEL EFFECT.
AMONG the first protests against the motion picture,
when it was realized that it had become the national
entertainment, was the claim of parallelism between the
film and the "dime novel"- — the "penny dreadful" of
England. Perhaps the claim was not without warrant.
Many of the early melodramatic subjects — and, we regret
to say, some of the current "feature" films — have been
close imitators of the old, but not honored, blood-and-
thunder literature of the newsstands.
In the enterprising endeavor to catch the eye of
imaginative youth, the typical dime novel became asso-
ciated with a certain flaring, glaring cover, suggestive
of riotous emotions and blazing passions. These litho-
graphed fronts were miniature replicas of the carnival
poster at its worst.
The only possible point at which the modern motion
picture show even approaches the dime novel effect is in
the poster. Indeed, that flamboyant herald of a pro-
gram that is, nine times out of ten, wholly inoffensive
32
MOTOGRAPHY
Vol. IX, No. 2.
and dignified, has probably scared more good people away
from the picture theater than the best films in the world
attract. And then there is the reformer, usually a church-
man, upon whose sensitive retina the usual lithograph has
the effect that a crimson flag has upon that of a bull.
Furthermore, since the film maker orders his posters on
specifications, we can hardly blame the poster manufac-
turer. A lithograph, in short, is a neutral carrier, and
is attractive or offensive accordingly to its subject.
But we digress. What we started out to explain
was that if the lithograph-covered dime novel is still with
us, at least we thought its connection with motion pic-
tures was a thing of the past. But we recently received
Volume I, No. 1, of Motion Picture Stories. We thought
for a moment that Dave Horsley had sent us another copy
of "Wild-Eyed Pete," or whatever it was he used to
send out in his efforts to save the film game an attack
of ennui. A second glance, however, showed that it was
the first issue of a publication of the same classification — ■
but not, be it understood, of the same class — as the
Motion Picture Story Magazine and the Photoplay Mag-
azine.
The project of publishing a popular magazine ex-
clusively for the film fan is enticing. There are so
many fans, and they are so enthusiastic, surely they
ought to fall regularly for a specialized package of lit-
erature at fifteen, ten or five cents the package. And
look at the circulation — on paper! If a mere trade paper
can attain a distribution of ten or twelve thousand copies,
one to a theater, and if each of those theaters has five or
six hundred different patrons, there is a total of more
than five million right away ! It surely is alluring.
We have always believed in the possibility of such a
publication's success — not, it is true, on the scale shown
by the statistics, but on a reasonably extensive basis.
We have believed, too, that such a paper should sell for
a nickel. Motion Picture Stories has that advantage.
One cannot expect every five-cent weekly to look like
the Saturday Evening Post. Probably there are still
some who like the typical dime novel' better than they do
the Post. We are willing that they should be supplied
with their favorite literature. But we do not want our
children to acquire a passion for dime novels — and we
do not want them to represent the literature of our in-
dustry.
Frankly, we should not' be surprised if the publish-
ers of Moving Picture Stories got away with it — made it
successful financially. But, to be equally frank on the
other side, its appearance does not reflect credit on the
motion picture business or uphold the dignity and good
repute of the film show. And it is merely a matter of
cover and printing at that ; we cannot take exception to
the contents, which are of the usual order — rewritten
synopses with a fictional flavor added.
If the publishers of Moving Pictures Stories, or any
other publication intended for the eyes of the general
public, have pride enough in the motion picture industry
to aspire to represent it, they should make their product
reflect that pride, instead of being a reflection upon it.
CLEVELAND TO HAVE FILM CENSOR.
Mayor Baker, of Cleveland, Ohio, yielded to the re-
quest of moving picture exhibitors and agreed to appoint
a censor for motion picture films. His decision followed
a conference with Chief Kohler and the moving picture
committee of the Humane Society.
"I think that I know of a man who has eyes to see
the films and a mind to determine what is fit," said Baker.
He declined to tell S. E. Morris, president of the Motion
Picture Exhibitors' League, his selection for censor.
The exhibitors are to pay the salary of the censor
and the latter is to select a corps of assistants. "But,
understand," said Baker, "that police under state laws
would have the authority to prevent the portraying of
crime even if the film was passed by the censor."
Morris and Attorneys Schwartz and Lustig, repre-
sentatives of the league, told Baker that they would in-
form him definitely whether the proposition would prove
satisfactory to all members. Baker suggested that each
member of the league contribute $1 weekly to pay for a
censor and his assistants. There are 127 members of the
organization.
ARRESTED FOR EVADING STATE TAX.
The arrest of two moving picture show owners at
Philadelphia on a charge of having failed to pay the
requisite rate of state tax on one of their houses is said
to mark the beginning of a determined campaign against
men who have evaded the payment of a regular theater
tax by reducing the seating capacity of their houses
when the inspectors visit them.
Henry Berman, of Fifth and South streets, and
Charles Segal, of Ninth and Dickinson streets, were ar-
rested on warrants sworn out by Joseph Barton, an in-
spector of the Board of Mercantile Appraisers, and were
arraigned before Magistrate Harris. Each was held for
court under $600 bail.
Many of the smaller moving picture houses in Phil-
adelphia are equipped with "flexible" seats that can be
removed before the visit of the inspectors, and put back
when they leave, say the inspectors. The inspectors say
that Berman and Segal are liable to a fine of $3,500.
PASTOR ILLUSTRATES SERMON.
The Rev. Asbury E. Krom, pastor of the Benefi-
cent Congregational Church of Providence, R. I., the
oldest church of that faith in the state, has installed a
complete moving-picture plant to be used as a helpful fac-
tor in his ministerial work.
It is the intention of the clergyman to utilize the
moving pictures in illustrating his sermons. The films
to be run will bear directly upon the theme of his dis-
courses and, he believes, prove of the greatest benefit
in adding to their attractiveness. He also purposes later
to give moving-picture exhibitions in connection with
the church's Sunday school work, presenting a series
of animated scenes in the Holy Land and, if this plan
is found feasible, illustrating certain stories from the
Bible.
The work of installing the moving-picture plant as a
part of the church equipment has been under way for
some time and is now completed.
STATE HOSPITAL TO SHOW PICTURES.
Bed-ridden patients in the state hospital at Massillon,
Ohio, soon will be able to see moving pictures just as well
as the able-bodied patients, who flock to McKinley Hall
every Monday night to view the picture shows. Super-
intendent H. C. Eyman has obtained a picture machine
small enough to be attached to any electric light socket,
the price having been raised through voluntary contribu-
tions of employees. This means pictures in the sick
rooms. Eyman says moving pictures are beneficial to in-
sane patients, as their minds are diverted.
January 18, 1913.
MOTOGRAPHY
33
The Home Projector and Its Development
Several Forms Described
Fig 1. — Form of Zoltrope.
EVER since motion pictures become a vital factor in
the world's entertainment, inventors and pro-
moters have dreamed of a perfect system for en-
joying in the privacy of the home the pleasures of the
films. They have, indeed, done more than dream.
Within the last year at least one machine has been mar-
keted whose ability to project small pictures satisfac-
torily has been proven, and several others have appar-
ently perfected machines and
lack only the special films for
the purpose.
For the problem of home
projection is almost wholly
one of film supply. It is ob-
viously impracticable to use
standard film, sixteen pic-
tures to the foot, because of
the prohibitive cost to the
consumer if for no other rea-
son. It is decidedly uneco-
nomical to use pictures calcu-
lated for a twenty-foot screen when the maximum re-
quirement for the home is probably a four or five foot
screen. The problem has been met by Edison in the
way shown by Fig. 2, which is a full size reproduction
of a piece of film used in the Edison home projector.
Each picture is approximately 3/16 by yA inch in size,
or one-fourth the linear dimensions of a standard film
picture. This proportion is correct, as the home screen
need not exceed one-fourth the size of the theater
screen. As these small pictures are arranged three wide
on the film, it is possible to get twelve into the space
occupied by one on the standard film. Eighty feet of
Edison home projector film, therefore, contains as many
pictures as about a thousand feet of standard film, and
gives as long a performance — something like sixteen
minutes on the screen.
A view of the Edison home pro-
jector is shown in Fig. 3. When
packed it weighs twenty pounds, and
it stands 10^ inches high, 17 inches
long and six inches wide. A baby arc,
a Nernst lamp or an acetyline gas
burner may be used for the illuminant.
Lenses are provided to suit local con-
ditions as to length of throw and de-
sired size of projected picture. The
machine is operated with a crank, just
as is a regular, full sized projector. It
works down one row of pictures until
the end of the film, when a white flash
warns the operator and he throws a
lever switching to the second row.
When that is exhausted he switches in
like manner to the third and last row
and completes the film without inter-
rupting the progress of the picture at any point.
To meet the problem of film supply the company
provides not only a sale price for its special films rang-
ing from $2.50 to $20.00, but also an exchange arrange-
ment whereby films may be exchanged for others of
similar classification for a fee varying between 30 cents
and one dollar.
Although the idea of home projection is generally
^3*
Edison Home Projec
tor Film. Actual
Size.
regarded as new, the small individual motion picture
machine is really father to the larger theater machine.
Even the old Zoeltrope, historical progenitor of the
modern machine, was a device for the home. It con-
sisted of a circular band of pictures, so drawn as to
represent successive stages in a series of motions, which
were viewed through a slot or slots in such a manner
that persistence of vision merged each picture into its
successor, giving a true motion picture (Fig. 1). A
modern derivative of this old mechanism is seen in an
apparatus which has recently become popular in Great
Britain, according to the Scientific American. The posi-
tives are not thrown upon the screen but are printed
upon paper and observed somewhat after the same man-
ner as the mutoscope productions. The feature of the
system, however, is that amateurs have a means of taking
motion photographs for their own entertainment either
in their home circles or of popular events.
The "Kinora" camera which is employed for this
purpose is highly ingenious and simple, the mechanism
being quite different from that employed in the ordinary
cinematograph apparatus. Externally, the instrument
resembles the ordinary photographic apparatus for
Fig. 3. — Edison Home Projector.
taking instantaneous 5x7 pictures. On the one side is
the handle for driving the intermittent mechanism with-
in, while at the back is the focusing arrangement, which
is of such a charaacter that there is no necessity to open
the camera and to detach the film from the gate as in
the cinematograph device for this operation.
The internal mechanism is of the simplest descrip-
tion. As may be seen by referring to the illustrations
(Figs. 4, 5, 6 and 7), there are two dark film cases for
carrying the unexposed and exposed films respectively
mounted one behind the other. The film does not re-
quire to be perforated, a new device having been per-
fected for bringing successive areas in position behind
the lens. The film passes direct from the unexposed
dark box into the gate, and thence between two split
cams revolving in opposite directions, by means of the
handle. Upon the completion of the revolution the split
edges of the two cams come together, grip the film, and
drag it down the depth of a picture — %-inch — for the
next exposure. From the gate the' film passes over a
roller into the second film box.
The film itself is narrower than that of the standard
cinematograph as the perforations are not required, but
the resultant image is of the same width, viz., one inch.
As the perforations are eliminated, the film cannot be
34
MOTOGRAPHY
Vol. IX, No. 2.
used to produce positives for projection upon a sheet.
In fact, the camera is not designed for such work. The
intermittent mechanism though simple is accurate and
positive in its operation, the regularity of the pictures
being equal in every respect with that obtained in the
ordinary cinematograph using perforated films.
The camera, however, is not intended primarily to
work with the celluloid film, though this can be used if
preferred. This film is so expensive as to render ama-
teur cinematography an expensive luxury, so in order to
remove this handicap the inventors have perfected an
excellent negative paper on which the pictures are taken.
The prepara-
tion of the posi-
tives or reels of
pictures is some-
what intricate and
must be carried out
at the factory to
which the photog-
rapher mails his
negatives. A spe-
cial type of ma-
chine has been
evolved for pro-
ducing the posi-
tives upon the reel
ready for viewing,
at a small charge!
The leaves of the
reel are about
three inches in
length by about
1% inches wide.
The picture is 1
inch in width by %.
inch in depth. In-
stead of the strip
of _ positive picture
being printed and
then cut up to be
mounted singly on
a leaf in succes-
sion, the images
are printed succes-
sively upon the
leaf, the whole
surface of which
is sensitized. The
area surrounding the picture being fully exposed be-
comes a dead black when developed, forming a frame
for the picture. The reverse side of the sheet is then
printed a dull black so that there is nothing to contrast
with the image. The machine which carries out this
operation is distinctly ingenious, and seeing that only
one copy of each negative is likely to be required, has
enabled the positive printing operation to be reduced to
a nominal figure. When the pictures are printed they
are cut up and mounted by machinery in succession upon
the core as shown in the illustration.
A well-known French inventor, M. Georges Bet-
tini, devoted his energies to the recording and projec-
tion of movement by means of glass plates. He has
evolved a process which brings cinematography within
reach of the amateur photographer at the minimum of
expense.
The Bettina apparatus is described as Cinema a
plaque, which indicates the idea in a very adequate
Fig. 6. — Interior View Showing Mechanism
and Paper Negative in Position in
Opened Gate.
manner. It is no more cumbersome than the ordinary
snap-shot camera, its mechanism is of the simplest de-
scription, its manipulation is quite as easy, and the same
mechanism suffices both for taking and projecting, the
only additional requisite in the latter task being an ordi-
nary projecting lantern. The pictures are recorded upon
glass plates measuring 13 by 21 inches, each sensitized
glazed surface carrying not one, but 576 pictures, equal
to one minute in projection. Moreover, the mechanism
is so designed that as many plates can be slipped into
position in succession as may be required, according to
the length of the subject photographed, so that abso-
lutely continuous
precord of the ac-
tion photographed
is secured, just as
completely and as
easily as if cellu-
loid films were
used.
The ordinary
cinematograph ca-
mera using films
demands some-
what complicated
mechanism, and a
certain amount of
vibration is set up
in its operation, no
matter how care-
fully the mechan-
ical action may be
balanced. The
fundamental prin-
ciple is the move-
ment of the film
past the lens, the
displacement of the
latter taking place
intermittently, and
at regular inter-
vals, while the lens
is closed by the
shutter.
In the Bettini
camera the princi-
ple is diametric-
ally opposite. A
special optical sys-
tem has been devised which has the feature of being light
in weight, and this constitutes the moving part, the sensi-
tized glass plate being held fixed or rigid. As may be
seen from the accompanying photograph the pictures of
very minute dimensions, are recorded upon the plate in
a series of transverse rows, in the same way as the lines
of type in a newspaper or book. Though the photo-
graphs are extremely small they are strikingly clear and
sharp in every detail,
The principle upon which this result is obtained is
explained in the accompanying diagram, Fig. 10. A is
the photographic plate carrying the rows of images.
The photographs are illumined from a fixed light B, the
rays of which are parallel to the plane of the plate, in-
stead of striking the images at right angles as in the
ordinary projector where the film is moved vertically.
The rays of light fall on a prism C, which deflects them
at right angles, so that they fall vertically upon the
plate, passing through the picture. On the opposite side
of the plate is the objective D with which is combined
Fif
'. — The Viewing Apparatus Showing
Mounted Reel of Prints.
January 18, 1913.
MOTOGRAPHY
35
another prism E, so that the light
rays after traversing the image on
the plate and the objective are de-
flected once more at right angles
to the primitive direction and. are
thrown upon the white wall F.
In projection, the prism C, ob-
jective D, and prism E are moved
synchronously by an ingenious
movement from picture to picture
along the row of images on the
plate, the latter thus being held
stationary, while the light is inter-
mittently cut off as the objective
and prisms are moved from one
picture to the next. When the
moving mechanism has reached the
end of the line the plate is moved
forward the depth of a row of pic-
tures, thereby bringing the suc-
ceeding line of images before the
objective.
The mechanism is extremely
simple. The same apparatus is
used for both photographing and
projecting, it being only necessary
to acquire an ardinary optical lan-
tern for the latter purpose.
The "Home Vanoscope" is an-
other machine designed primarily
to meet the ever increasing demand
for moving pictures in the home.
The machine is constructed on the
principle of the professional Vano-
scope now being built for use in
moving picture theaters.
J }A '. * *IJ \A \J \ *
I '* I r R "x * A I *f P» '» P
, '■ » ' i '■ « ' » ' » ■
I * I » I *\I -■ I f I
\ I I I I
\ \ \ \ \
\<\; \<\) \ j \ ) \
i V I * II V I V I \ i
^ .. * . ^ ,.. ^ ,., ^ .y. * , V
*w$« *#*& *«*■!=? 1
I : 1 $ \ I \ 1 1 | I i; |
III! 1*13 ^ * ' I
i i ir
$: I 1
< I ?
Fig. 8. — A Portion of a 575 Photograph Film
Taken by the Bettini
Apparatus Upon a Sensitized Glass Plate.
A very valuable coordinator
with the home Vanoscope is the
"Vanocamera," a small camera for
taking moving pictures specially
adapted to the home Vanoscope.
This camera will enable the pos-
sessor to "scope" home folks, sum-
mer outings, picnics, parties, wed-
dings, the children at play, the trip
to Europe, Alaska, Yellowstone
Park, etc., and show to friends at
home the entire trip, living over
again in pictured actuality the de-
lights and pleasures of the trip, or
making exchange with friends or
relatives.
The home Vanoscope will be
very light and will fit into a small
case, lamps, films, and all, and can
be carried about very easily. This
feature makes it specially desir-
able for traveling salesmen who
now carry heavy cases and trunks
all over the country in their work
of selling goods.
Individual pictures on the
home Vanoscope film are one-
quarter the size of the pictures on
the commercial standard film, and
as the projected size in a home is
seldom more than four feet, this is
less than one-quarter the size of
the picture projected in the average
picture theater. Therefore, no de-
tail in the original picture is lost. The light is not brought
The home Vanoscope claims to require no thread- to a focus or burning point, and all film used is to be
ing of the film, give continuous non-intermittent projec- standard size fireproof film with four pictures on each
tion without flicker, is noiseless and free from danger area usually occupied by one, otherwise it does not differ
of firing the film in projection. The pictures can be one iota from the standard commercial film except that
projected at any rate of speed from one picture or more the pictures are taken at slower time intervals and there-
per second and fore may be pro-
t h e illumination ^_ jected at slower in-
can be taken from ~~ " ; ~i^ : ~~ I tervals. With the
any electric light. -^^^^^MMJW ^^^^ill Vanoscope it is not
An entire subject 5& pjt^Br^ necessary to pro-
which in a moving ^B Km* *?*« - I ilfiiililllll Jcct pictures at a
picture theater l^^^^^M speed of more
would require HSfi ( Jl^^^^S1 t^ian ^ve or s*x
1,000 feet of film 'M^^^SPS pictures per sec-
requires only 80 ^iBMSP^ on<^' as there is no
feet in the home .gg^gtj^M???^, shutter and no di-
Vanoscope and the PVR" ! vision between the
reel takes fifteen *■ pictures, but each
minutes to show; <!■/ Mj K successive picture
shown the film is HttP* -x -?i r •
. • , ,. ■ 18iK»fflfflTOn it, with no dimmu-
being automatic- ^rfJKwS Jw^^ffl I ..' ,
ing unnecessary. ^f^" nation and the pro-
In connection \ H 5^:! Jected pictures are
w i t h the h o m e \ devoid of flicker or
Vanoscope a de- Hb vibration. At a
partment known as f i 1^1 t?a projection speed of
the Vanofilm Li- A*^^^_ - s'x pictures per
brary Exchange is V — m ^"*^" ■ ' ffr^^^^^B-^^M^:— «R_I ■■- j| second the home
tO be maintained. Fig. 9.— The Bettini "Cinama a Plaque," Showing Attachment of Ordinary Optical Lantern. VanOSCOpe with 80
36
MOTOGRAPHY
Vol. IX, No. 2.
feet of film will give an entertainment of fifteen minutes
duration.
Another home machine announced almost ready
for the market is the Victor Animatograph. In this
device the pictures are arranged spirally like talking
machine records. A specially constructed incandescent
ZB- — bf
Fig. 10. — Diagram Showing Relative Position of the Plate and the
Moving Objective.
lamp is used for projection. Details of the machine
have not yet been divulged.
Frankly, the home projector game is a hard one;
but with so many engaged heart and soul in its exploit-
ing, all difficulties must soon be swept away.
Lillian Russell Begins Picture Work
Lillian Russell, still and apparently forever Lillian
Russell, though she is now disguised on hotel registers
as Mrs. Alexander P. Moore, is at Los Angeles, Cal.,
staying at the Alexandra hotel. She is under engage-
ment to the Kinemacolor people for a series of films
which will show how a woman of combined fashion,
beauty and wealth spends her time. In this connection
there will be films also illustrating her methods of main-
taining her health, which is the secret of her retaining
her beauty ; clothes will also be alluring and informa-
tively illustrated, and a possible film production of "The
School for Scandal," with Miss Russell in her famous
role of Lady Teazle, is under consideration.
When the picture's are completed, Miss Russell will
go about the country with the production, and will illus-
trate the illustrations by accompanying lectures on beauty,
health and clothes, her talk on the latter extending from
the creation of Paquin and similar artists to the gar-
ments limited by the income of a working girl.
Essanay Cowboys in Horse Show
G. M. Anderson allowed twenty-two of the Essanay
riders to take part in San Francisco's first horse show
given for charity. Not alone did Mr. Anderson bring
the cowboys to the city, but with them the aged, leather-
springed stage-coach used in the mines in -the early Cali-
fornia days and with it he brought the necessary twenty
horses to draw it. The cowboys were the talk of San
Francisco for the whole week they were there. They
were the whole show in the parade, at the hotel where
they made their headquarters, and at the horse show
they were encored time and again for their daring stunts
on horseback. Though they had a good time in the
city, many of them were glad to return to Niles at the
end of the week, where they could get away from the
street cars and taxicabs.
"Calamity Anne's Vanity," February 8. Copyright 1913, American Film Mfg. Co.
January 18, 1913.
MOTOGRAPHY
37
Motographys Gallery of Picture Players
T ESSALYN VAN TRUMP is the girl in "Flying A"
J pictures who plays the "little sister" to such ad-
vantage. She can be a very good little sister or a very
bad little sister, whatever the secnario writer and Jack
Richardson wish to
make her. For she
and Mr. Richardson
form a convincing
duo and, with Kerri-
gan and Miss Bush
ever ready to come to
the rescue, comprise a
screen quartet ever in
favor. Miss Van
Trump has a number
of leads to her credit
and is best in emo-
tional roles. Out at
the ranch studio in
Santa Barbara, she is
in her element, as Cal-
ifornia is her home
state and she has al-
ways been used to an
out-of-door life. She
has been with the
American Company
Jessalyn Van Trump. one year an(J fa^ fa^
no previous experience in picture work. Theatricals,
throughout the west, though, knew her well. Miss Jessa-
lyn is also of the dark type, having lovely dark hair,
brown eyes and a rich olive complexion.
WARREN KERRIGAN is commonly called Jack by
those who know him best. Not just because Jack
is his second name, but because it fits him so well. He
also seems to have been especially pre-destined for hon-
ors, for they have
sought him out and
festooned the name
Kerrigan wherever it
appears. As leading
man in American pic-
tures, Kerrigan has
made name and fa*me
for himself, and has
added to that of the
"Flying A" brand.
He has been in west-
ern pictures for near-
ly two years and is
apt to stay in them
indefinitely, as he
likes both the country
and the work. Him-
self, his twin brother
and his mother occu-
py a pretty bungalow,
not a very great dis-
tance from the studio,
Warren Kerrigan. and Warren J. de-
lights in long horse-back rides and all other forms of
out-door sports. His work in pictures has made him a
world-wide character, all Europe being as familiar with
the Kerrigan features as is his native country.
T ACK RICHARDSON is the man who robs, steals
^J and plunders, not to mention "framing up" deals and
misrepresenting himself and conditions to "the girl," and
dying numberless deaths — week after week — out in Santa
Barbara, Cal., all for
the entertainment of
lovers of "Flying A"
pictures. But Jack
Richardson, heavy
man, and Jack Rich-
ardson, Esq., are en-
tirely dissimilar, for,
'tis said, the latter is
the pleasantest man in
the world. His friends
call him "Rich" and
marvel at his wonder-
ful good nature and
the fact that he is still
single. He was edu-
cated at the Culver
Military Academy
and had general the-
atrical experience
with the Metropolitan
Players, Royal Chef
and the Orpheum
Stock. He Went into Jack Richardson.
motion picture work three years ago and in his portrayal
of "bad man" roles for the American company has en-
listed many, many admirers — something that the "heavy"
does not always get.
PAULINE BUSH gets all the credit for her own pop-
ularity. Simplicity is the keynote of her personal
appearance and it is simplicity of motive, of action, that
shows throughout her work on the "Flying A" screen.
There is convincing
sincerity in her every
role; she plays
straight to the heart
of the people and
they respond by hold-
ing her in general fa-
vor. Miss Bush is of
English parentage,
and is interested in
woman suffrage. She
is of the thoughtful,
pleasant type, with
brown hair, and gray
eyes, and her exped-
ience of photoplay
work will soon reach
the two-year mark.
During this time her
work has all been
with the American
Film Company, and
has comprised leads
Opposite Mr. Kerri- Pauline Bush.
gan. Western Stock, Belasco, Los Angeles, Ye Liberty,
Oakland, cover her previous experiences in the theatrical
line. She seems typical of the western girl and the
western spirit.
38
MOTOGRAPHY
Vol. IX, No. 2.
Show Pictures at Marquette Prison
The men at the Marquette prison have long been
treated at intervals to various kinds of entertainments,
such as theatricals and concerts.
One of the most enjoyable of the series was a mov-
ing picture exhibition that continued for two and one-
half hours. Ten reels of films, consisting of two pic-
ture programs given at a Marquette theater during the
preceding week, were shown. The men were highly
elated.
Under an arrangement with the theater management
a similar entertainment will be conducted at the prison
every three weeks during the winter season. Only men
who have earned the right by obedience to the rules are
permitted to attend. These include, however, practically
every prisoner in the penitentiary, the convict body for
years having been a model in good behavior and disci-
pline. — . .
Talking Pictures Ready for Public
The first demonstration of Edison's "Kinetophone"
has been given, and it is said the Palace and Majestic
theaters in Chicago are arranging for the installation of
the kinetophone. The kinetophone is the name the wizard
has given to his talking machine that works in harmony
with the moving pictures, and is to be used to add the
realism of the voice of the actor to the scene thrown upon
the canvas.
Within a short time it is predicted that the Broadway
productions may be playing in the mining camps of the
West. Weber and Fields may be playing their funny
pool game on the screen while the machine grinds out
the dialect of the pair in Golden Gulch, Nevada.
The great musical comedies will be caught by the
machine, and while the music is being ground out the
actions of the comedy will go on before the audience.
Mr. Edison has not said so, but his friends say he thinks
it only a question of time before the best actors in Amer-
ica will be performing their best roles before the mov-
ing-pictures camera while the kinetophone records their
lines.
After four years of the hardest kind of work to get
the machine perfected that will make it possible for per-
sons to both see and hear the drama enacted elsewhere,
Mr. Edison has perfected the work so that it is now
what he calls "fool proof."
For tests in New York the operas "Faust" and "II
Trovatore" were chosen. The reels are ready and the
records of the singers have been made that work in
unison with them.
Dinner to Screen Club President
The New York Screen Club announced a dinner to
be tendered its president, King Baggot, on Tuesday, Feb-
ruary 11, at eight o'clock at the Hotel Astor. Reser-
vations are to be made through Herbert Brenon at the
Screen Club.
* m| *'• me *
y \ M j
1 f *' ?
^^■^^^^"W^^^W
"The Doctor's Love Affair," February 1, a Kleine-Cines Drama.
January 18, 1913.
MOTOGRAPHY
39
Motion Pictures and the Mind of the Child
By William H. Walker*
INVENTIONS must be beneficient or be taboo. They
must further what we consider the fundamentally
best interests of society or they cannot survive. The
ultimate function of a new thing, in short, must be service.
The elevator that saves time and labor is a benefi-
cence to a degree. The binder and reaper transcends it.
Electric light, a minister of health as well as human con-
venience is perhaps still more intrinsically valuable. And
so on.
These confer physical benefits that are measured in
terms of convenience, cash or comfort. They stand neces-
sarily on a lower plane of efficiency to society than an
invention that fosters mind — provided you allow the
premise that the mental is superior to the physical.
Since there could be no invention of material worth
to man without a previous mental creation of it, we will
presume this to be admitted. An invention that culti-
vates mind, therefore, must be given precedence in its
worth to society, over any and all devices that simply
serve its comfort.
It reasons out that the moving picture, if it does
cultivate the mind, is greater than the cotton press or the
trolley.
To decide this point the opinion of the mature per-
son is of little value. The growth of the minds of those
who have passed forty is of inferior importance to
society. They are as building stones lost in the broad ex-
panse of masonry. The upper courses of a structure
command our eye and so, to estimate the value of the
moving picture to society we should observe its effect on
the mind of the child, who is the crest of humanity.
The child, of five to twenty-five, is the raw material
of society. Society of the subsequent generation mani-
fests the prepossessions the child carries beyond the dead
line of maturity. If the motion picture cultivates the
mind of the child it will raise the mental level of the next
generation. If it systematizes his emotions it will stand-
ardize its morality.
Rather than inquire of any, young or old, as to his or
her opinion regarding the effect of the motion picture on
the development of the mentality, we will inquire of the
simple laws that govern the growth of mind. Does the
motion picture stimulate the mentality in accordance with
these laws? It unquestionably must, since the mind
grows in capacity, and can grow only as it accumulates —
pictures.
Still pictures are excellent, but the motion picture is
the better, for the effect of motion is to excite interest,
or emotion, which is as heat to the branding Iron. It burns
its impression deeply into the consciousness.
The mind grows with the accumulation of mental
pictures. The deeper these are branded by the interest
which the movement of the motion picture generates, the
more capacious the mentality becomes. Millions of minds
are being deepened and widened daily by motion-picture
performances. So widespread are these that the collective
mind of the nation is being influenced. All of us are add-
ing to our store of visual perceptions, simultaneously.
Such education as the motion picture affords is therefore
becoming universal, a nation-wide awakening.
To accumulate many pictures is the first necessity
of more complex mental development. Thus nature pro-
*Chicago Press Club Prize-Winning Article, Selig Co.ntest. Copyright
1912, by Selig Polyscope Company.
vided the child with an insatiable inquisitiveness and ten-
der emotions. The motion picture becomes, therefore, the
ally of nature. Its effect is to produce perceptions little
less profound than those of actual experience.
The motion picture provides the child with a hitherto
unprecedented supply of pictures which sink in deeply.
Were this all, the motion picture would serve little better
purpose than that of entertainment, but mind pictures are
the raw material from which the higher mental operations
are developed.
Creative, original thinking is the discovery of identity
in the apparently dissimilar. When we think, we seek
the familiar in the unfamiliar. And to find it we must
range one picture beside another. The more fully stocked
with pictures the mind of a child becomes, the more
effective thinking man he must necessarily grow to be. In
this way genius is inspired.
It is time to estimate the motion picture, not as a
diversion merely, but as a force — a world force, indeed —
since it is breeding thinkers among the millions who until
this generation,* could not even read. When the millions
see identity, the paradoxes that vex us now, the absurdi-
ties of government, of morality, of taste, will vanish
before the ridicule and intolerance of an universal and
sublimated common sense.
The man or woman of forty and onward cannot
know, unless their hearts be like unto that of a child,
the glorious impulses that this picturing arouses in the
ardent soul of the young. They marshal, blindly, no
doubt at first, the splendid spectacles of life and of things
now first brought within their ken. But inevitably, and
soon, and far more important — they kindle to the fasci-
nating visions of the unknown which these pictures hint
at. Thus will the genesis of thought, of the quest for
identity, of imagination, be brought about in the minds
of the otherwise stolid, by this most significant invention
of modern days. — the motion picture.
And the result must be a coming generation of
greater force, of greater capacity than any the world has
seen. A generation not dependent on a few leaders, but
self-sufficient; and so more just, more merciful, happier.
Were the motion-ipcture men to produce pictures
that could inspire only base, low or immoral impressions,
you would agree that the effect would be to debauch the
next generation. Then the converse must be true. But
the better class of motion-picture manufacturers, which
includes all but a few insignificant exceptions, will main-
tain the motion picture on its present high plane. They
will rise above it, surely, perceptibly, as the art develops.
They will foster a love of the great, the fine, the gener-
ous, the true; they will picture and teach the ennobling
lessons of fidelity, of courage, of self-sacrifice.
These sentiments when pictured become dynamic.
They rise to the dignity of motives in the mind of the
spectator. When theorized over merely, the soul too
often fails to flare at the touch of such Promethean fire.
So it is fair and reasonable to say that as a powerful
educator and moulder of wholesome sentiments, the mo-
tion picture stands in its own special place — a means to
man's advancement — a link between the pulpit and the
theater — a powerful advocate of the tenets of the former,
the more powerful bcause they are presented with all the
charm and vividness of the latter.
40
MOTOGRAPHY
Vol. IX, No. 2.
Pictures of Mental Diseases Shown
Three hundred members of the Medical Society of
New York County had a new experience at the Academy
of Medicine recently, when for two hours they watched
moving pictures which have been taken during the last
five years by Dr. T. H. Weisenburg, professor of clin-
ical neurology at the Medico-Chirurgical College, Phila-
delphia. The pictures displayed nervous and mental
diseases and Dr. Weisenburg showed five reels of the
25,000 feet of film he has taken.
The pictures showed in great detail nearly every
known form of nervous disease with their clinical symp-
toms, with the different methods of examination, in-
cluding the taking of reflexes and different types of
gaits.
Dr. Weisenburg said that he first conceived the idea
of taking moving pictures for class room work five
years ago in order to more easily explain symptoms. So
far his work has been devoted almost exclusively to
nervous diseases, but he expects shortly to extend his
work.
His ambition now, he says, is to record the speech
of the insane as well as their pictures in order that an
absolutely correct record may be made of the words and
intonations. Then he will extend the work of picture
taking to the operating room.
He believes that pictures should be shown to medi-
cal students as an aid to actual clinical demonstration,
especially in the cases of rare operations. He has already
taken many hundred views of operations for the re-
moval of tumors on the brain.
"The work of the moving picture in medicine," he
continued, "is limitless. We can take picutres showing
the action of the heart on the surface of the body. We
can show how in pneumonia a man breathes with but one
lung. In fact, there is almost no field of medicine which
we cannot touch with the moving picture machine.
"It is an expensive process, of course; but the ex-
pense is more than compensated for in the results
obtained."
In one film shown last night Dr. Weisenburg used
twenty-six patients to demonstrate dementia praecox, and
in the same film gave examples of maniac depressive
insanity, chronic mania, paranoid states, paresis and mel-
ancholia. In this film especially, he said that the addi-
tional use of the phonograph was greatly to be desired,
as the remarks of the patients were very important in
determining the exact form -of insanity.
Film Would Aid in Court Appeal
Garryson Payne, a New York lawyer, who says he
will lose $50,000 by the terms of his father's will if his
conviction for speeding an automobile stands, brought a
moving-picture machine and a talking machine into Jus-
tice Buyck's court, in Irondequoit, to take records for
purposes of appeal.
Mr. Payne asserts that a clause in his father's will
provides that if he has no court convictions against him
at the age of thirty he will inherit $50,000. He says that
his moving pictures and records are to show the Court's
attitude before the Court of Appeals. He was fined $25.
"The Altar of the Aztecs," January 31. Copyright 1913, Selig Polyscope Co.
January 18, 1913.
MOTOGRAPHY
41
Illumination of Denver's Picture Theaters
Effect on Civic Activity
A PHASE of the mo-
tion picture exhibit-
ing business whose
influence on community
life has been overlooked by
most observers, important
as it is. This is what has
been called by the Elec-
trical Review and Western
Electrician "The Commer-
cial Value of Illumination"
- — the actual, measurable,
increase of traffic and busi-
ness activity along streets
whose brilliancy has been
augmented by the lavishly
lighted fronts of modern
picture theaters.
The decided develop-
ment of the motion-picture
business in Denver, Colo.,
has been accompanied by a
tremendous increase in il-
lumination, and the many
amusement houses of this
kind operating in that city
have materially broadened
the field of electrical appli-
cation by the extensive use
of current for exterior dis-
play illumination and for a
Variety Of Other purposes Illumination of Princess Theater, Denver.
in the interior of the play-
houses. Denver leads the world in the matter of first-
run motion-picture houses — that is, those establishments
vested with the privilege of giving the first exhibition of
any of the various films, and in addition it probably has
more brightly illuminated theaters of this kind than any
other city in the country, regardless of size. There are
now operating in Denver more than 30 moving-picture
playhouses and all are ex-
tensive users of electricity
for outside display — the
high-candlepower tungsten
lamps and the smaller-can-
dlepower carbon lamps ar-
ranged in outline effects,
for the most part, furnish-
ing the light.
Curtis street, the best
lighted thoroughfare in
Denver, has over 150,000
candlepower distributed
over a length of four
blocks — from Fourteenth
to Eighteenth streets — and
is Denver's "Great White
Way." It is the most trav-
eled street because of the
lavish use of display light-
ing by the various proprie-
tors of the seven moving-
picture and vaudeville the-
Night View of Curtis Street, Denver.
aters. There is no disput-
ing the fact that the light
has really made the traffic
on this thoroughfare and
the truth of this is best
explained by giving the
opinions of some of the
men having business inter-
ests on the street — the ones
who are paying for the
light and reaping any ben-
efits that may be derived
from this form of advertis-
ing.
According to Samuel
Baxter, proprietor of the
Isis Theater, one of the
largest of the moving-pic-
ture playehouses, there
were more people passing a
place he owned on Seven-
teenth street five years ago
than were traveling Curtis
street at that time. This
was before the advent of
the illuminated theater in
the Curtis street territory.
But since the introduction
of the lighting the pedes-
trian travel outstrips the
old location. When it is
considered that this infor-
mation is given out by a
man who is paying for some of the illumination on the
street it must be regarded as more than idle talk. When
figures are taken into consideration there seems to be no
doubt, as the records of these moving-picture houses
show that about 100,00 people see their pictures every
week.
The seven moving-picture and vaudeville houses now
running on Curtis street,
between Sixteenth and
Eighteenth streets, use a
total of 51,500 candle-
power, more than one-third
of the total of the street;
10,387 lamps, ranging in
size from the four-candle-
power carbon lamp upward
to the 500-watt tungsten,
are required to furnish this
candlepower. The travel
within this territory is
greater by half than in the
blocks from Fourteenth
to Sixteenth streets, where
the lighting is not so in-
tense, and the natural con-
clusion when the figures are
considered is that the light
is responsible for the great
street traffic.
The history of the il-
lumination of Curtis street
42
MOTOGRAPHY
Vol. IX, No. 2.
is rather interesting and
dates back a little more
than four years. At that
time one of the enterprising
theater managers of Den-
ver opened the Camera-
phone theater and installed
some very elaborate illum-
inating effects. This was
when the moving-picture
business was in its infancy
in Denver, and although
the illumination on the
Cameraphone gave it tre-
mendous advertising, the
quality of the shows pre-
sented were not on a par
with the illumination on
the outside and it event-
ually became unprofitable
to operate. Later it was
taken over by Samuel Bax-
ter and renamed the Isis.
Under the new manage-
ment the lighting was dis-
continued and the quality
of the shows bettered, but
without the pulling force of
the light it did not do a
paying business. In the
course of time the illumina-
tion, which had been dis-
placed, was again installed and later increased, until to-
day the theater has a total of 2,200 lamps and a candle-
power of 8,500, and it is now one of the best payers of
the several first-run houses.
The proprietor of this theater is a real live enthusiast
on the pulling power of light. He claims it doesn't make
any difference where a light is placed, it will pay for it-
self in advertising. This moving-picture man has now
under course of construction a new theater which, next
to the Gas and Electric building, will be the most bril-
liantly lighted structure in Denver, having a total of
37,000 candlepower on the exterior. In addition, he is
interested in the entire
electrical illumination of
Curtis street, being an ac-
tive member of a commit-
tee of the street's mer-
chants who are endeavor-
ing to increase the lighting
by the installation of ar-
tistic street poles from Six-
t e e n t h to Eighteenth
streets.
The new street light-
ing, the new Paris theater
with its 36,520 candlepower
and the new Isis theater
with 36,000 candlepower,
will give Denver's "Great
White Way" 250,000 more
candlepower than it now
has.
The Paris theater illum-
ination is of beautiful de-
sign. The lamps are in a
variety of colors, red, blue
How New Isis Theater Will Be Illuminated with Four Thousand In-
candescent Lamps, Varying from Four to Fifty Candlepower.
Illumination of Paris Theater, Denver.
and purple, arranged to
give a very pleasing effect.
The lamps aggregating the
36,520 candles will be di-
vided as follows : There
will be 3,000 four-candle-
power, 1,102 twenty-can-
dlepower and -31 eighty-
candlepower lamps.
The 4,000 lamps to be
used on the new Isis will
be divided as follows: 160
twenty-candlepower lamps,
134 thirty-candlepower, 42
fifty-candlepower, 4,180-
candlepower, 17 125-can-
dlepower and 19 200-can-
dlepower lamps. These will
be tungsten and in addition
there will be 3,500 four-
candlepower carbon lamps.
The design of this il-
lumination will be entirely
different from that on the
Paris theater. A sunburst
of radial beveled plate shin-
ing behind a decorative
group of statuary played
upon by a searchlight will
form the central lighting.
The small lamps will be
used in decorative effects,
rosettes, and symmetrical designs which will blaze across
the front of the building. Some of the larger lamps will
be used to illuminate pedestals on the roof, while a num-
ber of others will hang between the pedestals, being sus-
pended from chains.
Besides the illumination, the theater will be electric-
ally equipped throughout. A ventilation system capable
of introducing and expelling air at the rate of 50,000
cubic feet per minute will be driven by electric motors,
and the pipe organ in the establishment will be operated
by a 15-horsepower motor. The moving-picture appa-
ratus will throw a light a distance of 100 feet to the cur-
tain and a small motor-gen-
erator set will be employed
to prevent fluctuation of
the light used on the mov-
ing-picture machine.
It is the belief of D.
C. Weber, proprietor of the
Iris theater, one of the bril-
liantly lighted moving-pic-
ture houses, that the pro-
fuse illumination on the
street has had a tendency
to drive out the disreput-
able characters of all kinds,
and the police records seem
to bear out this assertion
for fewer arrests are made
on this thoroughfare than
on any other in the city.
Besides the illuminat-
ed theaters there are a
number of cafes which use
a large volume of light and
January 18, 1913.
MOTOGRAPHY
43
these houses are among the most active to increase the
illumination of the street.
The number of lamps and the candlepower con-
sumed by each of the theaters on Curtis street, are as
follows: Iris, 921 lamps, 9,000 candlepower; Isis, 2,200
lamps, 8,500 candlepower; Colonia, 2,500 lamps, 10,000
candlepower; Princess, 1,900 lamps, 7,600 candlepower;
Empress, 2,000 lamps, 8,000 candlepower ; Pantages, 900
lamps and four arc lamps, 6,000 candlepower.
Boost Denver Pageant Pictures
Louis W. Hill of St. Paul, son of James J. Hill,
and head of the Great Northern, the Burlington and the
Colorado & Southern railroads, is one of the greatest
boosters for Denver's 1915 Pageant of America. Re-
cently Mr. Hill had moving-picture outfits in Glacier
Park, taking fine reels of pictures of the Blackfeet In-
dians. Some of these same Indians will be brought to
Denver. Between now and 1915 these films will be ex-
hibited free all over the world, and people will be told
that they are looking at the pictures of the same Indians
and their dances that will be in Denver in 1915. Mr.
Hill pledged $10,000 cash to the Denver show. He also
promised to bring a whole tribe of Blackfeet Indians
from Glacier park in Montana. There will be between
400 and 600 of the redskins. They will have one of their
native villages erected here and will stay throughout the
entire festival. An exhibit of their agricultural prod-
ucts will be brought along. Montana's famous cowboy
band, composed entirely of range riders, will be brought
with the Indians.
On the Outside Looking In
By the Goat Man
THE yawp of the poorest film maker is to inprove
the standards. "A better picture makes for a
better clientele." That's his slogan, and he plays
it on the day and night shifts. And then he springs
another lemon — a film that barely gets by. If he does a
civil war stunt, a soldier with a khaki suit and button
shoes and a political campaign hat is as good as any
other. The producer works on the principle that the pub-
lic doesn't know, and what matters, should a high-brow
see the deception. The business resolves itself to foot-
age. Anything that tends to elevate the business, as a
whole, must emanate from a philanthropist or a fool.
The maker who dumps thousands of dollars in a produc-
tion when hundreds would suffice comes under either one
or both of the classifications.
The truth of this muttering is emphasized by Mov-
ing Picture Stories, which made its advent January 3.
Pres. Neff of the Motion Picture Exhibitors League is
the noisiest advocate in America for the uplift thing.
He says the picture show must reach beyond the dime
novel gang and you know what else. The maker of the
poor films sits in the front row and punctures the air
with his glad-hand racket when Pres. Neff eulogizes
on the theme of motography and its possibilities. And
then the vociferous ones go back home and encourage the
publishing house of Frank Tousey to bring out m. p.
stories. This Tousey concern is the manufacturer of
penny-dreadful literature. It is needless to dilate on the
rot that has come from its presses. This newest product
looks and smells like the Diamond Dick series. Picture
Siegmund Lubin, the film manufacturer, was the guest of honor recently at the Progress Club, Philadelphia. Many appreciative speeches were
made to which the motion picture man feelingly responded. The occasion was emphasized by the presentation of a large silver loving cup mounted with
deer horns and inscribed with the names of his friends. The cup will ornament the executive room of the Lubin Manufacturing Company. It is
shown in the upper right hand corner of the picture.
44
MOTOGRAPHY
Vol. IX, No. 2.
Mrs.
Filr
Joe Hamman, in Kleine-Eclipse
theater exhibitors are asked to sell it. They will — the
poorer ones, because a nickel in the hand with them is
worth a dollar in a redwood. Hunt up the book and see
who told Tousey that he was welcome.
* * *
And he got his welcome on the promise of circulat-
ing steen hundred thousand copies of his junk.
^ % ^
There isn't any excuse for the m. p. publications de-
signed to appeal to the public. No better proof is of-
fered than that of the Motion Picture Story Magazine.
I wish I had ten per cent of the total that venture has
cost its sponsers. We have the sad spectacle of the
Photoplay Magazine, shifting from shop to shop, de-
pending on the hazardous profit that may develop from
newstand sales. The notion that a story can be hung
upon the senario — that the telling of the story in words
will match or excell the telling of the film story itself
is a joke. The film story is all that is required. The
public interest is drawn to a film by the printed story all
right, provided that story has made its reputation in com-
petition with books. "Martin Chuzzlewit," "Cinderella,"
"Pilgrim's Progress," and hundreds of others needed no
new story to boost the film. The old story had stood the
test of time. On the other hand, a story on "The Busi-
ness Man's Wife" won't boost that film. The public,
mind you, isn't the film fan. He's something else. The
effort to educate the public, the great non-attendant of
the m. p. show, lies with the discriminating exhibitor
and the producer whose house will deny him nothing to
develop all that the senario holds. I have seen this dem-
onstrated too often to be fooled. I know an exhibitor
who goes right along with capacity business in spite of
the fact that he shows but three reels and his competitors
stand at a reasonable distance from his place and hand
the passerby free tickets for five reels. Literary ( ?)
magazines, founded on average film senarios will never
succeed. Even should the readers pile up into the thou-
sands, the national advertiser will call it a class clientele
and the film field — the manufacturer of films and acces-
sories— will not care to stand for the advertising rate.
I know of nothing quite so abominable as the issu-
ance of free tickets. The exhibitor who indulges it
should compute the cost. I have two tickets before me,
each good for two admissions to a nickel show and good
for thirty days. There were handed to me by two men,
one at either side of a picture theater. It was merely
the passerby. Everybody else who went by drew two
tickets. If he returned by the same path within an hour
he got two more. These tickets were to be redeemed
within a block from the point where they were given out.
The free ticket show consisted of five reels. I will be
glad to print any exhibitor's story who will attempt a
defense of such practice. The free ticket and the five
reel exhibitor needs some attention. If he can't be made
to realize that he is just an extraordinary chump, the
exchange should deny him service. Every influence
should be brought to bear upon the ivory knob who
attempts to horn in by methods so unbusinesslike.
Polly Pry of the Denver Times has assumed the re-
sponsibility of playing guardian to the Denver m. p.
theaters. Polly is the sassiest little thing that has broken
loose for three or four weeks. She has dragged in all
the alleged bugaboos — the vitiated air ; the microbes ; the
eye-strain ; the trusts ; the building inspectors ; the inde-
cent films and added some new kinks of her very own.
She says that the "trust" has recently increased the ad-
mission price to ten cents. Of course, that gives the
snap away, even to outsiders ! If I could get a few fire-
eaters like Polly, we'd have two reels for a nickel —
four for a dime and no free tickets. We would also
see to it that the houses in Denver were anything but fire
Anthony Novelli, in Kleine-Cines Films.
January 18, 1913.
MOTOGRAPHY
45
traps ! I wonder if Bill Swanson couldn't sing a Swan
song to Polly Pry. Bill is the only man I'd care to trust
in a matter so delicate, besides he knows Denver.
Buxton said : "The longer I live the more I am
certain that the great difference between the feeble and
the powerful, the great and the insignificant is energy."
Buxton hadn't heard of the film business. Those who
are most energetic go right along turning out the bum
stuff. Energy in the film game is apt to betoken weak-
ness. I've got an abundance of energy, but I'm not very
strong with some of the fellows higher up.
I wonder where Bill Sweeney's at? It's funny I've
just thought of that because it seems almost a year since
Smiling Bill was sitting here. No doubt, he, too, has
also heard about the fuss on Sixty-third, where every-
body gets a pass into a house of second-class. I'll bet
you that it makes Bill sweat to find a boob who does it
yet- — who puts up coin for all the rent and grinds 'em out
each for a cent. Bill tugs away as best he can, some-
times alone, or with a man who thinks with him there is
a hope, if neither one runs out of dope ! Were all men
like Friend Bill, you know, the bunch who pull the pic-
ture show would have a look-in on the date when combi-
nations made the slate. There'd be more sober, peace
of mind among the fellows of their kind. The game
would always be a joy, a hundred pure and no alloy.
^c ^c ^c
Fred Warner has tackled a service for Essanay that
will keep him out of mischief and promises to impair his
digestion. The stunt is to supply a daily screen service,
confining his operations to happenings about Chicago.
I wonder if he met G. M. when he came to town? The
auto bandits promise to keep Warner busy, but the cen-
sors probably wouldn't stand for that.
Mr ^K ^
C. J. Hite was a recent caller at the sign of the goat
and for once in his life he sat down and made himself
comfortable. He extolled the virtues of the Mutual
and Thanhouser specifically and the whole business in
general. He leaned his stick against a bookcase and
kept an eye on it, but he rattled on and on into the future.
C. J. is nothing if he isn't enthusiastic. His plans for
a fireproof laboratory — the conversion of the old rink
into a studio — was very interesting. This was before
the calamity at New Rochelle. What a pity that fate
might not have dealt more mercifully in this case.
^ ^ ^
The thing I don't get is this new Kennedy- Waters
stunt. Maybe my ignorance will be rewarded some time.
It isn't interesting, I'm sure, for both Jerry and Percival
have assured me that should they ever do anything worth
while I would be advised. But there is mystery in the
Kinetograph Company. You may know that the name
isn't new — it was Percy's old company — the one that he
nursed through to fortune, years ago. But there is no
need to go back into those days, at least right now. Not
that it would matter much for Kennedy and Waters have
gone past the days when they care. But Gilmore and
White and Schermerhorn might. Some men are very thin-
skinned. But to think that you are going to be able to get a
licensed program outside of General Film is just one too
many for me. I'll have to retire to Rieper's and sample
the goods. Something's the matter with me. But then,
that's the dope, all right, and I can sit right back here
and wait to see how. it works out, can't I ? Sure ! I
should chafe.
Stan Twist is back from the coast and he's tearing
around like a Millionaire Cowboy. Stan is the guy who
put the frost in the citrous fruit.
* * *
The year starts off with several bangs and an explo-
sion or two. I am calling this to your attention now
before Saunders tells you he did it.
sfc ^ 5ji
I am anxious to go to Philadelphia to see Pop Lu-
bin's loving cup — that new one — unless he has had an-
other since D'Arcy sent the pictures. I'm going to stick
in this game till I get one. That's a promise, instead of
a threat for I'll try to pinch off enough somewhere to
get it myself. You get me, don't you?
Nursery a Feature at Picture House
A nursery is the latest convenience to be added to a
photoplay theater, and it was for the city of Hartford,
Connecticut, to take the initiative in the establishing of
such an addition. The theater to which the nursery is
attached is the Crown, which was opened Christmas day,
and has done a capacity business at both matinee and
evening performances. The large attendances at mati-
nees is possible on account of the nursery where mothers
may leave their babies in excellent care while they them-
selves enjoy the screen program. The seating capacity
of the Crown is 1,500; the theater has a five-piece orches-
tra, a mirror screen, which is the only one in the city,
and the new and pretty picture house is fireproof. Wil-
liam Rhodes is the manager.
To Abolish Posters in Cleveland
Coincident with the announced determination of
Cleveland exhibitors to abolish poster displays, members
of the Local League had declared their entire satisfac-
tion with the new plan of conduct virtually thrust upon
them under penalty for violation by Mayor Baker and
Chief of Police Kohler.
The city's chief executive ruled irrevocably against
educational and historical pictures containing scenes of
crime. Posters fell under the same ban. The exhibitors
now contend that the new arrangement is just as satis-
factory, that business will not be affected, and that by
eliminating the objectionable features, they are escaping
any possibility of arrest.
Film Gets Praise of Wealthy "Workers
At a recent meeting of the board of managers of the
New York Association for Improving the Condition of
the Poor, commendation was expressed over "The Other
Half," Thanhouser's film depicting East Side conditions.
The commendation came from men representing a billion
dollars of wealth. It was probably the most moneyed
gathering which ever gave praise to a motion picture
film — and a film, at that, which was mentioned dispar-
agingly in a recent issue of a New York newspaper
"crusade."
The new factory of the Commercial Motion Pic-
tures Company of New York will be ready to be of ser-
vice to the outside motion picture trade in latter January.
It will develop negatives, make prints and titles and
be of general use in such lines to its patrons. The
superintendency of the new factory has been given to
Eugene Gaudio, who formerly was superintendent of the
entire Universal laboratories.
46
MOTOGRAPHY
Vol. IX, No. 2.
The Clothing Business on an Industrial Film
By Watterson R. Rothacker*
A SCORE or more of large manufacturers have made
use of the motion picture film as an advertising
medium and have secured most excellent results.
The growing popularity of the films in every city, town
and village undoubtedly has opened a broad, new range
of publicity possibilities for those who carefully study
the field and lay their plans scientifically so as to take
advantage of this modern medium.
The range of publicity possibilities afforded by mo-
tography might be said to be practically unlimited. Un-
der the proper sort of production they can be used suc-
cessfully to "turn tricks" in publicity which had been con-
sidered practically impossible heretofore except through
a very large expenditure in a general campaign. The
makers of DuPont powder and dynamite, for instance,
have used moving pictures to educate the public as to the
many labor saving uses to which dynamite can be put and
which the average person would hardly think practical.
The International Harvester Company of America has
also used moving pictures to advantage in a general edu-
cational campaign.
One of the most recent additions to the list of mov-
ing picture advertising achievements is the campaign en-
gineered by Milton Mayer, of Beck, Mayer Company
of Chicago. This firm claims to make all-wool clothes for
*The Novelty News.
boys and young men, and hit upon moving pictures as
the means to prove the all-wool claim.
The series of moving pictures which is securing re-
sults for Becker, Mayer & Company, is entitled "The
Clothing Industry," and shows how the "Graduate" and
"Woolly Boy" brands are made from the time the wool is
taken from the sheep until it appears as the finished gar-
ment upon the back of a satisfied customer.
The first scenes in "The Clothing Industry" film
shows herding sheep on the plains of Montana. This is
followed in logical sequence by scenes illustrating the
most modern methods of shearing sheep — transporting,
grading and packing wool, weaving the cloth at the
woolen mill, shrinking the cloth by the cold water process,
the drying room and inspection after shrinking, the check-
ing and reinspection of the goods at the factory, draft-
ing from living models to insure accuracy and fit in the
garment, the cutting room with electric cutting machines
in action, a view of the model sanitary workroom where
"Graduate" coats are made, operator shaping and pad-
ding collar by hand, building the inside construction by
hand, thus making a shape-retaining coat, special hand
operation, which makes smooth shoulder and perfect
hanging sleeve, pressing the interior construction of the
garment and most modern method of edge pressing, mak-
ing button-holes and fitting linings by hand, final pressing,
'The Romance," February 15. Copyright 1913, American Film Mfg. Co.
January 18, 1913.
MOTOGRAPHY
47
'The Empty Studio," January 29. Copyright 1913, Selig Polyscope Co.
sewing on "Graduate" and "Woolly Boy" labels, section
of modern stockroom showing how the clothes are hung to
prevent wrinkling, view of sample room and inspection
of latest models, traveling salesmen selecting and sort-
ing sample lines previous to going on the road, retail mer-
chants making selections, shipping room where the mer-
chandise is packed for shipment to the retail stores,
typical views in Becker, Mayer & Company's advertising
and auditing departments and a splendid scene showing
a representative retail store where "Graduate" and
"Woolly Boy" clothes are sold. In other words, the
Becker, Mayer & Company film is a comprehensive and
convincing pictorial proof ■ to the prospective customer
which establishes the fact that the all-wool and hand-
tailored advertising claims are on the square.
The person who sees a picture of this sort as it is
reproduced upon the screen generally does not realize
the great care that must be taken in making the film
so that it will actually fulfill its mission and give the ut-
most results as a publicity agent.
This is, perhaps, because the people in the trade na-
turally are efficient about the secrets of the business, but
mostly the fault of the hasty ones who mistake pure
assertion for authorized information and hand it on with-
out taking the trouble to verify it. One of the best busi-
ness magazines in the United States recently published
a very well written article which gracefully mentioned
some facts in regard to the commercial use of moving
pictures, but took all kinds of license when it came to
figures. For instance, the author in this article states
that "a camera costs from $100 upward; $250 is perhaps
the average price for a good machine." Now, if a good
moving picture camera can be purchased for $100 it
comes either from a source at present undiscovered by the
film manufacturers or else the individual or company
selling at this price is doing so below cost.
A new and practical moving picture camera cannot
be purchased in the United States for a cent less than
$200, and the average camera used by reputable and pro-
fessional film producers costs anywhere from $300 to
$800.
In this same article appears the statement : "Unex-
posed films are sold by the manufacturers for about ten
cents a foot." As a matter of fact, the raw film is mar-
keted through the Eastman Kodak Company (there are
other raw film manufacturers, but Eastman supplies
practically all of the films used in the United States by
the important moving picture manufacturers), and not
by the "manufacturers," and the cost of the raw film,
even after it has been perforated, is nearer five cents a
foot than it is ten.
The reliable moving picture advertising specialist
includes in his manufacturing price an expert produc-
tion which ignores dead actioin, avoids repetition, and
takes every care that the advertising points of the sub-
ject are smoothly accentuated, and no film footage is
wasted. When this is intelligently done there should
be no part of the negative not available for the advertis-
er's use, and if there is it up to the moving picture man
to make the necessary cut-outs and dress the subject suit-
ably before it is submitted to the advertiser for his O. K.
A moving picture advertising specialist, worthy of the
48
MOTOGRAPHY
Vol.' IX, No. 2.
name, will develop a telling advertising punch in each
separate picture, and there are sixteen on every foot of
film.
In getting their films into circulation Becker, Mayer
& Company found that their dealers were only too glad
to cooperate with them in arranging to exhibit the pic-
tures at the local nickel shows.
A booking chart was made and the films were con-
signed to the various retailers along the same lines that
a company of theatrical people are routed from town to
town. It was so arranged that each retailer had the use
of a film for a certain day, after which he forwarded it
promptly so that it would reach its next destination with-
out any unnecessary waste of time. When the film
reaches the retailer he at once has it exhibited according
to an agreement previously made with a local theater
manager. The day of this exhibition is Becker-Mayer
day in that particular town and the people are all invited
to take an eye trip through the Becker-Mayer factories
and actually see how good clothes are made. The result
is that a favorable impression is made and a certain
clothes standard established which will always be remem-
bered in connection with the Becker-Mayer name.
It is distinctly within the province of the moving
picture advertising specialist to protect his advertiser by
making it known that it is not possible to exhibit adver-
tising moving pictures in all the moving picture theaters,
and it is up to the same specialist to guide the moving
picture advertising through open and navigable channels
which lead to the public most likely to respond to the
advertising message presented on the film.
Mr. Mayer, in discussing this motographic advertis-
ing campaign, recently said : "We are more than grati-
fied with the results our moving pictures have secured.
They certainly -do help us to deliver the goods. Eye
proof is convincihgy-and we believe that where a com-
moditity has merit there is no better advertising than
showing to the trade exactly how a product is manufac-
tured ; in this endeavor the moving pictures stand alone
in its accomplishment."
Another unique advertising campaign employing
moving pictures with vgood effect is that used by the
Chicago & South Haven Steamship Company to advertise
and make known to the people in and around Chicago the
delights of a lake trip . from Chicago to South Haven.
W. H. Cochrane, general manager of the Chicago &
South Haven Steamship Company, had his first moving
pictures made last sumrher ; this spring he completed the
series with a number of seasonable scenes at the Golf
Club and on the -beach at South Haven. The South
Haven pictures have already been seen by thousands of
people in Chicago and by many more . residents of out-
lying towns and adjoining states. This moving picture
advertising campaign encouraged travel over this line of
steamships by actually disclosing the comforts, delights
and advantages of the South Haven steamships and
South Haven as a summer resort.
H. A. D'Arcy, director of publicity of the Lubin
Film Company, has published a book of fifty of his
poems, including the famous recitation, "The Face Upon
the Floor."
Essanay's "The Melburn Confession," January 29.
January 18, 1913.
MOTOGRAPHY
49
A Great Film's Second Edition
"The Cowboy Millionaire'" Improved
ON October 21, 1909, the Selig Polyscope Company
released a one thousand foot film on which it
had been bending every energy for many months.
It was an elaborate production, full of real thrill and
human interest. This film was known as "The Cow-
boy Millionaire." Selig sent a large company of play-
ers, camera men, producers, etc., down to the wild and
woolly state of Oklahoma to obtain the cowboy stunts
that form the interesting opening scenes of this remark-
able story. Other scenes in this original- production
were secured by sending part of the company to Circle
City, Idaho.
This much heralded subject went far beyond all
expectations in the matter of popularity. Exhibitors
were eager to secure bookings, and the motion picture
public proved enthusiastic over the picture. There are
still in existence a few worn and much scratched copies
of that early masterpiece. These are still being shown
with the same crowd-drawing results that marked the
first day of release.
During the last few years the Selig company has had
many urgent requests from exhibitors and public alike
urging a new release of this great western picture. These
requests became so frequent during the last year that
Selig decided not only to make a new release of the
subject, but to reproduce the picture entirely, making
it a still greater effort. In view of the fact that several
other great western features have been released by the
company since "The Cowboy Millionaire" was first given
to the public, among them "Ranch Life in the Great
Southwest," "The Danites," "Life on the Diamond-S
Ranch," etc, it was necessary to make the reproduction
on a scale far more elaborate and costly than anything
in this line yet attempted by the house of Selig.
Upon the decision to remake and re-release the
famous comedy of western life, William N. Selig called
into consultation the entire producing staff of the Chi-
cago plant, the three chief scenario writers of the big
script department and the manager of the Selig Colo-
rado company, then producing all or most of the com-
pany's western pictures. When all were assembled Mr.
Selig told them of his decision to reproduce "The Cow-
boy Millionaire," and called for a general discussion re-
garding the methods to be employed in making this pic-
ture the greatest, if possible, in the history of western
features. A new print of the original picture was made
and projected for the benefit of this conference. The
entire history of the first production was reviewed and
discussed and plans were formulated. It was decided
to make the same story on a much more elaborate basis.
It was to be two thousand feet in length in order to add
several new scenes depicting the cowboy sports and
pastimes utilized in the first part of the story.
The scenario department started on the task of re-
writing the story and two business representatives were
sent west to secure some of the cowboys who had taken
Cowboy Stunts, as Performed in the First Reel of "The Cowboy Millionaire.'
50
MOTOGRAPHY
Vol. IX, No. 2.
part in the first production. Finally everything was
ready and the actual work of the production began. The
famous Diamond-S ranch was utilized for the producing
ground of the first reel, or the bigger portion of it. Sev-
eral scenes were taken here and then the entire outfit
of cowboys, ponies, steers and paraphernalia were
brought to the Chicago studio and there the production
was fiinished. This is claimed to be the first time that
a motion picture maker has ever imported such an outfit
from such a distance as Arizona to take part in a few
scenes.
"The Cowboy Millionaire," in two reels, will be
released on February 3 as a special. The Selig Com-
pany's publicity department is working on an excellent
line of advertising matter and publicity aids for the use
of exhibitors who will book the feature. Artistic litho-
graphs have been prepared on the subject, consisting of
two styles of one sheets, one style of three sheets, and
one six sheet. These have all been drawn from actual
scenes in the picture and are in four colors. A beautiful
two-color herald is under way. A special program of
musical selections suitable for the production, with care-
ful instructions and cues, will be given out with the
envelope of advance advertising matter. Press sheets,
cuts, and one, two, and three column advertising electros
are also being made specially for the production.
THE STORY OF THE COWBOY MILLIONAIRE.
FIRST REEL.
"Bud" Noble, a handsome specimen of virile western man-
hood, is foreman of the famous Diamond-S ranch of Prescott,
Ariz. The opening scenes of the story show "Bud" and his cow-
boys together with those of other nearby outfits on their weekly
half-holidays in the town of Prescott. It is Saturday afternoon,
the boys have their pay checks and are in town for a good
time. The little street of the town looks like a wild west arena
as the boys indulge in their sports and dare-devil pastimes. Sev-
eral bronchoes are brought in and unwillingly saddled. Then the
fun begins. Broncho busting and broncho busters are every-
where. This changes to the flying pickups, riding the bucking
mule, bulldoging, roping and tying steers, horses, etc. Finally
one of the cowboys meets with a terrible accident. We see him
thrown from a vicious steer and gored unmercifully by the brute.
Nothing daunted he arises and again attempts to bulldog the
steer. The battle rages long and is all but won, when suddenly
the cowboy loses his footing, is tossed on the maddened steer's
horns, and in this position is carried right through a fence
and several other obstructions, powerless to aid himself. This
puts something of a damper on the holiday crowd, but their
spirits are quickly brightened by astonishing news which is
brought to "Bud" a telegram which the local operator hands
him. The message reads :
Your uncle is dead. You are sole heir to his estate valued
at several million. Come at once.
The astounded cowboys tumble over themselves in their
excitement. "Bud" proposes drinks for the crowd and the
scene ends in a wild rush for the bar.
"Bud" leaves Prescott for Chicago. Upon his arrival in the
windy city he at once becomes the object of much ridicule be-
cause of his shaps and western clothes. He is directed, by a
kind hearted policeman, to the office of the attorneys who have
the matter of the inheritance in charge. Upon his arrival at
the office, however, he pays but little attention to the words of
the lawyer, his interest centering in the lawyer's pretty stenog-
rapher. She returns his gaze of admiration and soon the two
are fast friends. "Bud" asks if he may call that evening and
become better acquainted. She tells him that he may. Happy as a
schoolboy with a quarter he rushes out of the office to buy some
store clothes. That evening he shows that men from the West
are not so slow after all, for when he leaves her bearding house
the pretty stenographer has promised to be "Bud's" wife.
SECOND REEL.
One year later we see our cowboy hero in the midst of the
They Try to Serve Tea to the Cowboys.
January 18, 1913.
MOTOGRAPHY
51
Making "The Cowboy Millionaire" at Selig's Plant.
social swirl of effete Chicago. This is a phase of life that a
millionaire cannot escape, "Bud" learns. It is one constant, mo-
notonous round of theaters, dances, parties, cruises, clubs, etc.
"Bud" is tired of it all and longs with aching heart for the fresh
air of the West again. After returning from the theater one
evening, he sinks wearily into his easy chair to think it over.
As his glance wanders here and there, his attention is arrested
by a typical western painting by Hoskins, which adorns the wall
of his den. He studies the painting lovingly. Suddenly he gets
an inspiration. "By Jove! I'll do it!" He sends for a messenger
boy, scribbles the following message and sends it.
Col. Dalton, Foreman Diamond-S Ranch, Prescott, Aris. —
This high brow life is killing me. Am sending you special train.
Bring the whole outfit, horses and all. This town needs excite-
ment. Come and help wake it up. — Bud.
A few days later the outfit arrives at a swell suburban sta-
tion. "Bud" leads the way in his auto and the boys follow at
break neck speed on their horses. The shouting, shooting punch-
ers in their shaps and sombreros create wild excitement on the
otherwise peaceful streets of the suburb. "Bud" puts the entire
outfit up at his palatial home, much to the discomfort of his
pretty wife and some highbrow neighbors. That evening after
the boys have scrambled into something resembling dress clothes.
"Bud" takes them to the theater to see that melodrama, "Bertha,
the Sewing Machine Girl." The boys take exceptions to the vil-
lain's treatment of Bertha, and the play is stopped by the shoot-
ing that follows. Then "Bud" takes the outfit for a cruise on
his private yacht. Sea sickness is one animal that the boys
cannot ride, so they put in port and return to the house. After
a week of such excitement "Bud" decides that he has had enough
and the boys are sent back to the West in the private train.
After the departure "Bud" turns to his wife and arm in
arm they go to "Bud's" den. "Bud turns his western mater-
piece face to the wall and solemnly lifting his right arm he swears
"Never again."
Just as they are about to retire the maid hands them the
following wire :
On root. Everybody enjoying themselves. The colonel sure
some happy. Just shot a coon. Sending you the bill.
The cast of the "Cowboy Millionaire" is as follows :
Bud Noble Carl Winterhoff
Mrs. Noble Winnifred Greenwood
Col. Carter .Mac Barnes
"Leading Lady" Adrienne Kroell
"The Villain" William Stowell
Cowboys of the Diamond-S Ranch, etc.
If the observer attempts to analyze the remarkable
interest of this unusual western film, he is somewhat at
a loss whether to favor more the vigorous action of the
plot or the splendid record of actual western sport and
industry as depicted in the "roundup" work, with its
beautiful settings. But it is unquestionably the latter
as the immortalization of a fast disappearing life that
has already made for the permanence of the subject.
Tell Their Congregations of Film
It is assuredly a new era in the church attitude on
motion pictures when the ministers of a city get together
and advise their congregations to witness a film that is
showing at a local theater. But that is what transpired
at Fort Atkinson, Wis., recently, after Manager F. W.
Bellman, of the Lyric, showed the churchmen Than-
houser's "Star of Bethlehem" at a special matinee in
their honor, and lo ! words of praise for an actual motion
picture, exhibiting at a bona fide picture theater, were
heard in the pulpits of the city. Hear Exhibitor Bell-
man tell about it, writing to C. J. Hite:
"At a matinee performance held in the afternoon
for the benefit of the clergy, I feel that I made the great-
est hit of my career as manager of this house. It is
needless to mention the praise given the picture when I
52
MOTOGRAPHY
Vol. IX, No. 2.
mention the fact that at the Xmas evening services in all
of the churches each clergyman spoke of the picture to
his respective congregation and advised them all to
see it."
Mr. Bellman's action is ready proof that it pays to
tempt fate and the ministers with pictures that are to
their liking. More "invitation affairs" for ministers are
in order. The keenest pulpit enemies of the picture are
admittedly those who never .entered a picture theater.
"Wichita Schools to Have Motion Pictures
The introduction of moving pictures into the public
schools of Wichita is arousing discussion in many keys,
touching the good and bad influences of motion pictures,
and the advisability of their use in the instruction of the
youth of the city.
Rev. W. H. Heppe, pastor of the First Methodist
church, is one of the enthusiastic supporters of the in-
novation. For a time the First Methodist church oper-
ated a moving-picture show in connection with week-
day services.
"It appeals to me as one of the greatest advances
in educational work," said Mr. Heppe. "There is no
doubt that the moving picture will illustrate for the chil-
dren many essential things which otherwise would re-
main dim and hazy in their minds. Of course, there
are objections, and good ones, I think, to many of the
moving picture shows of the day. Sometimes the lec-
turer who explains the pictures is not an intelligent per-
son, and takes advantage of every opportunity to leave
an evil suggestion in the minds of his hearers. But
at many of the shows this has been done away with al-
together, and the pictures frequently are elevating both
morally and intellectually.
"When the pictures are installed in the public
schools, I believe that all the unreasonable prejudice
against moving pictures as such will disappear. People
will become accustomed to the pictures, and will soon
see that they are not harmful when the represent educa-
tional subjects."' William Barie, Jr., manager of the
Marple, a motion picture theater, says :
"It will be a great thing for the moving picture
houses. The greatest service it will perform for us is
in removing the unreasoning prejudice that now exists
in the minds of so many people. There are a lot of peo-
ple who look upon the moving picture as though it were
an invention of the devil. All they need is to become fa-
miliar with the pictures. The schools will familiarize
the children with motion pictures, and it will not be long
until their parents will perceive that the children are bet-
ter instead of worse for their educational entertainment.
Then this class of people will attend the shows, and see
that they are benefited thereby."
The Vanoscope Company has opened a suite of
sumptuously furnished offices at 607 Manhattan building,
Chicago, with a well equipped projection room for dem-
onstrating the new Vanoscope projecting machine,
whose object is continuous projection and elimination of
"flicker."
'The Fugitive," February 10. Copyright 1913, American Film Mfg. Co.
January 18, 1913.
MOTOGRAPHY
53
Current Educational Releases
The Beautiful Falls of Marmore (Velino
River, Central Italy.) — Cines. Soul-inspiring views
of the tranquil Lake Piediluco and the exquisite beauty
of the Falls of Marmore, with its foaming waters surg-
ing at the foot of the green canyon walls, are most
vividly pictured.
The Bulgarian Army in the Balkans. — Eclipse.
Showing the Bulgarian army near the town of Jardzello,
at the time of the beginning of hostilities with Turkey.
The film depicts in order : "the forward movement of the
infantry and cavalry," "dismounting for a short rest
and mess," "another advance march," "mounted and dis-
mounted target practice and gun drill," "a cavalry
charge," "the 5th battery of artillery limbering up,"
"the regiment fording a river," "review of the troops
by Tsar Ferdinand," and "the cavalry advancing to the
frontier."
The Manchester Ship Canal (England).-—
Cines. We are taken upon an interesting trip along this
busy ship canal from Eastham to Manchester, during
which we are shown many flourishing towns along the
way and several marvelous feats of engineering.
The Birth of a Dragon Fly. — C. G. P. C. Not-
withstanding a head that strongly suggests a miniature
tiger, the dragon fly is quite inoffensive. This and all
other characteristics of the fly are explained by means
of excellent photography, microscopic and otherwise,
from the time the larva is discovered until the little insect
is able to start out into the world on its own wings.
Life in India. — Eclair. Contrary to the general
opinion, this travel film shows the natives of India to be
an industrious people rather than the shiftless creatures
so many are prone to think them. Among the small
trades or vocations which the natives are engaged in
daily, the following are shown : Engraving on gold, deco-
rating of pottery, all kinds of tiling, rope making, and
we learn also that their women are employed in masonry
building, as street porters, as well as in the feminine
occupations of linen washing, hair dressing and fortune
telling.
The Part Played by Air in Respiration. — C. G.
P. C. An interesting study of this most necessary ele-
ment. A number of experiments demonstrating how
absolutely impossible it is to live without air. Fish are
dependent upon the air contained in water for the life
that is in them. This is proven beyond a doubt when
the air is extracted from the water by boiling and the
fish nearly suffocated. A fascinating educational film
which every child should see.
?
J -
L
1 Ji mmm9F**~' '**&&%, Lm, *m '
- * ■
*► Wk Hr ' <1 * "^
»^PH
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'Andrew Jackson," a Two-Reel Feature of February 3. Copyright 1913, American Film Mfg. Co.
54
MOTOGRAPHY
Vol. IX, No. 2.
The Making of a Book. — C. G. P. C. The mil-
lions of people who have read books probably have never
thought of the work required to deliver the finished
product to them. The detail of such an undertaking is
absorbingly interesting to every person who has ever
read a book.
The Genet. — C. G. P. C. An interesting study, in
color, showing the domestication of this little animal
and its use as a trap for rodents.
could with difficulty be over estimated. The pictures pre-
sent with increasing and absorbing interest the details of
the work of construction, the difficulties encountered and
the hardships overcome in such a colossal engineering
problem. The foresight and wisdom of those vesponsible
for this provision, comfort and convenience of the present
and future generations will undoubtedly reap the greater
reward for the vast outlay entailed both financially and
of physical effort.
Primitive Man and the Golden Gully. — Melies.
These two pictures were taken at the Barambah Aborigi-
nal Settlement in Australia, and the leading parts are
taken exclusively by the Aborigines, introducing spear
throwing, boomerang throwing, corroborees, fire-making,
etc.
The Manchester Ship Canal (England). —
Eclipse. We are taken upon an interesting trip along
this busy ship canal from Eastham to Manchester, during
which we are shown many flourishing towns along the
way and several marvelous feats of engineering.
Picturesque Italian Scenes. — Cines. Spreading
before us, some of the most picturesque spots in all Italy,
especially in the vicinity of Naples. A visit to the beau-
tiful valley of the Treia concludes the subject.
Building the Great Los Angeles Aqueduct. —
American. — The magnitude of this engineering project
Film Depicts Making of Pictures
The making of moving pictures is a subject that
holds interest for all, but for no class so much as the
picture theater goers. Therefore, Thanhouser is bound
to interest the photofan with its "Evidence of the Film,"
released Friday, January 10, which picture's the making
of pictures. A company of photoplayers is first shown
producing a street scene. Later comes the mechanical
part of the producing business, the factory with its para-
phernalia for putting the photoplayer's performance into
canned circulation. The story is that an unscrupulous
broker changes the packages that a messenger boy car-
ries— substitutes one of worthless paper for one of valu-
able bonds for which the lad is responsible. But the
knavery takes place within the focus of the picture com-
pany's camera, which "gets" it all. The messenger is
naturally arrested, but later in the picture company's
factory the piece of film depicting the broker's crime
comes to hand and flashed onto a screen brings liberty
to the lad and prison to the knave.
'A Canine Matchmaker," January 28. Copyright 1913, Selig Polyscope Co.
January 18, 1913.
MOTOGRAPHY
55
Sans Grease Paint and Wig
By Mabel Condon
Ruth Stonehouse.
THAT "Life is
not a little bun-
dle of big things
but a big bundle of lit-
tle things," is Ruth
Stonehouse's motto,
and she loves it be-
cause it exactly fits
her ambition.
"Career?" There
was disdain in the
voice of Miss Ruth as
she pronounced the
word. "Fame?" How
dared such an unde-
sirable quantity in-
trude itself into her
thoughts ! No, her
ambition is even big-
ger. It is to marry
and keep house.
"A great many
more women accom-
plish being actresses,
musicians, or artists, than just being women," declared
Miss Ruth with energy, as she rolled her handkerchief
into a ball, then rolled the ball between her palms and
looked annihilation at the coverless ink-stand and thou-
sands of typewritten papers on the desk in front of us.
For we had retired to a deserted corner of the publicity
man's office, out at the Argyle studio of the Essanay
plant, as there were "ten million" girls in the co-operative
dressing-room down-stairs, so Miss Ruth said, and I for
one, was glad to escape getting into such a jam; so soon
after Christmas, too.
"More than anything else in the world, I want to be
a true woman," went on Miss Ruth when the ink-well and
papers had effaced themselves from her memory, because
she wasn't looking at them, and the typewriter behind
us clicked out convincing evidence of a busy existence.
"I'm queer, I guess, because I don't yearn for a career
or for fame. But there is no peace in going after either.
You're always trying to beat the other person to it and,
after all, you're not satisfied. I like peace ; peace of mind
above all things, for I have to please myself with what
I'm doing, or I'm miserable.
"Take my work, for instance. I got my start in pic-
tures through Gertrude Spoor. She's the dearest girl !
We went to school together and Mrs. Spoor used to take
me home in her car with Gertrude. When I was ready
to leave school, I was in a dilemma about what I was
going to do after I did leave. I wanted to do something
but didn't know what ; you know how that question wor-
ries girls !
"Well, I went ahead and composed a dance called
'The Moods of Women,' depicting caprice, love and joy,
which I practiced in a filmy costume which I made my-
self, and then changed to a cerise drape and danced hate,
grief and passion. But I had nobody to book me and no
idea of how to have it done; and one day I told Mrs.
Spoor about it. She and Gertrude interested Mr. Spoor
in me and he sent for me one day and offered me a
chance in picture work, but said I would have to make
good by myself and not to expect any help from him.
"So I started; that was a year ago. For the first
eight months, I was beautifully discouraged and cried
nearly every night. But I studied during those eight
months; I studied everything and everybody connected
with motion-picture acting and continued doing the little
parts that came my way. I had lots of parts to take,
that wasn't the trouble, but I never seemed to be getting
anywhere.
"Then, last summer, I went away with the company
and when I came back I was resolved I was going to do
something big. I was mad clear through and when the
role of 'Sunshine' was given me, I went into it with all
my energy ; and I discovered that my eight months of
study had not been for nothing. I was perfectly happy
with the success of 'Sunshine.' After that leads came
my way in abundance.
"It's splendid, doing whatever you're at, well," con-
tinued Miss Ruth as she tucked a stray corner of her
handkerchief back into the wad in her palm and nodded,
with a smile, to a stout gentleman with gray hair and a
roll of typed scenarios, who was carefully making his
way toward us through the row of desks and chairs in-
tervening.
"Sorry to disturb you, ladies, but I need this desk
for a few minutes," apologized the stout gentleman, and
we said "certainly" and moved to the next desk and Miss
Ruth found an extra chair, which she had to bargain for,
though, with Don Meaney.
Meanwhile I admired her clear hazel eyes, her soft,
wavy hair of the color that escapes being golden and yet
isn't brown and that goes so well with rich amber and
shades a lovely, lovely complexion that the owner cares
for by leading a peaceable, exciteless existence and avoid-
ing late hours and heavy foods. Also, I admired her se-
lection of a violet and rose corsage, of the variety New
York girls are affecting, entirely, this winter.
By that time Mr. Meaney had waived all repartee
4fftL
\^% ■£&£ • h*-', .
One of 'Em is Ruth Stonehouse; the Other is Her Sister Hazel, About 17
Years Ago. Guess Which.
honors in favor of Miss Ruth and very humbly placed
the disputed chair and retired as gracefully as a defeated
man ever can retire.
We started in at Denver, then, which I knew to be
Miss Ruth's birthplace, and where her father conducts a
Stonehouse Enameled Steel Mine Signal Company, and
reads every press notice given his "little girl," of whom
he is justly proud.
"I lived in the mining camps throughout Colorado
until I was seven years old," reminisced the "Colorado
Girl," as Miss Stonehouse is called in the west. "Then
we moved to Arizona where we lived on a ranch for five
56
MOTOGRAPHY
Vol. IX, No. 2.
years. It was there I learned to ride. When I was
twelve years old, my father was called to Chicago on busi-
ness and I was left in charge of the ranch and of my
younger sister. Hazel. We had a housekeeper, though
we girls had always kept house and cou1d cook as well
as anybody.
"The most awful experience I ever had occurred
then, while my father was away. There was a cloud-
burst and it rained torrents for four hours, from five to
nine, at night. The lightning split all the fence poles
and there were six inches of water on the kitchen floor.
To keep the house from floating away, we dug a ditch
clear around it ; that was the only thing that saved us.
"That same year we came East and I went to a
boarding school at Monticello. I had always been crazy
about dancing but everybody thought it was an awful
desire, and I wasn't allowed to take lessons. But one
summer the church was to have a program and wanted
someone to dance and I volunteered. I resurrected an
old pink silk dress, got a lady to play some Spanish music
for me and made up my dance and practiced it. When the
church program was over, a beautiful goddess in gray
came to me and said, 'My child, you're a born dancer,'
and I walked on air for the rest of the night.
"That was five years ago ; I've practiced almost four
hours a day since then, and have never taken a lesson.
We have a big mirror in one of the rooms at our flat and
in front of it, is where little Ruthie proceeds to perform.
But there is no chance of my ever getting vain as my
mother and sister, who are both very witty, comment
freely on everything I do."
The typewriter near us stopped its song of meaning-
ful clicks ; the stout gentleman heaved ho ! and gravitated
toward the doorway to find somebody to help him on with
his coat ; the call of the inner man was heard by even
Don Meaney, who disappeared studio-wards, to see that
all was well. Plainly, 'twas noon.
"But some day, I hope, somebody will want me and
I can keep house and cook and do all the things I want
to do. Some people believe that an actress or dancer
never would be satisfied as a home-maker, but I know
differently. I'll show them, too!
"And I have a hope chest. I don't believe, though,
in marrying a man you're loony about, for the glamor
is sure to wear off and, then, where'll you be ? Nowhere."
Miss Ruth's out-spread hands showed exactly where she'd
be.
"The man I'll marry is the man I can play with. If
I want to talk baby talk, he can do it, too, or at least let
me ramble on and he'll enjoy it ; if I want to build a block
house, he can have fun building one too ; if he wants to
read or talk philosophy, very well, I like to read and talk
it too, at times.
"For, above everything else, we must be pals. I
don't believe in long engagements, but I do believe in
people knowing each other, one, two, or three years ; long
enough for them to be sure they are congenial. But
the engagement — well, I'd like to be proposed to at five
o'clock, married at six and leave on a honeymoon at
seven. No weepy wedding or weepy funeral for me.
When I die I want to be cremated and have my ashes put
in a little rosewood box or scattered around the roots of a
rose-bush to help it grow ; I think that would be lovely !"
The idea was accompanied by a merry laugh, and the as-
surance that she meant it, every word.
What wise little people some twenty-year olders are,
anyway! Not all-wise, however, as Miss Ruth was per-
fectly unaware that the little picture of herself and sister,
taken when "herself" was three and one-half years old,
had come clear from Denver to accompany whatever
Miss Ruth was to say at our stuido talk-fest, and that
the little picture, itself, is already speeding on its safe
return to the city of the west and Miss Ruth's father.
The "youngest leading lady in motion pictures" was
a gay hostess at the chafing-dish luncheon which followed
and evidently had forgotten about the rose-wood box.
I never cared much for rose-wood boxes and now,
I know I never will.
Improved Carbon Holder
A picture machine operator requested me to make
him some carbon holders more durable than the ones of
cast brass, says D. A. Hampson in Popular Electricity.
I suggested cold rolled steel, though doubting its worth
(comparatively) because of its lower conductivity. How-
ever, they were made and tried .out and were found to
//*"<Screur
Ab./O Screur^
Improved Type of Carbon Holder.
take no more current than the brass ones and instead of
lasting three weeks they are evidently permanent, as the
high heat has little or no effect on them and at that heat
they are not brittle as is brass. The dimensions are all
given on the drawing. Also an improved terminal is
shown which carries the point of connection outside of
the machine where it is easy to work while the arc is
burning.
Cuvillier Bill Provides for Matron
At the request of the Society for the Prevention of
Cruelty to Children and other children's societies, As-
semblyman Cuvillier of New York has prepared for in-
troduction in the legislature a bill to admit children under
the age of sixteen years to moving-picture shows and
theaters without their parents or guardians, between 4
and 7 p. m., and on Saturdays, Sundays and school holi-
days between 1 and 7 p. m.
"My bill," said Mr. Cuvillier in a statement issued
recently, "makes provision that moving-picture shows or
theaters must have a separate space set apart exclusively
for children, which shall be in charge of a matron who
shall be licensed by the proper local authorities. It also
provides for the creation in each municipality of boards
of censors, to consist of at least one doctor, which shall
pass upon all pictures to be exhibited."
Suggests Pictures for the Poor
It is the intention of Governor Hunt to have the state
engage in the moving picture show business, the Review
of Bisbee, Ariz., suggests that while he is providing for
this class of diversion and entertainment for the convicts
confined in the state penitentiary that he also consider the
poor of the state who are not able to indulge in this luxur-
ious diversion. At every picture show at times may be
found poor children in front of the entrance with sad
faces and longing eyes as the crowd rushes in, who should
be regarded on an equality with the prisoners at Florence
in the matter of receiving the bounty of the state when it
is ready to go into the business of providing free moving
picture shows.
January 18, 1913.
MOTOGRAPHY
57
Photoplays From Essanay *s
Starting the New Year
FEBRUARY'S list of Essanay releases contains three
corking good "Broncho Billy" features, several
high class dramatic features, and some laugh-
getting comedy screams. "Odd Knotts" is one of the
funniest films yet released by the Essanay company. A
pathetic story, entitled "The Broken Heart," is a master-
piece in photography as well as dramatic portrayel. This
subject should run a close second to the tearful
"Madame X."
In "The Making of Broncho Billy," released Feb-
ruary 1, Broncho Billy is seen leaving his humble home
in the East to make his fortune in the far West. He
kisses his mother fondly good bye. Broncho Billy, a
tenderfoot at this time, arrives in the West, goes to a
hotel and engages a room. After placing his belong-
ings in his room he saunters about the hotel lobby. Al
Wilkes, a rough western cowpuncher, imagining he can
make this unknown man of the East dance, plays a lively
tune around his feet with a forty-four caliber revolver.
Broncho Billy gives Wilkes a look and calmly leaves
the room. Broncho then strolls into the gambling house,
and refuses to take a hand in the game. He then walks
'The Broken Heart.
"Don't Lie to Your Husband."
into the barroom and orders a glass of soda. Wilkes
enters the saloon and seeing Broncho Billy drinking the
nearest thing to water, makes fun of him. This grates
on the young easterner's nerves. Wilkes calls him a
"mollycoddle," or something to that effect. Broncho
suggests a fight to take place right then and there.
Broncho is informed by the cowpunchers who have con-
gregated that they are not accustomed to using fists out
West ; that if he wants to fight he will have to practice
shooting with a gun. Broncho immediately purchases
a beautiful horse pistol. Filling his pockets with ammu-
nition and taking his new treasure, Broncho puts up a
bottle on a rock in the road and fires several shots at it.
None of them hit the mark. A larger bottle is then
shot at without effect. Several months later Broncho
Billy is seen in a clearing in the woods with six beer
bottles lined up before him. He shoots at them and
hits his mark every time. A more difficult stunt is
then performed by his placing six playing cards on a
table some distance from him. Broncho Billy shoots at
these cards and punctures each one of them. Now
58
MOTOGRAPHY
Vol. IX, No. 2.
G. M. Anderson in "The Making or Broncho Billy."
Broncho Billy says, "Where is this fellow Wilkes?"
Wilkes has had a grudge against Broncho Billy ever since
the first meeting, and has waited for an opportunity to
shoot him. Broncho Billy sees the cowpuncher approach.
Wilkes pulls his gun, but is not quick enough, and
Broncho Billy shoots him in the arm. Fearing that the
boys will lynch him, he flees on horseback to the sheriff's
office, where he explains what has occurred. The sheriff
gives Broncho Billy a revolver and locks him in a cell.
The boys, hearing what has happened to Wilkes, go to
the sheriff's office, break the door in and are about to
capture Broncho when Wilkes arrives and explains to
his fellow cowpunchers that he was wrong. Broncho
Billy and Wilkes shake hands and everything ends in a
peaceful manner. G. M. Anderson demonstrates his
ability to use a gun to good effect in this remarkable
feature. See him shoot holes through those playing
cards !
"The Broken Heart," released February 7, opens
with Mr. and Mrs. Keith and their son Paul seated in
the living room of their home. The maid brings in a
letter. Mrs. Keith opens the letter and reads that her
brother is sailing that day from Yokohama, Japan, and
bringing back with him a little Japanese girl which he
and his wife have adopted. Some time later they arrive.
Paul is infatuated with O'Saki San, the little Japanese
girl, and spends many pleasant minutes with her that
I evening. He treats her as he would a doll. O'Saki San
falls in love with him. Paul caresses her. That evening
O'Saki San tells her new mother that she has fallen in
j love with Paul. Later Edith Towne, Paul's fiancee,
| arrives. O'Saki San meets her, but the little Japanese
girl is forgotten when Paul sees his beloved one. Paul
marries Miss Towne. From a window in her room the
little Jap girl, with her heart overflowing with love for
Paul, sobs her little heart out and prays to her God that
He will have pity on her. Several days later this little
queen of the land and of the sun and the cherry blos-
soms passes into another land from a broken heart. This
is one of the most pathetic feature subjects ever re-
leased by the Essanay Company. Ruth Stonehouse, as
the demure Japanese girl, plays the part with a masterful
interpretation of this magnetic character. Bryant Wash-
burn as the dashing Paul plays the role admirably.
"The Three Queens," released February 14, is an-
other meritorious feature for the month. This is ex-
ceptional in its theme. It shows how a man who has
been married for several years will sometimes neglect his
wife and family for club life and all that goes with it.
This is not only a good dramatic subject, but an impor-
tant object lesson. Wilburn Blackburn, a man about
town, a social favorite and a great club man, spends most
of his time at the club with his colleagues. His wife, a
shadow of the woman she used to be, is waiting in the
early hours of the morning for her husband's return.
'The Three Queens."
January 18, 1913.
MOTOGRAPHY
59
Previously their married life had been one of bliss. Two
charming children had blessed them. On this particular
night in mention the little girl, Dorothy Jane, four years
old, is very, very sick. The mother, still seated by the
window, waiting for her husband, notices the baby, a girl
of two, creep into the room. She takes the baby up in
her arms and holds her fondly to her breast and tells her
that papa will come home soon. The child goes to sleep
in her arms ; her mother carries her and places her gently
in bed. The father arrives, looks into the room, de-
cides not to disturb his wife, throws himself on the
couch and goes to sleep. He dreams that Dorothy Jane
is very sick. His wife asks him for money with which
to get medicine to fill a prescription. He argues with
her and finally gives her the money. He then goes to
the club and gambles, loses a lot of money, and leaves.
He then imagines that the baby has died, and, rushing
into the bedroom, finds that his wife has committed
suicide by shooting herself in the head. He is pros-
trated. His wife, having put the youngest daughter to
bed, enters the living room and finds her husband asleep
on the couch. She awakens him. He is so overjoyed
at seeing his wife, realizing that he had dreamed, that
he clasps her in his arms and promises her that he will
not go to the club again. He seats himself at a table
in the living room, and tries hard to play a game of soli-
taire. The boys of the club, noticing his absence, call
him up and ask him to come and play a game. The
temptation is too strong; he cannot resist. He goes to
the club, sits down and starts to play a game. The cards
are dealt and he holds three queens in his hand. The
cards dissolve and he sees the faces of his two loving
children and his darling wife. This is too much for
him. He rushes from the club, goes to a nearby florist,
where he purchases an enormous bouquet of chrysan-
themums and takes them to his wife, who is waiting his
arrival with open arms. Frank Dayton as the husband
plays his role in an exceptional manner. His ability to
portray these parts is remarkable. Helen Dunbar as
the wife gives a true interpretation of a loving mother.
The dissolving of the queens' heads on the cards is a
revelation in^he art of photography.
"Don't Lie to Your Husband," released February 6,
is a really funny comedy. Sitting at the breakfast table
Mrs. Warrington asks her husband Don for a fur over-
coat. She is told that she will have to get along without
a new coat this winter. Mrs. Warrington decides to
draw some money from the bank and purchase a new
coat. This she does. She buys a beautiful coat for
$125. To replace some of the money she has drawn
from the bank, she takes the fur coat and pawns it for
twenty-five dollars. Returning to her home, she tells
Mr. Warrington that she found a pawn ticket on the
street and would like to have him redeem the article.
Hubby takes the ticket and puts it in his pocket among
a lot of business papers. That afternoon Warrington
meets a friend of his on the street and pulling out some
papers to show him, accidentally drops the ticket. A
tramp finds it. This same tramp asks Jim Murehead, a
pedestrian, for a match. Murehead gives him the de-
sired phosphorus and discovers the tramp has a pawn
ticket in his hand. This he buys. Murehead then goes
to the pawnshop and gets the coat. He takes it to his
sweetheart, a stenographer in Mr. Warrington's office.
She is pleased beyond words. Mr. Warrington returns
to his home that evening and explains to his wife that
he lost the ticket. She becomes furious and, losing her
temper, ousts hubby from home with a shower of books
flying after him. He goes to his office and gives in-
structions to his stenographer that he will not see anyone
that day. Mrs. Warrington arrives at the office and is
told by the stenographer that she will have to wait if
she wants to see her husband. The stenographer leaves
the room. During her absence Mrs. Warrington dis-
covers a box on the table and recognizes it immediately
as being the one that her fur coat was in. She opens
the box and finds an old winter overcoat belonging to
some one of her sex. Thinking that her husband had
redeemed the fur coat, she comes to the conclusion that
her husband is entertaining "THE" lady in his private
office. This makes her furious. The climax comes
when the alluring stenographer walks into the office with
the fur coat on. Mrs. Warrington claims possession, as
does the stenographer. A hair pulling match is sched-
uled for immediate action when hubby arrives on the
scene. He explains to his wife that he knows nothing
whatsoever about the fur coat. Murehead, with his
young sweetheart stenographer, calmy leaves the office.
Mrs. Warrington then pleads forgiveness from her hus-
band and confesses to her deceit. Everything ends satis-
factorily, hubby promises his wife that he will see that
she gets a new coat, but not to make any unnecessary
withdrawals of cash from their bank account hereafter.
Miss Eleanor Blanchard in the role of Mrs. Don War-
rington is fine. Her portrayal of this character shows
what excellent talent she possesses. John Steppling as
the husband is as funny and clever as usual.
A few other feature releases for the month are
"Love and Lavallieres," a corking good comedy. "The
Girl in the Case" is another good comedy feature.
Mayor Gaynor Vetoes Folks Ordinance
Public taste and not municipal censorship must deter-
mine the character of moving picture shows, Mayor
Gaynor declared in vetoing the Folks resolution prescrib-
ing the conduct of this class of entertainments. If there
is to be any censorship of amusements it must extend to
"high class" theaters and all publications as well as to
moving picture shows, the mayor states in his message.
The resolution was passed after a long controversy in the
board of aldermen. In returning the measure the mayor
expressed the hope that it be repassed without the ob-
jectionable censorship clause.
"One of the fundamentals in our government," the
mayor wrote, "is that there shall be absolute freedom of
speech, and that includes freedom of all methods of
expression by writing or picture. There have been wars
fought to gain this freedom, and there never must be a
single step backward."
The mayor says he does not believe the people of
this country are ready to let any man or set of men de-
cide in advance what they are to read or see in enter-
tainments.
"If this ordinance be legal, then a similar ordinance
in respect of the newspapers and the theaters generally
would be legal. Are you of opinion that you have any
such power as that? If so, you should probably begin
with the newspapers and the so-called high class
theaters. Once revive the censorship and there is no tell-
ing how far we may carry it. These moving picture shows
are attended by the great bulk of the people, many
of whom cannot afford to pay the prices charged by the
theaters. They are a solace and an education to them.
Why are we singling out these people as subjects neces-
sary to be protected by a censorship ? Are they any more
in need of protection by censorship than the rest of the
community? That was once the view that prevailed in
government, and there are some among us, ignorant or
untaught by past ages, who are of that view now. Are
they better than the rest of us, or worse?"
60
MOTOGRAPHY
Vol. IX, No. 2.
The Motion Picture Exhibitors'1 League
of America
General Headquarters
703 Euclid Ave., Cleveland, Ohio
OFFICERS OF NATIONAL ASSOCIATION.
President, M. A. Neff, Lock Box 15, Cincinnati, O.; Secretary, C. M. Christenson, 703 Euclid Av., Cleveland, O.; Treasurer, J. J. Rieder, Jackson,
Mich.; Vice-Presidents, S. E. Morris, Cleveland, O.; Wm. J. Sweeney, Chicago, 111.; Fred J. Herrington, Pittsburgh, Pa.; B. L. Converse, Owassa,
Mich.; H. S. Dickson, Winchester, Ind.; E. W. Waugh, Huntington, W. Va. ; Orene Parker, Covington, Ky. ; Geo. H. Wiley, Kansas City, Mo.;
Chas. Rothschild, San Francisco, Calif.; Sidney Asher, New York, N. Y.; Fulton Brylawski, Washington, D. C. ; L. F. Blumenthal, Jersey City, N. J. ;
H. C. Farley, Montgomery, Ala.; E. V. Richards, Shreveport, La.; F. W. Young. Cedar Rapids, la.; W. H. Wassman, Nashville, Tenn. ; Anthony J.
Xydias, Houston, Tex.; Carl Gregg, Tulsa, Okla. ; Paul LeMarquand, Winnipeg, Can.; M. C. Everstein, Jacksonville, Fla. ; Geo. Osborn, St. Paul, Minn.
Preparing for the Ohio Convention
Ohio is certainly making great preparations for the
convention to be held in Columbus, Ohio, at the South-
ern hotel, on the 21st and 22nd of January, 1913. The
state officers' office is flooded with letters and inquiries
for space, etc. Three hundred and thirty-two members
of the League of Ohio, State Branch No. 1, have
already written that they will be at the convention with-
out fail. Cincinnati Local No. 2 has made reservation
at the Southern hotel for thirty-five rooms. Manufac-
turers who desire to give an exhibition should take notice
that the Southern hotel is going to be crowded with
exhibitors. There have already been sixteen exhibitors
inquiring if moving picture machines will be shown, and
there are inquiries coming in in regard to accessories of
all kinds, as a large number of exhibitors who will attend
the convention are waiting to see the various makes and
kinds of things they desire. This should be a most
Local Committee of Columbus Convention. Standing: Max Stearn, John
Pekras, Clem Kerr. Sitting: W. R. Nelson, J. H. Maddox, J. W.
Swain.
profitable convention for those who make exhibits. Presi-
dent M. A. Neff left Cincinnati Friday night, arriving
in Toledo Saturday morning, January 4, and held an
enthusiastic local meeting at Room 50, Boody hotel.
Toledo is in line and will be at the state convention with
a strong delegation. Mr. Neff went from Toledo to
Columbus to confer with the 'local committee who are
preparing to take a picture, and getting everything ready
for the big meeting. Gaumont will take a picture of the
parade of the motion picture exhibitors and the visit of
the exhibitors to pay their respects to Gov. Coxr on his
special invitation. This will be a feature picture, as it
is expected all the state officers, senators, representa-
tives and a large number of prominent exhibitors will
assemble in front of the capitol of Ohio and be photo-
graphed by Gaumont's special camera man. The Cham-
ber of Commerce is assisting local committees in making
the convention a great success. There will be a great
deal of competition as to the delegates who will be
elected to attend the national convention to be held in
New York in July. A special committee has been ap-
pointed to entertain the ladies while the gentlemen are
in executive session.
All roads will lead to Columbus on the 21st and'
22nd. Big preparations are being made by special com-
mittees appointed for the entertainment of the national
vice-presidents, who will arrive in time to attend the big
banquet on the evening of the 23rd of January, when
they will go into executive session, as there will be a large
amount of executive business to be transacted.
Revise Rules for Minors in Denver
Ah amendment to the new public amusement bill
and co-operation between the moving picture men and
inspectors in enforcing the ordinance in Denver will be
the results of a conference held by Judge Ben B. Lindsey
and proprietors of the theaters affected by the law.
The amendment which will be introduced in the
council by Supervisor McGauran will extend the time at
night during which children under 16 accompanied by
older persons can be admitted to moving picture shows
and places where moving pictures are exhibited. When
public schools are in session the limit at night will be 8 :30
o'clock under the amendment instead of 7 o'clock and on
the holidays at 9 o'clock.
The meeting was attended by representatives of all
the theaters with the exception of two of the largest, and
Mrs. Josephine Roche, Denver's only "policewoman."
The discussion was amicable.
The chief complaint against the law came from the
proprietors of the small houses in the residence sections.
They said their chief patronage" was in the early evening
and they thought they were being discriminated against.
All the picture men seemed agreed that the law was en-
tirely too severe.
Judge Lindsey pointed out that it did not interfere
with the right of parents to take their children to the
theater, the law affecting only children who attended un-
accompanied by parents or guardians.
It was proposed that the time at night be extended.
The moving picture men said they would be satisfied with
the law and would agree to do everything in their power
to assist in its enforcement if 8 :30 was made the limit at
night on schooldays and 9 o'clock on holidays. They
argued that the effect would be to induce parents not to
keep the children at shows after 8 :30 o'clock at night.
Objections was also made to the provision in the
ordinance which requires the show houses to issue sep-
arate colored tickets to juvenile patrons.
"I think if you gentlemen understood the purpose
of this section you would withdraw your objection," said
January 18, 1913.
MOTOGRAPHY
61
Judge Lindsey. "The provision was inserted so that a
monthly report might be made to the National Children's
Bureau as to the number of children attending moving
picture shows in Denver.
"The bureau is anxious to gain facts regarding the
children in the large cities. The government can now
tell us a great many facts about hogs, but practically
nothing about children. In return for the license given
by the city to the proprietor of a moving picture house
to exploit the curiosity and desire of children for pleas-
ure, there must be a corresponding responsibility to co-
operate with the state in the gathering of important facts
and in the protection of children who attend such places."
The judge agreed to the extension of time and the
film men agreed to withdraw their objection to the ticket
provision.
The increase in price of admission announced by
the moving picture men went into effect December 30.
The Colonial theater will remain in the "trust," but
like the Iris, which will become independent, will keep
five cents as a price of admission.
Paul, January 28 and 29, to consider proposed legislation.
The Northern Minnesota Theater Managers' association
will meet at the same time. Bills governing building
codes, censorship, child labor and other matters pertain-
ing to the motion picture industry probably will be ap-
proved by the convention and presented to the legis-
ture, which then will be in session. The committee on
arrangements is composed of the following St. Paul
owners : James Gilowsky, Guy S. Greening, H. S. Mitch-
ell, Reuben & Finkelstein, George Osborn and R. E.
Willis.
League to Meet and Frame Laws
The Motion Picture Exhibitors' League of Minne-
sota will meet in special session at The Saint Paul, St.
Limit on Chicago Programs
Chicago motion picture exhibitors agreed, as mem-
bers of the Chicago Exhibitors' League, to limit their
daily programs to three reels of films. A resolution re-
stricting showmen from putting on additional releases
was adopted at a recent session of the organization. W.
J. Sweeney, president of the Illinois State Exhibitors'
League, returned from a trip to New York in the inter-
ests of his organization. It is purposed to have resolu-
tions passed, calling for four daily releases instead of
three. This action, according to Mr. Sweeney, will en-
able the exhibitors to give better shows at the present
maximum figures.
Of Interest to the Trade
New Film's Mysterious Debut
There is a film that will release shortly, of which
very little is known, and very little said by the pro-
jectors. They are men of standing in the motion pic-
ture industry, men who have given long years to the
business of making motion pictures, and they declare
they have a picture that is a revelation in production,
photography, acting and all else.
But they do not wish to give out details until the
picture is ready for the market. Then, they state, they
are anxious to step boldly into the limelight with their
product and invite criticism, if any offers. They pre-
ferred to do the preparatory work quietly and away from
all disturbance. Indeed, their advertisement in this
paper is the first that they have issued, although they
completed the construction of a first-class studio in Cali-
fornia one month ago.
The statement is made that, although the plans of
the new producer have been kept from the general pub-
lic, exchange men have been shown their efforts, and
almost two-score have "ordered." Just who these are,
and the exact nature of the pictures they are receiving,
will be made public very shortly. So far the only im-
portant information given out is that the new film is
called "The Royal."
Yale-Princeton Game in Pictures
The Yale-Princeton football game of 1912 was
played over again, on a motion picture screen, on the
evening of January 11 for the entertainment of the
members of the Yale Alumni Association of the North-
west at its annual meeting at the Minneapolis club.
Professor H. C. Emery, head of the Taft tariff commis-
sion, was the speaker, Dr. George E. Vincent, president
of the University of Minnesota, and Dr. Cyrus North-
rop, president emeritus, Yale, '57, was present. Elmer
W. McDevitt, '12, of Duluth, Minn., a coach at the Yale-
Princeton game, was one of the guests.
Current Cines and Eclipse Films
A program of interesting and pleasing variety con-
sisting of two strong, well-acted dramas and a first-class
comedy is promised by George Kleine for the week end-
ing January 25.
"She Shall Not Know" is to be the Tuesday
Cines. It describes the self-sacrifice and loving devo-
tion of a girl who is forced to meet almost single-handed
the misfortunes which visit a household after the death
of the fond father. The family lawyer informs her that
the estate is practically bankrupt, which fact she is forced
to keep from her prostrated mother, who would not be
able to bear the shock of the bad news. It is interest-
ing to witness her many subterfuges and excuses which
she uses in her efforts to guard the fact from her parent
who entirely unsuspecting the real circumstances calmly
arranges for her daughter's dowry in connection with a
proposed marriage. Of course, the daughter is finally
compelled to make a grave decision. She must either
reveal to her mother the truth, or else sacrifice her own
happiness. After a short struggle in her heart she de-
termines upon the latter way and writes a note to her
sweetheart breaking the engagement, that her mother
might be shielded from the mortification of their
poverty.
"Just Missed Him," the Wednesday Eclipse, is a
first-class comedy describing the antics of Sam Slick,
who affords much amusement in his many hair-raising
escapes from the police. Half a dozen times the minions
of the law appear to have him firmly in their power, but
somehow the slippery fellow manages to wriggle from
their grasp in the most astonishing manner. It is a film
that will bring many a shriek of laughter. On the same
reel is an interesting travel subject.
For the Saturday release "Plot and Counterplot" is
a detective story of unusual worth. Detective Norton
is engaged to investigate the mysteries which surround
the clever machinations of two suspected guests at a
house party. The latter boldly attempts to throw him off
62
MOTOGRAPHY
Vol. IX, No. 2.
the scent by inventing several false clues, but the sleuth
finally suspects the real facts in the case and manages to
overhear their plans. The climax is especially startling
and well worked out. While the detective and the rob-
ber-guest are walking together in the park, they are sud-
denly surrounded by six masked men who appear to be
accomplices of the "guest," who exults in believing that
he now has the detective in his power, but at a signal
from the latter the men suddenly turn upon the imposter,
who, to his dismay, learns that he is under arrest and
that his accomplices are in jail. Detective stories of this
kind are always much in demand, and this one should
prove a feature for. any program.
Denmark's Big Film Plant
One of the largest and most thoroughly equipped
motion picture manufacturing plants in the world is
maintained by the Great Northern Film Company in
Copenhagen, Denmark. The main offices of the com-
pany are located in the heart of the city and the fac-
tory buildings are not far distant. The studios, five in
\v^k
&K^Q
¥l
r*
O. Oleson, President,
Great Northern Film Co.
Ingvold C. Oes, General Manager
Great Northern Film Co.
all, are located in the suburbs of the picturesque capi-
tal, and these are in constant use by the directors and
the company of players on the roster of the Great North-
ern Company. The offices, factory and studios are in-
deed a collection of the busiest hives of industry in
Exterior of Great Northern Studio No. 5.
Copenhagen. The products are shipped to all parts of
the world, and wherever cinematography has been in-
troduced the trademark of the Great Northern Bear is
familiar on every screen.
The natural scenery in suburbs of Copenhagen and
in the country surrounding this quaint old city afford
all that could be desired for the taking of motion pic-
tures and the atmospheric conditions have been pro-
nounced ideal by experts in the art of motography.
The company boasts of a perfectly equipped circus
arena, in which many of its most talked of f ature pro-
.; '_„
s.^ar-9-r- ■-— w -V--W-SW. - (! —
■:■■
^^^
_ ; — j^
■ '' <iJ*i
J ' A I
rf'{
Lis*
- a 3 1 vl
"m ^*»
Rehearsal in Great Northern Studio No. 2.
ductions are made, and as for stories that call for the
sea as a background, there is at the disposal of the direc-
tors a wide expanse of water connecting the Baltic with
the North Sea. In short, nothing is lacking for the
manufacture of films that have earned an enviable repu-
tation for the excellency of their photography and the
splendid work of the acting forces.
The officers of the Great Northern Film Company
Employees of the Great Northern Film Company's Factory.
are particularly proud of the company of players that
has been assembled to take part both in the regular re-
lease subjects and the feature productions. The prin-
cipals have been engaged from the ranks of the fore-
most actors and actresses of the Royal Theater in Copen-
hagen, as well as from other of the principal playhouses
of Europe. Aside from the players there are upward of
five hundred people employed in the offices, studio and
plants of the company, and when the product reaches
America, the assurance is given that it is near perfection
as has been attained in the art. The studios of the com-
pany are in use night and day, and the resources of the
factory are being tested to the uttermost in order to
meet the demand for the subjects produced by this com-
pany.
January 18, 1913.
MOTOGRAPHY
63
Exchange of Gifts at Selig "Western Studio
On Christmas day the members of the Selig com-
pany summoned Marshall Stedman, manager, and Wil-
liam Duncan, producer, to the office. When they ap-
peared Mr. Cuneo, in behalf of the company, presented
each of them with a handsomely mounted Elk tooth.
The teeth came from the elk that was killed some time
ago in a picture produced by Mr. Stedman called "Be-
tween Love and the Yaw." In this production Mr.
Duncan played the leading role. The elk was one of the
largest killed in that part of the country for some years,
and the teeth are unusually fine. As Mr. Stedman and
Mr. Duncan are both Elks, the present was most appro-
priate and was much appreciated by the two Selig mem-
bers.
William Duncan, on his own behalf and to show his
appreciation of the good work done in his pictures by the
cowboys, on Christmas presented each cowboy with a
handsome fob. The silver plate on the fob bears the
Selig trademark and the words: "Rider — Selig — 1911-
1912," engraved on it. The boys were delighted and
voted three cheers and a tiger for their producer. Mar-
shall Stedman presented each of the boys with a silver
and bronze match box, which were much appreciated by
the cowboys. Miss Stedman, the leading lady, received
many simple but attractive gifts from the "boys," with
whom she is a prime favorite.
Thanhouser Activities
The release list for the first week in February will
show the efforts of the Thanhouser producers in three
widely separated regions.
Sunday, the first, sees the release of "Some Fools
There Were," produced by the California organization.
It features Flo La Badie, Jean Darnell, William Gar-
Thanhouser's Two-Reel Feature "The Dove in the Eagle's Nest," Jan. 28.
wood, William Russell and Riley Chamberlin. It is a
story of a flirt who turns the head of many, many men.
She is portrayed by Miss La Badie. "A Mystery of
Wall Street" is issued Tuesday, the fourth, by the home
company at New Rochelle. The leads are Mignon An-
derson and Eugene Moore. As its title signifies, it is a
story of the ticker. There are said to be some stirring
scenes on 'change. Harry Benham is the feature of
"Half Way to Reno," released by the Middle-West
organization on Friday, the 7th. A two-reel feature,
with Marguerite Snow and James Cruze, made at New
Rochelle, is scheduled for release later in the month.
Odd Film by American
February 1 is the release date on an American film
of odd description. The title is- "Women Left Alone."
The story goes :
The Jungle Man left his wife, for the Jungle Man heard
the call of the Sea. The Man of the Sea left his wife, for he
heard the call of the Jungle. Thus instinct led each into the
other's domain to witness the wonders of the Earth.
And so the Jungle Man met the wife of the Man of the Sea.
She understood his desires and was afraid of him, for she was
of the sea and the world. And so the Man of the Sea found
his way to the wife of the Jungle Man, and being of the Sea and
the world he understood and made known his desires, but she, in-
stinct guided, fled him.
And thus both the Man of the Sea and the Jungle Man, tired
of their excursion, took separate ways to their separate houses,
the wanderlust conquered, each harkening to the call of his
mate.
Jack Richardson plays the Jungle Man, Jessalyn
Van Trump his wife, Warren Kerrigan the Man of the
Sea and Pauline Bush his wife.
Kennedy Forms Kinetograph Company
A new film manufacturing company, to be known
as the Kinetograph Company, has been formed with
J. J. Kennedy, president; Percy L. Waters, vice-presi-
dent and treasurer, and Dwight McDonald, secretary.
The new concern has secured a license from the Patents
Company, it is said. The executive offices will be located
at No. 46 West Twenty-fourth street, New York.
The Kinetograph Company will also operate an
exchange which will be located at No. 71 West Twenty-
third street. Mr. Kennedy was formerly president of
the General Films Company, and Mr. Waters was also
connected with the same company in the capacity of gen-
eral manager.
Mutual Film Declares Dividend
The remarkable progress of the Mutual Film Cor-
poration is shown by the declaration of a dividend by
the treasurer, who has sent the following official notice
to all stockholders :
The Film Exchange Corporation, the holding company of
the Mutual Film Corporation, has declared a dividend of three
and one-half percent upon the preferred capital stock of Film
Exchange Corporation, payable January 14, 1913, to stockholders
of record at the close of business on January 11, 1913. Trans-
fer books will be closed from January 11, 1913, to January 16,
1913. Dated New York, January 4, 1913.
Charles J. Hite, Treasurer,
The Mutual Film Corporation began operations less
than a year ago, starting with a few exchange offices,
and now has thirty-two branches, scattered in advanta-
geous positions throughout the country.
Where the "Mystery Studio" Is
It is now announced that the motion picture studio
in California that has been equipped for the production
of the new Royal films is located on Fairview place, Los
Angeles. Residents of that section of the city will now
know the reason of the bustle thereabouts of late. "The
strangers were there on important motion picture busi-
ness.
Thanhouser Plant Burned
It is reported that the plant of the Thanhouser Film
Corporation at New Rochelle, New York, was consumed
by fire January 13. At the hour of going to press de-
tails were not at hand. All negatives were saved.
64
MOTOGRAPHY
Vol. IX, No. 2.
Brevities of the Business
PERSONAL NOTES.
Don Meaney is the new dopester at Essanay's. The film
business may be held accountable for the word "dopester," all
right, but it was never responsible for Don Meaney before he
slipped into the berth made vacant
by Harry Steck's promotion. To
be sure, Don Meaney knew the
word dopester and in a general
way he could give a fairly good
definition of its meaning, but
shaken right down to the desk
level, there were some things
about the job he'd have to learn.
He would tell you that himself.
But what wots it — Meaney is the
kind that learned rapidly. He was
born in Chicago — up on the north
side — Chestnut street. He has
good eyes and a strong chin and
his teeth turn in ! He had learned
other things in a hurry and he
was to be dopester for Essanay.
Both Meaney and his employer
had agreed upon it. Don Meaney
was born May 2, 1888, and attend-
ed the public schools at River-
side— a Chicago suburb. When
he was in high school he distin-
guished himself by leading the
football team to victory, time and
time again. Meaney was captain, having carved out leadership
as early as that. When he was seventeen he walked the 603 miles
which are strung out in consecutive order between Buffalo and
Chicago and between Chicago and Buffalo, depending upon where
you start, in twenty-two days. He started as pilot for the
Chicago Athletic Association; tracing out an automobile course
or something. When he got warmed to the work, walking as a
business seemed to fit Meaney as well as anything else he had
tackled. Then it was that Paul Morton wanted a report on
lake traffic and he sent Meaney to Duluth via the lakes. The
going was more comfortable, though not much faster. Meaney
comes out of the ranks of newspaper men. He has been with
the New York Telegraph, the Billboard and the Chicago Ex-
aminer. His leaning has been toward vaudeville and as a vaude-
ville critic. He contributed much towards the success of Sophie
Tucker, Rae Samuels, Jeannette Miller, Virginia Grant, Harry
Hines, Hager & Sullivan and others.
As the publicity manager of the Essanay Film Manufactur-
ing Company, filmdom has a new and versatile recruit who will
grow in popularity among his fellows.
David Kirkland has rejoined the Essanay forces at Niles
after being a member of the Hollywood branch for the past
two months.
J. Edward Hungerford of Walla Walla, Wash., one of the
best known magazine writers on the northwest coast, recently
became associated with the scenario department of the Selig
Polyscope Company. Among his picture play scenarios are:
"Bread Upon the Waters," "Nobody's Boy," "You Never Can
Tell" or "A Question of Hair," "Yankee Doodle Dixie," "The
Clue," and "That Mail Order Suit."
Stanley Sargeant is among the genuine cowboys employed
by the western Essanay Company. His father is Superior
Judge B. V. Sargeant of Monterey county. Young Sargeant
has always preferred the life of a cowboy to the environments
of a city. He has been a member of Mr. Anderson's company
for two months and especially likes the life of a motion picture
cowboy.
Tom Mix just recently unloaded at Prescott, Ariz., a choice
carload assortment of scenery, properties and small arms, together
with a gatling gun, 'drawn from the immense property depart-
ment of Johnnie Langmack, who is the most versatile personage
in the Selig Polyscope plant. After the picturesque Mix had un-
limbered his hard work, he opened a second car of trained horses
that had been cared for by George Hooker en route. Tom
Mix has a silver plate on his saddle stating that he is the cham-
pion roper, steer and bull dodger and broncho buster. His
association with the company under the direction of producer
William Duncan means an efficient factor in that hard work-
ing organization.
Kenneth D. Langley has managed some of Charles Hoyt's
famous comedies for pictorial purposes of the Selig Company,
all rights have been fully protected.
Rex de Rosselli, of the Selig Colorado studios, had the
X-ray turned on him last week to determine the location of a
piece of bone which was shattered from his hip some weeks
ago. The bone being located, Mr. Rosselli went on the operating
table and the fractured particle was removed. In the mean-
time the company has had to lay aside "The Deputy's Xmas
Gift" until Mr. Rosselli has recovered as he was playing an im-
portant part in that picture when forced to take to his bed
on account of the pain from the shattered bone.
Wallace Reid, director of one of the "Flying A" companies,
sustained severe injuries to his left leg when, on horseback, he
wss giving chase to a runaway on the boulevard one afternoon
recently. His horse fell with the rider beneath it. Mr. Reid
and Miss Lillian Christy, leading woman of the company, had
been at the plaza and were about to return uptown. The two
horses were untied when that of Miss Christy's dashed away.
Mr. Reid was immediately astride his own and giving chase to
the runaway. He was in a wild gallop about a block from the
plaza when the animal lost its footing on the pavement and fell,
carrying its rider with it. Mr. Reid's left leg was pinned be-
neath his mount and he suffered a severe sprain of the left
ankle. The runaway stopped of its own accord upon overtak-
ing other "Flying A" horses which it had started to follow.
Mr. Reid's injuries did not interfere with the direction of his
company, although he will not be able to wear a shoe on the in-
jured foot for several days.
Harry Cohen, of the Selig Polyscope Company, left Chicago
New Year's night to take charge of the offices of the General
Film Company at No. 7 Front street, Toronto, Canada. The
ice palace shows signs of melting in Cohen's neighborhood. He
is a live wire.
Thomas Persons, superintendent of the Selig plant, is spend-
ing a fortnight at Prescott, Arizona, visiting in that picturesque
neighborhood. This is the first vacation Mr. Persons has al-
lowed himself in many moons. He is some roper and rider
himself, and although he has some good sided weight in his
own right never asks a handicap.
H. W. Lamb, who at one time owned an exchange in New
Orleans, is now managing the C. C. Film Company. Mr. Lamb
succeeds Earle Crabbe, who has launched in the feature game and
is operating the Owl Film Company.
William Wallace Thomas, who was a former Powers' lead,
has joined the forces of the Universal Company in California.
Joseph Hopp, proprietor of the Standard Film Exchange,
was presented with an ebony cane topped off with gold and the
inscription of his name, the year 1912, from H. D. Tichner,
manager of the Louisville office of the Exchange.
Director Charles E. Inslee is taking a company of sixteen
Universay players to the Hawaiian Islands where they will make
a series of pictures covering a lapse of three or more months.
Julius Frankenberg, right power in the office of Oscar Eagle
in the Selig studio, is the latest to join the Selig benedict class.
His bride is just recently from across the sea and was Miss
Marguerite Hemple. When the secret was loosed, the members
of the stock company declared their good wishes by presenting
a chafing-dish and coffee-perculator, to give the young couple
a start in light housekeeping. Mr. Frankenberg was formerly
the secretary of the late Henrich Conried of the Metropolitan
Opera in New York.
H. A. D'Arcy, late press agent for Liebler & Company,
and the Shuberts, is now manager of the publicity department
of the Lubin Film Company of Philadelphia.
C. J. Hite, who manages the course of Thanhouser events
from the office at New Rochelle, New York, was a welcome
visitor at the office of Motography last week
Joseph Hopp and C. R. Plough Twentieth-Centuried from
Chicago to New York last week to represent, respectively, the
Standard Film Exchange and the Anti-Trust at the January
eighth meeting of the committee of the Independent Exchange
Company and the executives of the Universal Film Manufactur-
ing Company. The committee consisted of William Oldnow, of
the Consolidated Film Supply Co. ; Frank Bailey, representing
the Pacific Film Exchange ; Frank Drew, of the Universal Film
Co., Detroit; A. S. Davis, Indepedent Film Exchange, Pittsburg,
and Joseph Hopp, Standard Film Exchange, Chicago.
Wlliam W. Hines, of long experience in the theatrical
publicity field, has been added to the Kinemacolor staff as pub-
licity expert.
Leornard W. McChesney, recently the assistant advertising
January 18, 1913.
MOTOGRAPHY
65
manager of the Thomas A. Edison, Incorporated, has left Orange,
New Jersey, for Denver in the interests of the General Film
Company.
Chester B. Clapp, a scenarioman of the Biograph Company,
has gone to California.
Mona Darkfeather has received a complete new Indian
outfit made for her by the Indians at the Universal camp and
presented as the gift of Director Montgomery. The dress weighs
twenty-five pounds, is of buck-skin and covered with bead work
and paintings, every one of which is symbolic of a bit of Indian
folk-lore.
Max W. Herring will represent the Feature Foto-play Com-
pany on a trip from New York to the coast, calling upon feature
exchanges and film buyers throughout the country.
Brinsley Shaw, one of the Essanay western company's
star actors, branched out as a director while G. M. Anderson
was away on his holiday trip to the East. Shaw directed the
moving picture forces of the Niles company during Mr. An-
eral Film Company service.
Stanley Twist, the eminent publicist of the Selig Polyscope
Company, and a director of the Chicago Press Club, has just
returned from paying his mother a visit at her home in Los
Angeles, California.
Miss Dorothy Phillips, prominent in theatrical circles, and
known for her remarkable ability as an emotional actress, both
on the legitimate stage and in photoplays, signed a contract with
the Essanay Film Manufacturing Company to play dramatic
leads. Miss Phillips played the role of Modesty in Henry Sav-
age's great success, "Everywoman." Miss Phillips, during a short
period of time, about eighteen months ago, played several leads
for Essanay. Her ability to "catch on" and play the different
characters given her, will help wonderfully and materially in
making her without a question of a doubt a great photo-play
star.
The death of L. G. Coover, who handled the advertising mat-
ter for the Eclair company and Union Features, is felt deeply
throughout the film world. He was known extensively and his
pleasant manner and ability made him a large number of friends.
Mr. Coover became ill while at his desk on the morning of Janu-
ary fourth. He was taken home and his malady pronounced
peritonitis ; a later diagnosis proved it to be appendicitis and on
January eighth the patient was taken to a hospital and operated
upon but never recovered from the anesthetic. He died late in
the afternoon. Mr. Coover was thirty years old and had a prom-
ising career before him. He is survived by his mother who lives
in Los Angeles, Cal.
ROLL OF THE STATES.
ARIZONA.
Plans are being prepared for a new picture theater in Troy
to be erected on 4th street on property owned by Geo. P. Ide
estate. The cost will be $200,000.
ARKANSAS.
The Electric theater, a new moving picture show at Arkan-
sas City, which has just been opened, promises to be well pat-
ronized. The theater' is well constructed and has its own elec-
tric light plant. The management is not sparing expense to give
its patrons the best reels.
The Rex Theater, the newly erected moving-picture house
in Argenta, located at 221 Main street, has held its formal opening,
and moving picture are being shown continuously through the
best moving picture service in the South. The building was fit-
ted up at a cost of several thousand dollars, and among other
things has a fine five-piece orchestra.
CALIFORNIA.
L. E. Cummings of Los Angeles has leased the storeroom
in the_ Jacobs' block on Mission street, and has commenced to
equip it for a first-class picture theater. The house will have a
seating capacity of 250.
Moving pictures, as an educational feature, will be intro-
duced into Polytechnic High School at Los Angeles as a result
of action taken by the Board of Education. The board ordered
a special fireproof machine.
DELAWARE.
Articles of incorporation were filed at Dover, at the state
department, for the Pittsburg Moving Picture Machine and Film
Company to buy, sell and deal in and with moving pictures, films
and supplies for the same, and to rent films. Incorporators : O.
F. Krugh, J. M. Warfield, A. C. King, all of Pittsburg, Pa. Capi-
tal stock, $25,000.
FLORIDA.
F. J. Wilder, a Jacksonville boy, has remodeled and decor-
ated the store at 529 Riverside avenue and will in future run a
first class moving-picture theater at this number. He has en-
gaged the services of Miss Elsie Reighard, a pianist and singer,
who has had eight years' experience in this line.
ILLINOIS.
Felix B. North, has purchased a building on West Main
street, at Galesburg, and will convert the building into a moving-
picture house.
George Brown of Delavan is arranging for a moving-picture
show at Hopedale.
A theater to cost $6,000 will be erected at 8402 Superior
avenue, Chicago. Architect F. W. Fischer, 9154 Commercial
avenue.
The construction of a hippodrome for Chicago will be be-
gun May 1 at 340 South State street. The site has been leased
by Jones, Linick & Schaefer. The project represents an invest-
ment of $7,473,000. The building will seat 3,000 persons and
there will be no posts or other obstructions to hide the stage.
INDIANA.
With a capital stock of $20,100, the Wayne Film Corporation
of Warsaw, has been organized by the following men : Addison
D. Whitman, O. W. Clemmer, William P. Clemmer and Walter
Brubaker. An office will be opened in this city and the com-
pany will deal in feature films.
Middle West Film and Exchange Company, Indianapolis ;
$10,000; to deal in motion-picture films, etc; J. B. Davidson,
Muncie, Ind. ; R. Kilmere, A. McCormick.
Fire, having its origin from the explosion of a stove, gutted
the Grand Theater, a moving-picture house owned by Harry and
Ray Palmer at Washington, doing damage to the extent of $1,500.
The building, which was owned by Hugh McKernan, was dam-
aged to the extent of $300.
Ora Fisher has disposed of his Cozy Motion-picture Theater
at Rockville to S. P. Barnett of Youngstown. Mr. Barnett for-
merly lived in Parke county and is well known there. Mr.
Fisher and family will soon move to Long Beach, Cal., for the
benefit of Mrs. Fisher's health.
With the view of inducing the state to introduce into its
common school studies moving pictures of an educational type,
such as are being displayed in New Jersey schools and elsewhere,
the motion-picture men of the eighth Indiana congressional dis-
trict have formed an organization at Muncie and elected officers.
T. C. Lacey was chosen president of the Muncie division, and
John Rosenbery of the Anderson division. It is the intention of
the association to make certain representations before the 1913
session of the Indiana legislature relative to the betterment of
conditions in moving-picture houses.
Huntington Motion Picture Company of Indianapolis; capi-
tal, $25,000; directors, T. Guy Perfect, Harry A. Perfect, Ora
E. Perfect.
Harry Long has rented the business room at 1404 South
Calhoun street, Fort Wayne, and will start a moving-picture
show.
IOWA.
Charlton is to have another picture show, the new theater
being under direction and management of J. D. Banning of Des
Moines. It will be housed in a new building erected and designed
especially for it on the east side of the square, on a lot owned
by Mrs. Fern Becker and Mrs. Mary Bowen. The new build-
ing will be made of cement blocks, with press brick front of
either red or gray brick, will be 20 by 100 feet and have a fine
tiled entrance.
Fred Frakes and John Smalley of Eagle Grove have pur-
chased a moving-picture outfit and are giving traveling shows
through the cold weather months.
County Recorder Mrs. Frank Dodson entered the moving-
picture business when she left the court house January 1. She
purchased the picture theater at Nineteenth and Crocker streets
and assumed charge of it immediately.
James Harmon, proprietor of the "Cozy" moving-picture
show at Odebolt, has sold to a Hartley, Neb., man. The new
proprietor promises improvements to the extent that Odebolt
will have an up-to-date picture-play house.
Kellogg is to have a new opera house. J. E. Craven will
erect same.
A new Powers No. 6 moving-picture machine has been in-
stalled at the Bijou, at Grove. It is the latest machine made, and
almost entirely does away with the quivering motion of the pic-
tures, thus making them much clearer and far less tiresome to
the eyes. The Bijou is one of the best picture shows in this part
of the state and well deserves the liberal patronage it receives.
KANSAS.
C. McCollister, manager of the Star Theater, 221 East Doug-
lass avenue, Wichita, has completed arrangements to remodel his
theater and make it a more up-to-date show house. He has
leased the second floor of the building which the theater occu-
pies and will convert it into a balcony. The theater has a seating
capacity at present of 340, and with the new balcony will seat
over 600 people. Mr. McCollister states that he intends to make
66
MOTOGRAPHY
Vol. IX, No. 2.
it the best moving-picture house in Wichita and expects to spend
over $2,000 in its remodeling.
KENTUCKY.
John Elliott, manager of the Colonial Amusement Company,
which operates the Alamo Theater in Paris, and the Star and
Colonial Theaters in Lexington, has completed arrangements
with an agency for the picture show houses in Paris and Frank-
fort, for the use of Association films. Mr. Elliott will put this
service into effect in the Alamo at once.
MARYLAND.
That another moving-picture house will be erected in the
northwestern section of Baltimore was the announcement made
in building circles recently. It is to be erected for Alexander
J. Meyers, after plans prepared by Architects Callis & Callis, at
1056 Pennsylvania avenue, and will be three-stories high.
MICHIGAN.
Plans and specifications have been prepared and the con-
tract closed for the erection of a magnificent motion-picture
theater to cost $15,000 at Washington and Portage streets, Kala-
mazoo. R. B. Barger is "the man behind" the venture and his
architect is I. A. LeRoy. The promoters hope to open for busi-
ness by xA.pril 1. The seating capacity of the new show house
is to be 300 and the fittings and chairs are to be of the latest de-
sign. The dimensions are 26 by 80 feet and the building to be
of brick with concrete foundation and composition roof. Every
ordinance and state law has been obeyed in the plans and the
building is said by the architect to be absolutely fireproof and
modern in every respect.
Insurance Commissioner C. A. Palmer, of Lansing, is prepar-
ing a bill to be presented at the coming session, placing all mov-
ing-picture theaters in the state under the control of the state
fire marshal's department. Palmer points out that many of the
small theaters in the state are not affording the public proper
protection against fire. He will urge that they be required to
pay a state license and that the money be used to maintain the
fire marshal's department.
MINNESOTA.
The Family Theater at Red Wing, which was recently pur-
chased by J. P. Beltz, was reopened, just recently, with a splen-
did program of five reels of motion pictures. Beltz has made
connections with one of the leading film exchanges of the coun-
try.
There is a movement on foot at Chisholm, headed by a repre-
sentative of a Duluth film concern to have moving pictures of
the entire Mesaba street car line taken at the time of inaugura-
tion of the service. The plan is to start the car at Gilbert, tak-
ing panoramic views of that place, then closing the film until
Eveleth is reached, again opening the film to exposure and tak-
ing the main features of Eveleth and next Virginia's. Each town
on the line, Mountain Iron, Buhl, Chisholm, and Hibbing are to
be included.
Messrs. Junnila and Jacobson have leased the Lyceum The-
ater at Gilbert and started a moving-picture show with the Gen-
derson's absence, and did it well.
MISSOURI.
Maysville suffered a fire, the losses amounting to over $50,000.
The fire was started from a moving-picture show and for a time
it was thought the entire town, including the residence district,
would be destroyed. Investigation showed that the picture ma-
chine was in a wooden booth, which caught fire when the oper-
ator, in removing a caabon from the machine, dropped it into
a basket of films.
F. M. Miller has rented the opera house at Skidmore for
three nights of each week and is giving motion-picture shows
there. He has taken a year's lease on the building.
NEBRASKA.
R. N. Oliver's new $12,000 photoplay house at Falls City
will be ready to open in little more than a week. The theater
will be in the city's finest and will seat 432 persons.
OHIO.
Foster & Gill, motion picture operators, have secured a lease
on the Arcade theater, on Reading road, Cincinnati, which be-
longs to Joseph Lamping.
OKLAHOMA.
Contracts have been let for the construction of a $10,000
theater in Bristow.
PENNSYLVANIA.
Lewis Ahlers, Junior, will start the erection of a new mov-
ing picture theater at corner of Bridge and Richmond streets,
Philadelphia. Charles D. Silcox, owner.
A new motion picture theater will be erected on Girard
avenue, corner Sixth street, Philadelphia.
D. M. Wagner, of South Haven, is making arrangements
for the opening of a new moving picture house at Pottsville.
Frank Hess will build a moving picture theater on corner
Fifth and Olney avenues, Philadelphia.
Berman Brothers have applied for a permit to build a mov-
ing picture theater on the east side of 60th street, north of
Chancellor street, Philadelphia, to cost about $50,000; and plans
for another theater, at 60th street and Locust, for the Garden
Realty Company; and still another theater, atl308 Girard avenue,
is being planned.
The purchase by P. F. Kernan from the estate of Henry
Pemberton for a theater at Philadelphia has been arranged.
Anderson and Haupt are planning the erection of a moving
picture theater at Columbia avenue and Patten street, Phila-
delphia.
J. Fred Burhart has sold a plot of ground at the northeast
corner of Fifth and Olney avenue, Philadelphia, 110 feet by 172
feet, to Frank Hess, who will build a moving picture theater
on the lot.
The Henry Barndt estate properties at the northwest cor-
ner of Sixth street and Girard avenue, Philadelphia, has been
sold for the Girard Trust Company, representing the estate, by
John H. Sinberg. to a purchaser who intends building a large
moving picture theater on the site.
SOUTH DAKOTA.
A local election at Pierre, which called out practically the
full vote of the city, returned a majority of 120 for moving
picture shows Sunday evenings. The plan was opposed by all
the Protestant clergymen of the city.
TEXAS.
F. Bledso, who sold his interest in the moving picture show
at Hearne to J. W. Pinkerton, has gone to Rockdale, where he
has an interest in a show there. Mr. Bledsoe contemplates
opening up two other shows next month.
W. G. Miller has bought from H. J. Shearer the Airdome
at Houston and will remodel and open a new moving picture
show.
Manager J. J. Brooks is converting the O. K. theater at
Yoakum into a regular playhouse and it will be used for a mov-
ing picture theater.
Philip Rich is building an opera house at Richmond and
will soon open it for business.
VIRGINIA.
The building in Queen street, near Church, Norfolk, for-
merly used as headquarters of Company No. 2 of the fire depart-
ment, is to be converted into a moving picture theater, catering
to colored people. The Manhattan Amusement Corporation
purchased the property for $9,000 from M. Hofheimer, who in
September bought it from the city of Norfolk, at the figure
named.
H. C. Callaway has awarded a contract to the Graham
Construction Company to erect a theater building at Graham.
Negotiations were closed recently at Richmond whereby
the lease of the Lubin theater was transferred to D. L. Toney.
The Lubin will continue under its present policy as a vaude-
ville and motion picture house. Mr. Toney is the proprietor of
two motion picture theaters in the city.
UTAH.
By a deal closed by the Utah Savings & Trust Company and
the Halloran-Judge Loan & Trust Company with the Liberty
Theater Company, Salt Lake is to have the largest motion pic-
ture theater in the world, according to statements made by the
last-named company. The new structure is to cost upwards of
$150,000 and will have a seating capacity of 3,000. It is to be
located just behind the Utah Savings & Trust company's build-
ing on Main street. The company is composed chiefly of Ogden
capitalists, Albert Scowcroft being president. Charles Ziemer,
C. W. Midgley and H. A. Sims are directors. C. W. and Rex
Midgley are the local managers.
WEST VIRGINIA.
The new nickelodeon, which is being erected on Poplar
avenue at Edgington Lane, Wheeling, is progressing rapidly.
The building is being weatherboarded and is almost ready for
the roof. The building is of large dimensions and when com-
pleted will be one of the finest out the pike.
The Park theater at Moundsville, which has been under-
going improvements, has been reopened under the management
of Mr. Sybert, formerly of Marietta, Ohio. Mr. Sybert has
had considerable experience in operating moving picture theaters
and promises the local public some agreeable surprises.
WISCONSIN.
The Pastime theater in Kenosha was destroyed by fire.
A fire destroyed the Electric theater building in Oshkosh.
WYOMING.
Charles H. Anderson, of Rawlins, is building a theater at
Rawlins to seat about 500 people, which will be used for two
or three road shows a month and for motion pictures and vaude-
ville at other times. The building is well along, Mr. Knadler
says, and will be modern in every way.
January 18. 1913.
MOTOGRAPHY
67
Complete Record of Current Films
Believing the classification of film pictures by the nature of their subjects to be of greater importance to the exhibitor than classification by maker,
Motography has adopted this style in listing current films. Exhibitors are urged to make use of this convenient tabulation in making up their programs.
Films will be listed as long in advance of their release dates as possible. Film manufacturers are requested to send us their bulletins as early as possible.
Reasonable care is used, and the publishers cannot be responsible for errors. Synopses of current films are not printed in Motography as they may be
obtained of the manufacturers.
DRAMA.
Date Title Maker
12-26 Jack's Burglar Melies
12-26 The Beach Combers Pathe
12-26 The Little Organ Player of San Juan Selig
22-27 A Clew to Her Parentage (Sixth story of "What Happened
to Mary" series Edison
12-27 A Business Buccaneer Kalem
12-27 The Better Man Vitagraph
12-27 The Reincarnation of Karma Vitagraph
12-28 The Reward of Broncho Billy Essanay
12-28 A Mountain Tragedy Kalem
12-28 The Blind Cattle King Lubin
12-28 The Bear Trap Pathe
12-30 The Crime of Carelessness Edison
12-30 The Power of Silence Lubin
12-30 A Mother's Strategy Lubin
12-30 Our Ladv of the Pearls Selig
12-31 The Caprices of the King C. G. P. C.
12-31 For Her Edison
12-31 Requited Love Essanay
12-31 The Bravery of Dora Lubin
12-31 A Rough Ride with Nitroglycerine Selig
12-31 A Woman Vitagraph
1-1 The Mission of a Bullet Kalem
1-1 A Loyal Deserter Selig
1-1 Love Hath Wrought a Miracle Vitagraph
1-2 Three Friends Biograph
1-2 The Miner's Request Essanay
1-2 John Arthur's Trust Lubin
1-2 Tempest Tossed Melies
1-2 The Frame-Up Pathe
1-2 Greater Wealth Selig
1-2 The Adventures of the Counterfeit Bills Vitagraph
1-3 The Running Away of Doris Edison
1-3 The Treacherous Shot Kalem
1-3 Romeo and Juliet Pathe
1-3 Mr. Bolter's Niece Vitagraph
1-4 A Sister's Heart Cines
1-4 The Red Man's Burden Edison
1-4 Broncho Billy and the Maid Essanay
1-4 The Flag of Freedom Kalem
1 -4 The Love Token Lubin
1-4 The Doctor's Blind Child Pathe
1-4 A Bit of Blue Ribbon Vitagraph
1-6 The Telephone Girl and the Lady Biograph
1-6 The New Day's Dawn Edison
1-6 It Is Never Too Late to Mend Edison
1-6 The Usurer Kalem
1-6 Courageous Blood .* Lubin
1-6 Prompted by Jealousy Selig
1-6 The Angel of the Desert Vitagraph
1-7 A Maid's Devotion Cines
1-7 An Unsullied Shield Edison
1-7 The Village Blacksmith Lubin
1-7 The Gunfighter's Son A Selig
1-7 The Wings of a Moth Vitagraph
1-8 Peggv and the Old Scout Pathe
1-8 The Man Who Might Have Been Selig
1-8 The Delaved Letter Vitagraph
1-9 Twilight of Her Life Lubin
1-9 Her Great Chance Melies
1-9 The Hollow Tree Pathe
1-9 The False Order Selig
1-10 The Eldorado Lode Edison
1-10 The Wives of Jamestown Kalem
1-10 Grandfather Kalem
1-10 An Ambassador's Disappearance Vitagraph
1-11 The Maid of Honor Edison
1-11 Broncho Billy and the Outlaw's Mother r. ... Essanay
1-11 A Sawmill Hazard Kalem
1-13 Pirate Gold Biograph
1-13 A Dangerous Wager Kalem
1-13 A Timely Rescue Lubin
1-13 The Clue Selig
1-13 The Little Minister Vitagraph
1-14 A Fishermaiden's Heart Cines
1-14 At Bear Track Gulch Edison
1-14 Bud's Heiress . Selig
1-14 The Winning Hand Vitagraph
1-15 Two Men and a Girl Eclipse
1-15 The Girl at the Brook Essanay
1-15 The Faithful Yuma Servant Pathe
1-15 A Plain Girl's Love Selig
1-15 Off the Road Vitagraph
1-16 An Adventure in the Autumn Woods Biograph
1-16 The Road of Transgression Essanay
1-16 The Kill of Salvation Melies
1-16 A Revolutionary Romance Selig
117 Leonie Edison
1-17 The Mexican Spy Lubin
1-18 The Mountaineers Edison
1-18 Broncho Billy's Brother Essanay
1-18 A Desperate Chance Kalem
1-18 The Girl and the Gambler Lubin
1-18 Thou Shslt Not Kill Vitagraph
Length
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Da
1-
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3
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12-27
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1-17
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12-31
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1-8
1-14
1-14
1-17
12-30
1-6
1-13
COMEDY.
Title Maker
Laughing Bill Eclipse
A Four-Footed Cupid Eclipse
Tow They Got the Vote Edison
Seeing is Believing Essanay
The Cowboy and the Baby Pathe
Casey at the Bat Vitagraph
Between Two Girls C. G. P. C.
Guilty Conscience Lubin
Just Out of College Lubin
A Curious Family Selig
Steak and Onions Selig
Love Unconquerable C. G. P. C.
The "Heiress" Essanay
Kidnapping the Fiedler Eclipse
Interrupted Wedding Bells Edison
Here's Your Hat Essanay
The Manicurist and the Mutt Kalem
Johnny Goes Ducking Kalem
The Best Man Wins Biograph
The Bite of a Snake Biograph
Alkali Ike in Jayville Essanay
Two of a Kind Vitagraph
Betty's Baby Vitagraph
Stage-Struck Sally Lubin
An Accidental Dentist Lubin
The Cowboy Editor Slegi
Whose Wife is This ? Selig
The Woes of a Peacemaker Cines
The Artist's Romance Lubin
Starting Something Pathe
O'Hara Helps Cupid Vitagraph
The Office Boy's Birthday Edison
Three Black Bags Vitagraph
Peter's Pledge . Lubin
The Title Cure Edison
Red Sweeney's Mistake Kalem
It Might Have Been Lubin
Mixed Colors Lubin
The Bringig Out of Papa Vitagraph
What George Did Essanay
A Hero's Reward Kalem
Quarantined Lubin
Fooling Their Wives Lubin
Poison Ivy Selig
His Wife's Relatives Vitagraph
The Interrupted Honeymoon Vitagraph
Taming the Spooks Cines
The Absent-Minded Lover Cines
The Family Jar Pathe
EDUCATIONAL.
French Naval Maneuvers C. G. P. C.
The Chaffinch and Her Family C. G. P. C.
Palmetto Hat Industry Lubin
Sand Hoppers C. G. P. C.
Radiography in Practice C. G. P. C.
The Life of Ants C. G. P. C.
San Xavier Mission, Tucson, Ariz Lubin
Lake Geneva Camp of the Y. M .C. A., Lake Geneva,
Wis Edison
The Jelly Fish and the Plankton C. G. P. C.
China and the Chinese Essanay
Our Enemy, the Wasp C. G. P. C.
King Cotton Kalem
The Clay Industry Selig
SCENIC.
Among the Abruzzi Mountains Cines
Yosemite National Park and Big Trees of California. Edison
Along the Coast of Delmatia Eclipse
The Velino River and Falls (Central Italy) Cines
The Palace of Fontainebleau C. G. P. C.
Along the Riviera C. G. P. C.
TOPICAL.
Pathe's Weekly No. 1 Pathe
Pathe's Weekly, No. 2. 1913 Pathe
Pathe's Weekly No. 3 Pathe
Length
400
600
625
1,000
1,000
850
1,000
1,000
1,000
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1,000
600
1,000
1,000
1,000
1,000
1,000
1,000
400
1,000
350
375
155
315
DAILY LICENSED RELEASES
MONDAY: Biograph, Edison, Kalem, Lubin, Pathe, Selig, Vita-
graph.
TUESDAY: Edison, Essanay, Cines-Kleine, Pathe, Selig, Vita-
graph.
WEDNESDAY: Edison, Essanay, Kalem, Eclipse-Kleine, Lubin,
Pathe, Selig, Vitagraph.
THURSDAY: Biograph, Essanay, Lubin, Melies, Pathe, Selig,
Vitagraph.
FRIDAY: Edison, Essanay, Kalem, Lubin, Pathe, Selig, Vita-
graph.
SATURDAY : Edison, Essanay, Cines-Kleine, Kalem, Lubin,
Pathe, Vitagraph.
68
MOTOGRAPHY
Vol. IX, No. 2.
INDEPENDENT
DRAMA.
Date Title Maker Length
12-25 Tracked to, the Mountains ..Frontier
12-25 Their Christmas Turkey .Powers
12-25 The Finger Prints Solax
12-26 The New Magdalen Imp 2,000
12-26 A Business Man's Wife Rex
12-26 Blackened Hills American 1,000
12-27 Toys of Destiny Powers 2,000
12-27 The Padre's Gift . Nestor
12-27 The Woman Behind the Man Solax
12-28 El Capitan . and . the Land Grabbers Bison
12-28 Her Inspiration Milano
12-28 The Girl of the. Manor American 1,000
12-29 An Ill-Wind Rex
12-30 White Heron Champion
12-31 Dorothy's Birthday Gem
12-31 The Redemption of White Hawk Bison 2,000
12-31 Jim's College Days Majestic
1-1 The Fight for Right Nestor
1-1 The Horse Race at Hawley's Ranch Frontier
1-1 Duty and the Man Reliance
1-1 The Burning Brand Broncho 2,000
1-2 The Bearer of Burdens Imp
1-2 The Ride of Jennie McNeil Rex
1-2 Love and the Law American 1,000
1-3 The Blackmailers Nestor
1-3 Wheels of Fate Powers
1-3 The Great Sacrifice Kay-Bee 2,000
1-3 A Poor Relation Thanhouser 1,000
1-4 A Maid at War Bison 2,000
1-4 A Father's Strategem . Milano
1-4 The Fraud That Failed American 1,000
1-4 A Jolly Good Fellow Reliance
1-4 The Penalty Comet 1,000
1-5 It Doesn't Pay Rex
1-5 The Little Enchantress Majestic ,
1-5 A Guilty Conscience Thanhouser
1-6 Strangers Not Allowed Comet 1,000
1-6 Art and Love Champion
1-6 Another Man's Wife American 1,000
1-7 Absinthe Gem
1-7 A Romance of the Utah Pioneers Bison 2,000
1-7 The Boomerang Thanhouser
1-7 A Snake in His Bosom ...Gaumont
1-8 Gold and Dross Nestor
1-8 The Stranger at the Mountain Ranch Frontier
1-8 The Girl and the Inventor Reliance
18 In the Ranks Broncho 2,000
1-8 A Million Dollars Solax
1-9 The Trail of Cards American 1,000
1-9 Hearts of the Northland Imp
1-9 The Actress Rex
1-10 The Suspect Nestor
1-10 The Lie Victor
1-10 The Return of Lady Linda Eclair 2,000
1-10 The Paymaster's Son Kay Bee 2,000
1-10 The Evidence of the Film .Thanhouser 1,000
1-11 Calamity Anne's Inheritance American 1,000
1-1 1 The Faithless Nurse Comet 1,000
1-11 An Apache Father's Revenge Bison
1-11 A Secret of the Sea Milano 2,000
1-12 By-Gone Days Rex
112 The Cobbler and the Financier Eclair
1-12 Just Hard Luck Majestic
1-12 The City Mouse Thanhouser 1,000
1-13 The See-Saw of Lift Imp
1-13 Sins of the Father Champion
1-13 Their Masterpiece .American 1,000
1-14 The Ninth Commandment Gem
1-14 A Frontier Providence Bison 2,000
1-14 Child Labor Majestic
1-14 The Tiniest of Stars Thanhouser 1,000
1-14 The Roll of Honor Paumont
1-15 The Last Run of the Sante Fe Coach ....Frontier
1-15 The Wheel of Fate Reliance
1-15 A Blue Grass Romance. Broncho 2,000
1-15 Mother and Daughter Solax
1-16 A Little Mother Wants a Home Imp
1-16 The Flower Girl Rex
1-16 Nobody's Love Story Eclair
1-16 The Awakening American 1,000
1-17 A Waif of the Desert Nestor
1-17 Face to Face With a Leopard Lux
1-17 Tht Tramp Reporter Powers 2,000
1-17 The Little Turncoat Kay Bee 2,000
1-17 Napoleon's Luck Stone Thanhouser 1,000
1-18 Regimental Pals Bison
1-18 Life's Lottery Milano 2,000
1-18 His Old- Fashioned Mother American 1,000
1-18 The Strength of the Weak Reliance
COMEDY.
Date Title Maker Length
12-28 As the Doctor Ordered Imp
12-28 A Widow's Wiles Imp
12-28 The Emergency Waiter Great Northern 636
12-28 Trying to Keep Bedelia ...Reliance
12-29 Her Visitor Crystal
12-29 The Elopment Crystal
12-29 Gontran, a Kidnapper Eclair
12-29 A Militant Suffragette Thanhouser 1,000
12-30 Jones' Wedding Day Imp
12-30 The Trap Comet
12-30 The Trap Comet 1,000
12-30 The City Boarder Champion
12-30 The Duel Keystone
12-30 Knock Wood Itala
12-30 Mabel's Strategem Keystone
12-30 Two Little Devils Itala
12-31 The Wager Eclair
1-1 The Wise One Powers
1-1 Cousins of Sherlock Holmes Solax
1-2 A Tammany Boarder Eclair
1-2 Her Mischievous Brother Punch
1-2 A Near-Tragedy Punch
1-3 The Grouch . Victor
1-3 Canine Rivals Solax
1-4 What Katy Did Imp
1-4 Outwitting a Rival Great Northern 941
1-5 Her Kid Sister Crystal
1-5 Jones Ressurected Crystal
1-5 Willie, King of Janitors'..: Eclair
1-6 She, Slept Through It All Imp
1-6 Cupid's Assistants Nestor
1-6 Saving Mabel's Dad Keystone
1-6 A Double Wedding Keystone
1-6 Knock Wood Itala
1-6 Two Little Devils ; Itala
1-7 An Accidental Servant Eclair
1-7 The Hundred Dollar Bill Majestic
1-8 Almost a Hero.... Powers
1-9 Poor Boob Punch
1-9 Mix-up Punch
1-9 The Destructive Duelists Gaumont
1-9 To Hell, and Back Gaumont
1-10 Baxter's Busy Day Powers
1-10 The Matrimonial Fever Lux 731
1-10 Do Not Tease the Dog. Lux 252
1-11 The Baldheaded Club Imp
1-11 Society Day at Piping Rock Imp
1-11 A Night of Terror Reliance
1-11 James, the Hungry One Great Northern
1-11 The New Boor-Cleaner Great Northern
1-12 Heroic Harold Crystal
1-12 A Night at the Club Crystal
1-13 Cupid Finds a Way Nestor
1-13 Teaching an Old Dog New Tricks Comet 1,000
1-13 The Cure That Failed Keystone
1-13 How Hiram Won Out Keystone
1-13 Dethroned in a Well Itala
1-13 Serves You Right Itala
1-14 The Detective Santa Claus Eclair
1-15 The Quickest Way Nestor
1-15 Mammy's Chile Powers
1-16 Finney's Luck Punch
1-16 Saw Wood Punch
1-17 The Hypocrite Victor
1-17 The Quarrelers Solax
1-18 The Boob's Inheritance Imp
1-18 The Test Great Northern
EDUCATIONAL.
12-31 With the Mounted Police Thanhouser 1,000
1-4 Prize Winners at the Poultry Show Imp
1-4 The Glove Industry Gaumont
1-5 Crawfish Eclair
1-11 Domesticated Wild Animals on Our Western Coast
Gaumont
1-18 The Phosphate Industry Imp
SCENIC.
12-23 Views of the U. S. Capitol Nestor
1-2 Northern Egypt Gaumont
1-8 Akron, Ohio Powers
1-16 The Beauties of Brittany Gaumont
TOPICAL.
12-25 Gaumont's Weekly, No. 42 Gaumont
1-1 Animated Weekly, No. 43 Universal
1-1 Gaumont's Weekly, No. 1 Gaumont
1-1 Duty and the Man Reliance
1-8 Animated Weekly No. 44 Universal
1-8 Gaumont's Weekly No. 44 Gaumont
1-15 Animated Weekly No. 45 '.'.'.'..' Universal
1-15 Gaumont's Weekly No. 45 Gaumont
DAILY UNIVERSAL RELEASES
(Independent.)
MONDAY: Imp, Nestor, Champion.
TUESDAY: Gem, Bison, Eclair.
WEDNESDAY: Powers, Nestor, Animated Weekly.
THURSDAY: Rex, Imp, Eclair.
FRIDAY: Victor, Powers, Nestor.
SATURDAY: Bison, Imp, Milano.
SUNDAY: Eclair, Rex.
DAILY
'FILM SUPPLY" RELEASES
(Independent)
MONDAY: American, Comet, All Star.
TUESDAY: Thanhouser, Majestic, Gaumont.
WEDNESDAY: Reliance, Solax, Gaumont Weekly.
THURSDAY: American, All Star, Gaumont.
FRIDAY: Thanhouser, Solax, Lux.
SATURDAY: Great Northern, Reliance. Comet.
SUNDAY : American, Thanhouser, Majestic.
VOL. IX.,
FEBRUARY 1, 1913.
No. 3
EXPLOITING
Published Bi- Weekly by Electricity Magazine Corporation, Monadnock Building,rChicago
JEAN FEARXLEY,
WITH
IMP-UXIYERSAL FILMS
GEORGE KLEINE'S
CINES and ECLIPSE
RELEASES ASSURE YOU A FIRST-CLASS PROGRAM
BOOK THEM ALL! — BILL THEM BIG! — AND BREAK ATTENDANCE RECORDS!
LOOK AT THESE HEADLINERS FOR FEBRUARY
Ones Release ol February 1, 1913
The Doctor's Love Affair
The story of a good man's love and self-sacrifice, which
finally meet with a just reward.
(On the same reel)
The Beautiful Falls of Marmore
(A scenic of marvelous grandeur.)
The Flower of Love
Eclipse Release of February 12, 1913
A Business Shark
An absorbing drama filled with many gripping situations,
describing how the nefarious schemes of a powerful financier
to wreck the happiness of his friend's home, and then to ruin
him financially, are finally thwarted.
Special three-sheet posters!
1 rTT' J i
Pleading for Her Husband
Cines
Tues., Feb. 4, 1913
Eclipse
Wed., Feb. 5, 1913
Cines
Sat., Feb. 8, 1913
Eclipse
Wed., Feb. 19, 1913
Cines
Sat., Feb. 22, 1913
A STRENUOUS COURTSHIP (0™™
CURING A TEMPER .d-™,
A DEAL IN STOCKS i»™»
GETTING EVEN (0.™™
HIS REDEMPTION <■»->
Send us your name to be
placed upon our mailing
list for advance advertising
matter.
GEORGE KLEINE
166 N. State St.
CHICAGO, ILL.
February 1, 1913.
MOTOGRAPHY
MEETINGS :
1 R5T
ANO 1
HIRD THURSDAY OF IVIKV MO
ROOM
412. MASONIO TEMFLB BLDO.
OFFICB 403 DEXTER BLDO.
39 W. Adams St.
Tilephonc Harrison 4040
JOHN J.
Fanning, general preside
JAS. W
SLONEKER. Vice-Presiden
HAU
Johnstone, secretary
A
G. ALLISON. Business Manager
iHnutng f utnv? Mzttyxnt ©peratnra
International Alliance theatrical Stage Employes
of the United states and Canada
AFFILIATED WITH AMERICAN FEDERATION OF LABOR
AND CHICAGO FEDERATION OF LABOR
Local. No. 2 of
CHICAGO. COOK COUNTY, ILL.
ORGANIZED MARCH 23. 1911
CHICAGO. ILL J.an....24th,.19i3^ 191
Mr. Wm. J. Robinson,
Vanoscope Company,
Manhattan Bldg. .
Chicago, 111.
Dear Sir: -
Through your courtesy we have had the opportunity of
making a close investigation of the Vanoscope and the production
of colored pictures, whereby you produce all colors of nature at
the ordinary rate of motion picture projection;
We desire to say that the Vanoscope is unquestionably
the most marvelous invention in motion picture projection, and
the fact that you can allow the light to stand on the film while
the film is not in motion, is almost incredible, as in every
other type of machine to stop for a second, would mean a fire.
The doing away with intermitent movement, giving a
continuous flow of the film and the projection of a picture
on the screen without the slightest particle of flicker, we
did not believe could ever be accomplished through any inven-
tion, and we would not have believed it, if we had not seen it
with our own eyes.
This machine will certainly revolutionize the motion
picture industry wherever it is introduced, and the fact that
you are able to produce these pictures with about one half the
ordinary amount of current, will make a big saving in operation
in the Motion Picture Theatres.
We wish every member of our union could see this
machine , and we are giving you a list today of all the members
of the Moving Picture Machine Operators of Chicago Theatres,
protective union, Local No. 2 of the I. A. T. S. E. of the
TJ. S. and C. affiliated with the American and Chicago Federation
of labor, and would request that you send an invitation to
each of these 500 names to call and see the Yano scope.
Very sincerely yours,
Don't forget to mention MOTOGRAPHY to the advertiser.
'The Love Chase," Eclair Two-Reel Feature of February 6.
A New Arrival. From the Kleine-Cines Comedy, "One of 'Em," February 15.
WITH WHICH IS INCORPORATED THE NICKELODEON
CHICAGO, FEBRUARY 1, 1913
PUBLISHED BI-WEEKLY BY
ELECTRICITY MAGAZINE CORPORATION
MONADNOCK BUILDING, CHICAGO
Telephones: Harrison 3014 — Automatic 61028
Ed. J. Mock and Paul H. Woodruff. Editors
Mabel Condon, Associate Editor
Allen L. Haase, Advertising Manager
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act of March 3, 1879.
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NOTICE TO ADVERTISERS
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less than ten days in advance of date of issue. Regular date of issue, every
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This publication is free and independent of all business or house con-
nections or control. No manufacturer or supply dealer, or their stockholders
or representatives, have any financial interest in Motography or any voice in
its management or policy.
CHICAGO, FEBRUARY 1. 1913
TABLE OF CONTENTS
Scenes from Kleine-Cines and Eclair Releases Frontispiece
Editorial 69- 70
Dr. Frank Crane's View 69- 70
Commercial Films 70
Factory Efficiency Studied by Films 71- 73
On the Outside Looking In. By the Goat Man 73- 76
Niles' Cowboys Build Carpenter Shop N 76
Development of the Advertising Film. By Watterson R. Rothacker 77- 78
Motion Picture Export Great 78
Quiz Official as to Picture "Trust" 78
Myography's Gallery of Picture Players 79
Picture Houses Now Poor Man's Club 80
Berlin Cinematograph Congress and Exhibition 81- 82
Selig Artists Guests at Auditorium 82
Big Convention at Columbus. By A. L. Haase 83- 88
A Diamond-S Potpourri 89- 90
Romaine Fielding "Shows 'Em" 90
Sans Grease Paint and Wig. By Mabel Condon 91- 92
Current Educational Releases 92- 93
Photoplays from Essanay's 94- 96
Of Interest to the Trade 96-100
Cines and Eclipse News 96- 97
Sumptuous Western Home for American 97
Yellow Journalism and Thanhouser Fire 97
Details of the Thanhouser Fire 98
Vanoscope Company's Camera Man 98
Famous Players are Legal Victors 99
Universal Officers and Exchangemen Meet 99
Lubin to Film Charles Klein Successors 100
Brevities of the Business 101-104
Complete Record of Current Films 10S-106
DR. FRANK CRANES VIEW
OCCASIONALLY, we are sorry to say — and only
occasionally, we are glad to be able to add — we
find it necessary to take issue with some members of
the clergy whose attacks on the motion picture betoken
greater zeal than knowledge of the subject. In most of
these cases the pictures may be content without calling
any character witnesses, simply establishing an alibi
by showing that their sincere, but misguided traducer
never saw them at all.
The most unfortunate feature of these attacks is
the impression created, that the clergy are the natural
enemies of the motion picture — which thus becomes
classed, in a few narrow minds, with the saloon, the
dance hall, and other entertainments of more or less
questionable order. Nothing could be more inaccurate.
Every number of Motography records new instances
not only of the approval of pastors, but of their actual
use of motion pictures in their churches and Sunday
schools. These are matters of common newspaper re-
ports, and how those who militate against the films must
view these reports is material for interesting speculation.
Of all those ministers of the gospel and friends of
the people who, because of their works, have attained
national renown, none is better known than Dr. Frank
Crane. Besides his pulpit work, he has broadened the
scope of his influence by a continuous series of articles
in the lay press, and now he has reached the subject of
motion pictures. His title is "The Movies," but after
reading the article one can forgive him even that. In
reproducing his welcome encominus, the only liberty we
have taken is to substitute the term "moving pictures"
for the objectionable "movies" :
Occasionally some one writes superciliously of the moving-
picture show, of how cheap it is, hence degrading and bad for
the youth.
Any time you want to secure a reputation for being a
superior person, not at all ordinary, #ut exceeding fine-haired
and high-bred and uppish, sit down and write contemptuously
of something the mob likes. The very fact that the multitude
loves it shows it's naughty; for the first principle of snobbery is
that what the multitude likes is low.
Then, after a while, when you get more sense — which, pray
God, may come soon to pass ! — you will be moved to resign your
seat among the forty immortal elect, scratch their motto out of
your copy book, and learn that the instincts of the great mass of
humanity are more to be trusted than the epigrams of the
hoity-toity.
As for me and all the girls and boys in our block, we do
sincerely give thanks for the Moving Pictures.
I have nothing to say against the "legit." Only, there are
a lot of people who cannot afford to spend $2, or even 50 cents,
on an evening's entertainment, and no shame to them.
But it's many who cannot do this, and must fain set down
in a little book even street-car fare, and who have to look sharp
for room rent; these need amusement more than do the residents
o:i Easy street.
The people go to the Moving Picture Show.
Not only because they are cheap, however. There are some
other things that are cheap — to them nobody goes; lectures, for
instance.
70
MOTOGRAPHY
Vol. IX, No. 3
We go because the Moving Pictures are Good.
Their range of subjects is high. You really absorb a deal
of useful information. I never remember getting any informa-
tion to speak of in a $5 seat.
They are artistic. You see real life — trees that are trees,
and not painted canvas ; horses actually running on mountain
roads, and not on a treadmill apparatus ; sure enough water, and
not waves made of blue cloth, with stage hands wallowing
under it.
At a Moving-Picture Show you are not tortured with the
torture of the English language. There is no talking. If there
is anything to say it's printed. Here the leading lady does not
turn her back to you and mutter heaven knows what, nor the
leading man mouth something no one can hear, and that right at
the critical moment. You get all that is taking place, and hence
your money's worth, even if it is only 5 cents.
If you go up in the gallery you can smoke. Thank heaven,
there's one warm spot where a man may commit his genial and
soothing sin without the housekeeper shooing him out to the
barn, or a gentleman in a soiled white tie inviting him to leave.
The real refined gentry complain of the cinema as being low
and vulgar. I can only say that I have frequented film shows in
Rome, Florence and the mountain towns of Italy, in Paris and
French villages, in London on the Strand and Chepstow on the
Wye, in Keokuk, Saint Jo, French Lick, Chicago and New York,
and never saw one indecency nor one picture I would not want
my boy to see. They may have them, but I missed them.
On the contrary, I have seen Dante's "Inferno" and Tasso's
"Jerusalem Delivered," and the story of Moses in Egypt set
forth in fidelity and with artistic perfection. I know my Dante
as well as the next non-professional person, and I went three
times to see his divine comedy at the cinema in Rome (the one
on the Piazza del Terme), and got more vivid impressions than
•I ever did from the notes of Cassini or the lectures at the Dante
Foundation in Florence. And the beauty of it is that I took
the little Canavaciol children and the two Casey boys (visiting),
and they had as much fun as I ; and glory be to the saints ! that
doesn't spoil a thing for me.
But it's dark in the Moving-Picture Shows, and boys and
girls hold hands ! More power to their arms ! I myself when
ycung held hands in church, and the upshot of it was a girl
married me, and still has me, and may a like fate fall on all
young villains !
I hope to see the day when there will be a Moving Picture
in every school house, for I am sure they are beyond books and
precepts.
COMMERCIAL FILMS.
IN this issue we print two articles on the general sub-
ject of commercial or industrial films ; one by Watter-
son R. Rothacker, general manager of the Industrial
Moving Picture Company, Chicago, the other by A.
Rowden King, Chicago manager for the Ethridge Com-
pany, an aggregation of advertising experts. Neither of
the articles pretends to set forth any strikingly novel as-
pects of the subject, but Mr. Rothacker illustrates a con-
vincing editorial treatment with concrete examples of
success, while Mr. King reviews a number of commercial
films and methods of handling them that have come under
his observation. One writer is a motion-picture expert,
specializing on advertising work, the other is an adver-
tising expert, paying tribute to motion pictures. They
meet on common ground in agreeing that the motion-
picture film is the publicity medium par excellence.
Advertising itself, as an art, is not old; but it ante-
dates the picture film by a generation. Consequently
motographic advertising began with the art of motion
projection, and its development has been contemporan-
eous with that of the dramatic, comic and educational
film pictures. And those familiar with both will agree
that the improvement in the commercial application has
at least kept step with the continual betterment of the
entertainment side of the art.
Nor need it be inferred that there exists any sharp
line of demarcation between the films for publicity and
for amusement. It is true that those ostensibly intended
solely for entertainment, which, nevertheless, carry a
more or less subtle hint of advertising, are looked at
somewhat askance by exhibitors, in spite of Mr. King's
interest in them. But the frankly commercial film is free
and independent of this somewhat ethical difficulty. Its
excursions to the realms of drama and comedy may be
as frequent and as pretentious as the advertiser's fancy
dictates. The "legitimate" film drama, boldly to adopt a
phrase, ethically may not present to its patrons any
claims for the excellence of merchandise of any sort.
The commercial film not only presents those claims in
performing its function, but may well use dramatic means
in so doing. In few words, the producer of advertising
films has free rein in making his subject as attractive
as possible, by any means whatsoever.
There is a certain parallelism between the motion-
picture program and the modern popular magazine. The
magazine editor strives to give balance to his table of
contents by presenting, say, a number of dramatic stories,
at least one or two good "humorous" or comedy stories,
and an article or two on current topics, descriptions of
great engineering feats or industrial or agricultural ac-
complishments. In the picture theater we have, analog-
ously, our dramas, comedies and educational, topicals or
scenics.
But the popular magazine has at least one advantage
over the picture theater. In addition to the reading pages
listed in its table of contents, the "program" of its enter-
tainment, it carries a number of advertising pages. That
is why the magazine can give its readers, for practically
the price of admission to a picture theater, a number of
dramatic and comedy and educational subjects instead of
only one of each. The price of "admission," in the case
of the magazine, does not pay the bill ; the advertiser
does that. If it were practicable to present on the pic-
ture-theater program a number of advertising films,
frankly announced as such, the increased revenue to the
exhibitor would enable him to give his patrons twice as
much "legitimate" film for their money.
But, you object, the magazine reader does not have
to read the advertisements ; they are so located that he
can easily avoid them. Very true; but the fact is he does
read them, or obviously they would not be there — and
very good reading they are, on the whole. It is the ad-
vertising expert's life effort to make them good reading —
so good that they cannot be avoided, even if they are off
in the back of the book. And it is a great tribute to the
modern advertisement writer, when you stop to think
about that many of us turn first to the advertising pages,
before perusing the "reader" section, when we pick a
magazine off the stand.
When a producer of advertising films weaves
drama or comedy into the treatment of his subject, he is
merely making his advertisement "good reading." In
this respect he is in direct competition with the producer
of regular releases, just as the writer of type advertise-
ments is in direct competition with the writer of fiction.
That the advertising film is frequently shown free does
not help, but handicaps him ; for it is a peculiarity of
human nature that what we pay for makes the most last-
ing impression on us, and what we get free we regard
lightly- — unless its appeal be so intense that we cannot
easily forget it.
And that is the task of the motographic advertising
expert. A study of his product shows that he is getting
away with it. For dignity and effectiveness the advertis-
ing film is on a par not only with the most excellent of
entertainment pictures, but with the best work of the
world's publicity artists.
February 1, 1913.
MOTOGRAPHY
71
Factory Efficiency Studied by Films
New Use for Pictures
NOW the moving-pic-
ture machine has a
new job, a prosaic,
workaday job, where it lines
upon the factory payroll as
a full-fledged member of
the industrial army of pro-
duction. Great and spec-
tacular as have been the
strides of the film, greater
use for it has within the
last six months been
worked out in a Providence
manufacturing plant.
Hitherto the moving
picture has been associated
with entertainment, with
advertising or, to a limited-
extent, with school instruc-
tion. Its latest task is to
create new manufacturing
processes and to reduce the
cost of production by short-
ening and simplifying the
methods of the workman.
In this, although it is
still new at the work, a
mere beginner as a wage-earner, it has scored more than
one notable triumph and has dem-
onstrated beyond doubt, its cre-
ators believe, that it will become
an important factor in American
industrial life.
This, though perhaps the
most striking, is only one of the
novel features of the new idea
of scientific management, popu-
larly known as the "efficiency
system," in the first Rhode Island
factory to adopt it completely,
the New England Butt Com-
pany. Much has been said and
written about this by its founder,
Frederick W. Taylor, and by
others, but the discoveries and
developments achieved in the
Providence plant have already
added several chapters to the sci-
ence.
By the combined use of the
moving picture-machine and
equipment devised as a result of
a study of the films, for instance,
one particular process which a
few months ago took 37j/£ min-
utes now takes just 8^, without
"speeding up" the workman.
Merely a little systematic plan-
ning of his work turned the
trick.
As yet the system is so new
in the establishment that compar-
atively few new time schedules
Filming a Factory Workman's Motions. Note the Gilbreth Clocks.
Film Study of Hammer
have been worked out, the
one just given being the
most notable. But another
process, which formerly
took seven or eight min-
utes, is now accomplished
in just 30 seconds. The
invention of a simple de-
vice for performing a cer-
tain task did that. In an-
other instance the handling
of incoming coal and out-
going ashes, the route to be
traveled was shortened just
about 75 per cent, making a
conspicuous difference in
the cost of labor in this
item.
But since it is later
and more startling in the
application of radically
new principles, the use
of the moving - picture
machine is the feature of
the work which will attract
most attention among ef-
ficiency" engineers. Until
within a few weeks nothing has been known of it outside
of factory itself, since its in-
ventor wished to develop it as far
as possible before announcing it,
even to other experts. Recently,
however, brief references have
been made about it in addresses
before scientific and business or-
ganizations by John G. Aldrich,
general manager of the company,
and Frank B. Gilbreth, the ef-
ficiency expert who devised the
method.
Mr. Gilbreth who went to
Providence from New York to
install scientific management in
the factory, had for a long time
been interested in the detailed
study of the individual motions
going into the performance of
any task — he calls it micro-mo-
tion study. It occurred to him
that by taking a moving picture
of a man performing any task,
the precise motions used could be
studied more readily than by any
amount of watching the opera-
tive at work. For one thing,
motion pictures can be repro-
duced as slowly as wanted or
stopped entirely so that any par-
ticular instant in the process may
be examined indefinitely. For
another, the film preserves al-
ways at hand for reference a
, j- ,, Film Study of Assembling
record of the process as per- Motions.
■
■ m a
, Ss« m
% 9
72
MOTOGRAPHY
Vol. IX, No. 3
formed by the most expert workman.
To make the study exact, a special clock
whose hand revolves in six seconds is placed
beside the operative. Its face is divided into
spaces indicating one-thousandth of a second.
Thus each film records the exact time which
has elapsed since the previous one, and the
time of each motion in an operation may be
determined as closely as half a thousandth
of a minute.
A film machine and the large clock were
therefore installed in the plant and the mak-
ing of records was begun. Not even Mr.
Gilbreth himself cares to predict all of the
ways in which this method may ultimately be
adapted to factory work. It is evident, how-
ever, that it can be turned to many uses.
The new workman, for example, can be
given a pictured demonstration of the method
by which the skilled worker performs the
task in hand. He may even be pictured him-
self, if his methods are faulty, and shown
the record of his own work compared with
that of the more skilled operative.
Experts can study the films, see where
new equipment would help to simplify at
any point, and provide this as well as sug-
gesting changes in the manner of handling
tools and material. This was the way in
which this time reduction from 37^2 minutes
to 8*^2 was achieved.
In this case the task in hand was the
assembling of one of the brading machines
which are among the chief outputs of the
Butt Company's plant. The various parts
come from the different departments of the
factory where they are made, and the essem-
bler is confronted with the intricate task of
fitting them together.
This had been done in the usual way.
The assembler took the base, looked around
for the first support, reached for it, placed it
in position, looked around for the second,
reached for it, put it in position, and so on,
until the completed machine stood ready for
the testers. To the ordinary observer there
seemed to be no wasted time, no lost motions, no undue
delay at any point in the process.
But the experts spent a day or so looking on. Then
they took a moving picture of the whole process, and
studied that. Then they devised a frame, standing at a
convenient height from the floor. This frame was pro-
vided with hooks placed at regular intervals and num-
bered. Every part of the machine to be assembled was
numbered correspondingly. An assembler's assistant,
a boy, was put on the job of taking all the parts and
placing them on the frame, always in the same order, an
order that made each piece to be used next the most con-
venient one for the assembler to reach. Then a stand
of convenient height was built, so that the assembler
would neither have to reach too high nor stoop over.
This was all. The assembler took up the work of
learning the new system with enthusiasm, and within a
few weeks the completed machine was being evolved
from the scattered parts in less than a quarter of the time
it had been taking to do exactly the same work.
Results like these, appealing to the loyalty and en-
thusiasm of the operatives, helped to popularize
Film Study of Group of
Workmen.
the idea of scientific management among
them. But from the first compara-
tively little criticism was met with, and a
notable feature of the installation of the
system has been a series of weekly meetings
of managers, foremen and operatives, at
which every phase of the system has been dis-
cussed. Not even a member of the National
Guard, anxious to increase the efficiency of
his company, could have studied the drills
and regulations more earnestly than have
many of the operatives of this industrial
plant devoted themselves in their spare as
well as working hours to increasing their ef-
ficiency by the new methods.
Until a definite standard has been estab-
lished, no basis can be fixed by which a bonus
can be awarded. In the process of readjust-
ment, therefore, a temporary bonus system is
adopted in each department, as is now done
in the Butt Company's plant, until a final
schedule for each operation of manufacture
can be made out.
These schedules make as careful allow-
ance for rest as they do for work. Fatigue
has been studied from the new point of view,
and is a phase of the system constantly being
more thoroughly investigated.
"The system doesn't 'drive' the opera-
tive, as many people suppose," said Mr. Aid-
rich, discussing this phase of the subject.
"The old-fashioned foreman, for instance,
grew angry if he saw an operative stop for
an instant. To see one sitting around idle
would bring on a brain-storm. But under
this system, if an operative is doing nothing,
nobody pays any attention to it, because it is
known that there must be constant resting
spells. In one form of the work, loading pig
iron, Mr. Taylor's investigations convinced
him that the worker was most efficient if he
rested 57 per cent of the time. Every task
has a proportion of active work and complete
rest under which it is best performed. It is
the aim of everybody connected with this
system to determine what that proportion is."
Co-operation is, of course, the foundation of the sys-
tem. Without it on the part of superintendent, foreman
and operatives alike nothing could be accomplished. The
Butt Company secured this by the most careful discussion
of the system that was possible. The weekly meetings
were adopted and have been kept up ever since. Copies
of books describing every detail of the system were- dis-
tributed to the operatives. And the operatives were
urged to study for themselves subjects connected with
their work.
By arrangement with the public library a
branch was established at the factory. Selections of
books are sent at frequent intervals, placed in a window
of the information room, where all the records of the
plant are kept available for instant use, and the operatives
are encouraged to take them out. Lists of the books are
also placed in all the departments.
The question of maintaining the rate of work de-
cided upon as the minimum for the average operative is
an important one. Mr. Aldrich explained the system in
this respect, by saying :
"If an operative finds that he cannot do what the
February 1, 1913.
MOTOGRAPHY
73
others are doing, it is fair for him to assume that he is
trying the wrong thing. But this does not mean that he
is inefficient. He is asked what else he can do, or what
he would prefer to do. Then he is given a chance at
that. In one case which came under Mr. Gilbreth's no-
tice a workman, who failed signally in one department
was transferred, failed again, was given his choice of a
third department, and there became one of the best
workers Systematic management pays quite as much
attention to individual aptitude as it does to any other
phase of the work."
Since the New England Butt Company began the
installation of the system various other New England
factories have begun it, but in no other, so far as has
been made known, have so many new features of it been
worked out. The interest in the industrial world in it is
shown in the fact that visitors from other cities have been
visiting it steadily for the past two or three months.
On the Outside Looking In
By the Goat Man
CONGRATULATIONS to the Columbus conven-
tion in that it didn't attempt an official program
and soak the advertiser. And again, the banquet
was at so much per plate, and it was up to you to dig up
to get your ticket and gather around. Ohio was always
J. V. Ritchey in George Stevens' Aeroplane. "Saved by Airship," Reli-
ance, January 29.
a great little state to start reforms. You will remember
that the League was born in Cleveland. And it only
took a little over a year for these practical hunches to
develop. I salute thee, thou fair Buckeye.
^ ^ ^
In this issue of Motography you will find a little
picture showing a three-cornered argument in the vicin-
ity of a big post. In the left foreground, with a stick
in his right hand is Billy Home, of Los Angeles. He's
the deputy goat and answers all the questions that
stump me. You can imagine how busy he must be. In
the picture he is pondering on the wisdom of passing
the guys in or making them dig up. This accounts for
the look of distress that illumines his countenance.
* * #
I hear that Doc. Rhodes, of Indianapolis, is aspir-
ing to the M. P. E. L. of A. presidency. Well, fellows,
I believe in competition and I don't want to go to New
York unless there's to be some fun. However, as an
honorary member of the League, I'm pledged. I would
have to be that to evade the accusation of holding back
for something.
* * *
What's this stuff I hear about Mandelbaum at Col-
umbus ? I don't believe a word of it. What had Vir-
ginia been taking?
There is something about a certain house organ,
according to one exhibitor, that young girls like. Hpr-
tense, fetch me the smelling salts and be quick about it !
* * *
I am going to talk shop, whether you like it or not.
That's what you fellows do all the time and you shouldn't
care if I toot on my own little horn occasionally. First
thing, I'm revising that little book "The Motion Picture — •
Its Making and Its Theater." The new book will be
new clear through, we've exhausted two editions — all
but about fifty copies in cloth. The old book needed so
many things done to it, that I simply threw the plates
into the melting pot and am making a new book from
cover to cover. I may call it, "The Making and Ex-
hibiting of Motion Pictures," just to have it all new. It
will be real authority, too. I don't know much about
the business myself, but I've learned quite a little since
the first book made its appearance, and there are lots of
people who have formed the habit of asking me ques-
tions. This book will make it easier for me and for
them. There will be no change in price. Then that
other book — Motography's Business Record — which
has had a tremendous sale, is being modernized. While
the changes are few they are important and helpful.
Watch for future announcements.
We are also compiling Motography's Hand Book
and Film Record — the fifth edition. It will contain the
record, of 1912 film releases — all brands. Every film
maker should co-operate with us in this work. Never
a day goes by that hasn't developed a new use for this
little work. If the feature folks were smart, they'd in-
Here's Where Billy Home, Deputy Goat, the Los Angeles Inspiration, is a
Sure Enough Actor in Biograph's "The High Cost of Reduction."
74
MOTOGRAPHY
Vol. IX, No. 3
sist upon all of their stuff going into this work. Roth-
acker gets credit for saying that a telephone directory
is the only place to find a list of feature film men. Take
the telephone books of New York, Philadelphia, Chicago
and Los Angeles and check every other name to get 'em !
There's so much of truth in Watterson R.'s crack that
the feature films, outside of the regular programs, don't
show in our compilation. But at that, the book is very
much in demand and it bids fair to be a permanent fix-
ture in the business. The work is covered by copyright ;
is sent free to every exhibitor who subscribes to Moto-
graphy or asks for it. And when they don't ask we
send it, anyway!
^ ^ 5fc
Then there is the motion-picture theater list. Occa-
sionally I hear of a concern who puts up good money
for somebody else's list of exhibitors and gets stung.
I am sorry, but I don't waste much sympathy with them.
I believe in my list of motion-picture theaters. It is
good enough for my ever increasing number of cus-
tomers. It is arranged for commercial use — your need,
maybe. I ask more for it, in some ways, but a whole
lot less in others. Or, I will do your addressing for you,
at a very reasonable rate. Better try the service when
you want quick work.
$z ^c ^
In other words, you fellows who are always busy
in the film game, get the habit of thinking Motography
when you are weighing publicity matters. You will like
it. We have been developing a system that serves our
customers — few of 'em we'll acknowledge — but do you
observe how they stick? That's the answer. They know.
We realize that we might get farther if we were right
there when you try to think, but this is an age of con-
veniences and the telephone, or the telegraph, or a letter
will help; if you will only think of us at the right time.
^c % ;jc
It would be an oversight, unpardonable, if we didn't
sing the praise of Motography, too, but you can pass
judgment on it yourself. If you wade through the maga-
zine every two weeks you must like it. If you hang
onto these paragraphs all the way through to here you
have our thanks. Your razor will cut better in the
morning; your car will run smoother; the mail will
sound better ; collections will come easier ; the
babies will sleep at night and life will be one glad song —
when you let Motography in on your plans. Think it
over at your lunch today.
Abruptly changing the subject — Hoogland spells it
officially, "h-o-A-g-l-a-n-d," just like that. Or at least
Reilly spells it that way and Hoogland O. K.'d it. Dog-
goned if I don't think Hoog sounds better the hoAg !
^C ^ ^
They've got me jammed into the offing again. As
a rank outsider, I lead the procession. It all comes of
this Kinetograph-Kennedy- Waters thing. Let me see;
the Motion Picture Patents Company gave a license to
Kinetograph which was formed to do a film renting
business. Kinteograph buys films from the M. P. P.
Company and proceeds to business. Very well. You
and I have been getting our films from G. F. — the
•When the Light Fades," February 24. Copyright 1913, American Film Mfg. Co.
February 1. 1013.
MOTOGRAPHY
7o
branch nearest our theater. Our programs didn't clash.
Now you go over to Kinetograph and get your service —
exactly duplicating mine. Oh, hum. I'll yawn on that.
And to think that the government probe is doing busi-
ness all the while. This is a fine time for such antics.
The General Film Company has devoted its entire
strength to prevent the things which the Patents Com-
pany now sanctions by licensing Kinetograph. I'm think-
ing I'll find an oculist. Something's the matter with
my way of seeing things. Suppose, for example, that
Kinetograph was a blind, which it isn't, and that G. F.
was playing to lose and win by such connection, which is
highly improbable, why demoralize the gr.me even for
appearance's sake? My hands are up, you can search
me.
^ * *
Down at Atlanta. Percy Waters is alleged to have
given out the statement that his concern had procured
its license from the Patents Company. There was noth-
ing new in that.
:Je :{: s(e
Just to get elbow room, lets push some of this clutter
off the table and shake down to the clean cloth. What
interests are represented in the Motion Picture Patents
Company? Of course, I haven't gone over the books,
Christmas Eve Dinner Given by Director Romaine Fielding to Lubin Players
at Nogales, Ariz.
or anything like that, but you must have heard, had you
listened, that an undivided half of the M. P. P. Company
is owned by Edison ; an undivided third by Biograph
and the balance, an undivided sixth by Tatham, of loop
fame. It requires no financial wizard to figure out
who might control under such arrangement. The officers
of the Patents Company are H. N. Marvin, president;
Geo. F. Scull, vice-president; William Pelzer, secretary;
J. J. Kennedy, treasurer. There you have the Biograph
and Edison interests in a nutshell.
^ ^ ^c
When the Patents Company was formed, Frank
Lewis Dyer, president of the then Edison Manufacturing
Company was made president. The capital was $15,-
000,000.'
When Mr. Dyer assumed the presidency of General
Film Company, a little while ago, he severed his con-
nection with Thomas A. Edison, Inc. General Film's
vice-presidency is vacant. Paul Melies is secretary and
Wm. Pelzer is treasurer. That's all plain enough, isn't
it?
^ ^ ?K
The Kinetograph Company? Well, J. J. Kennedy
"A Close Shave," Punch, February 13.
is president and Percy Waters is vice-president and
treasurer and Dwight McDonald is secretary. The plot
doesn't seem to thicken a bit. Only a little while ago
two of these three gentlemen were nicely ensconsed at
200 Fifth Av. and had everything to do with G. F.'s
affairs. And today they are preparing for war!
^H ^ 5-c
It looks like you are up against a new order of
things. You can't get anything from the General Film
Company except licensed films. You can get licensed
films from Kinetograph Company and I'm wondering,
hazy like, almost groggy, if you won't be able to get
some of the independent stuff from Kinetograph. I
haven't seen a thing from these folks, except a check
for a year's subscriptoin. so I don't know. But I won-
der. Will some kind exhibitor please find out and tip
me off. In other words, there ought to be a profit for
these big fellows, who might handle independent films.
That profit has been going by default for several years.
I just think we'll take some of that.
H5 ^ H5
I am told that Edison's talking pictures will appear
at the Majestic shortly. That's handy enough for me,
so I'll have a look and a listen.
^ ^ ^
You will miss a bully film, if you fail to book
Selig's Cowboy Millionaire in two reels. There are
thrills all through it, and you'll hang on to the side
arms most of the time. While much of the show is new,
the first reel portrays those old pastimes of the cow-
SB» ■• .--. 'fl
^^£
ft Jr ./ j*2^^H
w j S^^hi
"Tom, Dick and Harry on the Job," Punch, February 6.
76
MOTOGRAPHY
Vol. IX, No. 3
puncher with such splendid zest, I rather fancy it most.
It won't be many more years, if ever, that such men may
be had. Their stunts are not of the kind where imita-
tion is possible. You will travel far to find a man, who
will vault into a steer's horns and stay there while the
steer breaks through a fence with him.
I am sorry that Thanhouser lost its plant. We are
all sorry when disaster strikes near home. But when I
learn that no one was injured and that the negatives
were saved, I'm ready to call it a lucky fire. Frankly,
the Thanhouser plant was a fire trap. I was never in-
side of four walls, but once when fire entered into my
calculations. That was on a hot July day last year in
New Rochelle, when I tread the pine steps to the
business offices of the Thanhouser Film Corporation.
The building had been designed for a skating rink.
What a film factory had done to it can best be imagined.
And they were making three a week then. There were
signs everywhere — "no smoking." They weren't neces-
sary. I wouldn't have smoked on a bet. The out-of-
doors was better. I felt that fire would get it some-
time and I wasn't alone in my thought. The owners
must have feared it, too, for they had in mind a fire-
proof laboratory and had started their plans for it.
What a pity the fire might not have been delayed. The
rink would have answered with safety for a studio.
^ Jfc >K
You may have concluded, long ago, that there is no
way for me to get in, even with a pair of good stiff
horns. Now with the deputy goat, it was easy — his
name is Home — he horned in. I have hinted right
along, too, that it would be easier for some of the out-
siders to get in than I have found it. Well, stick around
for a minute and then take a squint at a facsmile letter
that I've hung up in the advertising section — to kind o'
pad it up a bit. It would seem that a man you know or
ought to know has set up shop over in the Manhattan
building, city of Chicago, Cook county, and in his shop
he has a machine of some sort — embryonic thus far —
but from the dope, fellows who know are saying it out
loud. And they sign it. Have a look, everybody.
"Niles Cowboys Build Carpenter Shop
During G. M. Anderson's absence from Niles, J. J.
Robbins has been taking advantage of the pleasant
weather and is busily engaged daily superintending the
construction of an up-to-date carpenter shop which will
be fitted with all the modern appliances, property rooms
and scenic docks.
During this time the cowboys have had few idle
moments. They have been quite active when not work-
ing in pictures, riding the 2x4s with apparent glee. Al-
though these "wooden horses" do not afford the enjoy-
ment that the bronchos do, some of the cowboys say
many times while they are astride the scantlings, it feels
like their mounts are "ready to rear" at any moment.
Should a tool be dropped to the ground, the usual
custom of descending for it is not thought of, but the
lariat is brought into play with the result that the lost
article is soon restored to its owner in less time than it
takes to tell.
'The Three Wise Men," February 5. Copyright 1913, S>elig Polyscope Co.
February 1, 1913.
MOTOGRAPHY
77
Development
By
ILLUSTRATIONS speak louder
than words, and in advertising
moving pictures have the most
persuasive illustrative force. There
is at present under way a most com-
mendable organized movement for
"the truth and nothing but the truth,
in advertising." Moving-picture ad-
vertising is the logical means with
which to illustrate an advertising story
so that it honestly portrays the sub-
ject as it actually is and moves.
Confidence is based on knowl-
edge, and when the public sees on the
screen the magnificent activity of a
well-appointed factory in operation
the public believes its eyes, and the
eyes telegraph a favorable and positive
impression to the brain.
Many of the most astute and
sagacious of our national advertisers
have found moving pictures to be
commandingly convincing in adver-
tising campaigns which have conclus-
ively established the fact that moving
pictures can be made actually to in-
fluence sales as well as give effective
publicity to a name or trade mark.
The most extensive and notable
moving-picture advertising campaign
up-to-date, engineered for the Du
Pont Powder Company to educate the
of the Advertising Film
Watterson R. Rothaker
Camera Expert Ready for Work.
agricultural public on the subject of
"Farming with Dynamite," resulted in
columns of publicity, splendid adver-
tising results, and gave impetus to the
sale of Du Pont high explosives as
used in demonstrating before the mov-
ing-picture camera how land-clearing,
sub-soiling, tree-planting, ditching,
etc., are most economically and ef-
ficiently accomplished.
The following letter and com-
mentary is reproduced from a recent
edition of "The Agricultural Blaster,"
a house organ published by the Du
Pont Powder Company. This is rec-
ord of but one of the many instances
where the Du Pont moving pictures
actuated the farmer to buy and use
the goods he saw advertised on film :
Mr. W. H. Cattelle, a Pennsylvania
blaster, says :
"Your 'Farming with Dynamite' film was
shown in a local moving picture house on
two evenings. The exhibition brought me
two jobs that will require about 100 pounds
of dynamite, 200 feet of fuse and a box of
caps, with prospects of more work from
the same parties. The women enjoyed the
pictures quite as much as the men."
There are two good points in the above
letter. First, the fact that showing the
films leads directly to blasting work, and
second, that the films proved interesting to
the women. Blasters may not realize it,
but the women on the farms have a great
Plowing.
Tractor at Work.
Weighing Cotton.
Harvester and Tractor
78
MOTOGRAPHY
Vol. IX, No. 3
deal to do with their losing a lot of blasting work. They are
afraid as death of the mere mention of dynamite, and if their
husbands or sons as much as mention having a blaster come on
the premises with the explosive, the women will register objec-
tions which spike the deal for the blaster. Letting the women
see the films, however, shows them what the work consists of,
and thereafter they are not so much afraid of the actual work.
Another moving-picture advertising achievement,
more recently added to the steadily-growing list, is the
Northern Pacific Railway Company campaign. Many
railroads have used, and are using, moving pictures in
a casual and disconnected way, and are reaping advertis-
ing results proportionate with the investment and en-
deavor. The Northern Pacific campaign, however, was
carefully planned and is being conducted and directed
intelligently and along definite and productive lines.
These pictures reveal the scenic wonders of Yellowstone
Park and animated vistas of life and conditions in the
Northwest with a force that impells and induces tourists,
home-seekers and investors to investigate, and so asso-
ciates the Northern Pacific name
as to suggest a trip over that line.
A series of films entitled
"The Clothing Industry, from
sheep to wearer," have been pro-
duced and circulated to the ad-
vertising advantage of Mayer
Brothers, big clothing manufac-
turers in Chicago.
Moving-picture demonstra-
tions of heavy agricultural ma-
chinery, such as tractors and
harvesters, have stimulated sales
for the M. Rumely Company,
Holt Caterpillar Company and
others, while various enterpris-
ing manufacturers of soap,
shoes, food stuffs and whatnot
have successfully employed mov-
ing pictures with telling adver-
tising effect.
In general advertising, pub-
licity, merchandising and indus-
trial exploitation moving pic-
tures have earned an established
position and there is absolutely
no question but that the adver-
tising moving '" picture has
extraordinary power which,
when properly developed and
utilized, materially aids the advertiser to deliver his
goods.
Showing the Trademark
(DuPont Shell).
Quiz Official as to Picture "Trust"
The taking of testimony in the government's suit
against the Motion Picture Patents Company was begun
recently before Special Examiner Edward Hacker.
Henry N. Marvin, vice-president of the Biograph
Company, one of the defendant concerns which are al-
leged to have formed a combination to control the motion-
picture industry, testified that in 1908 the several factions
of the industry were at war with each other. This led to
the organization of the Motion Picture Patents Company.
The purpose of organizing, he testified, was not to
stop competition, but to harmonize legal troubles that
arose as the result of patent disputes.
Two agreements were entered into between the pat-
ents company and its constituent concerns, he said ; one
whereby each company assigned its patents to the Patents
Company, the other by which the Patents Company
censed to the other companies the patents which it con-
trolled.
Marvin admitted that the Motion Picture Patents
Company exacted a license fee of $2 a week from all ex-
hibitors who used films made by any of the companies in
the combination. This fee, he explained, served as a
royalty on machines on which patents were held, but on
cross examination he admitted this fee was levied also
upon exhibitors who do not use machines controlled by
the Patents Company.
More than half the exhibitors in this country in
1909, he said, paid the fee, and in return the Patents
Company agreed to limit the film service in each city so
that there would be no overcrowding of the moving-pic-
ture business.
Marvin explained that the Biograph and Edison
companies joined forces because he saw no reason for
continuing their previous antagonism.
Motion Picture Export Great
Eleven thousand miles of moving-picture films, or,
as a magazine statistician would put it, enough to reach
from Washington to Manila, were exported by the Unit-
ed States in 1912.
Even to persons fairly familiar with the immense
progress of this comparatively new industry such fig-
ures seem amazing. The export trade, big as it is and
growing rapidly, forms only a fraction of the total busi-
ness of the film manumacturers, so that it is safe to say
that the entire output, if placed end to end for the pur-
pose of popular comparison, would girdle the earth sev-
eral times.
To say that the moving picture business is still in
its infancy may seem over-bold, in view of the fact that
so many moving picture theaters have sprung up like
mushrooms all over the country. Nevertheless in many
ways the moving picture business is still among the in-
fant industries — a big, bouncing baby, growing at a pro-
digious rate, but not yet out of swaddling clothes. The
baby is now learning to talk, but that accomplishment
will only add to his attractiveness and enlarge the cir-
cle of his admirers. It will contribute to his further
development and increase in stature. If he does not turn
out to be a veritable giant all present signs will have
failed.
'Would Have Motion Pictures Licensed
Licensing the moving-picture theaters of Missouri
is the purport of a bill on which Representative Wolf of
Jefferson City is working, to submit it to this session of
the legislature.
It probably will call for an annual tax of $50. There
are probably 1,000 moving picture houses in the state
and the law would, therefore, mean an. annual revenue
of $50,000, which money would go into the "good roads"
fund.
The bill may call for the establishment of a state
board of inspection, which would visit all such places
once every six months, inspect the building in regard
to avenues of escape in case of fire and the strength of
the structure for holding a crowd.
Proper ventilation and heating would be included
in the work of the board, which, by the fee system, would
be self-sustaining.
A board of censors is suggested to pass on pictures
before they are exhibited. All films dealing with train
robbery, Indian killing and similar ones, which inflame
i-the minds of the young would be eliminated.
February 1, 1913.
MOTOGRAPHY
79
Motogfraphys Gallery of Picture Players
JOE MOORE is the "big" little boy who appears in
Imp films to the tune of an admiring chorus of pic-
ture fans who see in the youthful actor the promise of a
future great leading man. And Joe has ambitions of his
own, which tend
along the same line.
He has taken for his
model no less a per-
son than King Bag-
got and seeks to fol-
1 o w his example
throughout his work
before the camera. It
was King Baggot's
sleeked black hair
that gave Master Joe
the inspiration to
train his own gold-
brown locks that way
and his success in this
direction is a source
of much pride and
pleasure to the own-
er. Other successes
have come the way of
the ambitious Joe, for
the liking accorded
-Toe Moore- him by the producers,
others of the company and the picture patrons, testify
to the quality of his talent. Still, he strives for a higher
notch, for, "Keep your eye on King and do the best
you can," is his motto.
WIOLET HORNER is the "little Melba" of motion
» pictures, and before joining the Imp company, was
soloist in several Brooklyn churches. Her work in pic-
tures dates back fifteen months when she was placed on
the Imp's "extra"
list. A try-out made
her a "regular" and it
was not long before
she was playing leads.
Her success in pic-
tures Miss Horner
attributes to her in-
terest in her profes-
sion. She is especial-
ly fond of drama and
makes no secret of
the fact that she dis-
likes to play comedy
roles, though no one
would guess this,
judging from the
equally fine work she
has done in both lines.
Somehow, the name
"V i o 1 e t Horner"
seems just to fit the
type of girl Miss
Violet Horner. Tt . & ~,
Horner is. She is
blonde and pretty with fair skin and large, active eyes
and is fond of swimming, golf and motoring, the last-
named being her latest leisure-time occupation. And she
dearly loves art.
•^
p^.
JA
V-
KING BAGGOT was not always a motion picture star.
In fact, that qualification is a most recent one, con-
sidering that until five or six years ago, Baggot had not
even appeared in a theatrical production and had no
though i of so doing.
He was interested in
soccer and gave more
time to that than to
his duties as clerk in
his father's real es-
tate office in St.
Louis. His soccer
fame secured him an
invitation to appear
in a local dramatic
performance and af-
ter that, himself and
everybody else, ex-
cept his father, felt
that the stage was his
calling. He jumped
from the amateur to
the professional class
and his last road
work was with "The
Wishing Ring," in
which he starred.
Harry Saulter, hus-
band of Florence Lawrence, secured him to play in Imp
pictures, and his work with Miss Lawrence in "The
Awakening of Bess" was his first before the camera. Mr.
Baggot is thirty-four years old.
Kin? Baggot.
EDITH HALDEMAN has made glad the heart of
the producer who first refused her personal applica-
tion to play in Imp pictures, for she has made good with
such vigor that the producer has made her his leading
juvenile lady and is
accounted one of
Miss Edith's very best
friends. It was King
Baggot though who
came to the rescue of
the weepy Edith, on
that awful first day,
and by coaching her,
helped in the little
girl's achievement of
success. Mimicry and
characterization seem
to come natural to her
and she fits well into
whatever role is ac-
corded her. It is one
year since Miss Edith
became a photoplay
girlie, and in that
time she has appeared
in the majority of the
stronger dramatic pic-
tures produced by the
Imp company. In the film, "Officer 174," she was seen
to especial advantage. And not only at the studio, but
in the outside world where people know just her pic-
ture, is Miss Edith a general favorite.
Edith Haldeman.
80
MOTOGRAPHY
Vol. IX, No. 3
Picture Houses Now "Poor Man's Club\
In Gary, Ind., the motion picture show is becoming
the "poor man's club," thus robbing the saloon of a title
that it has long claimed, and placing Gary on a better
plane than it has ever before occupied.
There are eight small theatres in Gary, each giving
two or more performances during the evening and each
one playing to a full house at almost every performance.
The pictures displayed are comparatively good and are
getting better as time advances. Before the theaters
were light as they are now, they afforded a place for the
gathering of "spoony couples," but these places are now
too well lighted for these couples.
This condition not only exists in Gary, but obtains
throughout the civilized world as well. There is hardly
a _ city, village or hamlet in which there is not a moving
picture theater, and men who were wont to spend their
evenings in a saloon can be seen with their families al-
most any evening viewing the pictures.
The five-cent theater provides a place of entertain-
ment that did not exist before the cheaper place of
amusement arrived — a place where the workingman
could take himself and members of his family for an eve-
ning's enjoyment at little cost. Before the moving pic-
ture came into existence the man who toiled from six in
the morning until six at night, felt that he must have
some recreation after his day's toil, and in the great ma-
jority of cases he would go to the saloon where he would
enjoy a glass of beer with other workingmen, and often-
times would spend a greater amount of money than it is
now necessary to spend to take himself and family to a
good theater.
But what is looked upon as being the greatest good
the moving picture show is doing is that it is providing
a "poor man's club" that has already become a dangerous
rival of the saloon in this respect. An evening can be
spent at the moving picture show without any ill after
effects such as a headache in the morning, the neglect of
the workingman's family and eventually, in many cases,
the ultimate downfall of those who habitually frequent
the saloon.
First Intervention in Texas Filed
The first intervention in the suit of the State of
Texas vs. Motion Picture Patents Company has been filed
in the Fifty-eighth District Court in behalf of the Im-
perial Theater Company of Beaumont, a partnership.
The intervention is expected to be the forerunner of simi-
lar interventions to be filed by every moving-picture show
in Texas, and the intervention seeks to recover amounts
paid to the Motion Picture Patents Company as royalties
by the moving-picture shows under the impression, now
held to be erroneous, that the Motion Picture Patents
Company controlled certain patents on projecting ma-
chines. The interventions will ask recovery of amounts
paid by each intervenor and will vary according to the
facts. In the intervention of the Imperial Theater the
amount asked is $5,278 and attorneys estimate that the
total amount which will be claimed by the intervenors in
Texas will be about $250,000.
Lubin's "The Lost Note," February 3.
February 1, 1913.
MOTOGRAPHY
81
Berlin Cinematograph Congress and Exhibition
Reported by the London Bioscope
A FESTIVAL of work is the description which we
must give to the Berlin exhibition organized by
the Schutzverband Deutscher Lichtspieltheater
(Protective Alliance of German Picture Theaters), which
was held from December 17 to 23, 1912.
It was regarded as a daring idea to attempt to collect
in one place everything which would show the wonderful
achievements of our trade. But see the result : from all
classes the cinematograph has won a measure of respect
and support which is only granted to that which is really
great and important.
And so, on the 17th of December, when the first Ger-
man Cinematograph congress and the exhibition organ-
ized in connection with it were opened at the "Deutscher
Hof." Luckauerstr. not only members of the trade as-
sembled there, but also a select and illustrious company
of official personages, prominent scientists, society lead-
ers, and representatives of the civil and military authori-
ties— a great throng, whose presence was one of the
principal successes of the exhibition. It is impossible to
mention the names of all those who were present at the
opening ceremony; among them, however, were repre-
sentatives of the Police Presidium, the Ministry of the
Interior, the Court Marshal of Duke Ernest Giinther v.
Schleswig-Holstein, the Dresden Museum of Hygiene, the
City of Berlin, and the Imperial Postoffice. The follow-
ing members of the Honorary Committee were also pres-
ent: Dr. Archenhold, director of the Treptow Observa-
tory; Prof. Dr. Baginsky, school medical officer for the
city; Dr. Eugen Borchardt; Dr. Fischer, of the City
School Board; Prof. Dr. Glatzel, of the Technical High
School; Dr. Alfred Goldschmidt, finance secretary; Herr
Franz Goerke, director of the Urania; Director Haese,
chairman of the Continuation Schools ; Prof. Dr. Heck,
director of the Zoological Gardens ; Herr Herter, chair-
man of the Berlin Teachers' Union ; Dr. Hoeninger,
W'aidmannslust ; Diplomaingenieur Ledermann, Dresden ;
Dr. Lehmann, scientific adviser to Messrs. F. C. Zeiss,
Jena; Rektor Lemke, publisher of Lichtbildkunst, Stor-
kow (Mark) ; Prof. Dr. Matzdorff, Dr. Miethe, of the
Technical High School ; Herr Paul Mtiller, Berlin-Char-
lottenburg; Dr. Lorenz Pieper, publisher of Bild und
Film; M. Gladbach; Dr. Pintsch; Dr. Regener; Dr. Paul
Ritter, of the City Council; Herr Bastian Schmidt, pub-
lisher of the Monthly Journal for Scientific Instruction ;
Dr. Erich Schmidt, general secretary of the Central
Committee for School Dentistry; Dr. Seddig, of the
Frankfurt Academy; Dr. Springer, of the German Pub-
lishers' Union ; Herr Schwier, Weimar, chairman of the
German Photographic Society ; Dr. Tretial ; and Herr
Robine, chief editor and publisher of the Archives of
Theatrical Science.
The opening address was delivered by Herr Arthur
Templiner, the chairman of the Schutzverband, who
thanked all those who had supported the work of the
organizers, mentioning especially the Berlin city council,
which showed its interest by presenting two silver medals.
Herr Templiner was followed by Dr. Arthur Mese-
ritzer, who explained the objects and scope of the Con-
gress and Exhibition. The German showmen, he said,
wished to prove that, of their own accord, they were
gradually removing the evils which the rapid develop-
ment of the trade had brought with it, and that their ef-
forts were not due solely to the attacks which had been
made upon the cinematograph. The Congress was to
prove that among the exhibitors there was a large number
of intelligent men of high character, who were fully con-
scious of their responsibilities. Poets, authors, learned
men and teachers, the noblest elements in the nation, con-
sidered it their holiest duty to enter the lists against the
cinematograph in defense of the good, the true, and the
beautiful, and in their fight for the most sacred posses-
sions of the nation they naturally had the sympathy of
the authorities and of the elite of the intellectual classes.
The campaign was especially directed against the in-
fluence of the cinematograph upon the young. Most film
dramas were criticized from this point of view, as the
young were, from the first, the most zealous patrons of
the picture theaters and were peculiarly susceptible to
theatrical influences. It must not be forgotten, however,
that many adults had the same feelings as children, and
on that account efforts to provide suitable theatrical fare
for them was absolutely justified. The exhibitors were
just as much opposed to trashy literature and films, and it
was unjust to make the cinematograph responsible for all
offenses committed against good taste. The film-drama
was a very different thing now from what it was in earlier
days, and they stood on the threshold of a period of great
development, thanks to the interests displayed by German
poets and authors. The drama was a necessity to the
cinematograph theater, for people went there to be
amused. The cinematograph theater offered endless pos-
sibilities for the education of the people by means of
aesthetically beautiful art and nature films, pedagogic
films, and geographical, zoological and hygienic pictures,
but they must, first of all, maintain their existence, and
this they could only do by attracting the public. The pa-
trons of the picture theaters were mainly drawn from
the classes which formerly attended the music halls, or
passed their time in public houses, and the cinematograph
might possibly prove the means of educating them to an
appreciation of the stage. The drama was the life nerve
of the picture theater, but they welcomed the instructive
film; they wished to demonstrate the possibilities of the
cinematograph educationally.
Professor Dr. Kemsies, the next speaker, dealt with
the film in science and the schools, and said that the fact
that pictures could be taken with an exposure of one-
thousandth of a second was of the greatest value to sci-
ence. He maintained the importance of the reproduction
of microscopic movements which were invisible to the
naked eye, and referred to the advantages of films for
use in the schools.
Rektor Lemke, of Storkow, in an interesting speech,
emphasized the importance of the cinematograph as a
means of culture. The exhibtors, he said, wished to work
hand in hand with the schools, and the latter must avail
themselves in the cooperation offered. The police regu-
lations with respect to special children's performances
gave them the opportunity to do so. The cinematograph
must be international; they wished to take the best which
every nation had to offer. He concluded by saying that
only by the cooperation of all classes could the cinemato-
graph reach its highest development.
In spite of the shortness of the time available for the
work of organization, fifty-three firms exhibited. Al-
82
MOTOGRAPHY
Vol. IX, No. 3
Raloh Cannot Deny It. From the Kleine-Eclipse Comedy, "Getting Even," February 19.
though, as resolved by the Convocation, all the manufac-
turers, with the exception of Pathe Freres, held aloof,
and there was some opposition to the Exhibition amongst
the hirers in consequence, it must be described as highly
successful. The following were prominent amongst the
exhibitors : Pathe Freres, Ernemann, lea, Maltheser,
Zeiss-Jena, Neue Photographische Gesellschaft, Georg
Kleinke, Engelke and Company, Sirius Gesellschaft, and
Kartomat A. G. Especially noticeable features were the
regulation projection chamber erected by the Police Pre-
sidium, with a cinematograph with a bicycle drive, a
model of a machine for coloring films, and a new optical
system, by means of which a much clearer and whiter
flame can be maintained. There were also some very
practical novelties in cinematograph apparatus, and an
extensive range of useful appliances for theaters, such as
tickets, sprays, fire apparatus, etc.
The Exhibition was the first one at which the liter-
ature of the trade was represented. Separate stands
were occupied by the official organ of the Schutzverband,
and by Rektor Lemke's journal, Lichtbildkunst; Film
und Lichtbild Stuttgart ; and Bild und Film, M. Glad-
bach. The following foreign journals also had their
own stands: La Fotografica Artistica, Turin; La Cour-
rier Cinematographique, Paris; L'lllustrazione Cinemato-
grafica, Milan ; Cinephone, Moscow ; and The Bioscope.
In the Congress Hall, popular cinematograph perform-
ances were given, in addition to the representations of
scientific films, and all the latest and best films were
shown to the public.
The Exhibition has been of the greatest benefit to
the European trade, and has rendered the most important
services to the scientific and instructive art of the film.
Selig Artists Guests At Auditorium
The leading people of the Selig Chicago stock com-
pany, to the number of forty, were holiday guests of the
Selig house at a grand opera party at the Auditorium.
Charles Clary, Frank Weed, A. G. Lonsdale, La Fayette
McKee, Thomas Flynn, T. J. Commerford, William
Stowell, C. A. Winterhoff were accompanied by their
ladies. Mr. and Mrs. Kenneth D. Langley and Mr. and
Mrs. Chris Lane, together with Mr. and Mrs. J. Edward
Hungerford, represented the artistry of the scenario de-
partment. George Cox had a box party entertaining
Winnifred Greenwood, Adrienne Kroell, Rose Evans
and Lillian Leighton.
Mr. and Mrs. Oscar Eagle, Hardee Kirkland,
Charles H. France and Lorimer Johnson viewed the
performance from the piscatorial production standpoint
with marked interest, highly approving the living pictures
composed by the great French stage manager Almanz.
Of the vast audience embracing nearly 4,000 people
that witnessed and approved the performance of "The
Tales of Hoffman," with the graceful French tenor,
Edward Warnery, in the role of the amorous, peripatetic
poet Hoffman, none enjoyed it more than the delegation
from the Selig polyscope plant.
February 1, 1913.
MOTOGRAPHY
83
Big Convention at Columbus
By A. L. Haase
THE eighth state convention of the Motion Picture
Exhibitors' League of America, Local No. 1, opened
on Tuesday, January 21, at the city of Columbus,
Ohio, with the largest state attendance of any similar
convention ever held.
Through the indomitable energy of the local con-
vention committee, comprised of Clem Kerr, chairman,
and officers John Pekras, W. R. Wilson, J. W. Swain,
J. H. Maddox and Max Stearn, everything had been
arranged to make this convention a decided success.
On Monday, President M. A. Neff, of the National
League arrived and went into executive session with the
local committee and arranged the schedule for the meet-
ings that were to be held as follows :
TUESDAY, JANUARY 21,
1 :30 p. m. Convention called to order.
5:00 p. m. Adjourned.
7:30 p. m. Vaudeville entertainment and projection of
moving pictures.
WEDNESDAY, JANUARY 22.
10:00 a. m. Opening of executive session.
11:30 a. m. Adjournment for trip to state house to meet
Governor Cox.
S :00 p. m. Adjournment.
7 :30 p. m. Banquet.
THURSDAY, JANUARY 23.
Executive session of local committee.
Tuesday saw train load after train load of exhibitors
arriving and the hotel was soon over crowded. The
Cincinnati delegation arrived at 12:30 p. m., and was
met by a band and the earlier arrivals. A procession
was formed and a moving picture was taken of the
march back to the hotel. At 1 :30 the entire body met
in the convention hall, where Chairman J. H. Maddox
introduced his Honor the Mayor, George J. Karb, who
humorously stated that Columbus in welcoming the ex-
hibitors did not hand over the keys of the city, but had
unlocked the gates and thrown the keys away.
Mayor Karb is a picture fan and said that he per-
sonally, as well as the members of his family, were
frequent patrons of the picture theaters ; that he was
delighted with the kind of entertainment furnished, and
although he had heard that officials of various cities were
greatly worked up over the question of censoring the
films, he had never found any occasion to worry about
the matter himself in all the time he had been going to
picture theaters, and that he was positive no Columbus
exhibitor was showing or would show films that he would
not freely show to his wife or daughter.
Regarding censorship Mayor Karb said "I know
you do not object to censorship, if that censorship is
properly done by men who understand what they are
doing and why, and do not overstep the bounds of good
judgment.
National President M. A. Neff, responded to the
mayor's speech thaking him for his courtesy and the
welcome of the city, and briefly stated that the purpose
of this convention was to bring to the attention of the
state legislature drafts of proposed legislation, that
would be fair to the interests of the motion picture ex-
hibitors— laws that would protect any business man in
the community and place motography on the highest
possible plane.
The speeches were frequently interrupted by cheers
and hand clapping, showing that the exhibitors were in
hearty accord with the views expressed. An adjourn-
ment was then taken for a short recess after which a
closed meeting was hekd.
President Neff addressed the exhibitors seriously,
saying that this convention must not be accepted in the
spirit of a meeting for social purposes ; that although
it was his wish that the country exhibitor shake hands
with the city exhibitor, they should realize that there is
a common interest between them and that they are met
for a serious purpose.
"Every member of this organization must realize
Banquet of the Ohio State Convention, Motion Picture Exhibitors' League of America, January 22, 1913.
84
MOTOGRAPHY
Vol. IX, No. 3
Group of Members and Visitors at the Convention of Ohio State Branch, Motion Picture Exhibit
now," he said in effect "that if the M. P. E. L. of
America is going to accomplish the many things which
are before it, each and every member of the League
must co-operate, not by a mere acquiescence, but by put-
ting his shoulder to the wheel and giving his individual
support to each and every movement that is projected.
Every man must remember that he has a personal inter-
est here and a duty to perform first to the League and
secondly to the public at large. In furthering the aims
and cause of the League they are bound to receive
greater benefits than were ever dreamed of before joining
this organization." Mr. Neff said, he was aware that
many of the exhibitors had come there with grievances
to relate and that he hoped they would tell them, but
that, when they had he wanted them to go further and
help in carrying out the plans that would ultimately
work out the good that they were seeking.
"Take this convention seriously," was his injunc-
tion ; "don't leave here until you have made up your
mind that the things said and done here are for the
good of all you exhibitors. Above all make this the
greatest convention exhibitors have ever held by pledging
yourselves to give the League all the assistance you can
both morally and financially."
A telegram from the Universal Film Manufacturing
Company extending its best wishes was read, and one
from P. S. McMahon, vice-president of the Connecticut
League, offering congratulations to the convention and
regrets of his inability to be present.
W. S. Kasper, of Cleveland, advised by wire of his
illness preventing his attendance.
E. C. Preston, vice president of the Nebraska
League, wired his inability to attend on account of local
legislation matters demanding his personal attention.
The following committees were appointed :
Auditing Committee : Max Stearn, Columbus ; W. J.
Slimm, Cleveland; W. A. Pettis, Cleveland.
Grievance Committee: S. E. Morris, Cleveland; J.
G. Glassmeyer, Cincinnati ; C. Reark, Sandusky.
Committee on Recommendation : Julius Kaufman,
Galliopolis; M. Christenson, Cleveland; Clem Kerr, Day-
ton ; George D. Sprague, Bellaire ; W. C. Kitt, Cincinnati.
Short addresses were given by Herman Lehman of
Dayton; D. A. Rhodes, president Indiana State League;
F. V. Rembush, vice president, Indiana State League and
adjournment was taken for the day.
In the evening an entertainment was provided, both
licensed and independent pictures being shown on the
screen — Simplex, Power's, Motograph and Standard
machines competing for the honors.
A Reliance two-reel subject entitled "The Open
Road" was heartily applauded and a three-reel universal
film named "Sheridan's Ride" was also a recipient of
enthusiastic approval. A Kalem, an Essanay and a
Biograph completed the picture show. During inter-
mission a chorus of thirty voices entertained with sing-
ing. It was a tired, but happy crowd that filed out of
the convention hall at 11 p. m.
Wednesday was a busy day, those exhibitors who
were unable to get to Columbus for the first day having
augumented the serious minded chaps, who had come
early, intent on getting their troubles off their minds,
and the lobby of the Southern hotel would hardly hold
them. Great interest was shown in the various machines
on exhibition, and the specialties designed for theaters.
At about 11 a. m. a recess was taken from the con-
vention meeting, the exhibitors forming into line for a
march to the State house where Governor Cox was in-
formally presented by Mr. Neff. A moving picture was
taken of this function as also a panoramic still photo-
graph which is reproduced here.
After the return to the hotel an executive session
was held for a reading and approval of the bills which
were being drafted for presentation to the state legisla-
ture.
The following were approved :
A bill prepared by Lem S. Miller, attorney for the
league, with assistance of the state officers, asking that
February 1, 1913.
MOTOGRAPHY
85
e of America, at Columbus, Ohio, January 21, -22 and 23. Outside the State Capitol.
a state board of censors be authorized to be appointed
by the governor and to consist of three members and a
secretary; the chairman of this censor board to receive
not less than $2,000 per annum, the other two members
to receive $1,500 and the secretary $1,200 annually.
Each manufacturer of a reel of film to be exhibited
in the state to be charged $1 for each and every reel in-
spected by the censors. The reels to be numbered and
stamped as an evidence of fulfilling all legal require-
ments.
A bill was prepared asking that the state legislature
pass proper laws calling for the appointment of a state
examination board for motion picture operators, pray-
ing that no operator under 18 years of age be passed by
the board and specifying that each operator so examined
reach a grade of 75 per cent or better before being li-
censed. The petition also asked that an apprentice be
allowed a licensed operator where necessary, no exam-
ination being asked for apprentices.
A third petition was approved asking that the legis-
lature authorize the exhibition of moving pictures on
Sunday.
A resolution was carried that the League's attorney
prepare a petition praying for the legalization of motor
driven projection machines.
After some purely local matters, President Neff
thanked the exhibitors for their careful attention and
close attendance and an adjournment was taken until
the banquet.
W. A. Bettis, of Toledo, whom Neff had selected as
the best ticket agent present, had been busy for two days
disposing of banquet tickets at $1.50 per ticket, and the
attendance at 7:30 proved that Xeff's choice was a good
one for there wasn't an empty seat when the sound of
the gavel was heard in the east.
President Neff arose and announced that after the
second course a flash-light picture would be taken of the
gathering and the hungry exhibitors fell to on the follow-
ing (the wise ones had eaten before) :
Blue Points on the half-shell
Mammoth Olives C. B. Sweet Pickles
Cream of Celery Soup a la primrose
Fried Halibut with Tomato Sauce
Potato Croquettes
Larded Sirloin of Beef, Sauce Madere
New String Beans Risolees Potatoes
Salad a la Southern
Irozcn Vanilla Bean Petit Fours
Demi Tasse
AYhen the various courses had been brought and
carried away again Mr. Neff. acting as toastmaster, an-
nounced that a special guest of the evening would ad-
dress the members and introduced Governor James Cox,
the guest of honor.
Governor Cox, after the customary wheezes anent
the honor he felt had been conferred on him, said that
in the next few months things would take place at the
State house which would manifest the importance he
places on the motion picture as an educator, and an
amusement. It has many useful functions, he stated,
but he like others felt that occasionally the film needed
censoring and the best and most amicable way to have this
done was by the appointment of state board of censors,
a useful, practical and common-sense board.
Governor Cox said that this was the first time in
history where an industry had applied to a state legis-
lature for laws regulating their industry, and came to the
capital explaining their business.
He was emphatic in his desire for a clean, whole-
some picture, saying he was a visitor at the theaters
from time to time, and that now since moving picture
men have come to a realization of the need for legisla-
tion in their own business they would more quickly see
the need of regulating other businesses in the state.
The governor's brilliant and pithy speech closed
with a reference to prosperity. "What you wan't," he
said, " is not more prosperity, but a more equitable dis-
tribution of the prosperity that we have — a pro rata dis-
tribution. As a man gives so should he receive, should
be the golden rule in government."
86
MOTOGRAPHY
Vol. IX, No. 3
Essanay's "Across the Great Divide," February 13.
He closed his speech with the remark that he had
important papers to review at the State house, and now
that he was working for those present as well as the
balance of the state, they ought to see that he gets on
the job
The governor was heartily applauded for the com-
mon-sense arguments he made and was showered with a
bouquet by a lady exhibitor present while C. L. Cobb
started three cheers, which made the tables dance with
the echo.
Charles R. Swain, speaker of the House of Repre-
sentatives, was next on the program with the layman's
idea of the wonders of cinematography. He was fol-
lowed by Ex-attorney General Hon. Frank S. Monnett.
C. J. Coffman, representing the California Ex-
hibitors' League, showered verbal bouquets at the pre-
ceeding speakers, and invited the exhibitors to the Na-
tional Convention of the M. P. E. L. of A. to be held in
San Francisco in 1915.
Mr. Wylie, vice president of the Missouri League,
representing the states of Nevada and Oklahoma also,
followed with a good speech and extended the courtesy
of St. Louis for the National Convention in 1914.
Joseph Brandt of the Universal was then called on
to present the manufacturers side of the question. Joe
responded nobly, opening with a story well told, and as
he warmed to his task he included "not only the Univer-
sal, but all the manufacturers of films are willing to co-
operate with you exhibitors. We are the sellers, you
are the buyers ; you tell us what you want and we'll
try our best to give it to you, but in judging a film story
or a reel of film, if you will, do not condemn the whole
reel or the manufacturer of it for a single picture in the
reel."
John J. Lentz, Ohio's Demosthenes, was then in-
troduced. John was all primed and cocked, and when
he went off there was some doings. His chief topic was
the injustice of closing picture houses on Sunday. After
he had quoted from Greek and Latin precept he sailed
into the ministry, who desired to keep Sunday for their
own exclusive show, so I doubt whether there was a
preacher or prelate in the state whose ears were not
tingling long before John J. started in on his second
wind. He was vociferously applauded by his listeners.
With the customary predilection of the M. P. exhibi-
tor to introduce vaudeville in his house someone had
wished on the banquet a "quartette of male voice,s" who
interpolated songs. These were known as the Monkey
National Quartette. The first word is decidedly apropos.
The toastmaster rose to announce that the thanks of
the exhibitors were due to the able men, who had as-
sisted in bringing the most successful state convention
ever held to Columbus.
A moving picture of the Cincinnati delegation ar-
riving, which had been taken on the previous day, was
then thrown on the screen and the convention was
over.
The following exhibits were in the lobby and on
the balcony:
The Rudolph Wurlitzer Piano Company, of Cincin-
nati and elsewhere, with three automatic pianos and
musical effects for M. P. theaters. T. P. Clancy, L. O.
February 1, 1913.
MOTOGRAPHY
S7
Hunt, L. S. Lockwood, W. H. Herbst and T. R. Grimes
in charge.
Precision Machine Company, of New York, exhibit-
ed a 1913 Simplex projecting machine. J. E. Robin
representing.
Nicholas Power Company, of New York, had a mo-
tor driven Power's 6A in charge of Will C. Smith and
E. W. Swett.
The American Moving Picture Machine Company
exhibited a Standard 1913 model. Eric Morrison de-
monstrating.
C. R. Reid represented his company of the same
name.
Sidney Newman of the Newman Manufacturing
Company, of Cincinnati and New York, had an exten-
sive exhibit of easels, brass rails, poster frames and box
office decorations.
The Enterprise Optical Company, exhibited a 1913
model Motiograph, J. A. Kloman explaining its merits.
The American Slide Company, of Columbus, O.,
had a show rack full of late slides in charge of R. J. and
L. J. Gardiner.
Vaughn Check and Change System was represented
by W. R. Wilson, state agent.
Reliance and Majestic Film Manuafacturing Com-
pany's were represented by C. Lang Cobb, Jr., who suc-
ceeded in convincing the hotel that his twenty-foot ban-
ner was a decoration.
Joseph Brandt represented the Universal Film
Manufacturing Company and published two editions of
a Universal Dailv.
Ike McMahon represented the Cincinnati-Buckeye
Film Exchange of Cincinnati.
E. Mandelbaum represented the Mutual Film Ex-
change of Cleveland.
F. E. Fredericks, of Port Clinton. Ohio, had a
Fredericks Auto Rewinder on exhibition which was
critically examined by the exhibitors.
The Rex Film Renovating Company was represent-
ed by a local exchange. No exhibit.
Motography was represented by A. L. Haase.
The Moving Picture IJ'orld was represented by
James S. McOuade.
L. W. Page was there for the Billboard.
The following officers and delegates were elected :
M. A. Neff , president ; O. B. Weaver, first vice-
president ; Dr. Walter Prentice, second vice-president ;
John H. Broomhall, secretary. Hamilton ; W. R. Wilson,
"treasurer, Columbus ; W. A. Pittis. National vice-presi-
dent.
DELEGATES TO X. Y. CONVENTION
J. M. Kaufman, Galliopolis ; H. E. Vesal, Ada; G.
D. Sprague, Bellaire ; George Schenk, Lorain ; F. W.
Kinney, Cleveland; S. E. Morris. Cleveland; Mrs. Louise
Schmitz. Cleveland; L. S. Miller, Cincinnati; Otto Lude-
king, Cincinnati ; J. A. Maddox, Columbus ; Max Stearn,
Columbus ; Clem Kerr, Dayton ; L. W. Bettis, Toledo ;
T. R. Reichert, Port Clinton.
ALTERNATES
John H. Huss, Cincinnati; Fred Batts, Cincinnati;
W. C. Kelt. Cincinnati ; W. J. Slimm, Cleveland ; Ed.
Kohl, Cleveland; W. Raynor, Dayton; J. A. Johnson,
"The Cowboy Heir," February 20. Copyright 1913, American Film Mfg. Co.
MOTOGRAPHY
Vol. IX, No. 3
Troy; W. D. Clark, Marion; F. H. Stroup, Delphos ;
F. N. Tynes, Portsmouth; W. B. Lock. Springfield;
W. D. Gaudy, Lima; A. C. Coak, Steubenville ; John
Gallagher, Newark.
CONVENTION NOTES
"Let's eat," says Mandelbaum.
Who led the parade around the hotel lobby at 3 a. m.
Why, how do you do, Mrs. S. ! have you got two
dollars?
That's right, fellows, when you find a Christmas
tree trim it.
The one film that was popular was a film named
fillam upagin.
Eric Morison tied it to a post. That's one way to
make the bull stick.
Frank Rembush's new suit has a mirror screen beat.
You can see it a mile.
Carl Laemmle didn't wire regrets. Carl knows
when to stay away. Wish I did too.
Anyhow, that was the first Robin I saw this spring.
Two of them I counted in the morning.
That fellow Robin is some bird at that, even if it
does take a spring to make one swallow.
C. Lang Cobb says your scribe stops at feather bed
lane on his next jaunt to the big town. Get me?
Joe Brandt is some picker. More exhibs were in-
terested in the helper than in the daily. Oh you Joe !
Who tore the roll on the Wurlitzer organ? When
you run out of nickles you run out of tunes. Eh, what?
And to think Ike McMahon came to Columbus,
when the poultry show opened in Cincinnati on Friday !
Joe Brandt accused me of putting the oat in goat.
Joe's going to help buy the oats from now on. Regards
Joe.
Kloman was there when it came to boosting the
Motiograph. Too bad he had to beat it before the ban-
quet.
Daniel Webster McKinney and the missus were
there. Mrs. Doc is some fine lady. Glad to mit you
both.
Convention arithmetic : If it cost Cobb twenty- five
to hang his banner in the air what was floor space
worth ?
Neff was mad Wednesday because he was kept
awake by the noise next door. Must have been Seigel
snoring.
Joe Brandt is swearing in Irish and McMahon talks
Yiddish now. That's what comes of this convention
doubling.
Just one more song and once around the lobby and
we'll quit. Now all together "In the evening by the
moonlight."
Did you notice the way the pile of Motog's disap-
peared ? Some exhibs must have taken a year's subscrip-
tion of the same issue.
Louisa was there with bells on (or buckeyes) and
made some h-i-t. Regards to old Bill. I know somebody
who was glad he stayed away.
If I presided at a banquet and called on the Uni-
versal for a speech, I'd call the others just to give 'em
all a fair show, am I right, Cobb?
We have received contributions amounting to one
cent to buy Clem Kerr a white jacket. The ice makes
his pockets so wet. Any more donations?
The exhibs may differ about some things but they
all agreed that the Southern hotel is the rotten place.
Nothing left for the holdup man, and such vile junk for
food.
Eric Morison and Frank Kinney look so nearly
alike after four o'clock, that one can't help but make
mistakes some times. Apologies, Frank old top, hope
you made the 11 :50 all right.
Lentz got Swain's goat for fair about this minister
thing, but he did make a hit with the crowd. The Irish
says the Protestant can go, the. Protestant says the Jew
can go, and the Jew says they can both go, but Joe
Brandt says they're getting the interest on 'all the
money. Ain't I right ? Sholem molockem, Joeie.
partial rostek of attendants.
H. Q. Alexander, Edgemont Theater, Dayton, Ohio ; Fred L.
Adams, Favorite Theater, Piqua, Ohio ; H. R. Ashbrook, Toledo,
Ohio; Leslie M. Bettis, Colonial Theater, Toledo, Ohio; Charles
W. Benner, Southern and Colonial Theaters, Columbus, Ohio;
Thomas A. Brown, Nickelodeon and American Theaters, Iowa
City, Iowa ; W. D. Belknap, Royal and Bell Theaters, Columbus,
Ohio ; Alexander Brown, Auburndale and Nordland Theaters,
Cincinnati, Ohio ; W. H. Bailey, Grand Theater, Mansfield, Ohio ;
A R. Boyd, Cupido Theater, Tippecano City, Ohio ; E. C. Bertsch,
New Broadway Theater, Jackson, Ohio; Samuel Bullock, Erie,
Columbia, Sunbeam and Casino Theaters, Cleveland, Ohio ; Bert
Badley, Cameraman, Mutual Film Co., New York, N. Y. ; John
H Broomhall, Jewell Theater, Hamilton, Ohio; Pearl Bailey, Star
Theater, Columbus, Ohio ; Louis F. Glumenthal, Auditorium The-
ater, Jersey City, N. J.; J. N. Beaver, American Slide Co., Colum-
bus, Ohio ; Joe Brandt, Universal Film Mfg. Co., New York, N.
Y. ; Fred Botts, Cincinnati, Ohio ; W. C. Bettis and family, Toledo,
Ohio; Hal B. Clarke, Mystic Theater, Tiffin, Ohio; Cheek Broth-
ers, Apollo Theater, Columbus, Ohio ; A. C. Cook, Minewa The-
ater, Steubenville, Ohio ; James N. Collins, American Theater,
Janesville, Ohio; Phil Chakres, Princess Theater, Springfield.
Ohio ; N. E. Chaney, Orpheum Theater, Hillsboro, Ohio ; R. W.
Cheek, Apollo Theater, Columbus, Ohio ; D. J. Chatkin, Toledo
Film Exchange. Toledo, Ohio ; W. E. Conner, Orpheum Theater,
Toledo, Ohio ; C. M. Chistenson, Dreamland Theater, Cleveland,
Ohio ; R. H. Colman, Empire Opera House, Washington C. H.,
Ohio; C. A. Crary, Wyoming, Ohio; C. Lang Cobb, Jr., Reliance,
Majestic and Punch Film Cos., New York, N. Y. ; C. D. Chacos,
Pastime Theater, Coshocton, Ohio ; A. L. Curry, Canton, Ohio ; C.
Coffman, San Francisco, Cal. ; B. W. Davidson, Grand Theater,
Wellsville. Ohio ; Jack Deinhardt, Colonial and Southern The-
aters, Columbus. Ohio; S. Y. Dempsey, Crystal Theater, Colum-
bus, Ohio; Willis Dawalt, Mystic Theater, Bellevue, Ohio; J. E.
Doebeie, West Carrolton, Ohio; Will R. Dusenbury, Colonial
Theater, Columbus, Ohio ; M. Fishman, Central Theater, Cincin-
nati, Ohio ; G. Edward Finke, Star Theater, Dayton, Ohio ; A. J.
Freemas. Comique Theater, Columbus, Ohio ; F. E. Fredericks,
Arcade Theater. Port Clinton, Ohio; T. P. Finnegan, Hippo-
drome Theater, Dallas, Tex. ; William G. Georgion, Arris The-
ater, Mansfield, Ohio ; James C. Graciana, Princess Theater,
Roseville. Ohio; Rudolph Glinski, Victory Theater, Toledo, Ohio;
W. B. Gaudy, Dreamland Theater, Lima, Ohio ; Clyde Gregg,
Hippodrome Theater, Columbus, Ohio; J. S. Glassmeyer, Im-
perial Theater, Cincinnati, Ohio; M. B. Golden, Princess Theater,
London. Ohio ; Joseph Grossman, Delmar Theater, Cleveland,
Ohio ; John Gallagher, Lyric Theater, Newark. Ohio ; Asa God-
dard, Cleveland, Ohio ; Clarence Hoffman, Bellaire, Ohio ; John
J. Huebner, Twin City Theater, Columbus. Ohio; Henry Hunter,
Empire Theater, Ironton, Ohio; H. L. Hamilton, Pastime Thea-
ter, Barberton, Ohio ; Frank Hoffman, Cleveland, Ohio ; W. T.
Huber, New Sigma Theater, Tiffin, Ohio; E. S. Hool, Bijou
Theater, Columbus, Ohio; Harry Hill, Grand Theater, Lebanon,
Ohio ; Henry Herin, Gem Theater, Fremont, Ohio ; G. Hill, Grand
Theater, Lebanon, Ohio: B. E. Hesht, Royal Theater, Clyde,
Ohio ; William Hamill, Lyric Theater, Hamilton, Ohio ; A. B.
Hatch, Alhambra and Arch City Theaters, Columbus, Ohio ; Will
Hunsteger, Royal Theater, Dayton, Ohio; H. A. Hill. Grand
Theater, Athens, Ohio; Fred J. Herrington, Coliseum Theater,
Mt. Oliver. Ohio ; R. J. Harmon, Exhibit Theater, Columbus,
Ohio ; Heume Bros., Princess Theater, Piqua, Ohio ; J. T. Hen-
negan, Modern Feature Film Co., Cincinnati, Ohio; J. J. Huss.
Colonial, Roval and Gem Theaters. Cincinnati. Ohio; C. C. Had-
dox. Empress Theater, Kenton, Ohio : A. L. Haase, Motography,
Chicago. 111.; George W. Heinbuck, Superior Theater, Cleveland,
Ohio ; . Paul C. Henry. Grand Theater, Crestline, Ohio ; Roy
Hasper, Electric. Theater. Pomeroy. Ohio; August Ilg, Wonder-
land Theater, -Lorain, Ohio ; Charles Johnson, Wonderland and
Colonial Theaters, Cincinnati. Ohio ; R. E. Jacobs, Lyceum Thea-
ter. Findlay, Ohio; J. C. Jeffries, Circleville. Ohio; J. H. John-
son, Tippecanoe City.- Ohio : Paul E. Kruger, Magnetic Poster
Co.. Cincinnati, Ohio.
February 1, 1913.
MOTOGRAPHY
89
A DiamoncUS Potpourri
Interesting Items from Selig's
THE ministry of the motion-picture play is vast and
varied. From sensational to educational, from
historic to melodramatic, the bewildering phantas-
magoria of films goes on day by day, week by week.
The mammoth plants thrive with equal facility to all,
and a month may compose a group of releases as widely
different as though they were produced in opposite cor-
ners of the globe — and sometimes they are, almost.
Take, for example, the house of Selig, and con-
sider a few of its products for a limited term.
"The Altar of the Aztecs" is a romance opening in
fashionable New York and then working out its thrilling
epidodes in the ancient mines of Mexico. It teems with
tense and ingenious situations.
"The Governor's Daughter" is another drama of
the great desert and wild West, showing that true gal-
lantry occasionally has its reward and the murderer and
assassin generally get their dues despite the adventitious
aid they may get from circumstantial evidence.
"The Three Wise Men," is a beautiful feature —
released on February 5th, a tale reflecting the century-
spanning influences of Biblical times. It is not a preach-
ment, but the sort of subject that will move and make
the way straight for the weak who close their eyes to
the glory of the star of Bethlehem.
"The Artist and the Model," is a charming story
of devotion to a high ideal and its working out through
a strange source to win a victory after it seemed quite
impossible.
"Sweeney and the Million" is shot through and
through with the things that make and multiply the
laugh. A hod-carrier who comes into a million throws
it around like so much mortar — affluence piled upon
ignorance makes a strange mixture; and Sweeny never
feels easy until he gets back to his hod dress suit and
all.
"Pierre of the North," is one of those vivid, in-
tense stories of the pathless forests of the North where
primitive men love and hate in vigorous and vengeful
fashion in its planning and working out it has an ele-
ment of picturesque savagery astonishingly unusual.
"The Artist and the Brute," is a wild animal story
in which vengeance and romance weave a tangled web
in two lives. The fight to the death with an untamed
leopard gives realism to this pictorial.
"How It Happened," again incorporates the vim
and vigor of the West in its love interest, and a cartridge
shooting stove that serves where the ready revolver
failed.
The mother song and the mother story has depth of
interest that no other topic can attain — the appeal of a
'Bill's Birthday Present," February 13. Copyright 1913, Selig Polyscope Co.
90
MOTOGRAPHY
Vol. IX, No. 3
"Pierre of the North," February 10. Copyright 1913, Selig Polyscope Co.
dying derelect not to let his blind mother know. This
serves as the crux of a pathetic play which moves from
the stale and sin noxious atmosphere of the groggery
to the quiet of the country town and the sanctity of a
forgotten home, and has a pretty romance to attone for
its rugged and repellant moments. "Don't Let Mother
Know," is bound to have a vogue of its own.
When it comes to making michief the quiet men of
the plains who only make a noise and use their ferocious
hardware, when the fusil oil is flowing in their viens,
understand the value of a practical joke that nails
through and clinches on the other side "Bill's Birthday
Present." is a memory of this class and indicates how
dangerous it is to buy your best girl's slippers, and then
leave the package lying carelessly about before delivery.
The western ranch girl is full of spirit and when she
gets a pair of worn out, down at the heel cowboy boots
instead of a pair of trig satin slippers she is apt to re-
sent it in a way that makes the donor feel as if the spur
sunk more than skin-deep in his system.
"Her Only Son," is a drama of real life that has
its joy and sorrow every time the boy leaves the family
roof tree to seek his fortunes in the great world that lies
far from the peace and protection of the friends that
are tried and true. The story of a good hearted country
boy in a great city always has a throb of interest and this
one has a grip on the heart that is appealing.
In the line of educational films the great bronze
statue of Buddah, the largest in the world, has peculiar
value. It represents Japanese artistry upon a most heroic
scale and looks as wonderful today as it did at its un-
veiling seven hundred years ago.
"A Little Hero," is a western feature story that
should win the admiration of the Boy Scouts, as it in-
corporates all those elements of thought fulness and fear-
lessness in the face of great emergency that the organiza-
tion of little men essays to emulate.
Romaine Fielding "Shows 'Em"
Romaine Fielding, who manages, writes his own
plays, directs them and acts in them for a Lubin western
company, is one of the most fearless horsemen in photo-
plays, as well as one of the most expert. He is also some
handler of steers. A short time ago he visited George
Carter's ranch, 25 miles south of Prescott, Arizona. The
men were cropping and branding steers. Mr. Carter re-
quested that Mr. Fielding come in and help him rope and
throw some of the long-horned steers. Mr. Fielding ac-
cepted the taunt and requested that Mr. Carter dis-
mount, which he did; took his horse and with a cow-
man roped an extra fierce steer. There was too much
slack on the ropes and the steer got Fielding's horse in
the corner of the corral. There was no getting out of
the situation, apparently. Fielding raised himself to a
standing position in the saddle and leaped off on the neck
of the steer, grabbing its horns and throwing it as it
came for the horse. Whenever Mr. Carter comes to
Prescott he speaks of Mr. Fielding's courage and quick-
thinking box, as well as his daring and knowledge of
horses and steers.
February 1, 1913.
MOTOGRAPHY
91
Sans Grease Paint and W^gf
By Mabel Condon
Augustus Carney.
AUGUSTUS F.
Carney is the
kind of a man
you would like to
have for an uncle.
He is dreadfully nice
and has loads of Irish
wit and one false
tooth and an inclina-
tion to be shy, which
inclination makes you
feel that if it were the
third, rather than the
first time you had
met him, you'd be
real friends, instead
of just almosts. But
that, perhaps, is the
reason Mr. Carney is
liked so well by those
who do know him ; he
is sincere, absolutely.
So I knew he
meant it when he
said, hat in hand and lunch-counterwards-bound, that he
wouldn't a bit mind foregoing his lunch and remaining
to tell me all he remembered about Augustus F. But a
lunchless man is an awful chance, so I insisted, vigor-
ously, that he eat. Very well, then; it would take him
but ten minutes. Would I wait? I would and dropped
from sight into a comfy big-armed Essanay type of chair,
watched the door and reflected that "Alkali Ike" didn't
look a bit wild ; in fact, he seemed quite docile and —
The door flew open and admitted a black-mustached
man constructed on English lines. He was in the act
of opening a letter with a lead pencil and sang, with
much gusto and little tune, — "I started to jump over a
wire fence and tore my trou — " then he saw me and
concluded with, "la, la, la, la, la."
"Excuse me, miss, excuse me. But here's a letter
from a chap who wanted to borrow five hundred dollars
from me last week. I open this and the first thing on
the first page I see, is — three thousand dollars ! Ha ! ha !
ha!— Well! Well !— Dear old chap !— He could have all
the money I have, if I had any. Too bad I tied it up in
real estate ! — Well, well, well !"
He continued thusly throughout the three pages and
with a final "ha ! ha !", hummed himself away to a cor-
ner desk. Tipton H. Steck appeared, en route some-
where else. "Who is he?" I whispered, nodding toward
the corner. "Mason Hopper, producer," he whispered
back, and proceeded on his way.
Quiet reigned for all of a minute, when the door
opened as though a volcano were the cause ; a volcano
wasn't, but Billy Mason was. I knew him by his dimple
and sleek hair. Evidently somone had been trying to
borrow money from Billy and evidently the somebody
had failed, for Billy, too, was singing. Furthermore, he
was in perfect step with the ditty which you all know
and which went —
"I love coffee, I love tea —
I love the girls and the girls love me!"
and when he got that far. he started all over again. A
regular optimist, Billy Mason !
Then entered a trail of pretty girls and at the end
of the trail and the ten minutes, came Mr. Carney.
It had never occurred to me that "Alkali Ike's"
birthplace might have been Ireland, so when he stated
that Ireland it was and no other, I exclaimed, "For good-
ness' sake!" and he returned, "O, that's nothing; I hear
there's an officer in Chicago who's Irish !" Was he
laughing at Chicago, the officer or me? I didn't know
so just said, "Really!" and changed the subject by ask-
ing how he happened to get so far. away from home.
"I had an uncle in California and he made a visit to
Ireland and brought me back to the States with him,"
said the man whose thousands of admirers would con-
sider themselves slighted were they to learn that "Alkali
Ike" hadn't been born a cow-boy. "I was sixteen, then,"
continued the narrator, the "thinking-line" in his fore-
head and the "backward, turn backward" look in his little
dark eyes, testifying to memory's trip over many years,
back to the days when he was sixteen. "I stayed on the
ranch, where I learned to ride, buck bronchoes, and
use the lasso, until I was twenty-one. Then I went to
New York, where my touch of the brogue got me a com-
edy part on the stage and I have been playing comedy
roles ever since.
"I played at the La Salle and in "The Goddess of
Liberty" at the Princess in Chicago, three and one-half
years ago, and while there, received an offer from the
Essanay company to work in pictures on my off-days. I
liked it so well that I left the legitimate stage and went
out to California to join the company — and I'll be glad
to get back there again, too !"
"Like it better than Chicago or New York?" I very
unwisely wanted to know and "Do I like to live?" was
Mr. Carney's reply.
"Of the two cities, though, I like Chicago the bet-
ter; it's friendlier. The minute you step off the train
in the Grand Central depot in New York, you wonder if
it's going to snow. You don't have to guess at the chill
in the atmosphere, at all ; it's quite apparent. But for
a person who has ever lived in California, there is no
place like the golden state.
"The cowboys are a great bunch and it's fine work-
ing out-of-doors. Our interior settings are just a stage
with a canvas top. I live on a ranch near the studio — ■
just the distance of a nice horseback ride.
"I drove an auto, once. I was to play chauffeur in
a scene and about a week before the picture was to be
made, somebody took me out and showed me how. After
several days and one or two zig-zag trips around the
studio, I felt thoroughly proficient and volunteered to go
to town for some necessary supplies. As there was no
one else around to go, they entrusted me with the errand
and all came out to watch me start.
"I whizzed along fine until the road turned ; my ma-
chine didn't but went right on until it hit a pepper tree
in front of a ranch-man's house and turned turtle, with
me under it. I crawled out and was feeling my joints to
find out how badly hurt I was, when the owner of the
house and the pepper tree came out on the veranda and,
after surveying the wreck, which included me, asked,
very casually, "Do you always stop your machine like
that?" and I replied, "No, not always; only on Tuesdays
and Thursdays."
"Is that how you knocked your tooth out?" I asked
92
MOTOGRAPHY
Vol. IX, No. 3
with a laugh — not that knocking a tooth out is anything
to laugh at, Mr. Carney assured me — and he answered,
very seriously, "No."
"Saving somebody?" I ventured.
"Not quite so heroic."
"O, a fight!"
"No; biting on a sandwich in a noonday ranch
scene."
"A sandwich! What was the matter with it?"
"I didn't make it. I never knew what was the mat-
ter with it, but I know I had to gallop into town to get
another tooth before the scene could be finished.
"But outside of getting my shoulder burned one day,
when I was playing a female character and my clothes
caught fire, I've never been hurt in picture work. But I
had a narrow escape in the mountains, one time. We had
finished a scene and were going further up to make the
next one. I was tired and got into the stage-coach, which
carried the props. Everybody else, except the leading
lady, who rode with the driver, walked.
"We jogged along slowly and quietly, when sud-
denly there was a jolt and the coach toppled over. I
could feel it going over and over, on the long drop down
into the ravine, and pictured the awful plunge of the
horses. I began to wonder what stopped us and crawled
out and looked around for the debris ; but there was none.
The leading lady and the driver were picking themselves
up out of some bushes into which they had jumped, the
horses were standing placidly nearby and the coach,
minus its front wheels, was on its side but otherwise
intact. Something had broken and the two front wheels
stayed with the horses and I stayed with the coach. Now,
whenever we go into the mountains, I walk."
"What do you do with your spare time in Chicago ?"
I wondered when the incident of the coach had been il-
lustrated by the teller and laid to rest.
And Mr. Carney explained that, after he gets done
falling over chairs and off of things, out at the Essanay
studio, he grabs his hat and coat, puts them on en route
to the car, dashes from the car to wherever it is on the
north side he is staying, hurries through dinner and mi-
grates loopwards to the Auditorium and grand opera.
Or, if the night happens to be that of Tuesday, he very
often doesn't even have time for dinner but packs his
suit-case with his "Alkali Ike" costume and hurries off
to talk an accompaniment to "Alkali" pictures, once or
twice an hour, at some motion picture theater. It is mid-
night when he arrives home, and he gives thanks that
there is nothing to do 'til tomorrow.
"I've only had three Sundays to myself since I came
to Chicago," declared Mr. Carney, "and I've been here
since October. Talk at matinee and evening shows on
Saturdays and Sundays and even spent New Year's eve
and New Year's day that way.
"But since I've limited appearing at theaters to Tues-
day nights only, I've been able to attend the opera, so I
go every night. We seldom get good music out west
and I'm hearing all I can now."
"Going back soon?" I inquired of the black-haired,
pleasant man with the dark eyes with the twinkle in them,
who was busy with a sputtery pen, autographing a pho-
tograph of himself.
"In a few weeks," he replied, and delivered a final,
touching little eulogy on the beauties and opportunities
of the west, concluding with the oft-heard advice, "Go
west, young woman, go west."
"So long, until then," he said, as I set out into icy,
slippery Edgewater, and "So long," I returned, but
lacked courage to add that Aurora is about as far west as
I ever expect to get.
Current Educational Releases
The Bulgarian Army in the Balkans.- — Eclipse.
Shows the Bulgarian forces near the town of Jardzello
at the time of the beginning of the hostilities with Tur-
key. Many inspiring views of the troops in their prepara-
tions for war are depicted including the forward move-
ment of the infantry and cavalry, mounted and dis-
mounted target practice, a charge of the troops by Tsar
Ferdinand. The whole world has been astounded at
the fighting ability displayed by these armies of the Bal-
kan states, in their encounters with the Turkish forces ;
how they have beaten, time and again, the "Terrible
Turk," who has been considered almost invincible upon
the battlefield. Judging from the fearless riding and
the wonderful precision with which their drills and
marches are executed, as is shown in this film, the Bul-
garian soldiers have few superiors, if any.
The Ainus of Japan. — Selig. The Ainus of Japan
represents the aborigines of Japan residing on the Island
of Razu, the oldest existing people of the world, barring
the cliff-dwellers of our own continent. They still pre-
serve many of their old traits.
The Great Prayer of the Arabs. — Pathe. Amongst
the Mohammedans, after the beyran or feast which fol-
lows the fast of the Ramadhan, extraordinary public
manifestations and long prayers are made. In this film
the Arabs assemble in vast numbers for the great prayer,
and the spectacle is impressive and unforgettable. The
ceremony is held in the open and the thousands upon
thousands of costumed Arabs, each with his little prayer
mat, make an interesting study.
Along the Columbia River. — Pathe. Scenes along
the Gateway to the Northwest, including the most famous
salmon fisheries in the world, and some prize specimens.
Coming inland, immense agricultural projects are ex-
posed to view, remarkable enough to hold the most elus-
ive spectator.
The Pitcher Plant.— C. G. P. C. This film is a
remarkable series of views of a remarkable plant. The
pitcher plant grows, as its name suggests, in the form of a
pitcher with a lid upon it. It is an unfailing trap for in-
sects, inviting them within its folds and then drowning
them in the water it contains. The trapping of flies, bees
and other insects is cleverly and clearly demonstrated.
The Chameleon. — C. G. P. C. A film explaining
the characteristics and nature of this well known mem-
ber of the lizard family, which makes a prey of all in-
sects, capturing them by means of a viscous tongue the
length of its body. This is truly the reptile with the all-
seeing eyes, for it can turn them in any direction. It is
easily tamed and makes a great pet in some countries.
The Story of Bread. — International Harvester
Company of America. A wonderfully interesting film is
February 1, 1913.
MOTOGRAPHY
93
that of "The Story of Bread," which was shown to a
large number of invited spectators in Chicago one recent
afternoon at the Ziegfeld theater. The film was shown
through the courtesy of the International Harvester
Company of America and the man who talked along
with the various scenes was Frank Stockdale. Wheat,
its planting, care and gradual development into bread —
the toothsome white bread of the states and the unlovely.
black bread of Egypt — was the theme and the advantage-
ous use of the International-brand farm tools, the under-
lying lesson. An interesting lesson, that, and one actively
educational.
ually turn into the golden fruit ; small at first and con-
tinuing to develop in size until the orange is ready to be
plucked. Next comes the gathering, washing, drying and
packing. The ox teams carry the fruit from the orchard
to the wrapping and boxing house and thence to the
shipping station. This picture is very beautiful.
The Opening Bud (Colored). — C. G. P. C. The
different stages ere a flower is fully blown are shown in
this film. If one watched a bud constantly for three
weeks he would have the satisfaction of observing its
gradual growth, and this is exactly what is seen here
with the original coloring.
Army Target Practice. — Lubin. A picture of the
army target practice at one of the government drill in-
stitutions. The targets are raised and lowered auto-
matically and show the marvelous skill of the American
marksmen. Instruments for testing sight are clearly
shown, also the rapid loading and firing of the guns. To
those who have never visited an arsenal, this picture will
be wonderfully attractive.
The Making of Hats. — C. G. P. C. Here we see
the labor necessary and the art required in making some
of the better quality straw hats. Everybody wears a
hat, and for that reason everybody should be interested
in the processes used in their manufacture.
The French Army Manoeuvers. — C. G. P. C.
Regiments of French artillery, infantry, cavalry and an
engineering corps go through a mimic war, being opposed
by a force of like strength. After being forced to lay
temporary telegraph lines, build pontoon bridges, and
transport the cavalry across the river in small boats, the
invading army is successful. The fighting men show
remarkable ability and the majority of their feats are
of the spectacular sort.
Orange Growing. — Lubin. An interesting picture
showing the growth and marketing of oranges. Partic-
ularly wonderful is the scene showing the orange blos-
soms, which without change or cutting of the film grad-
The Swedish Submarine Manoeuvers. — C. G P.
C. An absorbingly interesting film. A film permitting a
close inspection of a modern submarine, showing the
preparations for the plunge, the submarine submerged
and the firing of a torpedo.
"The Artist and the Brute," February 7. Copyright 1913, Selig Polyscope Co
94
MOTOGRAPHY
Vol. IX, No. 3
Photoplays From Essanay's
The February Releases
"Teaching Hicksville to Sing."
FEBRUARY has only twenty-eight days, but it estab-
lishes a new reputation for the Essanay Company ;
the reason being, that the plots used in all photo-
plays for the month are unique in theme and novel in
portrayal. Take "Identical Identities," for instance.
This subject is exceedingly eccentric in its photographic
portrayal. It depicts a man who is supposed to have a
brother looking exactly like himself. This has been
worked before by various other concerns, but never has
been carried so far. The patrons of photoplay houses
will be astonished when they see four men of the same
height and likeness in "Identical Identities." There is
no secret of the fact that all four men are one.
There are eight western dramas for the month ; com-
edies galore — good ones, too; and dramas produced in
the eastern studio. "The Three Queens," is a masterful
interpretation of what the eastern studio can turn out.
Five "Broncho Billy" features crown the month a banner
one.
An incidental story true to life is depicted in the
funny comedy, "Bound to Occur." This noteworthy
story is clever in its peculiarly hilarious theme.
Mr. and Mrs. Carney are sublimely happy until Car-
ney's father-in-law presents Mrs. Carney with a dog.
The Carney household is turned into a congenial "lion's
den." Mr. Carney leaves his home, goes to New York,
joins a club and lives there. Several months later, Mr.
Carney is presented with a telegram from his wife, stat-
ing that he is the proud father of a son, and to come home
immediately. The new father packs up his belongings and
goes home. His wife meets him at the door and together
they go to the bedroom, where he brushes his wife aside,
makes a rush for the cradle, throws the drapery to one
side, and discovers the new son is a "pup." Flabber-
gasted, he sinks weakly into a chair. Whether Carney
leaves home again or not is left to the imagination. Au-
gustus Carney demonstrates his ability as a comedy char-
acter man, and Eleanor Blanchard, as Mrs. Carney, plays
the role in a clever manner.
"Teaching Hickville to Sing," is released February
20. Predominant in this comedy of incidents are the
remarkable counterplots. A fly-by-night theatrical troupe
is stranded. Dolly Featherheels, the soubrette of the
company, is left in the small village of Hickville, without
funds or friends. The constable of the town, seeing Miss
Featherheels watch the outgoing passenger trains with re-
morse asks the young lady if he can be of any assistance
to her. She explains matters to the town's protector.
'Identical Identities."
February 1, 1913.
MOTOGRAPHY
95
The officer of the law, with a deep feeling in his heart for
the young girl, takes her to Deacon Cogwell's home,
where she is told to make her headquarters until she re-
ceives funds from the East. During her stay, the young
fellows of the town become infatuated with fair Dolly.
They all try to outwit each other in gaining an introduc-
tion to her. They all manage to be introduced. One,
the village cut-up, suggests that Dolly form a singing
school. This she does. The cut-up, Augustus Carney,
commonly known in the village as the "Shrimp," creates
a furore at the first meeting. He is ejected. Later he an-
noys Miss Featherheels by serenading her with a flute be-
neath her window. He is captured by his rivals and locked
in the woodshed. Dolly disappoints the "natives" by re-
turning to New York with her sweetheart, who had come
on to take her home. Shrimp is released from his prison
and, not knowing of Dolly's departure, plays again beneath
her window. He is surprised when a hand comes forth
from under the window shade. He kisses it fondly.
He is more than surprised when he discovers the owner
the hand is the old maid, Sue Simpkins. At this mo-
ment, Shrimp's four rivals arrive on the scene. They
make Shrimp promise to marry the old maid. It's an ill
wind that blows nobody any good. Miss Beverly Bayne,
as Dolly Featherheels, brings out all of her clever char-
acteristics. Augustus Carney, as the "Shrimp," gives
many laughable moments. Eleanor Blanchard, in the role
of the old maid, plays her part in her comical character-
istic manner.
In "Identical Identities," released February 21, An-
'Broncho Billy and the Sheriff's Kid.
"Bound to Occur."
drew and Bill, twins of different caliber, live in the same
apartment. Andrew is of the goodly sort, while his
brother is- a full-fledged sport. Bill, while out with two
or three of his friends, accidentally brushes against a
building, which has been freshly painted. Returning
to his home he sends for a cleaner, who comes and gets
the suit. Andrew complains to his brother of a severe
headache. A note is delivered to Andrew, requesting
that he call at his sweetheart's home to discuss arrange-
ments with her father for the church fund benefit. Bill
suggests telephoning that Andrew .is too ill to attend. A
better idea comes to him, however. He puts on his
brother's suit, discards his cane, and goes to his brother's
sweetheart's home. He is requested to play a piece on
the organ, and shocks his new acquaintances, who have
taken him to be Andrew, by playing ragtime. In the
meantime, Bill's suit arrives at his apartment, and An-
drew dons it. The good brother is met on the street by
several of Bill's friends, who, not detecting the difference,
insist that Andrew join them in a drink. The two brothers
return to their apartment, where they retire. They both
dream of their experiences of that day. The two brothers
are played by one man. The confusion that develops in
the brothers impersonating each other is very funny.
The dream, which shows presumably four men of the
same likeness, is quite a revleation in the art of photog-
raphy. E. H. Calvert, as Bill and Andrew, the twins,
plays his part "doubly" well.
"Broncho Billy and the Sheriff's Kid" is released
96
MOTOGRAPHY
Vol. IX, No. 3
February 22. A pathetic story of the A'Vest is depicted
in a gripping and powerful drama of the above title.
Gilbert M. Anderson, as a~~ rough western outlaw, but
with a heart full of love for children, gives a remarkable
interpretation of his most appreciable talent. Broncho
Billy, having disturbed the laws of the state, is thrown
into jail. The warden hands the outlaw a cup of water
and a piece of stale bread. The latter grabs the warden's
hand, pulls it through the bars and threatents the former
with a broken arm, unless he unlocks the door. , Broncho
Billy, having gained his freedom, takes to the woods.
The sheriff is notified of Broncho Billy's escape and
goes after him with a deputy. Broncho is surprised at
hearing the fall of a body at the foot of the ravine. Pull-
ing his gun from his holster, he rushes in the direction
of the noise. He finds a child, about five years old, un-
conscious from a fall. He takes the young girl to her
home, where the mother thanks Broncho Billy from the
bottom of her heart. Broncho Billy returns to the woods.
The sheriff discovers Broncho Billy in the underbrush
and fires at him, and shoots him in the wrist. Broncho
then returns to the child's home, where the mother
bandages his wound and promises him protection. The
sheriff returns to his home, where he finds the child in
bed suffering from the fall. Broncho Billy, in the next
room, trying to reach for a glass of water, accidentally
knocks over the wash pan. This arouses the sleuth in-
stinct in the sheriff. He demands that his wife tell him
who is in the room. She refuses. Broncho Billy, taking
a shotgun and holding it up with one hand, enters the
room and covers the sheriff. The sheriff's wife explains
to her husband how Broncho Billy had helped the in-
jured child. Broncho Billy backs out of the room into
freedom. Baby Audrey, as the sheriff's kid, demon-
strates her juvenile talent in this pathetic feature. G. M.
Anderson, in his world-wide character role of "Broncho
Billy," gives a splendid and interesting performance from
beginning to end.
Of Interest to the Trade
Cines and Eclipse News
George Kleine promises a first-class program of re-
leases for the week ending February 8, 1913, consisting
of two splendid dramas and a split reel made up of two
A Critical Moment. From Kleine-Eclipse "Curing a Temper."
comedies filled with humorous situations and plenty of
vigorous action.
The Wednesday Eclipse release, entitled "Curing a
Temper," is worthy of a special mention. It deals with
a crisis in the domestic affairs of a young couple whose
ship of happiness would have sailed in perfectly tranquil
seas if the husband had not possessed an uncontrollable
temper and the wife had not had many little habits which
tended to irritate it. The plot is well worked out to a
strong climax ; the acting and photography are above
reproach. As the story goes, Gilbert Parker waits im-
patiently for his wife, whom he has invited to the thea-
ter that evening, but she delays interminably at the dress-
maker's, trying on her many costly gowns. Gilbert's
anger does not decrease with time and when later she does
appear his patience is entirely exhausted. A loud quar-
rel ends in his abrupt departure from the room, leaving
her in tears.
Her grief is soon interrupted, however, by a visit
from her old friend Harold Moore, the artist, who, after
hearing the story of her woe, comforts her and soon con-
ceives a plan to teach her husband a lesson. Under his dic-
tation she writes a letter informing her husband that she
cannot endure his terrible temper any longer and has gone
away with his best friend. Leaving the note on the table,
they go to the artist's studio, knowing that Gilbert will
seek his wife there. They then array a wax model in the
new dress that has caused all the trouble and seat the
figure at the dinner table. Half an hour later Gilbert
comes and, impatiently entering the room, beholds what
appears to be his wife, in the fond embrace of the artist.
Roused to a terrible fury he discharges his revolver at
his wife and then, realizing what he has done, sinks
prostrate upon the sofa. He is permitted to believe the
worst for a few moments and then cautiously his wife
creeps up behind him and, throwing her arms about his
neck, explains that it was all a plot and that she is safe.
Gilbert has learned a lesson that he will never forget and
eagerly promises to control himself in the future.
This story has a strong appeal and teaches a little
moral lesson in an interesting and effective way. The
many beautiful lace dresses worn by the wife at the
dressmaker's will prove exceedingly interesting to women
in any audience.
For the Tuesday Cines "A Strenuous Courtship" is
a real comedy, describing the wooing and winning of
At the Dressmaker's. From Kleine-Eclipse "Curing a Temper."
February 1. 1913.
MOTOGRAPHY
97
the charming Leah. Her sweetheart, Bloomer, is madly
in love with her, but before he can gain the stern parents'
consent to the marriage he is put through a series of the
most trying ordeals, many of which are extremely ludic-
rous, especially his attempts to roller skate. However,
he is determined to win the girl and his persistence is
finally rewarded in a most unexpected manner.
"An Invincible Sleuth' 'is on the same reel. This is
a short but unique comedy containing a number of clever
illusions, showing how a detective, aided by the police,
captures a gang of burglars at their work. Just how he
does it must be seen to be appreciated. His methods are
as ingenious as they are comical.
For the Saturday Cines, "A Deal in Stocks," is a
pleasing society drama of the better class. An accident
brings two young people together and it is not long be-
fore Dan Cupid gets busy. One day, however, the young
man learns that his fiancee is very rich and regretfully in-
forms her that his principles will not permit him to
marry a girl better off in this world's goods than he. She
is greatly disappointed and appeals to her father, who
manages to manipulate the stock market so that the se-
curities belonging to the young fellow rise very rapidly
in value and he becomes rich in a very short time.
Sumptuous Western Home for American
J. C. Pool, the architect, is now so well along on the
plans for the American Film Company studio at Mis-
sion and Chapala streets, Santa Barbara, that a study
of them reveals what a truly artistic home the moving
picture concern will have in that city.
Beauty and utility was never better combined than
in this plan. There will be a general mission effect.
Along Mission street will be an eight-foot arched brick
or concrete wall and at the east corner the office build-
ing which will be surmounted by a mission tower. The
main entrance will be midway between the east and west
corner. After entering the heavy iron gateway two
roads will diverge, finally leading to either side of the
glass and concrete studio in which interior pictures will
be taken. This studio will vary in height from 18 to 26
feet and be 40 by 60 feet in dimension. The structure
will be of steel frame, with three of the sides portable,
of sections that may easily be taken out, the purpose
being to make easy the adjustment of light. The prop-
erty and scenic rooms will be immediately back of the
studio.
The administration building, with its mission tower,
will be at the corner nearest State street, while on the
south corner, at Chapala street will be the lounging
room and dressing rooms for the players. This latter
building will run back a considerable distance with suffi-
cient number of dressing rooms so that the players will
have every convenience to make up for plays. There
will be running water in every room and the most
modern system of heating.
The development plant, about 30 by 40 feet, will be
immediately back of the administration building. The
projection room will be in the administration building,
thus conveniently located as related to the development
department. Every negative is run off before sent to
Chicago.
There will be a garage for five machines, back of
the dressing rooms, and immediately behind it the stables.
The carpenter shop, etc., will be located in that part of
the ground.
While the exterior is immensely pleasing to the eye,
the interior is even more so, every foot of building and
grounds of a style that will lend themselves to the taking
of moving pictures. The corner between the administra-
tion room and the driveway will be a "set" garden. Im-
mediately adjoining it will be a reservoir 18 by 36 feet.
This will all be used in the taking of pictures. As far as
it goes, it will be as handsome as any Montecite estate.
The reservoir will be given a pond effect, with grass
growing to the very water's edge. It will be possible to
take pictures in this garden, with the water, mission
towers and the real though distant mountains.
To the left of the main entrance will be a grape
ramada and back of it a rose garden. The property
wall as well as interior wall of the dressing room will
add a rustic effect and be of sufficient height to obstruct
views of wire poles that may rise in the street.
Between the dressing room and garage will be a
tropical scene. The purpose is to plant only trees typical
of this section in the "set" garden, but the others will
be varied in character.
The Mission street frontage of the property will
have a wide parking.
S. S. Hutchinson, president of the American, is in
Santa Barbara and will give personal attention to minor
details, after which work on the plant will be started. It
is understood that Mr. Hutchinson is anxious to show
Santa Barbara that he appreciates the setting and wishes
to make the entire ground a credit to the company and
community. This comparatively new industry in Santa
Barbara will assuredly be along the line of the city beau-
tiful.
Yellow Journalism and Thanhouser Fire
The New York Times admitted in a story on the
recent Thanhouser blaze that there was "nothing the
matter with the details" printed in various New York
newspapers, "except that they weren't true!" Some of
these "details" follow :
The Thanhouser Kid slid down water pipe to safety.
(Eidtor's note — The Kid actually was in Cleveland,
Ohio.)
Marguerite Snow seized an axe in the projection
room, chopped a hole through the roof and rescued the
three machine operators. (Editor's note — Miss Snow
actually was eating her lunch in a nearby restaurant.)
Mrs. Hattie McCroskery yelled, "I'll save the films
if I lose my life," stayed behind to save them, was penned
in by flames, fainted and was carried from the building
aflame. (Editor's note — Mrs. McCroskery was too busy
saving negatives to yell anything and when the fire got
real bad, calmly went down the stairs with fifty others.
Maybe she fainted when she read the newspapers.)
Grace Eline, the Kid's sister, was saved by Frank
Capparelli, an aged employe, at the risk of his life. (Edi-
tor's note — Capparelli, who is Bert Adler's office boy, has
still to meet Miss Eline, who isn't employed at Than-
houser studio and hadn't been in it for a week.)
Girls leaped from the blazing windows. (Editors
note — They left the building five minutes before the
windows began to blaze and down the regular stairway,
even stopping to carry out negative films with them.)
All three companies of actors, working at the studio,
were thrown out of employment. (Editor's note — With
the middle western company producing at Chicago and
the Los Angeles company busy at the Fairview Place
studio, there was but a single producing company at
New Rochelle for a long time before the fire. This lone
company had its hands full making the fire story based
on the actual blaze and staged on the still-warm embers.)
'98
MOTOGRAPHY
Vol. IX, No. 3
Details of the Thanhouser Fire
As reported in Motography for January 18, the
plant of the Thanhouser Film Company, including the
studio, indoor theater, and dressing rooms, at Grove,
Warren street and Crescent avenue, New Rochelle, was
destroyed by fire 1 :30 o'clock Monday afternoon, Jan-
uary 13. The flames started in the perforating room
and spread to every part of the big two-story building
within five minutes. Fifty employees, mostly women,
remained in the offices on the second floor with J. C.
Hite, the owner, in an effort to save films and apparatus,
and got out just in time. Mr. Hite, Bert Adler, the
publicity agent, and John Desmond, a boy, were cut off
from the stairways and had to jump from a second-
story window. Mr. Hite was the last to leave the build-
ing, but even in his excitement, did not overlook his cane,
a recent gift from Mrs. Hite.
The fire was a spectacular one, as the chemical con-
tents of the building burned like powder, and there were
several loud explosions. Fire Chief James Ross was on
the scene two minutes after the alarm was sounded. The
chief placed the damage at not more than $75,000, but
Mr. Hite's estimate of his loss slightly exceeded that
sum. There was no insurance on the building or any of
its contents.
None of the actors or actresses employed by the
film company were in the building at the time of the
fire. Six or eight of them, including Miss Marguerite
Snow, the leading woman, and James Cruze, the leading
man, were at dinner in their hotels when the alarm
was sounded. Mr. Hite, who is president of the Mutual
Distributing Company, which controls the Thanhouser
plant and four others, said that he would at once begin
the erection of a new plant at New Rochelle. He prom-
ised employment in one or another of his companies for
all of the actors and actresses until the new plant was
completed.
The Thanhouser Producing Company in the middle
West, under Mr. Heffron, was to be back at New Ro-
chelle this week, but was wired to go right on to Los
Angeles to the Thanhouser Company's studio, where a
company under Mr. Henderson has been working for a
month past. This makes two companies at work there
turning out the regular "three-a-week." As all the neg-
atives were saved, they will not even miss one single re-
lease.
Lawrance Marston, the producer of the "Star of
Bethlehem," and other Thanhouser features, is busy fur-
nishing a studio at New Rochelle and is even now at
work on a picture right on the ruins of the fire, entitled
"A Thanhouser Heroine." To have the factory and of-
fices completely destroyed and still be able to make the
regular schedule of releases without a single interrup-
tion is surely a remarkable part of the unfortunate fire.
With the two companies at Los Angeles and Mr. Mar-
ston already at work in New Rochelle, the company
could soon make four releases weekly instead of three.
Four Rocky Mountain pumas have been added to
the Selig wild animal farm in Los Angeles. These are
exceptionally fine specimens of the great American pan-
ther, and their savage vivacity promises exciting results
in the pictures in which they are to be used.
Vanoscope Company's Camera Man
Freeman H. Owens, a well known camera man to
the trade recently with the Industrial Motion Picture
Company, lately resigned to take charge of the new fac-
tory and studio of the Vanoscope Company. Mr. Owens
is one of the plucky and fearless camera men of which
hear so little. They often risk life and limb to
we
A new system of Cooper-Hewitt lights is being in-
stalled over the main stage floor at the Selig Polyscope
plant.
Freeman Owen, the New Vanoscope Cameraman.
procure pictures which will interest and thrill the public.
It was acknowledged by the citizens of Cincinnati some
weeks ago that Mr. Owens could make fifty yards and
scale a twelve foot fence in two seconds flat with a
handicap of tripod and camera, and he came away with
the goods.
Reorganize Universal Scenario Department
A new system in the handling of its scenarios has
been put in force by the Universal Film Manufactur-
ing Company of New York, and hereafter increased
prices, a more prompt method of accepting or rejecting
manuscripts and the incorporation of the author's name,
together with the cast of the characters on the screen,
are a few of the new departures to be made in the
scenario department.
Basing their action upon the truth that the working
forces of the company hinge about the scenario depart-
ment, officials of the concern determined upon a
complete reorganization scheme. As a result the Uni-
versal is now in the field with definite purposes, and def-
inite promises, the violation of which not be tolerated.
Henceforth all unavailable scripts will be returned to
February 1, 1913.
MOTOGRAPHY
99
the authors within a week. Scenarios held for considera-
tion will be passed upon within three weeks. This will
establish a new standard in the quick handling of manu-
scripts, and greatly facilitate the work of both authors
and editors.
The minimum price for script will be $25 for a one-
reel story with a graduated scale upward, varying accord-
ing to excellence of plot, perfection of technique and
strength and novelty of story. Expert editors and direc-
tors will pass upon all scenarios submitted.
The best and most competent writers in America and
abroad are being solicited to contribute to the Universal
Company. As an innovation in photoplay work, an-
nouncement is made that hereafter the name of the sce-
nario author will appear in connection with the picture
as a finished product.
With twenty-one companies in the field, making pic-
tures every day, the Universal demands a wide diversity
of plot and story in the scenarios.
The various producing organizations are distributed
throughout the north, south, east and west, and scenarios
requiring scenes typical of any part of the United States
or Panama can be utilized. Bright, snappy comedies,
virile dramas of eastern and western environment, mil-
itary and cowboy comedies and dramas are among the
principal requirements of the company. Particularly for
the mammoth western organization are desired one, two
and three-reel scenarios, requiring casts with large en-
sembles of Indians, cowboys and miners. For the east-
ern companies comedies and dramas, with a majority of
interior settings, together with split reel comedies, are in
demand.
The stipulation is made that each plot be submitted
in regular scenario form only, typewritten on ordinary
publishers' "copy" paper, and accompanied by a synopsis
not exceeding three hundred words, and including the
essential points of the plot, clearly and concisely de-
scribed.
In no instance will an unoriginal scenario be accepted
unless the author admits the source from which it is
taken nor will consideration be given to an infringement
upon a copyright book, magazine or play.
As a part of the new plan authors' estimates of the
financial worth of his individual productions may be in-
cluded with the script, and a price will be figured with
that stipulated sum as a basis.
Famous Players Are Legal Victors
The Famous Players Film Company won its suit
against the General Film Company, by which the Selig
Polyscope Company is restrained from selling, renting or
exhibiting its production of Monte Cristo, on the ground
that the film was an infringement on the version of the
play copyrighted and owned by James O'Neill, the film
production of which is controlled by the Famous Players
Company.
The decision has a far-reaching effect in that it es-
tablishes a legal precedent that indicates the copyright
status of a dramatic production in its relationship to
the motion picture, a question which has heretofore been
entirely equivocal, and places the motion picture in a
definite and distinct position as a dramatic production.
The decision eliminates the assumption prevalent
in the film circles that a manufacturer had an ethical
and legal right to produce in motion pictures a work
which had been copyrighted in play or book form, as
long as the film production departed from the copyright
version in such scenes or details of action upon which
the copyright may have been based, but reproducing the
work in essence and spirit without any visible hindrance.
By the text and spirit of the present decision, legal au-
thority is advanced which grants a popular novel or play
complete copyright protection as respects the work in its
entirety and automatically prohibits the film production
based upon the theme in question or the original from
which it may be derived to so close a detail as the title of
the work.
Universal Officers and Exchangemen Meet
Eleven members of the Independent Exchange Cor-
poration met in New York last week in conjunction with
the board of directors of the Universal Film Manufac-
turing Company to discuss the business relations between
the Universal and the exchanges and set forth their de-
mands in regard to future business.
The principal objects of the exchangemen's trip to
New York were to set forth to the Universal their desire
to have more power in the selection of the films they pur-
chase, to have more opportunity to purchase outside films
and to secure contracts from the Universal Company
which wotfld guarantee them against being put out of
business by the Universal at any time the latter saw fit
to take over the exchange business in cities in which
these men had exchanges.
Carl Lemmle, president of the Universal Company,
stated that he believed the demands of the exchanges
could be met in their entirety and that he thought the
contract idea only fair and just. He has arranged for a
form of contract to be drawn up at once. These con-
tracts are to be of two years' duration.
The meeting was attended by William Oldknow of
Atlanta, Joseph Hopp of Chicago, Underwood of Dallas,
Tex., Frank Drew of Detroit, I. W. McMahon of Cin-
cinnati, L. Davis of Pittsburgh, S. Markowitz of Los
Angeles, J. R. Plough of Chicago, A. F. Beck of St.
Louis, Frank Bailey of Butte, Mont., and Joseph L. Ma-
rentette of Atlanta.
Los Angeles Diamonds Increasing
The week of January 13 saw the beginning of an-
other extensive improvement in the plan of the Selig
Polyscope Company's western branch in Los Angeles.
Property recently acquired immediately north of the stu-
dio will be utilized in extending the grounds clear to
Duane street, thus giving the plant a fine frontage on
three side of the block. The great concrete mission wall
which is such a distinguishing feature of the Edendale
valley, where the studio is located, will be extended to
and along Duane street, and will be parked inside and
out, as is the older wall, with grass and flowers. It will
encompass a number of new ornate concrete buildings,
which are needed to house the increasing equipment and
additional acting force of the Selig Pacific Coast estab-
lishment.
Laughs That Cost Company $25,000
When the Keystone Company releases "The Battle
of Who-Run" on February 6, it will claim the distinction
of turning out the most expensive comedy reel ever is-
sued to the exhibitor.
Fred Mace, the well-known comedian, will play the
leading role, and the cost of producing the reel is esti-
mated at $25,000. One of the features is a battle scene
with two large armies in opposing array. It is said that
$1,000 alone was expended for powder ana" blank cart-
ridges.
100
MOTOGRAPHY
Vol. IX, No. 3
Lubin to Film Charles Klein Successes
Siegmund Lubin has closed a deal with the famous
author, Charles Klein, for the exclusive motion-picture
rights to all his productions. Included in these are "The
Lion and the Mouse," "The Third Degree," "The Cipher
Code," and other equally well known plays.
Negotiations have been pending for several months,
and the consideration entailed will mark an epoch in the
history of consideration paid for motion-picture produc-
tion. It is the intention of Mr. Lubin that all these plays
shall be made into feature films — some to constitute an
evening's entertainment.
Arrangements are already under way for the build-
ing of such massive scenery as will be needed. Many
of the actors who took leading parts in the original plays
will be engaged and these pictures will show a new de-
parture in picture making.
The basis of the picture is the play. With this great
foundation upon which to build, and the wonderful artis-
tic material at Mr. Lubin's command, it may safely be
said that these films will undoubtedly entitle him to keep
his place in the front rank of great motion-picture pro-
ducers.
Photoplay ers' First Ball Ticket Brings $75
The Photoplayers Club of Los Angeles is to dance,
on St. Valtine's night, at the Shrine Auditorium. The
first ticket to the club's first ball brought seventy-five
dollars, David Wall securing the ticket and the honor its
possession entails. There was sharp rivalry for the pur-
chase of the ticket by Frank Montgomery, James Young
Deer and Mr. Wall, the two latter each bidding the pur-
chase price and Mr. Young Deer losing out on account of
his not yet having signed a membership blank. Before his
extended fee of five dollars could change hands, Mr.
Wall was declared owner of the disputed ticket. W. E.
Wing is chairman of the entertainment committee and
other committees were appointed by President Mace.
Pictures Mean "Pin Money" to Indians
The picture business has proved a veritable bonanza
to the Indians of the western reservations. The demand
by western film makers for real redskins has largely
solved the problem of tobacco and firewater at least. The
Kay-Bee and Broncho companies, owned by Messrs.
Kessel and Baumann, have a large number of Indians
under service. Over 100 Sioux Indians from the Pine
Ridge Reservation are working for them and with every
five, a chief is required. The Indians receive from $7 ot
$10 per week and their expenses, while the chiefs are re-
sponsible for their various bands and are paid from $10
to $12 per week.
Free Repairs to Machines
A new departure recently organized by the project-
ing machine department of the Kleine Optical Company
is a free repair service department instituted by Frank
Hough. A circular letter is being used to call attention
to this repair service. It states that if any exhibitor who
is having trouble with his projecting machine, it will be
repaired free of charge by Mr. Hough's department,
using standard repair parts made by the manufacturers
of the machine being repaired. While there is no charge
for the repair service, each exhibitor is expected to pay
the regular price for the different repaired parts used in
making his projection machine up-to-date.
Mistakes Carney for "Wap;" Fires Him
Augustus Carney, known the world over as "Alkali
Ike," was fired last Friday. But "Alkali" should be an-
noyed. In the costume of a tramp he walked down a
busy thoroughfare in Chicago, where laborers were put-
ting in new gas pipes. Carney stood, five or ten minutes,
watching the men at their work and waiting for the
camera man. The boss of the gang, seeing Carney idle,
asked why he was not working. The clever comedian,
carrying out the misunderstanding, informed the boss
that he had a severe headache. A bottle of Halsted street
whiskey was offered Carney, which he refused. "If you
won't drink the whiskey to cure your headache, so you'll
be able to work, you can quit right now !"
Having been fired, Carney strolled on to the next
corner where he met the camera man.
Cleveland Now Has Censor Board
Censorship of moving picture films under the di-
rection of City Censor R. O. Bartholomew has been be-
gun. H. K. Hunter, sociological expert and former ath-
letic instructor, is his assistant.
As first assistant Hunter will be employed regularly
in the inspection of films and the general character of
vaudeville performances. Bartholomew and Hunter will
inspect from ten to thirty films that are released daily
from three exchanges and Hunter will make the rounds
of the moving-picture houses to determine the general
character of performances.
Hunter is a graduate of Shelby (O.) high school
and Western Reserve university. While at college he
took part in the Alta house social settlement work. Later
he became playground director at the Children's Fresh
Air camp.
The cost of the moving-picture censorship will be
borne by the moving-picture proprietors. They will pay
censors fifty cents per film.
Luck Favors Essanay
'WHEN A FELLER NEEDS A FRIEND.
From the Chicago Tribune.
February 1, 1913.
MOTOGRAPHY
101
Brevities of the Business
PERSONAL NOTES.
It was no trick at all for him. He couldn't help adopting
the slogan, "A Live One," for he's that every minute. At least
every minute that he is out in the open among his fellows. Ten
to one, though, that he's the kind
that rips off his collar and tie and
slides into his slippers and takes
the count on a comfy couch when
he reaches home. So many are
like that. But even so, you'd have
to chloroform him to keep his
mind from working. For Joe
Brandt is alive and for one who
doesn't make memorandums, he's a
wonder. Few people know very
much about Joe. Carl Laemmle
is responsible for him as it con-
cerns the film business, but that
is all. Joe found the girl he mar-
ried without Carl's help and did
several things before he began to
open Carl's mail. Joe Brandt says
that that is his full name, but he
signs it J. Brandt. It is still
shorter that way, which suggests
that in a rush for brevity, he might
have lopped off more of it. As a
matter of record, he did, but that
was Joe's business, urged on by
Horsley. Dave gets on smilingly
with only one arm and for the same reasons he thought a syllable
or two in Joe's name wouldn't matter. If you never tried run-
ning around a cut, you will hardly understand why so many
words are required to say so little. Thus far }-ou haven't any
dope on Brandt. You may not have known where Joe was
born. Troy, N. Y., was the place — where all the collars come
from. But Joe got his education in the New York city schools,
public, including high, and acquired L.L. B. from the New York
University, where you got to earn 'em. As early as — confound
this absence of dates — well, anyway, Brandt did seven years with
Hampton's Advertising Agency as copy-grinder, copyrighter,
space buyer and campaign inaugurater for such accounts as
American Tobacco, Regal, United Cigars and other big ones.
Just why he left Hampton to assume the management of the
New York office of the Billboard hasn't been given out, but like
as not there was an allurement of money. Money, you know, is
quite as acceptable to Joe Brandt as it is to the rest of us. Though
he works like an oscillator, he's human, very much so. Typhoid
fever got him when he was with the Billboard, and while it
came nearly getting him, it didn't quite. It only got the job.
Then he joined the forces of the Player and after six months
of it, he went over to the Dramatic Mirror. He was hustling
advertising wherever he went, with the title of advertising
manager. It must have been interesting, that meeting when Joe
tried to slip Carl Laemmle the outside back cover of the Mirror —
in two colors. Carl settled it by hiring Brandt — made him his
secretary. Joe has been close to Laemmle's elbow ever since.
Right now he is publicity and advertising manager of that pro-
gram you are asked to demand and he is also editor of a live
house organ — a seven-column folio with an illustrated supplement
of the same size. This publication issues weekly and Joe does
most of the work at night. When he goes to conventions he gets
it out daily, just to keep going. Say, you poor tired dopesters,
when you think you are all worked to death, refresh yourselves
by thinking of Joe Brandt !
Miss Maibelle Heikes Justice, of New York, who will have a
novel, "The Velvet Glove," in a spring number of the Smart
Set magazine, and stories shortly in the Cosmopolitan, has joined
the ranks of photo playwrights. Gifted with a natural dramatic
instinct, this young writer attempted photoplay work, with the re-
sult that the quality of her work has raised her in a very short
time to the ranks of professionals, and she has now nine scenarios
in the hands of producers, making this record since the middle of
last October. Miss Justice is at present in Chicago for the
winter. While here she has met the representatives of the large
film companies, and placed much of her work. The Selig Poly-
scope Co. has secured some of her work, having five or six
of her plays under production at present. The first to be pro-
duced by The Selig Company is "The Governor's Daughter," re-
leased February 3.
The moving picture business gained and the advertising
business lost when R. H. Cochrane relinquished his important
position with the Cochrane Advertising Company, Chicago, to
participate prominently in the con-
duct of the Universal Film Manu-
facturing Company at New York.
Air. Cochrane associated with his
famous brother, Witt K. Coch-
rane, originated the Cochrane style
of ad-copy and guided a whole flock
of big advertising campaigns to
success. It was as an advertising
agent that Mr. Cochrane met Carl
Laemmle. The meeting was epoch-
al; it marked the inauguration of
a business association which has
continued uninterrupted all these
years while the knowing ones have
pointed out Mr. Cochrane as Carl
Laemmle's silent partner. The si-
lence is now to be broken, and
while the film world need not ex-
pect to hear the Cochrane horn
blatantly and frequently tooted the
Cochrane influence will be notice-
able in the achievements of the
Universal Film Manufacturing
Company. With Carl Laemmle
as his sponsor Mr. Cochrane will
have the benefit of the famous "Laemmle Luck" in addition to his
natural knack of doing things and doing them right. Mr. Coch-
rane now occupies an office at the New York headquarters of the
Universal Film Manufacturing Company and is making that ofr
fice a place of business.
Frank Dayton in a rehersal last week at the Essanay studio
of "A Wolf Among Lambs," while playing the role of a vicious
Spaniard, was supposed to stab a rival — and he did. So real was
the stab that a doctor was summoned to dress his opponent's
wound. The opponent was Howard Missimer, the man of Mas-
cara fame.
George Greenbaum has sailed to Berlin to transact business
in the name of the Vitascope Company.
J. Slevin has resigned his position as scenario editor with
the Pathe company, but at yet has not announced his future plans.
Charles C. Pyle, who recently organized the Satex Film
Company of Austin, Texas, stopped over at Chicago on his return
trip from New York and declared himself much pleased with
the arrangements made in the eastern city as to the marketing
of the company's films. March 1 will be the release date of the
first Satex, which will have Miss Martha Russell (Mrs. Pyle) as
leading lady.
Bernard M. Corbett has resigned from the traveling staff
of the Thomas A. Edison Inc. of East Orange, N. J. He takes
with him the good will and wishes of the Edison people. Mr.
Ccrbett is remembered as an active representative of the Edison
people both in the field and at conventions. Before making other
connections, Mr. Corbett is enjoying a vacation at Rowley, Mass.
John Bunny scored a success in his week at Hammerstein's,
and was responsible for the over-large attendances at every per-
formance. His sketch consisted of the relating of incidents
which occurred during the Bunny trip abroad.
Jack Nelson, one of the most popular leaders in the pictorial
line, having served with noted success, has been engaged by the
Selig stock company for juvenile leads.
Miss Mabel Normand, the diving girl, formerly leading lady
with the Biograph Company, and now one of the foremost players
with the Keystone Comedy Company, is said to be one of the
highest salaried women working in pictures.
Kurt W. Linn, general manager of the firm which has been
conducting business under the name Cosmopolitan Films, will
hereafter use the name Eclectic Films and abandon the old name.
Mr. Linn stated that he discovered the use of the name Cosmo-
politan elsewhere and decided to change the name before it be-
came too well known to be changed without injury to business.
Edwin B. Hesser, who directed the publicity and advertising
of the Kinemacolor Company, severed his connection with that
concern recently. Mr. Hesser is preparing to break into the
show business on his own account, and will announce his plans
in the near future. William W. Hines has been named as Mr.
Hesser's successor. He is known as one of the best press agents
in America. He has directed the publicity of some of the greatest
102
MOTOGRAPHY
Vol. IX, No. 3
stars in the theatrical firmament — Sarah Bernhardt, Ethel Barry-
more, William Gillette, Frank Daniels and several others, and
was at one time press agent for B. F. Keith.
Thomas H. Ince, director of the Kay-Bee Company, now-
located at Los Angeles, Cal., is reported to receive $500 a week
and twenty per cent of the receipts of the Kay-Bee Company.
E. Germain is sole proprietor of a new feature film company
and has opened an office in the Fifty-fifth Street Exchange
building, New York. The company is known as the Eagle
Feature Film Company. Mr. Germain withdrew from the Lion
Feature Film Company, leaving F. C. Leibow as owner. Both
concerns will market feature films of foreign make.
Mary Pickford is a lovable Juliet in the Belasco cast of "The
Good Little Devil," and a successful career on the legitimate
stage is predicted for her.
Gene Gauntier, Sidney Olcott, Jack J. Clark, Arthur Donald-
son, Robert Walker, John Vincent, Allen Farnham, Herbert
Tracy, Helen Lynn, Florence Donaldson, Herman Obrock
(cameraman), Ross Fisher and William Bailey comprise the
roster of the Gene Gauntier Feature Players. Two old southern
homes, at 737 Talleyrand avenue, Jacksonville, Fla., have been
remodeled and provided with a laboratory and stage and the
company is settled there for the winter.
Lillian Logan is a new lead secured by the Selig Polyscope
Company for its Chicago studio. She acted the leads three years
ago for the Oliver stock company in South Bend, Ind., assum-
ing the parts of a continually varying repertoire. She took the
role made vacant by the death of the incomparable Lottie Faust
in Lew Field's "The Girl Behind the Counter," and had the
singing leads in "The Girl Question," "The Time, the Place and
the Girl," and "Mme. Sherry." For two years past she studied
for grand opera in Berlin under the direction of Jules Lieban.
Since her return to this country she has taken leading parts in
films.
Director Henry McRae of Selig's Los Angeles studio is
producing a line of one and two reel wild animal specialties
which promise to surpass any hitherto released. Miss Kathlyn
Williams is playing the adventurous female leads in these exciting
pictures, and Hobart Bosworth is appearing with her.
George Hernandex, the well-known comedian of the Selig
Pacific Coast forces, is again portraying droll characters before
the camera, after a serious illness which kept him away from
the studio for eight weeks.
Charles H. France is about to produce under the Selig
auspices the famous Hoyt comedy, "A Midnight Bell." It will
be a three-reel production carefully picturized by Kenneth D.
Langley and will be presented with studied regard for every
detail of the striking situations.
Ira M. Lowry, general manager of the Lubin Manufacturing
Company, and H. A. D'Arcy, director of publicity of the same
company, have been elected members of the Pen and Pencil
Club of Philadelphia, which affiliates with the Friars.
William Walthall of the Biograph company has joined the
Los Angeles colony and made application for membership in
the Photoplayers' Club.
Jean Barrymore is president and M. S. Cohen secretary and
treasurer of the Barrieco Film Company, which has opened offices
just recently.
Carl Laemmle made a flying trip to Chicago last week on
business connected with his exchange interests. While in the
city he arranged with Mr. Fleckles for innovations in his branches
which he claims will make them even more efficient than they
now are.
M. L. Markowitz of the California Film Exchange, San
Francisco, Cal., spent a few days of last week in Chicago on
business. Mr. Markowitz while in the east secured several big
features for his exchange.
Charles Weston, the director who puts the punch in
"Punch" comedies, has taken his string of blooded comedians
to Jacksonville where the balmy air makes it easy to laugh.
A-mng the high steppers of class who sailed with "Punch" was
the diminutive midget actor, Herbert Rice, Arthur Finn, Clifford
Saumes, Virginia Westbrook and Alice Inward.
Miss Hazel Neason of the Kalem Company, is now Mrs.
Albert E. Smith. Mr. Smith is treasurer of the Vitagraph Com-
pany of America, and a few years ago Miss Neason was the
"leading lady" in the Vitagraph plays before the camera. She
left that concern to take an engagement with the Kalem Com-
pany that ended with her wedding. Miss Florence Neason at-
tended her sister at simple nuptials, and Victor Smith, brother
of the bridegroom, was his attendant.
George Austin, manager of the Temple Theater at Hopkins
has gone to Omaha to look after his interest in a film exchange.
From there he will go to Kansas City. He is making a special
study of the picture-show business and will add many new fea-
tures to his show in Hopkins.
ROLL OF THE STATES.
ALABAMA.
The Gurley Realty Company is having the old city hall
transformed into a playhouse and W. J. Austell of Scottsboro
has rented the building and will put in a moving picture show.
The Mobile theater at Mobile was burned at a Joss of $200.
ARKANSAS.
A contract has been let for the basement and foundation
of the new moving picture theater at Capitol avenue and Spring
street, Little Rock, to be built by Abe Stiewel. Theo. M. San-
ders is the architect. The building will be 65 by 150 feet, with
an auditorium seating 1,500. There will be 14 exits from the
auditorium, opening on one side to Spring street and on the
other into a garden, 85 by 150 feet. This garden will be fitted
up with trellises and fountains and will be a pleasant waiting
place should the theater be overcrowded. From the auditorium,
stairways will lead to the women's parlor and the men's smok-
ing room and these rooms will be arranged to open out on
the auditorium. The operator's box will be located so as to
give a direct throw upon the curtain. On each side of the
proscenium will be located the boxes and above will be a pipe
organ, operated from the orchestra pit. The building will be
of absolute fireproof construction.
CALIFORNIA.
Architects Morgan, Walls & Morgan have plans for a thea-
ter building to be constructed at corner of Pico street and
Figuere avenue, Los Angeles.
Plans for a forest theater to be built in a natural amphi-
theater, near Saratoga, were announced by officers of the San
Jose Symphony Orchestra.
The Modesto Choral Society of Modesto has taken over
the new theater recently leased by W. J. Poland of San Fran-
cisco, and they will open it on February 6.
DISTRICT OF COLUMBIA.
The Lyric theater of Washington, which lays claim to
being the largest, newest and finest motion picture house in
the District of Columbia, opened its doors to the public, Janu-
ary 20. It seats 500, has an arcade entrance 20 by 45 feet, audi-
torium space 40 by 92 feet and is beautifully decorated. A Pow-
ers 6A machine is the one in use and the screen is large, a
Gold Fibre, made by the American Theater Curtain Company of
St. Louis, Mo. The theater is owned by the Lyric Amusement
Company of Washington, which has J. M. Swanson as its presi-
dent and which proposes to build other theaters in Washington
and in other large cities in its neighborhood. S. Greenburg, who
formerly managed the Acme theater, is the manager of the
Lyric.
FLORIDA.
Mr. and Mrs. J. C. Ewing and Mr. and Mrs. P. L. Await
are arrivals in Jacksonville from Ocala, and came to manage the
new moving picture show to open in the old Orpheum build-
ing.
The opening of the new playhouse, the Grand, at Orlando,
was a recent event of great pleasure and interest to the people
of Orlando. Built primarily for a moving picture theater, it
has a large stage with dressing rooms, scenery, etc., so that it
can be used by theatrical troupes at any time. The interior fur-
nishings and finish are of rare beauty and design and the deco-
rations are elaborate. Over 500 seats are placed. Before the
first film was shown there was a general felicitation and talk
fest indulged in by prominent citizens, including church offi-
cials, doctors of divinity and Church of England dignitaries. _
The firm of Key & Woodback, managers of the Pastime
theater at Kissemmee, has been dissolved, John D. Woodbeck
having acquired the interest of F. S. Key. Mr. Key will remain
at the Pastime as operator of the motion picture machine for
Mr. Woodbeck. Mr. Woodbeck will continue to manage the
Pastime and is doing his best to give the theater-going public a
line of attractions that are high class and worth the money.
It remained for Key & Woodbeck to make the motion picture
business a success in Kissimmee. They are experienced man-
agrs and have taken the pride and interest in their business that
makes for success.
GEORGIA.
Montgomery, the moving picture man, with theaters in
several cities, who has made his attractions highly popular
through his progressive methods, announces that there will
be a complete change daily of pictures at his theater at Atlanta,
as well as at his places in other cities.
Motion pictures and stereopticon views are fast gaining
popularity in Atlanta churches. Another church has begun to
show pictures Sunday nights, preceding sermons. This is the
Harris Street Presbyterian, which follows the lead of the Wes-
ley Memorial with its pictures. The services start at 7:30 p. m.
at each church.
A moving picture show opened recently at Eastman with
February 1, 1913.
MOTOGRAPHY
103
a good attendance. Motion pictures are new in Eastman. The
show is operated by Percy Lyon, a local musician.
IDAHO.
Nampa has a third theater, and incidentally it is the largest
in the state. The Nampa theater, with a seating capacity of
1,200, owned by J. L. Jolley, Jr., of Emmett, has been com-
pletely painted and decorated and a machine room and other
equipment installed. At the same time the house will remain
in the theatrical circuit and on nights that good attractions can
be booked they will take the preference. The Orpheum, an-
other picture and vaudeville house, undergoes a change in man-
agement. It has been sold by Alexander & Tschumy to Messrs.
Charles E. Freine and Austin E. Anson.
ILLINOIS.
The Ryan building will be remodeled into a theater for mov-
ing pictures Located on South California street, Sycamore.
John Peterson, manager.
Plans are being made to open up a new moving picture
theater in the Joachim building at Smithfield.
The New Main street theater in Galesburg which is being pre-
pared for the public by W. H. Sullivan, Joe Johnston and city
clerk Ben Huff, is rapidly being completed and the interior will
be most ornate. The proprietors are sparing no pains to make
the interior the best and most attractive moving picture theater
in the city and in the remodeling of the building some extra
masonry work has been necessary on the rear to make needed
room.
Plans are being considered for the erection of a new mov-
ing picture theater to be erected at Springfield by Allardt Broth-
ers, of Chicago. George L. Rapp, architect.
Colonial Photo-play Theater Company, Joliet, capital $12,000,
moving picture business. Incorporators, F. L. Scheidt, R. C.
MacMullen, L. H. Sandford
The Colonial Theater in the Colonial Hotel building at
Jerseyville opened under the management of Robt. O. Bell who
was almost the pioneer in the picture show business in Jersey-
ville. He has purchased Mr. Stephenson's new picture machine.
Five good reels of pictures will be given every night.
Forest Fletcher, son of Mr. and Mrs. James Fletcher, of
Springfield, has purchased the Princess Theater in Peru and
will continue conducting it as a moving picture house.
Lloyd Longcor has purchased the interest in the Felsman
moving picture show at Pallas City.
St. Joseph is to have a moving picture theater.
INDIANA.
Repesentative John B. Jones of Marshall county has prepared
a bill for introduction in the House to provide for the appoint-
ment of a state board of censors, consisting of two members,
which shall pass upon and approve or reject all moving picture
films before they are exhibited in Indiana. The bill is likely to
meet with stubborn resistance from a local organization of mov-
ing picture theater proprietors.
Slater and Patten will open a moving picture theater in War-
saw.
An order to make several alterations in the moving picture
theater at 504 East Washington street, Indianapolis, has been
sent to William Kirchner, proprietor, by Thomas A. Winterrowd,
city building inspector.
E. A. Thompson of the Thompson Amusement Company,
Chicago, is looking for a site for the erection of a moving picture
building and was considering the purchase of the Princess Thea-
ter at La Porte.
The ban of the Indiana Motion Picture Association has been
placed on the proprietors of motion picture houses of South
Bend, because they have refused to assist in the state-wide cam-
paign to legalize the Sunday opening of theaters. The theater
owners in South Bend refused to get into the fight because the
local municipal authorities permit the places of amusement to
operate on the- Sabbath, and for that reason they decided to let
well enough alone and keep on neutral ground.
IOWA.
Justice C. H. Jackson has leased the Auditorium at Mount
Pleasant from the owner, Dennis Moreny, and will operate a
moving picture show.
Charles Curl will convert his restaurant at Bloomfield into
a motion picture house.
. E. W. Johnson has sold his moving picture business at
Coin to Frank Dutton, who will take possession.
Milo will have a picture show. J. D. Banning of Des
Moines has leased the opera house and installed a picture ma-
chine.
J. E. Anderson has sold his moving picture show at Logan
to George Wood.
Manager Krauth of the Germania Opera House at Deni-
son said the opera house would be converted into a motion
picture theater.
C. J. Morris, manager of the Electric Theater at Ellsworth,
will remodel same.
Because 500 feet of moving picture films in a theater in
Hampton were too close to a stove that became overheated,
the material exploded, causing a bad fire and wrecking the build-
ing.
The ladies of the Progress Club of Iowa Falls went to the
moving picture show in a body one recent night at the invi-
tation of the proprietor, the attraction being pictures of fac-
tory scenes portraying child labor.
J. E. Benton will now have a monopoly practically on the
picture shows in Albia. He will conduct two shows, using both
the Comet and the Scenic.
KANSAS.
The new Umstot building, which is being erected at 103
North Main street, Hutchinson, for a theater building, has
been leased by E. Wayne Martin who will conduct the play-
house. The theater will be nicely arranged for both motion
picture purposes and as a vaudeville house. There will be a
large stage, a sloping main floor, and a balcony for overflow
purposes.
A fire completely destroyed the Reid Opera House building
at Lebo. Loss, $12,000.
The Columbia Theater, Coffeyville, was sold to M. O. Houl-
den of the Star Theater, 804 Walnut street.
LOUISIANA.
The Princess Theater, a moving picture house at Monroe,
was put out of business recently by a fire that had its origin
in a burning reel. The reel was on the rewind and not in the
picture machine when it caught fire. The helper in the oper-
ating room thought to save the room and other reels by throw-
ing the burning film into the auditorium, but instead he made
matters worse. The celluloid film flashed up. setting fire to the
rear seats and the heavy curtains in front of the entrance. The
young lady ticket seller was forced to climb out through the
window of the ticket office. Less damage was done inside the
operating room than on the outside. The accident happened
just as the theater was opened for the night and there was no
one in the house at the time. The damage was about $3,000,
partly covered by insurance.
Plans are being prepared for the erection of a theater at
Longville, Lake Charles.
MARYLAND.
The work of erecting the new motion picture parlor and
vaudeville theater on the site of the Maryland Medical Col-
lege at 1110 West Baltimore street, Baltimore, will start at an
early date. The plans for the structure, which were prepared
by Architect J. C. Spedden, call for a one-story building 78 by
124 feet, which is to have a concrete foundation and an orna-
mental brick facade. The interior will be designed after the
fashion of the latest structure of its kind and will be large.
MONTANA.
Miles City is to have a new $15,000 moving-picture playhouse,
Protection of theater audiences from fire is the purpose of
an ordinance passed at Bozeman by the city council, which pro-
hibits smoking within the walls of a theater qr_ moving-picture
house while an audience is present or an exhibition is going on.
The passage of the ordinance was at the instance of the fire de-
partment. It is aimed at the stage hands, performers when
behind the scenes, and the public who bring in lighted cigars
or throw lighted stumps on the floor.
NEBRASKA.
The Happy Hour Theater, a moving-picture show which has
been located on N street, Havelock, for two years, has been sold
by Mrs. J. S. Willan to Young and Middlecomb, owners of the
Joy, another moving-picture show, the fixtures removed and
the show discontinued.
NEW JERSEY.
A moving-picture theater is soon to be constructed at 94
Hamburg place, Newark, for Albert T. Sessing. Cost $8,000.
NEW YORK.
The theater which W. P. Murphy is constructing on the
site of the former Nichols house, in Pulteney square at Bath,
is nearing completion, and will be used for the first time at
the Masonic fair, the last week in January. Its formal opening
as a theater will be one week later.
The ownership of the Motion World, the picture theater in
the Smith block at Geneva passed from the control of M.' L.
Walley & Company to William Bisons of Syracuse. Charles F.
Rodock of Syracuse will be the manager. Mr. Bisons announced
that the policy of the house will be the same as it has been
in the past few months, and that it will be devoted to high class
pictures, interspersed with vaudeville and special features.
The Sun Film Corporation has been incorporated in New
York for the purpose of producing and marketing films of mul-
tiple reel length. The officers are : Tobias A. Keppler, presi-
104
MOTOGRAPHY
Vol. IX, No. 3
den; H. A. Spanuth, vice-president. Other members are: J.
H. Drayer and Sidney Ascher.
Nostrand avenue, west side, 20 South Fulton street, Brook-
lyn, new walls, etc. 1 story, moving pictures ; cost $10,000. Own-
er, Bero Company; architect, Shampan & Shampan, 772 Broad-
way.
Fire started in the Plattsburgh Theater at Plattsburgh dur-
ing an exhibition of moving pictures at 9 o'clock on a recent
night. The blaze, which was caused by a short circuit of electric
wires, lasted about fifteen minutes and was confined to the lamp
house of the theater in the corridor. There was a large audience,
but no one was injured. Many rushed into the halls or down
the outside fire escapes. Through the prompt action of the the-
ater employes a stream of water was playing almost instantly
upon the flames. The manager of the house shouted that the
fire was confined entirely to the film house and the more cour-
ageous remained to watch the work of subduing it. After about
three-quarters of an hour the performance was resumed.
On Saratoga avenue, Brooklyn, a moving-picture building
will be erected at a cost of $10,000. Owner, Faiber Construction
Company, 1715 Park place; architect, Alexander Faiber.
Dreamland Theater at Auburn was threatened by fire shortly
after six o'clock, when a motion-picture reel, which one of the
proprietors, E. C. Day, was testing, became ignited. The fire
spread to the booth and to articles on a shelf. The firemen ar-
rived in time to extinguish the blaze before it made headway
outside the booth. The theater was empty at the time. The
film had given trouble when exhibited in the afternoon.
NORTH CAROLINA.
Otto Haas has made arrangements for the overhauling and
remodeling of the Theater moving-picture place at Charlotte
at an expenditure of several thousand dollars.
OHIO.
Curt Jones of Zanesville is reported to have bought the
Star moving-picture theater in Mansfield.
A motion-picture theater is to be built at the corner of Mills
and Main avenues in Norwood, Cincinnati. A. C. Dinglestedt,
owner.
Because they paid a license of $150 in 1910 for operating a
moving-picture theater for one year, owners of the Princess,
Royal, Crown and Jewele Theaters in Toledo will not have to
pay for a license fee in 1913. Council adopted a resolution to
that effect at its most recent meeting. The four theater owners
paid promptly in 1910, when the ordinance provided for a li-
cense of $150. Later the fee was cut to $50 and the delinquents
did not pay the same price as the owners of the four theaters
mentioned. For the past two years the owners of the four the-
aters tried to have the $100 remitted, but a compromise was ef-
fected and the owners were satisfied with being relieved from
securing a license for next year.
Plans are being made by Architects Zettel & Rapp for a
theater of the motion-picture type, to be built adjoining the
northeast corner of Pearl street and Broadway, Cincinnati, fac-
ing on the former thoroughfare. It will contain about 300 seats
and may be called the Coliseum. The owner is the Broadway
Realty Company, which will be headed by Real Estate Broker
Wilson.
A motion-picture theater to cost about $30,000 is to be built
at Camp Washington, Cincinnati, by Lawrence Bueche, owner.
For the first time in the history of Springfield, the motion-
picture theaters were opened for business on a Sabbath, De-
cember 22 and were not disturbed by the authorities. The pro-
prietors announced that thejr would give 12 per cent of the re-
ceipts to the District Tuberculosis Hospital and hope to evade
the state law governing common labor on Sunday. Recently they
made a test case, and Judge Busch, of the Police Court, held
that the selling of tickets for a motion-picture show was com-
mon labor, which is prohibited by the law on Sunday unless it is
done in the interest of charity.
PENNSYLVANIA.
Ernesto Carbone was granted a permit to demolish the old
hall building, Nos. 763-65 South Eighth street, Philadelphia, pre-
paratory to the erection there of a moving-picture theater.
Keno Feature Film Company, Pittsburgh ; capital, $5,000.
Incorporators : Manfred Feitler, Adolph Klem and M. Tep-
litz, Pittsburgh.
Samuel Schulz, alterations to moving-picture house, south-
west corner Franklin and Clearfield street, Philadelphia, for M.
/.essey; cost, $4,500.
Anderson & Haupt are preparing plans for a moving-picture
theater at the northeast corner of Twenty-fifth and Carbria
streets, Philadelphia, for the Interstate Film Company.
Plans have been prepared for the erection of a new moving-
picture theater by the Nixon-Nirdlinger interests in German-
town, Philadelphia.
Contracts for the erection of a new motion-picture theater for
William H. Snyder of Lancaster has been awarded to L. V.
Wright, contractor.
SOUTH DAKOTA.
Capitalists of Broadland are figuring on erecting a modern
opera house in that town.
TEXAS.
Arangements have been made to open a new playhouse
at Goliad. The Von Dohlen building will be converted into a
motion-picture theater.
The wok of putting in a raised floor and making other im-
provements on the building next to the postoffice at Belton is
under way. The building, when improvements are completed,
will be occupied by a moving-picture show operated by Walter
King of Houston.
J. F. Morris has just completed the construction of a $10,000
theater building on Commerce street, Jacksonville, which will
be used by the "New John's Theater" is exhibiting moving
pictures.
C. T. Mahler and associates will erect a moving-picture the-
ater at Temple ; cost $25,000 ; on Avenue A, 5th and 3rd streets.
The Crystal moving-picture theater, at Temple, has been
closed and the room remodeled as a storeroom. The theater
was owned by Campbell and Winch, who built the new Wig-
wam theater, across the street.
The Baker Moving Picture Show Company at Gonzales has
leased the Reuter lot and will erect a building.
Plans are prepared for the erection of a row of brick build-
ings at Postoffice and Twenty-fifth street, Houston. The build-
ings are to be put up by Dr. E. B. Kenner, and one of them is to
be a modern theater for colored people, which will cost $20,000.
The theater has been leased to the Lincoln Amusement Company
for five years and $5,000 has been paid on the lease.
Cliett & Bledsoe have disposed of their movrng picture show
at Houston to J. W. Pinkerton, who has taken charge of same.
Messrs. Cliett & Bledsoe have a picture show in Rockdale and
intend opening another in Southwest Texas.
VIRGINIA.
Thoroughly remodeled and rearranged, equipped with pow-
erful moving picture machine, steam heated and well ventilated,
the Lyric theater at Suffolk has opened its doors under a new
and progressive management, that of Messrs. Matics and Spence,
who so successfully managed the Academy for the past year or
more. Four reels of pictures are shown each night at this
pleasant playhouse, the only five cent show house in Suffolk.
The program is changed nightly.
WASHINGTON.
Construction has been completed on a new motion-picture
theater in South Tacoma, at South Tacoma avenue and 54th
street. The theater itself opened for business previous to com-
pletion, construction being far enough along to permit with out
violating the city building odinances. Fred Yorktheimer is the
owner of the new building, and the owner of the theater is
R. R. Pratt. C. F. W. Lundberg is the architect. The building
is wired on conduit, and otherwise constructed to conform
strictly with the ordinances of the city of Tacoma. Its cost is
$4,000.
WEST VIRGINIA.
A house about to be razed is being looked for by the Royal
Film Company at Wheeling. The house will be set on fire and
moving pictures taken of the Wheeling fire laddies at work.
F. H. Lange, Lou Gutman, Samuel Ungerieder and others are
reported to erect a theater at 14th and Market streets, Wheeling.
Considerable inquiry is being made by citizens of Warwood
relative to the time of erecting the building to be used as a nickel-
odeon, at the corner of Twenty-first and Main streets. _ C. D.
Thompson, of Wheeling, who represents the company which pro-
poses to establish the moving picture show stated, in answer to
an inquiry, that work on the building will be commenced shortly
after the first of the coming year, and it is expected to open the
show for business next spring.
W. G. Baxter and Geold & DiVall will open a moving pic-
ture theater at Montfort and the opera house is being remodeled
for it.
WISCONSIN.
Paul R. Philleo of Tomahawk has purchased the Bijou at
Rhinelander. P. J. Hanson, the former proprietor, is to retire
from the business.
Disliking the idea of providing Sunday amusement in Eau
Claire, Leon Shumway has purchased the Rex Theater. He in-
tends to run the pictures six days a week and make a profit.
The Marinette Film Company has been organized with a capi-
tal stock of $5,000 at Marinette. The incorporators are Horace
C. Baker, E. D. Galineau and L. J. Evans. The new company
will produce moving-picture plays.
February 1, 1913.
MOTOGRAPHY
10.:
Complete Record of Current Films
Believing the classification of film pictures by the nature of their subjects to be of greater importance to the exhibitor than classification by maker,
Motography has adopted this style in listing current films. Exhibitors are urged to make use of this convenient tabulation in making up their programs.
Films will be listed as long in advance of their release dates as possible. Film manufacturers are requested to send us their bulletins as early as possible.
Reasonable care is used, and the publishers cannot be responsible for errors. Synopses of current films are not printed in Motography as they may be
obtained of the manufacturers. L*B".
LICENSED
DRAMA.
Date Title Maker
1-8 Peggy and the Old Scout Pathe
1-8 The Man Who Might Have Been Selig
1-8 The Delayed Letter Vitagraph
1-9 Twilight of Her Life Lubin
1-9 Her Great Chance Melies
1-9 The Hollow Tree Pathe
1-9 The False Order Selig
1-10 The Eldorado Lode Edison
1-10 The Wives of Jamestown Kalem
1-10 Grandfather . .Kalem
1-10 An Ambassador's Disappearance Vitagraph
1-11 The Maid of Honor Edison
1-11 Broncho Billy and the Outlaw's Mother Essanay
1-11 A Sawmill Hazard Kalem
1-13 Pirate Gold Biograph
1-13 A Dangerous Wager Kalem
1-13 A Timely Rescue Lubin
1-13 The Clue Selig
1-13 The Little Minister Vitagraph
1-14 A Fishermaiden's Heart Cines
1-14 At Bear Track Gulch Edison
1-14 Bud's Heiress Selig
1-14 The Winning Hand Vitagraph
1-15 Two Men and a Girl Eclipse
1-15 The Girl at the Brook Essanay
1-15 The Faithful Yuma Servant Pathe
1-15 A Plain Girl's Love Selig
1-15 Off the Road Vitagraph
1-16 An Adventure in the Autumn Woods Biograph
1-16 The Road of Transgression Essanay
1-16 The Kill of Salvation Melies
1-16 A Revolutionary Romance Selig
117 Leonie Edison
1-17 The Mexican Spy Lubin
1-18 The Mountaineers Edison
1-18 Broncho Billy's Brother Essanay
1-18 A Desperate Chance Kalem
1-18 The Girl and the Gambler Lubin
1-18 Thou Shall Not Kill Vitagraph
1-20 The Man He Might Have Been Edison
1-20 The Nurse at Mulberry Bend Kalem
1-20 Literature and Love Lubin
1-20 The Ways of Destiny Pathe
1-20 The Lipton Cup Selig
1-20 What a Change of Clothes Did Vitagraph
1-21 She Shall Not Know Cines
1-21 The Ambassador's Daughter Edison
1-21 The Thirteenth Man Essanay
1-21 Who is the Savage Lubin
1-22 The Sheriff's Child Essanay
1-22 The Boomerang Kalem
1-22 The Unfilled Oath Pathe
1-22 A Blackhand Elopement Selig
1-28 The Tender Hearted Boy Biograph
1-23 The Old Oaken Bucket Lubin
1-23 A Ballad of the South Seas Melies
1-23 The Half Breed Pathe
1-23 A Little Child Shall Lead Them Selig
1-24 False to Their Trust — (7th story "What Happened to
Mary") Edison
1-24 The Farmer's Daughter Essanay
1-24 The Vengeance of Durand Vitagraph
1-25 Plot and Counterplot Cines
1-25 The Lorelei Edison
1-25 Broncho Billy's Gun Play Essanay
1-25 The Cub Reporter's Temptation Kalem
1-25 The Insurance Agent , Lubin
1-27 A Misappropriated Turkey Biograph
1-27 The Dancer Edison
1-27 The Turning Point Kalem
1-27 The Guiding Light Lubin
1-27 The Girl of Sunset Pass Lubin
1-27 The Miner's Justice Selig
1-28 A Lesson from the Past Cines
1-28 A Day that is Dead Edison
1-28 On the Threshold Lubin
1-28 When Mary Grew Un Vitagraph
1-29 The Melburn Confession Essanay
1-29 The Pride of Angry Bear Kalem
1-29 The Empty Studio Selig
1-30 Aileen of the Sea Melies
1-30 Saved by His Horse Pathe
1-30 The Sheriff's Story Essanay
1-30 The Lesson Selig
1-30 The Smoke from Lone Bill's Cabin Vitagraph
1-31 A Perilous Cargo Edison
1-31 The House in the Woods Lubin
1-31 A Tale of Old Tahiti Melies
1-31 The Altar of the Aztecs Selig
2-1 The Doctor's Love Affair Cines
2-1 The Princess and the Man Edison
2-1 The Making of Broncho Billy Essanay
2-1 The Senator's Dishonor Kalem
2-1 Private Smith Lubin
Length
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Date
1-12
1-14
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1-16
1-16
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2-1
1-14
1-14
1-17
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1-21
1-21
1-24
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1-27
1-29
1-31
1-31
2-1
1-14
1-14
1-17
1-22
1-31
2-1
2-1
COMEDY.
Title Maker
Three Black Bags Vitagraph
Peter's Pledge Lubin
The Title Cure Edison
Red Sweeney's Mistake Kalem
It Might Have Been Lubin
Mixed Colors Lubin
The Bringing Out of Papa Vitagraph
What George Did Essanay
A Hero's Reward Kalem
Quarantined Lubin
Fooling Their Wives Lubin
Poison Ivy Selig
His Wife's Relatives Vitagraph
The Interrupted Honeymoon Vitagraph
Taming the Spooks Cines
The Absent-Minded Lover Cines
The Family Jar Pathe
The High Cost of Reduction Biograph
Kissing Kate Biograph
A Matrimonial Deluge Selig
Ma's Apron Strings Vitagraph
Just Missed Him Eclipse
The Power of Sleep Edison
The Toke on Howling Wolf Vitagraph
The Laird of McGillicuddy Essanay
The Volunteer Strike Breakers Vitagraph
One on Willie Kalem
Making a Baseball Bug Lubin
Pizen Pete Lubin
The Suffragette Selig
The Widow's Might Vitagraph
The Elusive Kiss _. . Pathe
Everybody's Doing It Vitagraph
When Bobb" Forgot Vitagraph
Two Sets of Furs Vitagraph
Max Joins the Giants C. G. P. C.
The Voice of Giuseppe Essanay
A Canine Matchmaker Selig
Hubby Does the Cooking Eclipse
A Serenade by Proxy Edison
Hubby's Polly Pathe
And His Wife Came Back Vitagraph
The Masher Cop Biograph
What is the Use of Repining Biograph
What's in a Name Lubin
She Must Elope Lubin
Hypnotism in Hicksville Essanay
The Horse that Wouldn't Stay Hitched Kalem
It Made Him Mad Vitagraph
EDUCATIONAL.
The Jelly Fish and the Plankton C. G. P. C.
China and the Chinese Essanay
Our Enemy, the Wasp C. G. P. C.
King Cotton Kalem
The Clav Industry Selig
The Birth of a Dragon Fly C. G. P. C.
The Making of a Book C. G. P. C.
The Part Played by Air in Respiration C. G. P. C.
The Genet C. G. P. C.
The Possum Hunt Kalem
The Ainus of Japan Selig
Coke Industry Vitagraph
The Bulgarian Army in the Balkans Eclipse
The Chameleon C. G. P. C.
The Making of Hats C. G. P. C.
The Great Prayer of the Arabs Pathe
SCENIC.
The Velino River and Falls (Central Italy) Cines
The Palace of Fontainebleau C. G. P. C.
Along the Riviera C. G. P. C.
The Manchester Ship Canal Eclipse
St. Augustine, Fla Kalem
The Beautiful Falls of Marmore .Cines
Along the Columbia River Pathe
TOPICAL.
Length
1,000
1,000
1,000
1,000
1,000
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1,000
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500
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1,000
1,000
1,000
1,000
500
315
1-20
1-27
Pathe's Weekly, No. 5
Pathe
Pathe
DAILY LICENSED RELEASES
MONDAY: Biograph, Edison, Kalem, Lubin, Pathe, Selig, Vita-
eraph.
TUESDAY: Edison, Essanay, Cines- Kleine, Lubin, Pathe, Selig,
Vitagraph.
WEDNESDAY: Edison, Essanay, Kalem, Eclipse-Kleine, Pathe,
Selig, Vitagraph.
THURSDAY: Biograph, Essanay, Lubin, Melies, Pathe, Selig,
Vitagraph.
FRIDAY: Edison, Essanay, Kalem, Lubin, Pathe, Selig, Vita-
graph.
SATURDAY : Edison, Essanay, Cines-Kleine, Kalem, Lubin,
Pathe, Vitagraph.
106
MOTOGRAPHY
Vol. IX, No. 3
INDEPENDENT
Date
1-11
1-11
1-11
1-12
1 12
1-12
1-12
1-13
1-13
1-13
1-14
1-14
1-14
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1-29
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1-30
1-30
1-31
1-31
1-31
1-31
1-31
1-31
2-1
2-1
2-1
2-1
DRAMA.
Title Maker
The Faithless Nurse Comet
An Apache Father's Revenge Bison
A Secret of the Sea Milano
By-Gone Days Rex
The Cobbler and the Financier... Eclair
Just Hard Luck Majestic
The City Mouse • • • ■. Thanhouser
The See-Saw of Lift Imp
Sins of the Father Champion
Their Masterpiece American
The Ninth Commandment Gem
A Frontier Providence Bison
Child Labor Majestic
The Tiniest of Stars Thanhouser
The Roll of Honor Paumont
The Last Run of the Sante Fe Coach Frontier
The Wheel of Fate Reliance
A Blue Grass Romance ....Broncho
Mother and Daughter Solax
A Little Mother Wants a Home Imp
The Flower Girl Rex
Nobody's Love Story Eclair
The Awakening American
A Waif of the Desert Nestor
Face to Face With a Leopard Lux
Tht Tramp Reporter Powers
The Little Turncoat Kay Bee
Napoleon's Luck Stone Thanhouser
Regimental Pals Bison
Life's Lottery Milano
His Old-Fashioned Mother American
The Strength of the Weak Reliance
He Never Knew Rex
The Death Trail Champion
The Bridegroom's Offense Comet
When Destiny Guides American
The Scapegoat Gem
The Girl Detective's Rush ' Thanhouser
The Genius of Fort Lapawai Bison
The Gallop of Death Eclair
The Dungeon of Despair Gaumont
The Riot Nestor
The Surveyor and the Pony Express Frontier
The Open Road Reliance
A Shadow of the Past Broncho
The Coming of Sunbeam Solax
Rags and Riches .../.". Imp
The Symphony . . . . Rex
The Spectre Bridegroom Eclair
The Silver- Plated Gun American
His Brother's Keeper Nestor
On Burning Sands Powers
The Mosaic Law Kay Bee
Her Fireman Thanhouser
The Road that Leads Home Solax
A Gambler's Last Trick '. 101 Bison
A Rose of Old Mexico American
The Masqueraders Reliance
A Child of Nature Comet
After the Shipwreck ...... Eclair
Saved from Sin Majestic
A Dinner Bell Romance and the Footpath to' Happiness. .
t-l ' \'r' "i- " V X ' \" Nestor
The Marked Card Champion
1 he Latent Spark American
1 he Contest Comet
A Northwoods Romance .Gem
Sheridan's Ride .- .'"'Bison
The One Who Had to Pay '..'.'.'.'. .Eclair
When the Last Leaf Fell .".'.'.'.' ...Majestic
The Dove in the Eagle's Nest Thanhouser
Life or Death Gaumont
White Man s Firewater Nestor
The Wild Flower of Pine Mountains '.'.'.'.Frontier
Saved by Airship Reliance
The ?tr"gg'eA • Broncho
Gold is Not All Imp
The Angelus ■ ........ ;. '"' Rex
Little Mother of Black Pine Trail .........'.'.'.'.'.'. '.'.Eclair
The Trifler .......... Victor
The Highgraders '.'.'.Nestor
1 he Rugged Coast Powers
When Lincoln Paid Kay Bee
Psychology of Fear , .Thanhouser
I he Scheming Women Solax
A Winning Ruse Tmp
A Man's Woman ...'.'. '.Mecca
Women Left Alone . , ?..,,...*.....' . . American
A Wife's Battle Reliance
Length
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COMEDY.
Date Title Maker Length
1-6 Saving Mabel's Dad Keystone
1-6 A Double Wedding Keystone
1-6 Knock Wood Itala
1-6 Two Little Devils Itala
1-7 An Accidental Servant Eclair
1-7 The Hundred Dollar Bill Majestic
1-8 Almost a Hero Powers
1-9 Poor Boob Punch
1-9 Mix-up Punch
1-9 The Destructive Duelists Gaumont
1-9 To Hell, and Back Gaumont
1-10 Baxter's Busy Day Powers
1-10 The Matrimonial Fever Lux 731
1-10 Do Not Tease the Dog Lux 252
1-11 The Baldheaded Club Imp
1-11 Society Day at Piping Rock Imp
1-11 A Night of Terror Reliance
1-11 James, the Hungry One Great Northern
1-11 The New Boor-Cleaner Great Northern
1-12 Heroic Harold ..Crystal
1-12 A Night at the Club Crystal
1-13 Cupid Finds a Way Nestor
1-13 Teaching an Old Dog New Tricks Comet 1,000
1-13 The Cure That Failed Keystone
1-13 How Hiram Won Out Keystone
1-13 Dethroned in a Well Itala
1-13 Serves You Right : , Itala
1-14 The Detective Santa Claus Eclair
1-15 The Quickest Way Nestor
1-15 Mammy's Chile Powers
1-16 Finney s Luck Punch
1-16 Saw Wood Punch
1-17 The Hypocrite Victor
1-17 The Quarrelers Solax
1-18 The Boob's Inheritance Imp
1-18 The Test Great Northern
1-19 A Dip Into Society Crystal
1-19 The Fake Gas Man Crystal
1-19 Funnicus Marries a Hunchback Eclair
1-19 Harry's Lesson Majestic
1-19 The Commuter's Cat Thanhouser
1-20 Love's Lottery Ticket Imp
1-20 The Taxidermist Nestor
1-20 In Peaceful Hollows Nestor
1-20 For Lizzie's Sake Keystone
1-21 Cabby and the Demon ....Majestic
1-22 A Bitter Dose Powers
1-23 Tom, Dick and Harry Punch
1-23 A Double Life Gaumont
1-24 Sunnv Smith Victor
,1-24 The Magic Carpet Lux 301
1-24 Detective Knowall on the Trail Lux 678
1-25 The Hero of the nour .Imp
1-25 Fixing the Flirts Imp
1-25 Tohn Steals a Furlough Great Northern 679
1-26 Becky Sharp Rex
1-26 Pearl's Admirers '. . . . Crystal
1-26 The False Alarm Crystal
1-26 His Uncle's Wives Thanhouser 1,000
1-27 A Double Deception Imp
1-27 The Mistaken Masher Keystone
1-27 The Deacon Outwitted Keystone
1-29 How He Won Her Powers
1-29 The Wrong Box Solax
1-30 Their First Baby Punch
1-30 Fair Weather Friends Gaumont
1-31 Faint Heart Never Won Fair Lady Lux
1-31 Arabella as a Chimney Sweep Lux
EDUCATIONAL.
1-5 Crawfish Eclair
1-11 Domesticated Wild Animals on Our Western Coast
Gaumont
1-18 The Phosphate Industry Imp
18-18 The Walnut Industry American
1-19 A Few Million Birds Thanhouser
1-23 French Alpine Maneuvers Gaumont
2-1 ' Cowboy Sports : Bison
SCENIC.
1-8 Akron, Ohio Powers
1-16 The Beauties of Brittany Gaumont
1-25 The West Coast of Jutland Great Northern 294
1-26 Los Angeles, the Beautiful Thanhouser 1,000
TOPICAL.
1-20 Sir Thomas- Lipton Keystone
1-22 Animated Weekly, No. 46 Universal
■ 1-22 Gaumont's Weekly, No. 46 Gaumont
1-29 Animated Weekly, No. 47 Universal
1-29 Gaumont's Weekly, No. 47 Gaumont
1-30 Building the Great Los Angeles Aqueduct... American
200
1,000
DAILY UNIVERSAL RELEASES
(Independent.)
MONDAY: Imp, Nestor, Champion.
TUESDAY: Gem, Bison,' Eclair.
WEDNESDAY: Powers, Nestor, Frontier, Animated Weekly.
THURSDAY: Rex, Imp, Eclair.
FRIDAY : Victor, Powers, Nestor.
SATURDAY: Bison, Imp, Milano.
SUNDAY: Eclair, Rex, Crystal.
DAILY "FILM SUPPLY" RELEASES
(Independent)
MONDAY : American, Comet.
TUESDAY: Thanhouser, Majestic, Gaumont.
WEDNESDAY: Reliance, Solax, Gaumont Weekly.
THURSDAY: American, Gaumont
FRIDAY: Thanhouser, Solax, Lux.
SATURDAY: Great Northern, Reliance, Comet, American.
SUNDAY: Thanhouser, Majestic.
VOL. IX.
FEBRUARY 15, 1913.
No. 4
Published Bi- Weekly by Electricity Magazine Corporation, Monadnock Building, Chicago
J***
Klcinc Eclipse Feature Film
TWO REEL SPECIAL
SHYLOCK
(COPYRIGHT, 1912, BY GEORGE KLEINE)
Released March 3, 1913
a
Adapted from Shakespeare's
The Merchant of Venice
99
A splendid two reel production giving a vivid
portrayal of that great classic drama by the
master of playwrights.
Containing the most gorgeous settings, faultless
costuming, skillful acting and unsurpassed photo-
graphy.
SHYLOCK DEMANDS THE POUND OF FLESH
Feature It Big!
Everybody is acquainted with the story of the
play and will want to see it reproduced upon the
screen. Be sure to use ;
Special Heralds, one, three and six-sheet posters!
Cines
February 18, 1913
Eclipse
February 19, 1913
Cines
February 22, 1913
The Regular Program for next week
THE CONJURERS comeay
VIEWS OF NARNI AND LAKE TRASIMENO <»~-.)
GETTING EVEN comedy
HIS REDEMPTION ^J
Send ns your name to be
placed upon our mailing
list for advance advertising
matter.
GEORGE KLEINE
166 N. State St.
CHICAGO, ILL.
February 15, 1913.
MOTOGRAPHY
ANOTHER CLEAN UP
FOR THE MOTIOGRAPH
The Motor Drive Motiograph
Approved
For Use in Chicago Theatres
The FIRST and ONLY Motion Picture Machine
with Motor Drive to receive the endorse-
ment of Electrical Bureau of the
City of Chicago.
We take great pleasure in making this Announcement to our many friends
BECAUSE — We originated the Motor Drive for Motion Picture Machines. We originated
the series connected Switch Board for use with our Motor Driven Machines,
and— we do not always get just credit for our original ideas.
The Motor Driven Motiograph will pass inspection because each and every
part of this machine is made in our own factory and under the direct supervision of the
officers of this company. We do not depend on other factories. We do not assemble
a lot of parts manufactured by others.
APPROVED also by the National Board of Fire Underwriters;
by the District Police of the State of Massachusetts.
MANUFACTURED BY
The Enterprise Optical Manufacturing Company
Main Office and Factory: 566 W. RANDOLPH ST., CHICAGO, ILL.
EASTERN OFFICE: WESTERN OFFICE:
30 EAST 23rd STREET, NEW YORK CITY 833 MARKET STREET, SAN FRANCISCO
DISTRIBUTED BY
E. E. Fulton, Chicago J. H. Hallberg .... New York City
Kleine Optical Co Chicago Theatre Equipment Co. . . . New York City
Feature Film & Cal. Light Co. . . . Pittsburg Williams, Brown & Earle . . . Philadelphia
R. D. Marson M. P. Co Boston Calehuff Supply Company . . Philadelphia
Don't forget to mention MOTOGRAPHY to the advertiser.
Above, "Love Is Blind," February 22. Below, "The Finer Things," February 17. Copyright 1913, American Film Mfg. Co.
WITH WHICH IS INCORPORATED THE NICKELODEON
CHICAGO, FEBRUARY 15, 1913
PUBLISHED BI-WEEKLY BY
ELECTRICITY MAGAZINE CORPORATION
MONADNOCK BUILDING, CHICAGO
Telephones: Harrison 3014 — Automatic 61028
Ed. J. Mock and Paul H. Woodruff, Editors
Mabel Condon, Associate Editor
Allen L. Haase, Advertising Manager
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act of March 3, 1879.
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Single copy 10
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other Saturday. New advertisements will be accepted up to within five days
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CHICAGO, FEBRUARY 15, 1913
TABLE OF CONTENTS
"Love Is Blind" and "The Finer Things" Frontispiece
Editorial 107-108
Film Company Need Not Serve 107-108
Talking Pictures 108
A Hundred Thousand Pictures a Second 109-110
Messter to Show Talk Pictures 110
Sans Grease Paint and Wig. By Mabel Condon 111-112
Bus Drivers Taught by Pictures 112
Perpetuating Childhood's Fleeting Hours. By Watterson R. Roth-
acker 113-114
Disagree on Film Censorship Plan 114
Illinois League Elects Officers 114
On the Outside Looking In. By the Goat Man 115-117
Dustin Farnum Considering Picture Work 118
A Theme from "The Merchant of Venice" 119
Picture Men Protest Fire Bill 120
Current Educational Releases 121-122
I. C. Uses Picture Instruction Car 122
A Diamond-S Potpourri 123-124
Three Minutes Before the Camera. By Mabel Condon 125-126
Accuses Universal Directors of Fraud 126
Motography's Gallery of Picture Players 127
Provisions of Rosenkrans Bill 128
Photoplays from Essanay's 129-132
Of Interest to the Trade 132 138
Brevities of the Business '. 139-142
Complete Record of Current Films 143-144
FILM COMPANY NEED NOT SERVE.
A TEMPORARY injunction against the Motion Pic-
ture Patents Company and the Biograph Company,
requiring them to sell films to the Greater New York
Film Company, was issued by Judge Hand of the Su-
preme Court of New York on July 15. This also re-
strained the Patents Company from interfering with the
Greater New York Company's customers.
In an opinion, Judge Hand stated that while he be-
lieved that a man could do as he pleased with his own
patent, he did not believe that a number of individual
patent owners could combine their patents and restrain
trade. William Fox, plaintiff, was granted the privilege
of continuing his case, and the injunction was made per-
manent until the case could be decided.
On February 4, Justice Edward E. McCall in the
Supreme Court denied the application made by the Great-
er New York Film Rental Company to compel the Mo-
tion Picture Patents Company, et al, to admit it to mem-
bership in its organization for the distribution of films.
Justice McCall said :
Greater New York Film Rental Company vs. Motion Pic-
ture Patents Company et al. The determination of the motion
for an injunction pendente lite adversely to the plaintiff with
affirmance upon appeal is fatal to the plaintiff's case as pre-
sented by the motions for judgment on the pleadings. The opin-
ion of Justice Bijur, which I follow as indicating the law of the
case, proceeds from the discussion of an underlying infirmity
in the cause of action by reason of the irrevocable character of
the license given to the plaintiff, without which license he has
no rights to assert as the complaint is framed. He cannot have
a decree for a new or reformed agreement for a license since,
as pointed out in the opinion, the collateral oral understand-
ing had with respect to the written agreement could not alter
what was expressed as a complete contract with full knowledge
of what it contained and accomplished, and every ground which
is suggested upon the present argument as supporting a cause
of action in equity was involved in the decision expressed.
The proposed amended complaint, as I read it, does not
make a better case. Nothing is alleged which could support
reformation of the license agreement, for there was no mutual
mistake in its execution nor even a unilateral mistake.
The contract was made as intended and as understood, and
at best the plaintiff relies upon a promise by the licensor
not to enforce its accepted and undoubted legal rights. Specific
performance of that promise is not open to the plaintiff, as ruled
upon the motion for an injunction and whatever the result of
the issue sought to be tendered as to the alleged conspiracy out
of which the licensor obtains its control of the patents or rights
in question, no relief to the plaintiff can follow without the giv-
ing of a license to which it has no right and which the court
cannot, directly or indirectly, compel any person to extend.
Upon the general subject of an alleged conspiracy the case
presents features common to those existing in the Motion Pic-
ture Company vs. Motion Picture, etc., Sales Company (Law
Journal, October 19, 1912), where it was said by Mr. Justice
Bischoff : "The plaintiff, engaged in the manufacture of moving
picture films, seeks relief against the result of an agreement
between the defendants whereby the sale of its product in the
market enjoyed by the defendant Moving Picture Distributing
and Sales Company is restricted. The theory of the action is
that the agreement in question is unlawful as tending to restrain
trade.
"From the allegations it appears that this defendant corpo-
ration has built up a trade of distributing motion picture films in
the interests of firms affiliated with it, and has refused to the
plaintiff the use of its channels of distribution, except at a rate
108
MOTOGRAPHY
Vol. IX, No. 4.
of payment excessive of the charge made to its affiliated firms
for the same service. In other words, the plaintiff asserts the
right to compel those concerned in a private lawful enterprise
to receive it as an associate and give it the benefit of a trade
built up for its own independent benefit.
"In matters closely touching the public interest a monopoly
of trade to the exclusion of one whose service might further
the public good may be regulated or restrained; but the subject
matter of this action — a distribution of motion picture films —
is not within the class of public utilities. The case of Resoneau
vs. Empire City Circuit Company (131 App. Div., 429) is in point
and is controlling."
My conclusion is that the defendants are entitled to judg-
ment on the pleadings and that no case of sufficient merit is
presented by the proposed amended complaint to justify the
granting of the motion for leave to serve it. Defendant's motion
is granted with costs and plaintiff's cross-motion denied.
The decision seems to dispose, for the present at
least, of the theory that a manufacturer of films may be
forced to sell to whomsoever elects to buy. The power
to select or reject customers might also be supposed to
extend to the organization of exclusive selling agencies
and branches. This, of course, is apart from any indi-
vidual contractual relations between seller and buyer.
Another phase of the question is the sale and pur-
chase of raw film stock. At present the Eastman Kodak
Company supplies stock to the "licensed" manufactur-
ers and declines to supply "independent" manufacturers.
The latter, however, are able to secure Eastman stock
through a New York selling agent. This relation has
been regarded with some suspicion by the independents;
but the fact that motion picture films are not "utilities
necessary for the public good" appears to render the
arrangement eminently proper and legal.
TALKING PICTURES.
SYNCHRONIZING appropriate sounds with the ac-
tion of projected motion pictures, producing what
is popularly known as talking pictures, has absorbed the
attention of inventors since the first real drama appeared
on a screen. The history of the industry is littered with
the fragments of unsuccessful talking picture machines,
while here and there have appeared a few with all the
apparent attributes of success. The names of the Cine-
phone, the Cameraphone, the Chronophone, are well
known to the trade. The new Edison Kinetophone, there-
fore, is not the first solution of the problem, but merely
the latest. Being the latest, it may be supposed to have
some advantages over earler attempts ; although it is too
early to form an opinion on any basis but the reputation
of the inventor.
That the name of Thomas Alva Edison carries pres-
tige in almost every field is almost proverbial. And it
is quite evident that such weight may be attained only
by long years of consistently "delivering the goods." So
the Edison talking pictures ought to be satisfactory as
talking pictures.
The impression we want to correct is that the talking
picture is at all likely to replace or supersede the silent
picture in the very near future. That idea is one of the
kind that come naturally to laymen and newspapers —
for no talking picture promoter has made such a claim,
or is apt to, if he is familiar with the present art. The
perfect talking picture is, primarily, an act of high class
vaudeville- — and that is exactly the use that will be made
of it.
The possibilities of the talking picture are, of course,
enormous, and so apparent that there is no need of cata-
loging them here. Edison, himself, has dwelt upon them
at some length in the interviews he has granted to the
public press. But large projects, like large bodies, move
slowly, and there is no reason to expect an immediate rev-
olution in the exhibition of films. Granting that the Edi-
son device may be perfectly satisfactory, there is still the
inertia of established practice to be overcome before
talking pictures become universal.
There are at present many people who, though
ardent admirers of the motion picture, do not view with
great enthusiasm the advent of the vocal addition. There
is a piquant charm in the very silence of the silent drama.
Only recently some one has said, "At a sudden burst of
sound the eyes close; and if the tumult continues, they
grow watery and uncritical. We view the silent drama
in silent, absorbed enjoyment. It must be so that the
gods sit on Olympus and observe the mortal activity be-
low, while the sounds of struggle and strife reach them
not" — or words to that general effect.
All this argument does not deny the talking picture
its place in the scheme of human entertainment — and a
big place it is destined to be. The reproduction of an
entire opera, action and song, or of a classic drama in all
its harmony of expression, is a project that may well hold
us breathless.
Technically at least, the talking picture represents a
combination of two of the most marvelous manifestations
of the laws of nature. The cinematograph and the phon-
ograph are both examples of the wonderful principle
that every action has its reaction, and the primary mani-
festations of energy are reversible. An electric dyna-
mo, rotated by mechanical power, generates electric cur-
rent. Reverse the process and feed the dynamo with
electricity generated elsewhere, and it rotates itself and
becomes a motor. Turn an electric current into a stor-
age battery, and it causes chemical changes in the bat-
tery. Presently the battery becomes itself a generator
of electricity, and puts forth a current in the opposite
direction until its chemical condition has changed back to
its original form. Turn a ray of sunlight onto a sur-
face of barium sulphide, and subsequently in the dark-
ness the chemical will return a ray of its own light.
Direct the vibrations of sound against a diaphragm at
whose center a sharp point bears on a moving gravable
surface, and later the moving surface will return
through the diaphragm exact reproductions of the orig-
inal sounds. Focus a lens on a series of photographically
sensitive surfaces which succeed each other faster than
the dissolution of the image in the human eye, and when
the process is reversed the light transmitted through the
photographic surfaces and the lens will reproduce exact-
ly the action originally produced. So after all, the mo-
tion picture and the talking machine depend on one and
the same general principle, and are sister manifestations.
And since motion and sound are inseparable, talking pic-
tures are inevitably a coming form of entertainment.
But on the other hand the talking machine is today,
and has been for years, a household institution. It is
complete in itself. If we sometimes wish while listen-
ing to the voices of Caruso and Alda issuing in such
volume from the little box that we might visualize the
prison scene in II Trovatore, at least we are content with
but the auditory impression. And the same satisfaction
is even more manifest in motion pictures — for few of us
pause, in the enjoyment of a good film, to long for its
vocal accompaniment. It is that present satisfaction that
forms the greatest obstacle to the sudden achievement
of popularity by the talking pictures.
Now. and probably for some time to come, motion
pictures are one thing and talking pictures another, each
with its own place to fill.
February 15, 1913.
MOTOGRAPHY
109
A Hundred Thousand Pictures a Second
Ultra-Rapid Cinematography
THE remarkable sensitive-
ness of the photographic
plate has allowed phenom-
ena of extremely short duration
to be fixed, especially by using
electric sparks as an instantane-
ous lighting of great intensity.
Although such sparks only last
an extraordinarily short time,
they give a perfectly sharp pic-
ture of even the most rapidly
moving bodies. Lucien Bull at
the Marey Institute was the first
to design on this basis a cinema-
tographic method allowing rapid
motion to be decomposed into its
phases and reconstituted on a
screen. By means of an induc-
tion coil he produced 2,000
sparks per second, recording the
phenomenon in a series of cine-
matographic pictures on a film
wrapped round a drum. A
further advance was made some
years ago by Prof. Ganz, whose
ballistic cinematograph allows 800
views of the same phenomenon to be taken at a frequency
of 5,000 per second. This apparatus is worked with a
high-frequency alternate-current generator and a reson-
ance induction coil. The film band wrapped round two
drums,- travels at the maximum speed of about 120 meters
per second. While the frequency of pictures can be
varied between given limits, the apparatus should always
be readjusted to resonance.
viz.,
per
higher
Fig. 1 — Diagram of Apparatus Which Allows Fre
quency of Photographs Up to 100,000 per Second.
The latest advance in the
same direction, is the apparatus
recently submitted to the Ger-
man Physical Society by Prof.
C. Cranz and B. Glatzel. This
is practically independent of any
resonance adjustment and allows
the frequency of pictures to be
varied within much wider limits,
from about 200 to 100,000
second. This enormous
limit, if necessity oc-
curred, could even be extended.
In designing their new
apparatus, Messrs. Cranz and
Glatzel have endeavored to avoid
any drawbacks inherent in previ-
ous methods, such as the diffi-
culty in altering the frequency
of sparks, a limitation in the
available energy and defects of
insulation connected with the
use of statical charges.
High-frequency vibrations
generated in the well-known
manner by means of a damped
spark-gap and vibratory circuit, in connection with a
direct-current circuit, serve to produce the electric sparks.
C^ (Fig. 1.) is a capacity consisting of mica condensers
variable between 25,000 and 600,000 centimeters. The
self-induction hx is very small and accordingly insures a
dead-beat impulse as pure as possible in the primary cir-
cuit, coupled to the secondary which comprises the self-
induction L, and the small capacity C2 (1,800 centime-
■
Ld
Fig- 2. Fig. 3. Fig. 4. Fig. 5.
Fig. 2. — a, b, c, shows records of a self-charging pistol at 10,000 sparks per second; and working of pistol-lock and discharge of empty cartridge.
Fig. 3. — Shows frequency of 6,400 sparks per second; a piece of wood in front of pistol mouth being gradually crushed during shoting. Fig. 4. a, b c-d
represents records at different frequencies, a, 52,600 sparks; b, 72,000; c, 92,000; and d, 40,000. Fig. 5. — Views of the piercing of a lead tube, water
filled, taken at rate of 8,400 sparks per second.
110
MOTOGRAPHY
Vol. IX, No. 4.
ters). Flat coils applied immediately on one another are
used in the primary and secondary circuits, thus war-
ranting a coupling as close as possible. The spark-gap
F used for lighting is arranged close to a short-focus con-
cave mirror and connected up in parallel to the capacity.
The concave mirror projects a picture of the spark-gap on
the photographic objective O, which in its turn repro-
duces the phenomenon of motion occurring at P on a ro-
tating film wrapped round a drum 89 centimeters in diam-
eter which is driven at a maximum speed of 9,000 revo-
lutions per minute. The number of turns is determined
by a tachometer.
The number of impulses in the primary is dependent
on the capacity (being directly proportional to it) and
on the direct-current intensity and the length of the
damped spark-gap. The last in the case of the Scheller
alcohol spark-gap, is adjusted micrometrically. ■ The ten-
sion of the available direct-current being about 700 volts,
the frequency of primary impulses is readily and safely
adjusted to any figure desired.
In arranging the secondary, a special point was made
of reducing the inertia of the lighting spark-gap suffi-
ciently to produce sharp instantaneous views on the ro-
tating film, even at the highest spark frequencies (100,-
000). Messrs. Cranz and Glatzel use an air spark-gap
1
HMHHHNMM
Fig. 6. — a, b, c, shows cinematographically the falling of a drop, at spark
frequency of only 250 per second.
actuated by a lively air current. While magnesium elec-
trodes would have . been especially suitable because of
their intense photographic effects, they had to be replaced
by copper electrodes on account of their insufficient
damping.
This method has been applied to the recording of all
sorts of ballistical as well as physical processes. The bal-
listic phenomena of a self-charging pistol were, for in-
stance, recorded with a normal charge, the initial speed
being about 280 meters per second, the trigger being re-
leased by electro-magnetic means. Fig. 2 a, b, c, show
such records taken at a frequency of about 10,000 sparks
per second, representing the working of the pistollock
and especially the discharge of the empty cartridge. Fig.
3 has been taken with 6,400 sparks per second, a piece of
wood in the front of the mouth of the pistol being grad-
ually crushed during the shooting process. This crushing
is seen to occur much more slowly and to grow on con-
tinually, even after the projectile has long left the wood.
Fig. 4, (a, b, c) represents shooting records at dif-
ferent frequencies, a corresponding to 56,600 sparks, b to
72,000, c to 92,200 and d to 40,000 per second. Part of
the powder gases is seen under the enormous pressures
to leave the barrel before the projectile, the last, and then
the bulk of the gases, only following after some time.
The different speeds of propagation of the powder gases
and the projectile are distinctly recognized.
This method will be used for elucidating a number
of problems connected with the working of small arms,
such as the determination of recoil and the piercing of
armored plates.
Fig. 5 represents the piercing of a lead tube rilled
with water which is provided at its upper side with a
number of holes allowing the water to escape; its ends
are closed with caoutchouc membranes. The projecting
water jets show most forcefully the propagation of pres-
sure in the water on the entrance of the projectile. These
views have been taken at the rate of 8,400 sparks per
second.
Fig. 6 (a, b, c) finally represent by cinematographic
means a comparatively slow process, viz., the falling of
a drop, the frequency of sparks being only about 250 per
second. This is only intended to show how simply physi-
cal processes can be recorded by the new method in all
their various phases.
Messter to Show Talk Pictures
Eugene H. Kaufman of Los Angeles, Cal., says, as
the representative of the Messter Projection Company of
Berlin, he will have talking pictures talking in a local
theater within a month, thereby beating M. Meyerfeld,
Orpheum president, and his Edison kinetograph, and Ol-
iver Morosco with his Cort-Kitsee kinetophone, by a
matter of weeks into the Los Angeles field.
"The talking picture is already four years old in
Europe," says Mr. Kaufman, who says he formerly was
with Edison in his laboratory and later worked with the
Messter Company in Berlin, where he declares he helped
to perfect the synchronizer.
"European capitals have witnessed the Messter 'Bio-
phone' grand opera performances regularly and the talk-
ing pictures have been a great success.
"We have been barred out of the United States by
the Berliner disc phonograph patents, which have been
controlled by two companies operating in America. These
patents have now expired and the Messter Company,
which, next to the Pathe Freres Company, is the largest
in Europe, is to put its talking pictures in every city in
America.
"Los Angeles will be the beginning point and it is
probable the only American factory for the manufacture
of the Messter synchronizer will be established here.
"But our first move will be to show the pictures. We
want to convince the public that we have 'the goods.' '
Kaufman exhibited a cablegram from the Messter
Company, stating that complete talking-picture records
of ninety operas were ready for shipment. The records
were made by the Berlin Grand Opera Company and
the Italian Opera Company at La Scala, Milan.
"Our talking pictures run twelve minutes to a disc,"
says Kaufman, "and larger instruments will make a
twenty-minute record possible. I am negotiating with
two theater managers and expect to have the Messter
'Biophone' in operation, giving grand opera in German
and Italian at popular prices within four weeks."
February 15, 1913.
MOTOGRAPHY
ill
Sans Grease Paint and Wig
By Mabel Condon
Louise Lester
EVERY ice-
trimmed breeze
Chicago had
held in reserve for a
month was loosed the
day I set out for
North Edgewater and
the American Film
company's plant with
a cold in my head and
a determination to
learn everything Mr.
Richard R. N e h 1 s
could tell me about
Louise Lester.
After the wind had
blown me a block or
two out of my way I
managed to bring up
in front of the Amer-
ican plant by walking
behind a fat man who
served as a windshield
and — but the worst
was not yet. It came when I looked for a door and
couldn't find one. A little tailor shop, snuggling in out
of the weather in the shadow of the big plant, was my
court of appeals and I brought into it with me a gust of
wind that set the counter's array of paper patterns danc-
ing and brought the tailor hurrying out from a back room.
A door? Yes, on the side. So I thanked him, admit-
ted some more breeze, as the door rang me out and, after
sliding down an incline from the sidewalk and crossing
a prairie, came to a gate that flaunted a "no admittance"
sign ; but below it and partly worn off was the amend-
ment, "except on business." I pushed open the gate,
crossed a little courtyard — quite in imitation of those you
read about in the days of old — opened a door and faced
Mr. Nehls so unexpectedly that I gasped. He asked
"What's the matter?" and I truthfully replied, "Nothing."
"We've just moved our offices out here from the loop
and are not settled yet," he said in explanation of the
carpenters and painters and ladders and things that were
making an awful racket all over the place. "They're put-
ting that canopy up over my desk so I'm barred out and
while we're waiting to get in there and dig up the life of
Miss Lester we'll take a trip through the plant." I fished
two handkerchiefs out of my handbag and we started.
It was quite a wonderful trip and began with the
sunny glass studio, deserted by its company for the sun-
nier clime of California ; the dressing rooms with their
now purposeless little mirrors, a discarded costume or
two of jungle grass and other individual and ownerless
possessions. Then on into the factory with its ruby and
sun-lighted rooms and busy workers and back to the office
where the canvas covered desk was reached by walking
under two ladders, over two tool chests and around a
pane of glass resting against two chairs.
Mr. Nehls brought forth a number of photographs
of Miss Lester, showing her in a variety of character
roles, and propped them up on the desk and told me her
history as he knows it from Miss Lester herself. It is
two years, though, since she has been in Chicago and it
will probably be longer than that before she comes again,
as she is so in love with the West and her work there
that she has no desire to leave. And besides, she owns
considerable property out there, so she guesses she'll stay.
And who, seeing her as "Calamity Anne" or the
timid little mother of big Warren Kerrigan, would ever
imagine her to be fond of Balzac ? She is, nevertheless,
and reads and reads and reads every spare moment she
gets. They are not over-many, though, as she is in
almost constant demand in the pictures made at the Santa
Barbara studio and besides that she likes to fuss around
the kitchen and rearrange the furniture every three or
four days in the pretty little bungalow she calls the
"Louise" and where the other players love to be invited
for tea or to spend a homey evening on the pleasant
veranda.
For the knack of hospitality is Miss Lester's and she
is generous in its exercise. Another quality of hers which
has made her dear to those with whom she has worked
and played out at the Santa Barbara ranch studio for
the last three years is her unfailing sympathy. This
accounts for her being general confidante of the studio
family.
But Miss Lester cares not even the tiniest bit for
athletics of any kind. She learned to ride because that
was so necessary in her work. She doesn't swim, doesn't
care to learn and knows she never could anyhow, because
she's dreadfully afraid of water. Tennis is the last game
in the world she would set herself to play; it's so jumpy
and muscle tiring, and as for golf, it is her last thought
on nothing to do.
But she can listen beautifully to the others enthuse
over "a peach of a set" or a " bully drive," as she dis-
penses iced lemonade in the awninged coolness of her
veranda and hopes the girls haven't played themselves
tired nor the men late for the evening scene the director
has arranged and invites them all to come again. And
they do.
Philosophy interests Miss Lester, but woman suf-
frage gets no portion of her attention whatsoever. She
likes to write and has to her credit a number of scenarios
that have already been produced. She claims no ambi-
tion to be a noted writer of film stories, though she
intends to follow up her modest success with others in
the story line, because she enjoys the work so thoroughly.
She is an advocate of educational films and believes that
many more should be produced than the picture market
now offers.
In the "Calamity Anne" series in which she plays
the character of that name, she is becoming world known.
The role is a difficult one and the character — that of a
hanger-on of mining camps, more masculine than femi-
nine in attire and actions, though possessed of a warm,
womanly heart — is genuinely pathetic. There have been
four of these releases, the fourth, "Calamity Anne's
Vanity," being sent forth recently. It took Miss Lester
quite some time to learn to smoke the horrid old clay
pipe that is almost as much a feature of the picture as
she is and the way she handles a gun makes you realize
that she knows how to use it, too.
From the character of "Calamity Anne" in the "Van-
ity" film to that of a lady of title in the release, "A Blind
Love," is a chasm easilv bridged bv Miss Lester's ver-
112
MOTOGRAPHY
Vol. IX, No. 4.
satility and the art of knowing how to wear her clothes.
Both these films Mr. Nehls and I viewed in the
studio theater and, returning to his desk, he produced
a letter from a motion picture company which con-
tained much praise for Miss Lester and her work, say-
ing it was greatly enjoyed "from the janitor down to the
management."
Miss Lester's hair is brown, her eyes blue and her
age — unknown. The age question, even as officially put
from the desk of Mr. Nehls, is one she absolutely refuses
to answer. But that doesn't make her any the less like-
able, and people who have come out of the West declare
she is that.
"She must be awfully independent," I commented
at the end of the Lester seance.
"She is," Mr. Nehls replied, replacing the photo-
graphs in the second left-hand drawer of his desk, from
which he produced a "Flying A" souvenir fob that I took
back to the office with me.
"Come out when we're all settled," Mr. Nehls in-
vited as we crossed the courtyard and he swung open
the "no admittance" gate and I scarcely had time to
reply "I will, thank you," when I was blown across the
prairie to the North Edgewater station, where I waited
ten minutes for a loop express — and when it came it was
a local.
The Gaumont Co. announces the issuance shortly
of a big catalog of educational films, covering about 30,-
000 feet of science, 25,000 feet of industry and 90,000
feet of geography.
Bus Drivers Taught By Pictures
By means of a novel display of moving pictures,
some 400 employees of the London General Omnibus
Company who will eventually become drivers were able
to obtain useful hints on how to avoid street accidents.
The demonstration took place at the Theater de
Luxe. Camden Town, England, and among those who
witnessed it were Lord George Hamilton and Sir Edgar
Speyer (directors of the company), Mr. A. H. Stanley
(managing director), and Captain Dumble (general man-
ager). The men first listened to a lecture, which occu-
pied about three quarters of an hour, dealing exhaustively
with the rules of the road and the company's regula-
tions for the guidance of drivers.
The company has recently had moving pictures taken
on the route from Piccadilly to Liverpool Street, and the
return by way of Holborn and New Oxford Street, with
the object of showing drivers of buses the difficulties they
will experience in the ordinary course of their duty. All
the films were wonderfully clear and steady, and the
demonstration was singularly successful from the point
of view of the object lessons it conveyed.
"Father's Finish" is a rollicking good comedy to be
released February 27 by the American Film Company.
Father being a minister and a bit over-particular, took a
decided dislike to Bob. So they thought out a plan and
the two blackened up their faces in such a way that no
one could recognize them. They then went to papa and
asked him to marry them. Papa, in his ministerial ca-
pacity, performed the ceremony — then the denouement.
'Yankee Doodle Dixie," February 26. Copyright 1913, Selig Polyscope Co.
February 15, 1913.
MOTOGRAPHY
113
Perpetuating Childhood's Fleeting Hours
By Watterson R. Rothacker
M
A Study in Expression
AKE me a child again,
just for tonight!"
You've heard it, haven't
you? The old-time melody sung
by grandma in the gloaming
while, with glistening eyes, that
grand old lady rocked remi-
niscently and turned over mem-
ory leaves, each page replete
with intimate pictures and home-
ly scenes, conveying to the
mind's eye vague vistas of the
gone forever yesterday.
To grandma each scene is a
throb, each picture a friend ; to
you, to me — we hear but the sob
as when her mist covered eyes
are recalled to the present and
the mind book is closed with a
cheery "My boy, my girl, those days will be again."
A retentive memory is a wonderful storehouse.
From it may be taken beautiful gems which, in years
gone by, glistened brightly and were real ; but the luster
and warmth are unseen and unfelt by all but those who
in the dim past were actually part of the real picture.
Until the advent of moving pictures we had to de-
pend upon mere memory to see again yesterday's real-
ism and action ; for, while "still" photography served
well its purpose, it failed to catch the easy expression,
the changes of expression, the animation, which put the
personality mark on an individual and the worth remem-
bering touch to an incident.
In moving pictures the power of that fairy, memory,
is exceeded and surpassed. The fortunate grandmother
of tomorrow whose youthful pranks and pas-
times are "caught" today by the moving pic-
ture camera can, later in life, with grandchil-
dren and great-grandchildren as the wonder-
ing audience and with husband, sister son and
daughter, share the beautiful sentimental pic-
tures which, if in the mind alone, are as a
closed book to all but her.
Moving pictures detract not one whit
from the lonely pleasure of unshared reverie,
while they give to the family and friends
an enduring record of loved ones and cher-
ished happenings and keep alive associations
and incidents truly valuable.
More than a few Chicago people have
had moving pictures taken of their children
and are, every six months or so, securing
additional scenes which, assembled, make a
progressive record of youth. For instance,
Witt K. Cochrane, R. H. Cochrane, Jesse
Matteson, C. C. Fogarty, W. E. Rollo and
others have employed the moving picture
camera to "catch" their young hopefuls at
play and doing a hundred and one cute, im-
posed stunts ; all this with expression and
movement utterly beyond the grasp of the
ordinary camera.
Samuel Hatch of the Illinois Central
Railway not long ago had a moving picture At the Party
record made of a children's party
at the South Shore Country
Club, where Master Sinclair
Hatch was the host. On film the
fathers and mothers of these
embryo society bells and future
business men found, and have
for all time, an opportunity to
keenly enjoy the unhampered
pranks of the little folk, who,
unembarrassed by the camera,
romped in gay freedom. Just
thin k how Master Sinclair
Hatch, then Mr. Hatch, will feel
when, in his middle age, he sees
this film roll back the curtain
twenty years and disclose a mov-
ing page from the early life of
Master Sinclair, the boy.
S. W. Child, president of the
Yellowstone Park Transporta-
tion Company, treasures as his
most valued possession a roll of
film showing his two grandchil-
dren playing on the parade
Baby at the Wheel.
ground at Fort Yellowstone.
Ask Mr. Child what he consid-
ers the most wonderful things
in the world and he will tell you
"Children, moving pictures and Yellowstone Park." We
can all agree at least in part.
The other evening at a Chicago north side theater
a crowd of people were assembled by special invitation
to a "baby party." There wasn't an actual baby in
the house, but when the light was projected
from the machine and the film rolled past
the lens, the screen was covered with babies,
and the house was filled with the laughter
of delighted parents and admiring friends
who roared with merriment as they saw the
little people smile and cry and pout and play
on the canvas.
Moving pictures are taken at the rate
of one foot per second. There are sixteen
separate pictures on each foot of film. The
average reel of moving pictures measures
approximately one thousand feet in length
and takes about twelve minutes to exhibit.
Little Virginia Rothacker, a Chicago
baby not yet two years old, has, since she was
three months young, played before the mov-
ing picture camera at regular four-month
intervals. The first time she could do little
but smile and coo at the camera. The sec-
ond time the expression was better. The
third time the smile was more contagious,
and she waved her tiny hands. The fourth
time she could creep and even toddle a bit ;
while the fifth time, just last week, she cele-
brated her nineteenth month by taking a big
interest in the proceedings and performing
all of her cute parlor stunts just as though
she knew that they were all being recorded.
114
MOTOGRAPHY
Vol. IX, No. 4.
When little Virginia has her second birthday she
will again engage the attention of the moving picture
camera operator and from then on the film record will be
suitably augmented at regular but less frequent periods.
Following this scheme, one can have on a little over 1,000
feet of film an animated record covering a child's life,
which, when put on the screen, will show the growth of a
helpless baby to an independent "Miss" or "Master" in
etbout fifteen minutes, each minute an age of joy, each
picture a priceless gem to the mother and father and
ether dear ones whose "baby" visions are saved for all
time.
Disagree on Film Censorship Plan
A race to the legislature for presentation of bills,
with the Motion Picture Exhibitors' League of Minne-
sota and the Women's Welfare League of Minneapolis
as competitors, probably will be staged if present indica-
tions of the state censorship proposition hold good.
Both organizations favor state censorship, but they
do not agree on the manner of obtaining. The exhibitors
want a board appointed whose members would be non-
salaried members of the National Board Of Censorship.
The Welfare League is in favor of a purely local board
of paid censors.
The Women's Welfare League of Minneapolis was
represented at the convention by Mrs. T. F. Kinney, who
said :
"We do not favor the establishment of a state board
which is in any way connected with the national board
During our investigation into the matter we found films
already passed by the National Board of Censorship
containing, to our, minds, objectionable features."
"As the National Board of Censorship passes upon
99 per cent of the films manufactured, we feel they are
capable to judge of good subject matter for all states,"
said President Raths. "We are just as anxious as any
class of people in the state to have all objectionable feat-
ures eliminated from the films. With the judgment of
the national board passed upon a picture we do not see
the need of further censorship by local boards on the
same films."
Illinois League Elects Officers
At the last meeting of the Moving Picture Exhibit-
ors League of Illinois, State Branch No. 2, held Monday,
February 3, the following officers were elected for 1913 :
For president, Julius A. Alcock ; vice president, C. A.
Anderson, (re-elected); treasurer, William J. Sweeney
(re-elected); recording secretary, Sidney Smith (re-
elected) ; financial secretary, Miss Sarah Colson, in place
of S. Katz, who resigned ; sergeant-at-arms, R. C. Val-
entine.
Executive committee, C. C. Whelan (chairman), I.
Natkin, J. D. Rose, F. O. Nielsen, M. Choynski, H. A.
Ruebens (Joliet), John Duffin.
The meeting was a very large and enthusiastic one
and attended by over one hundred exhibitors.
Bassanio Wins Fair Portia. From Eclipse-Kleine "Shylock," March 3.
February 15, 1913.
MOTOGRAPHY
115
On the Outside Looking In
By the Goat Man
THERE are too many secret executive sessions in the
film game. Too many of the individuals who en-
gage in the business have their eyes riveted on the
all-mighty dollar. Too many openly declare: "Give me
two more years at the present clip and I'll give a dang
what happens." A business cannot hope to grow bigger
or better than the men behind it. There are some big
men in the film business — men who are big because they
are good. I don't know of any who are good because
they are big! These men, through timidity, or possibly
through policy, are silent. And therein lies the danger.
No good can come from a silent man or from the secret
executive session — no good for the whole business. You
never know about either. The views of a silent man,
even though he is good, may be dead wrong. You have
no opportunity to correct him. Your suggestions are apt
to be going in one of his ears and out of the other. The
difference between a publisher who tries to help the film
business and the silent man who makes films is clearly
apparent. The publisher never lived whose stock in trade
was marked by silence.
^ ^ ^
And when the big men are silent, it affords more
scope to the bad men. The film business has some of both
kinds of men — the good and the bad. The bad man is
eternally vigilant. The silent man gives the bad man
opportunity to work out his selfish ends. I have no
chance to start an argument along this line. You and I
know that there is a coterie of men in the film game
who should be removed.
;■; % ;$:
I have been working right along, among the good
and silent and the bad and boisterous. I have tried, by
all decent means, to conduct myself without antagoniz-
ing either faction. I am clearly in sympathy with every
attempt to improve the business as a whole. In my ef-
forts I deplore the silence. Most of the men worth while
hedge themselves in and seldom write letters. I am hop-
ing that the good and the bad will get together, eventu-
ally, and in open conference a leader may be chosen who
will actually stand for improvement in film conditions.
I'll stake my chance that such a leader will come from
the best forces. What shall be good for the whole game
will be still better for all the individuals who are asso-
ciated with it.
# ^ ^
When you jimmy your gaze from the glistening coin
long enough, you are bound to see where we are drift-
ing. I write hundreds of letters in an effort to clarify
the confusion among the curious. I can read in the let-
ters I get, an honest desire for instruction. I do my best
to help. I'll get my reward, sometime, somewhere. That
isn't worrying me. For example, right on top of the
heap I find the sales manager of a tremendously big con-
cern asking me where he can get in touch with the men
higher up who own all the theaters. This writer tells me
he knows that Cleveland is headquarters for the licensed
makers, but he wants the throne-room of the syndicate
that owns the exhibition places. I could fill column after
column of stuff like this and it might be interesting to
the fellows who have time to read. Very few film men
let George do it, when it comes to making the money,
so they have no patience with the Goat. The Goat believes
in co-operation all along the line. I can see with half an
eye that the independents are struggling in deep water,
wholly due to splitting up into different factions. I can
see where the licensed manufacturers have found a larger
market by a very shrewd move, but this is only a tem-
porary condition. The boomerang always comes back.
The only way to improve film conditions must rest with
all the film makers and renters and exhibitors. It must
be out in the open. The secret executive session will al-
ways be followed by suspicion.
Hector Streyckmans blew into the Screen Club last
Saturday night, seated himself at the piano and sang
this : "And then they'd row, row, row — and Horsley'd
shiver when they'd row, row, row — and Carl would quiv-
er! Mark'd crv ! Then they'd whang around and bang
G. Sereno, in the Cines Films.
around and then they'd scrap again ! And then they'd
row, row, row, a little faster I'd allow, ow, ow, ow, ow!
Then they'd drop all asides and go after others' hides,
and then they'd row, row, row."
^ tfc ^
As a matter of truth, it's the Universal all the time
when it comes to the spot light thing. I never knew a
crowd who could rough it so much and smile all the
while. I have fifty-seven varieties of story — from the
inside looking straight into my eyes and from the out-
side all the way from the Pacific ocean right up to the
Hudson river. I don't believe anybody cares but Henkel !
* # *
The Chicago Examiner has announced a Sundav
116
MOTOGRAPHY
Vol. IX, No. 4.
section with that familiar "Doc" Brighton in charge and
all devoted to films. Get your copy ready, fellows ; it's
only 75 cents an agate line. And by the way, Doc, who-
inel are you, anyway?
Those bloody pirates way off in Australia are still
horning text and illustrations out of Motography in lieu
of anything better to fill the pages of The Photoplay.
What a nerve some folks have.
^s % %
They make no bones of it in Europe. Here's the
proposal : Pathe, Gaumont, Cines, and two others to be
The Cameraphone Theater at Cleveland, Ohio, on "Kings of the Forest"
Day. C. E. Cochard, Manager.
chosen are to be known as "Constituting Companies."
The "Adhering Companies" will be those concerns elected
by the constituting companies to adhere. It is the polite
way they have across the pond to talk and form trade
combinations. To get service under the proposed new or-
der of things, every renter or exhibitor who buys or
rents films which are not manufactured by the "consti-
tuting companies" will be boycotted for a period of a
year. What a mess of it Wickersham could make if he
was turned loose on the continent !
* * *
Of course we'll all agree with the Supreme Court
that motion pictures are not public utilities, but I am
wondering what the public would do if they couldn't get
'em any more.
* * *
Here is Neff's big chance. Hike to Europe and lead
the forelorn hope against Charles Pathe. The league
emblem shows the film entwined about both hemispheres.
The flowers are blooming in London and the fare is
cheap and the eats over there are good. Go to it, Neff
— more power to you.
* * *
They dragged King Baggott down to Hotel Astor
and filled him up to the guards, Tuesday night. He'll
show groggy in the pictures for ten days ; see if he don't.
* * *
If there is any one thing in partciular that I can
point out as being my own exclusive guess, it's the pro-
moter. He's here like a thousand of brick. New York
claims him. For a ten dollar note you can have a share
in the biggest aggregation ever conceived. Its object
will be to make and market films. It has discovered a
remarkable road which leads to sure money. Every para-
graph of the prospectus breathes riches. It knows how
to give everybody a first run service without middlemen.
It will make a scintillating line of subjects at the uniform
price of $1.50 a foot and declare a dividend every day —
a mere incident before going home to the evening meal.
Your chance to get in is limited, because according to
the dope, the gang is holding Wall street and Milk street
out to give the little fellow a chance. It is all down in
the heralds — everything you don't know about film mak-
ing, renting and exhibiting. The dream has come true.'
Here is a concern that promises to make thirty a week
— fifty prints of each, and they'll all earn a hundred
every seven days — that makes a net of two and a half
million, etc., etc. My! I'd like to get in, but I've only
saved $7.98 for my next investment and the time is too
short. Keep your ear on the ground to hear the stam-
pede rushing for this new Eldorado.
^ ^ ^
Every time I mix with a bunch of exhibitors I
marvel at their wisdom. They know a film by the flutter
that precedes projection of the first title. You can't slip
these fellows anything phoney. By which is meant,
when they can help it. Of course, they take lots of the
stuff under protest, and feel" sorry for the patron who
sits out the show, but they wouldn't have it that way if it
was up to them. They book the best that's offered— do
it all the time. Suppose the exhibitor can take first
choice of first run every day. Does he wholly approve
his show? He does not, because it is never quite up
to his expectations. Then what about the little fellow
with the best he can get for his money. Is he pleased?
Not by a long shot. The trouble as I see it is due to
the footage basis of making and leasing. I have never
been able to comprehend this phase of the business.
Getting back to my critical friend, the exhibitor, who
knows film values from every viewpoint, don't you think
The Fear of the Bandits. From a Gaumont Feature.
he would prefer to make his bookings on a subject valua-
tion rather than on a footage basis? And wouldn't the
film manufacturer himself prefer the arrangement?
Suppose we bought our paintings by the square inch
— the inch being fixed as a price basis. Say eleven cents
a square inch, less ten per cent for cash. Would it be
any incentive for better work among artists? Not that
you could notice. Then why a $10,000 reel and a $1,500
reel at the same price, $110, less ten per cent? And why
the same reels at the discretion of the exhibitor — some-
February 15, 1913.
MOTOGRAPHY
117
"The Bank Messenger," February 27. Copyright 1913, Selig Polyscope Co.
times — and at the same rental ? I don't get it at all.
That holds back the really big productions — makes fea-
tures of them, at a slightly increased selling and rental
value, to be sure, and not nearly adequate. It gives the
maker a chance to show what he can do, if he dares. It
permits him to sell territorial rights in foreign lands and
release his subject abroad far in advance of the home re-
lease date, and all that, getting him the money by a circui-
tous route that nets well in the end. But a price on the
picture would work better from the jump. The exhibitor
knows right off whether it will go — depend on him for
that. He knows to the last cent what it cost. He
knows what it would mean to him if he could have it
when he wanted it. And without further parley,
wouldn't the price per subject clear up the atmosphere
and eliminate a lot of this rubbish that is wearing out
the sprockets on projecting machines? I tell you, my
brothers, the really great audience for motion pictures
hasn't been touched yet. It is a baby game daring money
to flirt with it.
^ ^ ^
They tell me that this Goat stuff gets by. Well,
that's sweet music, all right, and I hope it's true. It is
more than I can say for the talking pictures I saw at the
Majestic a few days ago. If exhibitors will have any
confidence in what I have to say, they won't lie awake
nights about this "marvelous performance." A phono-
graph as a phonograph does fairly well, but it is a poor
affair when it comes to filling a theater with the tone of
a human voice, or a grand piano, or a violin or breaking
crockery. Give 'em fifty years to make pictures talk
and you'll be called upon for more margin.
^ ^ ^
In my den the other night — thinking of the newest
plight that concerns the Universal, down the way; I
decreed it wasn't kind, that you and I should mind what
the bunch did to each other in their fray. If Carl
Lemonly and Stern contemptuously spurn P. Aloysius
Powers in his bubble cart ; let 'em pay Mark's pastry
cook — everybody have a look — crowd up closer, they are
just about to start! Henkel led 'em to the rack — see his
cunning little pack? There are sixty pages where
it's written in and Bill Swanson can be seen over there
behind a screen — Gee ! I didn't know that Bill had grown
so thin. Engle's there behind the door ; Horsley's jump-
ing on the floor and the tension's getting tighter, as you
see. You are breathing very fast — cut it, this'll never
last, for it's going to be as tame as tame can be. Here
comes Laemmle with his smile — you can see it for a
mile and his courage you will note is running high.
"Come on, boys," you hear him shout, "we will shove
this Henkel out — we must resolute again before we
die." So you see how clean 'twas done, pessimistic little
one? It is silly to opine there'll be a fight. Let 'em
pay the nurse's bill, slip a little from the till — Mark will
need it when he saunters out tonight. You and I, e'en
though we'd try, never, never would get by, should we
hope to rope the servants into line for the coin that
comes today in the ordinary way — we get out and dig —
at least I do for mine. But the Mecca Building folk
118
MOTOGRAPHY
Vol. IX, No. 4.
look upon us as a joke— they can pickle every kind of
funny show — and they love to hear us rant as they race
around and pant while they keep on piling up the shining
dough .
Dustin Farnum Considering Picture Work
"I am thinking seriously of acting for picture show
concerns for the next two years," said Dustin Farnum,
the leading man with the "Littlest Rebel" company,
when questioned as to what he thought of the picture
show as a field for theatrical work. "That is how much
I think of it," he continued. "In fact an offer has been
made me by a concern in California.
"About two years ago in a club at New York I in-
sulted a number of my friends by saying: 'Never mind,
we will all be working for the picture show man be-
fore five years are out.' When I said it I had no idea
how near the truth that random prediction would prove
to be, nor did I have any idea what a tempting field
would be opened in that line of work. A person in my
position rarely makes a change unless it is for increased
comfort or more money. This proposition that has been
made me offers both. The idea was suggested to me
while in Los Angeles. Out there they have a film com-
pany that is the most wonderful thing I ever saw, and
I have traveled over the country to some extent. The
most interesting thing about it to a man who is weary
of Pullman cars and changing hotels, is the fact that the
members of the company, of which there are two hun-
dred, live in cosy bungalows of their own and ride back
and forward to their work — just three hours a day — in
their own automobiles, they live like real human beings.
"They also get paid better than they ever could in
other lines of the profession, besides living infinitely bet-
ter. While I was in California, this same company made
me a very flattering offer that I have until September
to accept or refuse. They wish to use my name on the
films also. I could make twice as much there, that is,
unless I could get hold of another such play as "The
Virginian.' "
Thanhouser Fire in Thanhouser Film
The blaze that destroyed the eastern studio of the
Thanhouser Film Corporation at New Rochelle has been
recorded on celluloid by the Thanhouser producers.
Under the title "When the Studio Burned" was released
Tuesday, February 4, a picture that shows the fire as the
press of the country described it, not even missing the
thrilling rescue of the Thanhouser Kidlet by Marguerite
Snow. The film is a rare stroke of enterprise, but likely
is to be expected of a producer who has been "on the
spot" of every fire in his vicinity for many years.
Some Don't "Want Sunday Shows
It is understood that a number of the managers of
the smaller motion-picture houses in Utica, N. Y., held
a conference with the managers of the larger motion-
play theaters one recent evening. The conference on the
part of the managers of the smaller houses was for the
purpose of inducing the big managers to join the others
in an attempt to open the motion-picture theaters on
Sunday. The Orpheum, Shubert, Lumberg and Alham-
bra managers, it is said, refused to go into the attempt to
keep open on Sunday. One of the managers said that
this opening of moving-picture houses is likely to bring
the houses into bad repute with the public. He cited as
an instance the case in Brooklyn. When the moving-
picture houses there decided to keep open, a number of
speculators hired stores and lofts used for other pur-
poses during the week, and gave moving pictures in them
on Sundays. So cheap became these houses, that the
general public, in disgust, put a ban on all and refused
to attend the shows on any day.
Selig Produces Inauguration Week Picture
The Selig company has completed production of a
particularly strong and timely picture entitled "A Change
of Administration," which will be released during the
week of March 4, at which time the present republican
incumbents will go out of office and Woodrow Wilson
and his party will take up the reigns of administration.
The story was especially written and produced for the oc-
casion. Gilson Willets is the author of the scenario.
To Make Traveling Collection of Pictures
To supply the public schools of Wisconsin with edu-
cational motion-picture films the extension division of the
University of Wisconsin proposes to establish a loan
collection of 150 of these films. Competition has brought
the price of moving-picture machines, Dean L. F. Reber
declares, within the reach of almost any school, but only
through access to a traveling collection could the average
public school of Wisconsin afford the necessary films.
For places where the purchase of a machine will be im-
possible it is proposed to lend the school a machine.
The extension division has already tried the plan in
co-operation with the Wisconsin Anti-Tuberculosis asso-
ciation. These have been in use in all parts of the state.
The recommendation that sufficient funds be appropri-
ated to secure an adequate educational film supply is,
declares Dean Reber, therefore not a proposal to enter
upon an untried field, but a justified extension of work
already begun.
To Protest Poem Infringement
H. A. D'Arcy, of the Lubin company, author of
"The Face Upon the Floor," and many other ballads,
has been much aroused by the receipt of a copy of that
poem from Ohio. It is exactly the same as the original
poem written by Mr. D'Arcy in the eighties, with the
exception of one or two lines and a change in the title to
"The Picture on the Bar-Room Floor." The authorship
of the printed copy received by Mr. D'Arcy is attributed
to James W. Whires and it bears his portrait, with the
statement that it was copyrighted by him in 1912. The
Ohio Oral-Cinematograph Company of Lima, Ohio, is
given as the publisher. Mr. D'Arcy says he will take
legal measures to suppress the selling of this copy of a
work that made him famous and which has been u^.ed by
performers for over twenty years.
A Biograph film of one or more reels for each Sat-
urday will be released, beginning March 8. That will
increase the number of Biographs to three weekly.
Board of Education Wants Kinemacolor
The Board of Education of Arlington, N. J., has
applied to the Kinemacolor Company of America for a
service of its educational films in natural motion photog-
raphy. The board wish to give a Saturday matinee and
evening exhibition of the educational films in a hall in
one of the schools, the hall seating about 800 people.
February 15, 1913.
MOTOGRAPHY
119
A Theme from "The Merchant of Venice
The Eclipse "Shylock"
n*
TWO reels entitled "Shylock," an adaption from
Shakespeare's drama "The Merchant of Venice,"
and an eclipse special feature, George Kleine will
release on March 3. Few of ns are not more or less
familiar with the story of the unfortunate merchant, and
will be greatly interested to see it reproduced upon the
screen.
After introducing the leading characters in costume,
utilizing some very clever dissolving effects, the him
opens, showing us the scene on the Rialto in Venice,
where Bassanio is relating to his friend, Antonio the
merchant, his love for Portia, a rich heiress dwelling
in Belmont. The story then progresses much the same
as the original text, with several of the minor parts,
which would only tend to confuse those not very convers-
ant with the story, eliminated.
The principal scenes have been admirably handled.
The gorgeous interior of Portia's home, where the suitors
come to try their fortune at the test for the hand of
the beautiful heiress, is a magnificent picture, and is
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The Wedding Ceremony from "Shylock."
carried out with all the necessary dramatic effects, as
will be remembered, according to her father's will Portia
must be won in the following manner: "Each suitor
must make his choice of one of three caskets of gold, of
silver, and of lead. He that selects the one containing
her portrait is to be rewarded with her hand in marriage.
It is interesting to note the proud bearing and extreme
confidence of the two haughty suitors, the Prince of
Morocco and the Prince of Aragon, and their utter
consternation when they in turn select the gold and
silver caskets and discover their complete failure, and
the pleasure expressed by Portia when bassanio, her
favorite suitor, wisely selects the leaden casket, which
proves to be the one containing her portrait. She con-
gratulates her future husband with these words:
This house, these servants and this same myself
Are yours, my lord.
The famous trial scene marks the climax to the play,
and is always thrilling, as no more dramatic situation
in any play has ever been developed. Shylock's terrible
Shylock Tormented by the Crowd.
hatred of all Christians has made him deaf to all pleas ;
he cannot be swerved from his determination to wreck
vengeance upon Antonio, in this opportunity. The climax
is reached when the learned young doctor with these
words
Fake then thy bond, take thou thy pound of flesh;
Rut, in the cutting it, if thou dost shed
One drop of Christian blood, thy lands and goods
Are, by the laws of Venice, confiscate "i
Unto the state of Venice.
turns the tide of the case, which ends in the utter morti-
fication of the Jew.
The part of Shylock is ably taken by. Harry Baur,
of the Athenee Theatre of Paris. His interpretation
of the role is done with a remarkable skill, and shows hint
a finished actor. Mr. Joube takes the part of the un-
fortunate merchant. Miss Pepa Bonafe makes a beau-
tiful and bewitching Portia. Mr. Harve of the Odeon
Theatre, whose remarkable work in the Eclipse produc-
tion "The Taming of the Shrew" will be remembered
by all who saw it, portrays a gallant Bassanio.
Bassanio and Portia Are Reunited.
120
MOTOGRAPHY
Vol. IX, No 4.
Essanay's "A Battle of Mtisk," March 11.
Picture Men Protest Fire Bill
Moving picture men 'and film producers are mak-
ing a determined fight against the King and Rozenkrans
bills calling for supervision by the fire marshal of the
state of Michigan of all moving picture houses and other
theaters and for the censorship of all films.
Representatives of the motion picture interests of
the state and of the big film producers of the country
were. on hand for the recent hearing and all voiced objec-
tions. They claim the King bill, originating in the insur-
ance department, would put most of the motion picture
theaters out of business. Commissioner Palmer explains,
however, that it would not affect Grand Rapids, Detroit,
Saginaw, Bay City, Kalamazoo, Jackson, Lansing, Flint
and the other cities having local regulations. But the
motion picture people are going to have a substitute in-
troduced to cover their needs.
They say the cost of motion picture exhibitions will
be doubled if the film censorship idea is applied and they
insist it is unnecessary.
machine, which has been adapted by L. S. Davidson of
Portland, Ore.
"Davidson purchased a Little Giant truck and with
the power from the gasoline motor operates a 110-volt
electric dynamo, which generates the electricity to run the
motion picture machine and one arc light. Davidson has
left on his first trip and will show in all the small towns
throughout the state where they have no electric light."
Auto Operates Motion Picture Machine
"Every, now and then the automobile is seen and
heard of serving in some other way than the means of
transportation," says H. L. Miller of Los Angeles, Cal.
"Frequently the gasoline motor in an automobile is seen
on the streets of a city sawing wood and again one sees
one used io operate a grind stone, but the latest use
known for the auto is the operating of a moving picture
Loft Theaters Closed in Chicago
The battle that has been waged by Building Com-
missioner Henry Ericsson against the loft theaters of
Chicago was lost by the theaters when Judge Honore in
the Circuit Court sustained the ordinance of July 22 abol-
ishing this type of theater in Chicago.
The four places were closed at the request of Build-
ing Commissioner Ericsson and were those affected by
the ordinance directed against theaters above the first
floors of non-fireproof buildings.
Judge Lockwood Honore entered the formal order
dissolving the injunction under which three of the
houses had been operating since the passage of the
ordinance last year. Commissioner Ericsson "refused to
be the goat" for further violations of that law. No one
else in the city administration would shoulder the re-
sponsibility for allowing any of the theaters to remain
open.
Policemen were sent to all of the theaters affected by
the order, but after formal notice was served on the man-
agement in each case there was little protest.
February 15, 1913.
MOTOGRAPHY
121
Current Educational Releases
St. Augustine. Fla. — Kalem. Many interesting
views of the oldest settlement on the American continent
are presented in this entertaining subject. We see the
Old Fort Marion drawbridge and watch tower ; St.
George street ; the old Franciscan Monastery, built prior
to 1586; the Spanish Cathedral; the burial place of 1,460
victims of the Seminole War ; Old Spanish gates, built
in 1743; the narrowest street in the world; the house of
history ; old Spanish missions ; the slave market and many
other picturesque scenes.
Bathers in Ceylon. — Eclair. You know they grow
tea in Ceylon. But did you know what a beautiful land
it is? In the summer season the natives spend most of
their time in the water. In a most interesting travelogue
on the same reel as "The American Niece" you see the
dusky islanders using the waterfalls for shower baths,
and other decidedlv unusual views.
Views of Narni and Lake Trasimeno (Central
Italy). — Cines. After witnessing several unusually in-
teresting panoramic views of Narni, we are shown scenes
along the River Nersa and the famous Lake Trasimeno.
A visit to a pheasant preserve on the Isle of Polvese con-
cludes the subject.
Snakes and Frogs. — Eclipse. A remarkable nature
study subject, showing how snakes are captured and the
venom extracted ; interesting specimens of Green Tree
frogs, conclude the film.
The Panama Canal. — Vitagraph. The construc-
tion of the Panama Canal by the United States Govern-
ment is an engineering accomplishment to which the
whole world is looking forward. Comparatively few per-
sons know how it is being done. Time and distance pre-
vent familiarity with its workings. This panoramic film,
giving a full and comprehensive view of the great
achievement being performed and depicting its general
appearance, it will enlighten thousands who are anxious
to know more about it.
The Great Centipede. — C. G. P. C. The centipede
is a well-known venemous and vicious insect which de-
rives its name from the number of its legs. It is the
terror of all other insects, being capable of paralyzing
them immediately they come in its path. Its bite is pois-
onous to human beings so that, although it is not a good
thing to meet personally, a study of its nature on the
screen is profitable and entertaining.
Famous Illinois Canyons and Starved Rock. —
American. The beautiful scenery and historic spots
shown in this film will awake the curiosity of many as to
the wonders of nature to be viewed in the vicinity of
Starved Rock, Illinois, which place is but a few hours'
ride out of Chicago. In the film are shown the Illinois
river, the falls known as "Lover's Leap," the monstrous
"Starved Rock," which gave the little city its name,
"Wild Cat Canyon," "Horse Shoe Canyon," "Fishburn
Canyon," the famous salt well and "Cave of the Winds."
Located about one hundred miles from the metropolis
of the W'est are the solid rock pyramids covered with
beautiful vegetation in endless variety. Nature alone has
been the architect and has shown its master hand in a
very marked manner. One canyon adjoins another and
each seems to excell the other in the beauty of the rock
formation as well as the lavish display of decorative and
romantic forests and vegetable life. Natural springs
abound in the region and the various strata of rock seem
to have been permeated with vari-colored chemicals
which add to the overwhelming beauty. Much of the
early history of the state of Illinois was enacted at this
location and it was here illustrious Marquette planned
to establish the capital of the new world.
The Electrotyi'ixg Process. — C. G. P. C. A solu-
tion of copper sulphate, when charged with electricity, pro-
duces a thin layer of copper. This is the principle of elec-
trotyping used by printers, and in this film an experiment
is conducted showing the making of a copper plate. Each
feature of the process is demonstrated clearly and com-
bines entertainment with education on a subject of uni-
versal interest.
The Salt Industry in Sicily. — C. G. P. C. In
Italy salt is secured from sea water by means of evapo-
rating the water. It is quite a laborious undertaking and
one of exceptional interest.
The Hedgehog. — C. G P. C. The Hedgehog is a
very common little animal much resembling a porcupine.
It is not at all vicious and can be domesticated easily. It
is rather difficult to catch them, as at the first approach of
danger they roll themselves into a ball like a chestnut
burr, with nothing but the thick, wire-like hairs exposed.
The photography in this film is of the finest and the sub-
ject very interesting and instructive.
Borneo Pottery. — C. G. P. C. In Borneo one of
the chief occupations of the natives is the making of
pottery. The crudity of the tools they use for the beau-
tiful earthenware for which they are noted will be an
entertaining surprise to every one.
Governor Wilson. — Vitagraph. Scenes and inci-
dents about Mr. Wilson's home at Sea Girt, New Jer-
sey, during the recent political campaign for the Presi-
dency. Introducing many prominent men of affairs of
state, who made up the body politic in the Nominating
Committee, notifying him of his selection by the Demo-
cratic Party. This film gives us a closer acquaintance
with the President-elect and shows us some of his home
and family relations. At this time — just previous to his
inauguration to the Presidency — there will be much in-
terest centered in this very timely and interesting picture.
Views of Ireland. — Vitagraph. There is but one
Ireland, and those who have had the good fortune of hav-
ing visited this interesting country can testify to many
quaint, beautiful scenes which meet their astonished vi-
sion. The views presented on this film are the same mag-
nificent scenes brought within the reach of all.
Deep Sea Shell Fish. — Gaumont. The Bernard
Hermit lives at considerable depths on the sea coast. Its
figure is irregular and its eyes goo-goo-ey to say the
least. It dotes on feet and keeps a stock of ten all the
time. The front ones have pinchers. To protect its soft
abdomen, it takes keen interest in shells. It turns them
over and over before selecting one. It then installs it-
self within and goes away carrying its house. The Her-
122
MOTOGRAPHY
Vol. IX, No. 4.
mit is a scrapper, and would rather fight than eat. There
is a three-round battle between two of them. The fight
ends with a knock-out. They are the champion fighters
of the Atlantic Ocean. Outside of their pugilistic nature,
they are very timid. At the slightest alarm they re-enter
their shell, the entrance of which is guarded by the pinch-
ers. Sea anemones sometimes live as parasites on the
Bernard Hermit and form a stylish headgear of plumes.
Some parasitical sponges, while developing, shorten the
life of the animal upon which they live. The Bernards
live on fish and molluscs and convey food to their mouth
with the pinchers.
photography in this film is of the finest and the subject
very interesting and instructive.
Orange Growing. — Lubin. A very interesting edu-
cational picture, showing the growth and marketing of
oranges, particularly wonderful is the scene showing the
orange blossoms, which without change or cut of the film
gradually turn into the golden fruit, small at first and
continue to develop in size until the orange is ready to be
plucked. Next comes the gathering, washing, drying,
and the packing. The Ox teams carry the fruit from
the orchard to the wrapping and boxing house and from
thence to the shipping station.
The Walnut Industry. — American. The Goleta
walnut industry was filmed during the recent visit of
S. S. Hutchinson, president of the American. Mr.
Hutchinson personally superintended the taking of the
pictures. About fifteen scenes were taken, showing the
walnuts from the time they drop from the tree, through
the sorting and packing stage at the Goleta storehouse,
until placed on a car, ready for shipment to the eastern
market. The pictures show a number of the prominent
residents of the Goleta district, including Phillip Marble
and Ed. Holister.
Importing Cattle from Mexico to the United
States. — Lubin. This is a picturesque educational pic-
ture showing the system of passing cattle across the line
into the United States. The inspectors are on the job.
The beasts are duly examined as to health and then driven
into a disinfecting bath through which they have to swim
before reaching the run, which takes them to the cars.
Upwards of fifty steers are shown in the picture.
The Electrotyping Process. — C. G. P. C. A solu-
tion of copper sulphate when charged with electricity
produces a thin layer of copper. This is the principle of
electrotyping used by printers and in this film an experi-
ment is conducted, showing the making of a copper plate.
Each feature of the process is demonstrated clearly and
combines entertainment with education on a subject of
universal interest.
Pathe Freres announce that two men, representing
themselves as cameramen employed on the staff of Pathe's
Weekly, have been trying to secure an advance of money
on checks. Pathe Freres wish it known that their
cameramen are well supplied with money from the New
York office and would have no occasion to secure money
from outside sources. They accordingly decline to be
responsible for any money given to cameramen, whether
in their employ or only representing to be.
The Hedgehog. — C. G. P. C. The hedgehog is a
very common little animal much resembling a porcupine.
It is not at all vicious and can be domesticated easily. It
is rather difficult to catch them, as at the first approach of
danger they roll themselves into a ball like a chestnut burr,
with nothing but the thick, wire-like hairs exposed. The
The Salt Industry in Sicily. — C. G. P. C. In
Italy salt is secured from sea water by means of evapo-
rating the water. It is quite a laborious undertaking and
one of exceptional interest.
Borneo Pottery. — C. G. P. C. In Borneo one of
the chief occupations of the natives is the making of pot-
tery. The crudity of the tools they use for the beautiful
earthenware for which they are noted will be an enter-
taining surprise to everyone.
I. C. Uses Picture Instruction Car
Moving pictures are being used by the management
of the Illinois Central Railroad to illustrate the possibili-
ties of economy in the use of fuel. An instruction car
carrying moving picture operators and lecturerers on fuel
economy is being taken over the lines of the system.
Stops are being made at every division point and lectures
delivered in the morning, afternoon and evening.
Engineers, firemen and other employees in the train
service are invited to be present and watch the moving
pictures present examples of the work of competent and
incompetent firemen. A statement issued by the company
says :
"This car is a new departure in instructional work
on railroads for the reason that the instruction is given
by moving pictures. It is surprising what a complete
story can be told in a few hundred feet of moving picture
film, and there is no one on the road who is at all inter-
ested in fuel or firing who will not be well repaid for
any time spent in this instruction car.
"The company probably will do a good deal of in-
struction work by means of moving pictures from now
on, and those who take advantage of this opportunity
to get information through these moving pictures will
find them not only interesting but very instructive."
The lecturers on the car are O. L. Lindrew, formerly
a traveling engineer in the employ of the company, and
J. W. Dodge, a former trainmaster.
Church Conducts Weekly Picture Show
Every Friday night at 8 o'clock, at the First Meth-
odist Episcopal Church at Chattanooga, Tenn., there is
conducted an educational motion picture entertainment
for old and young. The pictures are all new Gaumont
films and illustrate the many phases of modern indus-
trial life and show the interesting features of those parts
of the world that are most in the public eye. Art liter-
ature and music are also brought before the people. Peo-
ple of the city are cordially invited to be present at these
entertainments.
The following three-fold program is a sample of the
weekly offering :
Industrial — Crabs. The glove industry. These are
exceptionally interesting.'
Intermission music.
Travel — Bulgaria. Mountain artillery.
Music.
Scenic — Northern Egypt. Versailles, a magnificent
set of views of the remarkable places and grounds near
Paris, ending with a general view from a dirigible bal-
loon.
The program begins promptly at 8 o'clock and lasts
till 9 :30. Admission is 5 cents. Parents are cordially
invited to come and bring their children.
February 15, 1913.
MOTOGRAPHY
125
A DiamoncUS Potpourri
Interesting Items from Selig's
FR( )M tears to laughter with the Selig Company,
during the last two weeks of the year's shortest
month, encompasses ten releases and all the favorite
players of both the eastern and western Selig studios.
"Two Men and a Woman" is a tragedy that results
from innocent beauty. A New York artist paints from
a photograph the portrait of a beautiful woman, and falls
desperately in love with it. Later, he visits a former
chum and recognizes in his wife, the original of the
photograph. Crazed by grief, he slays the woman, is
attacked by his chum and the former friends, in a death
struggle, drop from the veranda into the lake below and
the quiet waters close over the bodies.
"The Early Bird" is an actor out of work and penni-
less. He finds a wallet containing greenbacks and the
card of the owner and then has the misfortune to be
knocked unconscious by an automobile. He is carried to
the address given by the card where the servants make
him comfortable. The occupant of the house is an old
maid who has never seen the real owner of the house.
Thinking the jobless actor to be he, she showers him with
attentions. The actor's identity is discovered but he man-
ages so cleverly that when he escapes, he still has the
money.
"The Pink Opera Cloak" is peach-stained by the
young brother of its owner, and Ella, the pretty poor
girl, who delivered trie cloak, is blamed. The young
brother's sister and mother complain of Ella at the store,
and she is discharged. An admirer of the sister over-
hears the incident, is disgusted, and ceases to become
ner admirer. He offers Ella the position as companion
to his invalid sister and later marries the pretty poor
girl.
"Nobody's Boy" is a newsy and sobs his heart out
on his mother's grave. A rich lady mourning at an ad-
joining grave, that of her little son, hears the newsy's
story, adopts him, and he becomes "Bobby." One day
he is reprimanded for soiling his new clothes. He steals
from his room and goes to his mother's grave, but there
finds his foster mother, placing fresh flowers upon it.
Still unseen, he hurries home with the resolve to be the
best boy ever, thereafter.
"The College Chaperone" is Sammy Stone in the
role of Aunt Nelly, because Aunt Nelly is prevented from
coming and acting chaperone to the two city girls Jack
and Ned have invited out to the academy to attend the
junior prom. The plan works out fine with the excep-
tion of some embarrassing moments for all concerned
and Sammy's awkward handling of the train of his ball
gown, while he is dancing with one of the professors. The
guard house is his reward for being chaperone.
"Range Law" is demonstrated in Ted's treatment of
'The Flaming Forge," February 25. Copyright 1913, Selig Polyscope Co.
124
MOTOGRAPHY
Vol. IX, No. 4.
^H^^^^HHM
"The Understudy," February 28. Copyright 1913, Selig Polyscope: -Co.
Lafe and his men when they steal a herd of range horses
and drive it at great speed over the plains and hills. But
Ted and his rangemen are close pursuers and mete out
range law to the horse-thieves. Ted wins the gratitude
of the owner of the horses and the hand of the owner's
daughter.
"Yankee Doodle Dixie" was the medlied air that
came from the fiddle and flute played, respectively, by
a federal and confederate veteran whose son and daugh-
ter have planned to marry. The musical difference ex-
tends its influence to the young people, who break the
engagement. They decide, later, to marry quietly. The
parson takes matters into his own hands, invites the vet-
erans to play at a wedding and when they meet, they
turn their backs and each sends forth his favorite mel-
ody. The ceremony is performed and when the veterans
turn around to see who the bridal pair are, they are con-
fronted by their own children, now man and wife. And
peace is restored.
"The Flaming Force" was visited many times by
Jack, the cobbler's son, who there met, and learned to
love, the smithy's daughter. The village parson also
loved the smithy's daughter, and, one day. told her so.
Tack, returning from a sailing trip, heard the parson,
made his presence known and also proposed. He was ac-
cepted. That night at the village tavern, he drank too
freely ; the parson, meeting him, kept him from the sight
of his betrothed until he was again himself. In gratitude,
Jack promised never to drink again. The parson offici-
ated at the marriage and the young couple never knew
the heartache of the man who made them one.
"The Bank's Messenger" was an express rider whose
delivery of gold to a small bank on the verge of bank-
ruptcy, took him through a dangerous country. He was
set upon by outlaws, the money taken from him and he
was left, bound to a keg of giant powder with the fuse
lit. He managed to extricate himself and throw the
sputtering keg into the lake. He followed the outlaw
band, the leader turned and fought him, hand to hand
and the rider this time was victorious.
"The Understudy" is the daughter of the star who,
abandoned by her husband, had given her baby daugh-
ter to foster parents. The daughter, on growing up,
learns of her own story and runs away to go upon the
stage and find her mother. She finds her but keeps her
knowledge a secret, until, one time, she takes the star's
role and receives an ovation. The jealousy of the star
overrules the surprising news of the identity of the un-
derstudy, who, with opened eyes, returns to the love of
her foster parents.
Representatives of the Athenaeum, the picture show
interests and the City Club of Kansas City, Mo., have
agreed as to the manner and by whom the films are to
be censored. The censor is to be the superintendent of
the recreation department of the board of public welfare
and there is to be an appeal board of three, one of whom
shall be a picture show owner and the other two are to be
appointed by the mayor. The decision of the censor is
to be final, unless appeals are taken. James W. Garner,
assistant city counselor, will draw an ordinance along
these lines.
February 15. 1913.
MOTOGRAPHY
125
Three Minutes Before the Camera
By Mabel Condon
FOR three whole minutes I was a "real-for-sure!"
It was out at the Essanay studio and. if the
artist hadn't loitered on the job of painting in the
toes of the flying cherub in the supposed-to-be-stained-
glass window of the make-believe church, the scene would
nave been all over before I even got there.
But, as I said before, it was the artist's fault and
I arrived, piloted by Don Meaney, just as the "congre-
gation"' was filing into the four and one-half pews and
Mason Hopper, whose production it was not, thundered
from the pulpit the invitation — which sounded more like
a threat — to "come ye and be saved !"
Mr. Meaney must have considered that my cue, for
he ordered me to "get in" and I slid over Howard Mis-
simer's knees into the space between him and Bill Bailey,
in the second pew, and as the director, Harry Webster,
focused us through the eye of the camera and the car-
penter put an extra tack into the carpet so the minister
wouldn't trip descending the pulpit stairs, Mr. Meaney
introduced me to the congregation, somebody handed me
a prayer-book, and I was "in."
"The story is called 'Unknown,' " explained Mr.
Missimer, "and Calvert, the rich man, is to become re-
pentant in this scene, on hearing Frank Dayton's ser-
mon." He didn't say who or what the "unknown" was
and I was too busy seeing and hearing things to ask
him.
For Bill Bailey was holding the hand of the girl
in the next pew as he leaned forward and mingled his
blonde locks and a doubtful tenor with the first pew
quartet, which was in the throes of releasing "The Chim-
ing Rag," Don Meaney's new song.
Howard Missimer shook back his gray hair, rubbed
his eye-glassless eyes, and covered a yawn. E. H. Cal-
vert, gray-wigged and silk-hatted, dropped into the first
pew in the next aisle and acknowledged the efforts of
the warblers by turning his back upon them.
"Bill Bailey, you've got my arm black and blue, lean-
ing on it," complained the girl whose hand the unde-
cided tenor was holding.
"Chim-m-min, 'chim-m-m-in' — " trembled on the
tenor, beating time on the pew-rail with the imprisoned
hand.
"Here ! Where's the minister ?" bellowed Mr. Web-
ster as he emerged from behind the camera and was
met by Frank Dayton carrying a bible and wearing a
surplice of yellow tinted stuff that flapped its uneven
ends against the ministerial legs and flaunted ravelings
from the wide droop of the ministerial sleeves. 'Twas
plain that Mr. Dayton's discretion was counted upon to
keep ends and ravelings from public view in the inclos-
ure of the pulpit, where he took his stand and winked
at the girl in the first pew with the blue feather in her
hat.
"Bailey, quit holding hands," ordered Mr. Webster
as he adjusted the minister to his satisfaction. "A fine
way to act in church ! Here, where're your prayer-
books? Hold them up — and remember this is a church
of England service and not a Moody bible class. Whit-
ney Raymond, sit between the two girls there. Missimer
— say Missimer, what's the matter with you, anyway —
don't you feel well?" and the producer brought up
abruptly before his victim, and looked him over as though
to solve the puzzle of his quietness.
"Yes, I feel well ; I'm all right," answered Mr. Mis-
simer, holding his prayer-book upside down.
"Forget your glasses, Missimer?" queried Mr. Hop-
per from the rear of the half-pew. "Try mine; see how
they'll do," and he rushed forward with his first-aid prof-
fering.
"No, never mind, thank you, Hopper; I'm all right."
"By George, you don't look very well, Missimer,"
Bailey ceased chiming long enough to remark. "Any-
thing I — "
"Now see here, fellows, I'm all right, I tell you!"
"It is pretty tough, old fellow, when we of the num-
ber one company have to supe in the number two," con-
soled Mr. Bailey.
"Listen to the little one, you can almost hear it
over here," derided Miss Ruth Stonehouse as she sa-
luted the occupant of the pulpit and sank into the outside
seat of the second pew, in obedience to the command of
the portly Webster, whose avoirdupois caused his sweat-
er-jacket to wrinkle cross-wise at his waist-line in the
back.
"You got some classy people in your church scene,
all right, Webster," went on Mr. Bailey, ignoring the
Stonehouse remark. "Ought to make a hit with two
number one players in it !"
"Players ? People will ask what the two blotches
are," returned Miss Stonehouse, then, as she turned to
Mr. Missimer — "Why, what's the matter, Mr. Missimer
— aren't you feeling well ?"
"Yes, I'm all right," explained the recipient of the
misplaced sympathy. "Just because I'm quiet for a
while, you all think I'm sick — "
"Say, Missimer — " came the voice of Mr. Webster.
"Now look here, Webster, I'm all right, I tell you — "
"Well, I wasn't going to ask you whether you were
or not," trailed off the voice as its owner disappeared on
some new quest.
"Just because I'm not saying anything — " rumbled
Mr. Missimer but was drowned out by the sepulchral
voice of Mr. Dayton rehearsing — "
' 'Though your sins be scarlet, they shall be washed
pure as snow.' ' The gesture which accompanied the
torical delivery of the text, sent the Dayton index finger
skyward and brought the ravelings into full view.
' 'White,' Dayton, 'white,' not 'pure,' " corrected Mr.
Webster, as he dodged the pillar with the fresh paint
on it.
"O, is it 'white' this time? Very well, then — 'you
shall be washed white as snow,' " promised Mr. Dayton,
passing the rest of the congregation with a stony stare
and fixing a look of supplication upon Mr. Calvert's back.
"Calvert, lean forward with your head on your hand
— like this," demonstrated Mr. Webster ; "that's it ! Say,
Dayton, can't you keep in the spot-light?"
"I'm in the spot," returned the minister, shifting his
position to correspond with the rovings of the fickle spot.
"Say, back there ! What's the matter with that spot-
light? Keep it still! Now, Dayton, keep your eye on
the spot ! Some regular fellow, aren't you, Bailey, with
that braid effect on your coat?"
"I notice you copied that braid effect on your new
suit, just the same," defended Mr. Bailey, looking up
from his inspection of tin-types which he had discovered
in the back of his prayer-book.
126
MOTOGRAPHY
Vol. IX. No. 4.
"O yes," returned Mr. Webster, watching Miss
Stonehouse, with bowed head, rehearse leaving the
church. "O yes ; I know a good thing when I see it."
"Permit me to call your attention to the freegle of
edom," ballyhooed the minister, resting his hand on the
bible-rack which was fashioned in the semblance of an
eagle. "I should say, the freedom of beagle — pardon me,
I mean the eagle of freedom ! Tis the bird that —
"Yep ! it's pretty tough when a number one player
has to supe in a number two company," lamented Mr.
Bailey, discarding his prayer-book and calling attention
to his new hat by rescuing it from the floor, brushing it
conspicuously and hanging it carefully upon one knee.
"Got a new Henry Irving?" Mr. Missimer inquired,
as he reached for the hat and tried it on. "Velour — how
much?"
"Twelve bucks," replied the owner of the hat in a
loud voice. If he expected to be believed, he was dis-
appointed. "Twelve !" scoffed a chorus of six.
"Ten," amended Mr. Bailey, adding, in the hope that
his audience would be convinced, "we of the upper class
never wear less than a ten dollar hat."
"Ten? Never," decided Mr. Missimer, as he in-
vestigated the hat's construction, felt the band and read
the name thereon.
"Eight-fifty," dwindled the voice of the hat's owner.
"And this time, Billy, tell us the truth," prompted
Miss Stonehouse.
"Eight dollars— honest !" That settled it, and the
hat was returned to its decoration of the Bailey knee
just as the whole top of the church flashed into a light
that turned everybody purple.
"Now, everybody set up straight and look intensely
interested in the sermon!" commanded the voice of Mr.
■Webster. It came through a megaphone, to the right of
the church where the camera man was already in posi-
tion. "Get ready — start your action !"
' 'Though your sins be scarlet, they shall be' — '
"Gesture ! Use more gestures !" prompted the meg-
aphone.
" — 'washed white as snow!' " concluded the minister
with an upward sweep of his arm that set the ravelings
in motion.
"Not so high," groaned the megaphone, "you'll show
the rags !"
Mr. Dayton lowered his arm and brought his palm
down on the pulpit railing.
"Talk! talk!" commanded the Webster voice.
"You shall be washed white as snow, I said, yes
white, white, indeed, as the driven snow ! You shall be
washed — washed in the air — "
"Turn — leaf !" directed the megaphone.
The minister bowed his head, stepped off, and, just
beyond view of the camera, tripped on the one piece
of carpet that was tackless.
"Leave the church !" came from the megaphone.
Miss Stonehouse arose, the rest of us followed and —
"Talk, two or three of you!" was the last Webster
command.
A strange gentleman with mauve lips and cheeks
took my arm and commented, "Punk sermon, don't you
think?" I agreed with him and — the scene was over!
^ ^ %
Ruth Stonehouse, I guess, is the "Unknown,"
though when I got back to the office and told the editor
my experience, he said it was I. I think we were both
right.
Accuse Universal Directors of Fraud
Alleging that some of the directors, through illegal
transactions, have diverted more than $200,000 of the
corporation's money into their own pockets, Charles V.
Henkel, a minority stockholder of the Universal Film
Manufacturing Company, hied papers in a suit against
Carl Laemmle, Charles S. Swanson, Joseph Engel, Julius
Stern, Robert Cochrane, Patrick A. Powers, David Hors-
ley, and Mark M. Dintenfass, in the supreme court. The
plaintiff seeks to enjoin the directors from further direc-
tion of the corporation's affairs, and asks the appoint-
ment of a receiver pending an investigation into the man-
agement of the company.
The plaintiff's description of the alleged conspiracy
is about as follows : Laemmle, Swanson, Powers and
Horsley entered into an agreement with the owners of
seven film exchanges in Philadelphia, Baltimore, Wash-
ington and Llarrisburg for the purchase of a half inter-
est in those exchanges, which, it is alleged, were earning
$1,500 a week, for a sum exceeding $100,000. The four
directors, it is further alleged, ceased to be issued prom-
issory notes of the Universal Film Manufacturing Com-
pany in part payment for their individual interests in these
exchanges, for which the company received no consid-
eration, the prohts from the exchanges being taken by
the directors, is is alleged, and not accounted for to the
Universal Company. '
Prior to July 1 5, 1912, it is further alleged, the New
York customers of the Universal Film Manufacturing
Company consisted of five exchanges, which purchased
forty-two reels a week, amounting to $4,200. On that
date the directors, without notice, cut off these exchanges
and refused to sell to them. The four directors, how-
ever, formed a partnership and opened a film exchange
at 111 East Fourteenth Street, and caused the Universal
Company to sell its films to this exchange for a period
of sixty days for 5 cents a foot — one-half of the regu-
lar price. Soon the business of this exchange rose to
twenty-one films a week, for the profits of which the di-
rectors refused to account to the Universal Company.
Growing bolder, it is alleged, the directors opened
a second exchange in the head office of the Universal
Film Company. The loss to the Universal Company
from the cancellation of the five New York City ex-
changes is alleged to exceed $50,000.
The moving affidavit further sets forth that the four
directors purchased a half interest in a film exchange
owned by J. W. Morgan in Kansas City, and then estab-
lished an exchange in St. Louis in which Morgan received
a half interest in return. The St. Louis offices dealt with
the Universal Film Manufacturing Company on credit,
and, it is alleged, now owe the corporation $50,000. The
directors refused to sell to any exchange in the Kansas
City or St. Louis districts, except the Morgan exchanges,
nor to any exchanges in Philadelphia. Baltimore, Wash-
ington or Harrisburg in opposition to their exchanges
in those cities. The defendant, Joseph Engel, is alleged
to participate in the profits made by the directors.
The Universal Film Manufacturing Company made
reply to the suit for the appointment of a receiver to look
into the affairs of the concern and for an injunction re-
straining the present directors from exercising control
over the affairs of the company. The officers said that
Henkel's act was nothing but that of a disgruntled ex-em-
ployee who happens to hold a small block of stock.
For a sample of high-art printing done into a de luxe
booklet see the Advance Motion Picture Company's
"Commercial Application of Motion Photography."
A brilliant three-color folder illustrating and describ-
ing a varied line of simple and elaborate automatic pianos
and orchestras is issued by the Rudolph Wurlitzer Co.
February 15, 1913.
MOTOGRAPHY
12;
Motographys Gallery of Picture Players
MYRTLE STEDMAN is the pretty, pretty lady who
rides straight into the hearts of the hundreds of
people who see her daily, in the western film stories which
bear the stamp of the Selig diamond. Her talent for act-
ing, her pre-possess-
irig appearance and
her ability to handle a
seemingly unmanage-
able horse, are rea-
sons sufficient for
Miss Stedrhan's play-
ing leading roles on
the Pacific coast. And
besides, she has a
beautiful home in the
West. It is situated
11,000 feet above sea
level in Colorado.
Since she was a wee
tot. Miss Stedman has
been dancing, singing
and acting. Drama
and light opera
claimed her for sev-
eral years until she
left the stage to go in-
to mining in Colorado.
Myrtle Stedman. Jt was there she
learned to ride, with cowboys as instructors and it was
there also, she became a ski enthusiast, gliding over the
mountains on long Norwegian skies. Miss Stedman
claims Chicago as her home city.
GEORGE L. COX can do ever so many other things
besides act. and that everybody knows he can do ex-
ceptionally well. Selig pictures produced in Chicago
show Mr. Cox to advantage in roles of light comedy and
eccentric c h a r a cter
work. He has acted
abroad as well as at
home and, in addi-
tion, is a producer.
But the thing Mr.
Cox started out to do,
with the intention of
making it his life
work, was to paint.
He studied in the
Paris ateliers, but
gave up a painter's
career for that of the
stage. He has trav-
elled extensively and,
in his roamings, made
history his hobby. In
his out-of-motion-pic-
ture hours, the thing
he likes best to do is
write. He is a con-
stant and successful
George Cox. contributor to current
periodicals and illustrates all his own articles. Many
talents has Mr. Cox and he believes in utilizing all of
them and then getting more. And he does, both in pic-
tures and out.
WILLIAM A. DUNCAN is leading man and pro-
ducer of the Diamond- S ranc hat Prescott. Ariz.;
and he got there simply because he knew what he wanted
to do and went ahead and did it. By that you know he
is Scotch. His birth-
place was Dundee and
the year 1885. He
came to America
when a grown boy
and made himself at
home in the amateur
athletic field. Twelve
years ago, after a
creditable career as
student and athlete,
he decided upon the
stage as his life work,
found an opening
which he enlarged by
virtue of his own
merit and went the
gamut, from melo-
drama actor to dra-
matic manager. It
was three years ago
that he decided to try
film work and joined
the Selig company.
His popularity in pictures testifies to a pleased triangle
— the company, the public and Mr. Duncan. The dangers
he has faced in feature roles are numberless. He has
been producing and acting in his own plays for a year.
William Duncan.
WINNIFRED GREENWOOD has played leads
with the Chicago branch of the Selig company
for one year and ten months and is quite content to stay
on indefinitely, though she is of a roving nature and
loves the excitement
of travel. But there
are other things Miss
Greenwood loves —
her home, her work,
golf, tennis and writ-
ing poetry. Previous
to film work she
played in stock and
vaudeville, but likes
picture work so much
better than either be-
cause it embodies such
a variety of interest-
ing incidents. She
was born in Genesee,
N. Y., and adds the
information, "Tan. 1,
1885," without even
being asked, which,
alone, goes to prove
that she is rather a
remarkable person.
She speaks French
and hopes for the sometime success of the Progressive
party, but is aspirationless as to using the ballot herself.
Two of her strongest roles are in "The Last Dance" and
as the blind girl in "The Two Orphans."
Winnifred Greenwood.
128
MOTOGRAPHY
Vol. IX. No. 4.
'The College Chaperone," February 24. Copyright 1913, Selig Polyscope Co.
Provisions of Rosenkrans Bill
Senator Rosenkrans of Shiawassee County, Minne-
sota, introduced a bill in the senate to regulate the exhib-
iting of moving pictures and stereopticon views.
The act creates a board of censors to be appointed
by the governor and to consist of two members, one
a man, the other a woman. The censors would examine
all picture films or views and pass on them, and if they
report they are debasing they would not be marked with
the approval of the board, and unmarked films must be
found on all those shown in public places.
The chief censor would receive an annual salary of
$1,500 and the assistant $1,200.
For each examination made of films or views the
board would receive a fee of $2.50. A $50 penalty would
be provided for first violations of the act, and $100 for
subsequent. The inspectors would be under $3,000 and
$2,500 bonds.
The board would keep a record of films passed and
rejected and report annually by January 15 to the gover-
nor. The board's traveling expenses would be paid by
the state and all fees collected paid into the state treasury.
dared that he will install the motor in spite of the in-
spector's prohibition and that the case may be fought
out in the courts. Inspector Winterrowd has refused
to permit mechanical operation of a motion picture lan-
tern and has insisted that the films be turned through
the machines by hand, on the ground that when the ma-
chine is operated by a motor or other motive power there
is danger of the celluloid films twisting and sticking and
being ignited by friction. Several disagreements have oc-
curred between the inspector and Dr. Rhodes over orders
issued by the building department regarding compliance
with requirements of the city ordinances.
League Notes
A special train has been chartered to bring New
York photoplayers to Philadelphia. March 26, to attend
the ball to be given that evening at the Trungeneinde
hall, by the Motion Picture Exhibitors' League of Penn-
sylvania. This event is predicted to be one of the big-
gest in the rounds of the picture world's social happen-
ings.
Inspector Forbids Use of Motor Drive
T. A. Winterrowd, building inspector of Indianapo-
lis, Ind., refused to grant the request of Dr. J. H. Rhodes,
president of the Indianapolis local of the Indiana Moving
Picture Exhibitors' League, that he be permitted to in-
stall in his motion picture theater an electric motor to
operate the motion picture machine. Dr. Rhodes de-
The moving picture men of South Dakota met at
Pierre recently and organized a branch of the National
Exhibitors' League, and selected as their officers J. E.
Hippie of Pierre, national vice president; L. D. Milne of
Mitchell, state president; Dr. E. S. Smith of Geddes, first
vice president; J. A. Dundas of Chamberlain, second; M.
B. Balzinger of Huron, secretary-treasurer. They drafted
a general moving picture code for presentation to the
legislature.
February 15, 1913.
MOTOGRAPHY
129
Photoplays from Essanays
The February Releases
REAL western films, as are seen in "Broncho Billy"
productions, are big assets to the exhibitor. Every
western dramatic release teaches an object lesson
that will bear weight with any broad minded person.
Take the Essanay release of March 14, for instance, "An
Old. Old Song." In this excellent example a beautiful
lesson which brings the moral, "Love Thy Neighbor As
Thyself," is taught.
The last week in the month of February reveals two
comedies of merit. These are "The Gun Man," and
"Lady Audley's Jewels." "The Western Law That
Failed" is a powerful gripping Western drama, while
"The Swag of Destiny," an exceptionally excellent East-
ern drama, headlines the bill.
The month of March contains strong feature west-
ern dramas and excellent eastern comedies and dramas.
"The Western Law That Failed," released Febru-
ary 25. is a true interpretation of cowboy life in the West.
Dave Morgan, out of work and despondent, decides to go
West, and find a position. He leaves behind a heart-
broken mother. Out in the West, where men are usually
kind hearted and generous, he finds everybody, seemingly,
'The Influence on Broncho Bilh
"Lady Audley's Jewels."
turned against him. Unable to get work, he decides to
use underhand methods in securing enough money to re-
turn East. Dave discovers a young fellow, Tom Ryan,
telling a number of his fellow cowpunchers that he has
just received a letter from his wife, stating that a baby
had been born and for the proud father to return to his
home in the East immediately. Tom is about to leave,
when Morgan asks him if he can take his job on the
ranch. Tom tells Dave to see the owner, and gives him
some money. While so doing Tom drops the letter from
his wife. Dave runs after Tom to return it, but Tom
gets away without the note. After seeing the boss and
being refused a position, Dave steals the ranchman's
horse, but is discovered by the owner. The latter in-
structs his cowpunchers to go after Morgan. Morgan is
caught and about to be hung, when he explains that it was
impossible for him to secure employment, and that he
had decided to go back home by fair means or foul. Dave
then shows the cowpunchers the letter. Thinking it is a
genuine one from Dave's supposed wife, they let him
go, giving him a good round sum in cash. Dave returns
130
MOTOGRAPHY
Vol. IX, No. 4.
"The Swag of Destiny."
home, where his aged mother is overjoyed at the return
of her boy. Arthur Mackley gives a masterful interpre-
tation of the ranch owner. True Hoardman as Dave
Morgan, gives a splendid performance.
A comedy full of unique ideas is "Lady Audley's
Jewels," released February 27. Augustus Pompleton and
his wife, Clarice Deveraux, of the famous McNight's
Celebrated Repertoire Company, are stranded in the small
village of Jayville. Pompleton, at the suggestion of his
wife, asks the ticket agent where they can nnd the near-
est and cheapest hotel. The star leading lady drops her
la valliere, made of plate glass and paste, on the floor.
The station agent picks it up and asks her how much she
would sell it for. The la valliere is sold for three dollars.
Jed Perkins, a would-be sleuth of the town, receives a
badge, star, belt, handcuffs and the regular paraphernalia
used by town constables from a detective correspondence
school. A five hundred thousand dollar jewel robbery
adorns the front page of the town newspaper. Having
secured enough money to hold them over a few days at
the hotel, Augustus Pompleton and his wife register.
During the absence of the porter, Perkins volunteers to
take some ice water up to them. He discovers the per-
formers sorting out some stage jewels. He immediately
comes to the conclusion that these are the thieves wanted
in New York in connection with the big robbery. The
actors carry out the misunderstanding and are taken to
New York by the correspondence sleuth. Having arrived
at the police station the captain discharges the couple and
has the would-be detective locked up. Howard Missimer
stages Pompleton, while Eleanor Blanchard as Clarice
Deveraux demonstrates her ability as a character comedi-
enne.
"The Influence on Broncho Billy" teaches a great
lesson of morals. A horse thief, gambler and highway-
man is converted into a respectable citizen, and all for the
love of a girl. This is the way "Broncho Billy" instructs
and teaches the three generations. Jim Hendricks re-
ceives a letter from his daughter in the East, stating that
she is on her way and will arrive with her little girl that
day. The stage coach carrying her from the railroad
station, some miles from her father's home, meets with
an accident. While repairing this ancient vehicle, Bessie
Hendrick's young daughter canters off into the woods in
search of wild flowers. Bessie runs after her. Having
captured the young rascal, Bessie discovers the coach has
gone on. Broncho Billy, on horseback, discovers the
young woman, places her safely in his saddle with her
daughter, and leads the horse miles to her father's home.
This young westerner, Broncho Billy, is a desperate out-
law. Jim Hendricks and his wife welcome their daugh-
ter with open arms, and offer Broncho Billy the hospital-
ity of their home. The next morning Broncho Billy has
a long talk with Bessie. His plans for holding up the
'Billy McGrath on Broadway.'
February 15. 1913.
MOTOGRAPHY
131
Essanay's "Broncho Billy and the Squatter's Daughter."
stage coach that day are cast to the four winds. He de-
termines to lead a straight life, and all for a woman.
"Love hath conquered an iron heart, and a criminal
mind." G. M. Anderson as "Broncho Billy" gives a splen-
did performance, while Bessie Sankey as the daughter,
plans a noble character. "The Influence on Broncho
Billy" will be realeased March 1.
In "Swag of Destiny," released February 28, Flinty
McNeal. a crook, receives a letter from his sweetheart,
pleading with him to abandon his crooked life, marry her,
and settle down on a little chicken farm near Dayton,
her uncle having died and left her some money. McNeal
is about to turn over a new leaf when he sees a man
pick up a pocketbook filled with money. The old desire
comes over him and he follows the man to his home.
That night, while Jim Dorgan, the finder of the pocket-
book, and his wife are sleeping McNeal steals quietly into
the house. His plan is interrupted by the crying of two
infants. Mrs. Dorgan arises and rocks the baby to sleep.
She then falls into a heavy slumber. McNeal enters the
room in which Mr; Dorgan is sleeping, takes the pocket-
book from the table, steals cautiously back into the bed-
room, kidnaps one of the babies and leaves. He takes the
infant to his sweetheart's home, where ne promises to
travel the straight and narrow path. The girl loves the
baby, although knowing that Flinty had stolen it. Some
time later McNeal discovers that the home he had robbed
of the baby was a baby farm, which had been raided a
few days later. Mr. and Mrs. Dorgan were sent to jail.
Flinty and his sweetheart, now married and happy, lead-
ing a pure and simple life, promise themselves to make
the child's future a happy one. Bryant Washburn as
Flinty McNeal demonstrates his ability as a capable and
impressive dramatic man. Dorothy Phillips gives her
first efforts to the public in this drama. Her work is
splendid. Frank Dayton as Mr. Dorgan, lives up to the
character in a remarkable way.
"Billy McGrath On Broadway" is released March
4. The lure of the footlights attracts Billy McGrath.
He decides to purchase a drama, produce it, and play it
on Broadway. He engages a company of capable per-
formers, but through the misunderstanding of two of the
actresses, the company go on a strike, and refuse to work.
His booking agent emphatically tells them he will not fur-
nish him with any more talent. The stage hands of the
theater McGrath has purchased, come to his assistance,
bv declaring that they will take the parts. After several
unfortunate rehearsals the play is produced. The scrub
woman, as the leading lady, creates a furor, while the
janitor of the building in the costume of a dashing young
blonde ingenue, creates the laugh entertainment of the
performance. The audience at the opening night pro-
claim the show a huge success, while the critics in the
morning papers declare it to be a riot. Billy McGrath
with his fortune assured, smiles at the defeat of his strik-
ing performers and his booking agent. John Steppling
plays Billy McGrath. Eleanor Blanchard as the scrub
lady actress is splended, while Augustus Carney is funny
as the janitor actor.
In July, 1870, the Franco-German war broke out,
132
MOTOGRAPHY
Vol. IX, No. 4.
which was to end by overthrowing the European equi-
librium, for the benefit of Prussia. The menacing atti-
tude of Russia forced Austria to maintain her neutrality,
and this neutrality carried with it that of Italy. Rus-
sian diplomacy weighed in the same manner upon Den-
mark, whose royal house had given in 1886 a princess in
marriage to the Tzarevitch. France found herself iso-
lated in Europe. Russia not only prevented the forma-
tion of "The League of Neutrals" but by diplomatic
means discouraged the collective intervention of Europe.
On the third of September the emperor, on hearing of
his uncle's victory at Sedan, drank to his health, and
broke the glass to give the toast more solmenity. No
doubt he, Carl Heinrich, counseled his uncle, Baron Von
Buchlieb, to be moderate, but this intimate and sympa-
thetic exchange of private letters did not for one moment
alter the friendship of France and Germany for the time
being. The spy in the employ of the Russian govern-
ment, who were about to take up arms against France, in
the disguise of a French peer, was entertained royally
by Baron Von Buchlieb. Fredericka, daughter of the
prime minister of war, Von Metizine, infatuated with
Carl Heinrich, was given authority to enter the royal
chamber in which all plans of fortifications, etc., were
kept. The Russian spy hypnotized Fredericka, and in-
duced her to get the valuable plans. Carl Heinrich cap-
tured the spy and returned the papers to Von Metizine.
The young hero was rewarded by the prime minister of
war, and also in securing Fredericka for his bride. The
clever situations in this, the most remarkable feature ever
released by the Essanay Company, proves conclusively
what Essanay players are capable of portraying. "The
Spy's defeat" will be released soon. The exact date has
not yet been announced.
Of Interest to the Trade
Visitors At The Columbus Convention
February 1 Motography gave a partial list of at-
tendants at the Ohio League Convention last month.
The list is completed here :
C. H. Klinck, representing the Toledo Film Exchange, To-
ledo, Ohio; Robert J. Kastt, South Park Theater, Dayton, Ohio;
G. W. C. Kolb, Cincinnati, Ohio ; J. W. Kaufman, Gallopolis The-
ater, Gallopolis, Ohio; John H. Kessler, Star Theater, Sandusky,
Ohio; John F. Karb, Metropolitan Theater, Chillicothe, Ohio;
Miss Nellie Kyler, Vaughan, Chick & Chain System, Columbus,
Ohio ; W. C. Kitt, Cincinnati, Ohio ; Frank W. Kenny, Cleveland,
Ohio ; George L. Law, Exhibit Theater, Lancaster and Ports-
mouth, Ohio; H. Lehman, Photoplay Theater, Dayton, Ohio; W.
T. Lynch, Modern Feature Film Co., Cincinnati, Ohio; A. J.
Lane, Paradise Theater, London, Ohio; H. P. Lawson, Pas-
time Theater, Columbus, Ohio; F. L. Lunsford, Bide-a-Wee
Theater, Columbus, Ohio; C. E. Satts, Comet Theater, Bea-
ver Falls, Pa.; D. W. La Fever, Grand Theater, Mt. Vernon,
Ohio; J. F. Luft, Southern Theater, Columbus, Ohio; M. P.
Lauer, Cleveland, Ohio ; Otto Ludeking, Cincinnati, Ohio ;
Tames McQuade, Chicago, 111.; S. E. Morris, Cleveland. Ohio;
J. G. Miller, Wyandotte F. S. Co., Columbus, Ohio; M. J.
Mackmull, Dayton, Ohio; Louis Mandros, Winner Theater,
Columbus, Ohio; E. Wayne Martin, Pearl Theater, Hutchin-
son, Kans. ; E. A. Mohler, Princess Theater, Middletown, Ohio;
M. A. McGrath, Casino Theater, Columbus, Ohio; Frank Mur-
phy, Wilmington, Ohio; Emil C. Mayer, Penn. Sq. Theater,
Hamilton, Ohio; Mr. and Mrs. McKinney, New York, N. Y. ;
Warren W. Miller, White Palace, Mt. Vernon, Ohio ; Eric
Morrison, American Moving Picture Machine Co., New York
N. Y.; Ben C. Morris, Olympic Theater, Bellaire, Ohio; H. F
Moon, Empire Theater, Columbus, Ohio ; C. S. Munson, Bakers
Art Gallery, Columbus, Ohio; W. C. Moore, Columbus, Ohio
J. A. Maddox, Colonial Theater, Columbus, Ohio; Roy Michael
Princess Theater, Ashland, Ohio; John M. Newman, Star Thea
ter, Piqua, Ohio; Newman Manufacturing Co., Cincinnati, Ohio
W. P. Newman, Hippodome Theater. Bucyrus. Ohio ; J. W.
Nichols, Gem Theater, Somerset, Ohio ; R. C. Newell, Wonder
Theater, Columbus, Ohio; Max Neugebauer, American Thea-
ter, Columbus, Ohio; M. A. Neff, President M. P. E. L. of A.,
Cincinnati, Ohio; A. E. Overhalser, Springfield, Ohio; C. E.
Obesb, The Logan Theater, Logan, Ohio; S. M. Osborn, Lima
Theater, Lima, Ohio ; C. L. Passmore, Palace Theater, Day-
ton, Ohio; P. K. Peters, Royal Theater, Mansfield, Ohio;
A. J. Paul, Royal Theater, Galion, Ohio; J. D. Polites, Rex
Theater, Steubenville, Ohio; Melton Phelos, Marathan Thea-
ter, Columbus, Ohio; Tohn Pekea, Dreamland Theater, Colum-
bus. Ohio; C. E. Price, Lyric Theater, Mt. Vernon, Ohio; W.
J. Page, Bill Board, Cincinnati, Ohio; H. H. Pearson, Gem
Theater, Troy, Ohio ; R. C. Pelton. Crown Theater, Fostoria,
Ohio; Mrs. C. E. Price, Lyric Theater, Mt. Vernon, Ohio;
Jacob A. Pinning, Columbus, Ohio; Oraine Parker, Covington,
Ky. ; W. C. Quimby, Casino Theater, Zanesville, Ohio ; G. A.
Robinson, Colonial Theater, West Hoboken, N. J.; E. H. Row,
Hippodrome Theater, Crestline, Ohio; Charles Reark, Theato-
rium Theater, Sandusky, Ohio; Buell B. Risinger, Majestic
Theater, Dayton, Ohio ; M. M. Robinson, Gaumont Camera-
man. Flushing, N. Y. ; Dr. J. M. Rhodes, Imperial Theater, In-
dianapolis, Ind..; P. S. Rayburg, Globe Theater, Dayton, Ohio ;
T. A. Rogers, New Broadway Theater, Jackson, Ohio ; W. Ray-
ner, Dreamland Theater, Dayton, Ohio; Dr. G. H. Widor- Ron-
fort, Chicago, 111.; Fred P. Reichert, Lion Theater, Port Clin-
ton, Ohio ; Edward Rohe, National Theater, Cleveland, Ohio ;
Mr. and Mrs. J. E. Robin, New York, N. Y. ; F. J. Schad.
Gordon Park Theater, Cleveland, Ohio ; Charles F. Schroeder,
En-Joy-U Theater, Cleveland, Ohio; F. M. Shelley, Royal
Theater, St. Mary's, Ohio ; Star and Whipple, Princess and
Olympia Theaters, Napakoneta, Ohio; W. J. Slimm, Marquis
Theater, Cleveland, Ohio ; J. Russ Smith, Star Theater, Lima,
Ohio ; George N. Smith, Springfield, Ohio ; A. J. Smith, Mutual
Film Corp., Toledo, Ohio; Geo. A. Spring, Arch City, Colum-
bus, Ohio ; C. S. Stevenson, Columbus, Ohio ; Jacob E. Schlank,
Hippodrome Theater, Omaha, Neb; Ernest Schwartz, Cleve-
land, Ohio ; Herbert Schulenberg, Crown Theater, New Bremen,
Ohio; G. Schroeder, Majestic Theater, Cleveland, Ohio; George
D. Sprague, Bellaire, Ohio ; F. H. Staup, Grand Theater, Del-
phos, Ohio ; L. L. & C. J. Simeral, Palace Theater, Steuben-
ville, Ohio ; F. H. Schumacker, Pastime Theater, Akron, Ohio ;
Max Stearn, Exhibit, Columbus, Ohio; S. G. Smith, Thea-
torium, New Lexington, Ohio; P. L. Showen, Majestic Thea-
ter, Dayton, Ohio; Charles Sternberg, Dolly Varden Theater;
Cincinnati, Ohio ; U. T. Stilmell, Westwood Theater, Dayton,
Ohio ; L. F. Smithheisler, Oak Theater, Columbus, Ohio ; J.
W. Swain, Pastime and Hippodrome Theater, Columbus, Ohio ;
James Seitel, Bijou Theater. Fremont, Ohio; Grant Snyder,
Empress Theater, Dayton. Ohio ; O. A. Smith, Temple Thea-
ter. Portsmouth, Ohio ; J. E. Stewart, Alhambra Theater, Co-
lumbus, Ohio ; George Schlenker, Pastime Theater, Lorain,
Ohio ; Abe Sigel, Int'l Feature Film Co., Cleveland, Ohio ;
Edward Schwartzman, Jewel Theater, Columbus, Ohio ; Charles
W. Snyder, Parsons Theater, Columbus, Ohio ; W. C. Smith,
Nicholas Power Co., New York, N. Y. ; Charles W. Say, Star
Theater, Columbus, Ohio ; Louise C. Schmitz, Fulton Thea-
ter, Cleveland, Ohio; F. W. Swett, Nicholas Power Co., New
York, N. Y. ; Charles G. Taylor, Palace Theater, Columbus,
Ohio ; D. H. Thompson, Wonderland Theater, Dayton, Ohio ;
Carl Tarvin, Casiono Theater, Dayton, Ohio ; Richard Thomp-
son, Lyric Theater, Newark, Ohio ; Harry L. Vanalta, Travel-
ing Theater, Dayton, Ohio; H. E. Vestal, Lyric Theater, Ada,
Ohio; Leon J. Virden, Pleasant Hour, Columbus, Ohio; Mrs.
F. E. Wylie, New Theater, Columbus, Ohio; S. E. Wall, Opera
House, W. Jefferson, Ohio ; H. A. Wachter, Hippodrome Thea-
ter, Lancaster, Ohio; J. E. Wright, New Royal Theater, Find-
lay, Ohio. ; Mr. and Mrs. O. B. Weaver, Lyceum Theater, Day-
ton, Ohio ; W. R. Wilson, The Schiller Theater, Columbus.
Ohio; W. R. Wilson, the Shield Theater, Columbus, Ohio;
Lou J. Whitman, Star Theater, Hamilton, Ohio ; E. A.
Wipple, Columbus, Ohio ; Al Walters, Cincinnati. Ohio ; C. N.
Withrow, Cleveland, Ohio; Charles W. Weigel, Alhambra Thea-
ter, Cincinnati, Ohio ; A. C. Zaring, Indianapolis, Ind.
S. Prager, Wilna, Russia, wants to correspond with
view to leasing films from American manufacturer or
trader of films for kinematograph.
February 15, 1913.
MOTOGRAPHY
133
Vaudeville Houses Install Kinetophones
Thomas A. Edison's synchronated motion picture
and talking machines, which he calls kinetophones, are
to be placed in all the leading vaudeville theaters in the
United States and Canada as rapidly as they can be man-
ufactured. Contracts were signed whereby the houses
controlled by B. F. Keith, A. Paul Keith, the Orpheum
Circuit, the Proctor Circuit and the United Booking Of-
fices generally are to be equipped with them.
Mr. Edison has promised the managers that with-
in a year he will give them colored talking pictures.
Mr. Edison summoned a group of vaudeville pro-
ducers to his laboratories at West Orange, N. J., and
demonstrated the possibilities of his new machine. He
said he was convinced that the scientific stage had ar-
rived and that science would play as revolutionary a part
in the theater as it had in other departments of human
endeavor. Among those who heard him were Messrs.
E. F. Albee, A. Paul Keith, Martin Beck, J. J. Mur-
dock, F. F. Proctor, F. F. Proctor, Jr. ; M. Shea, of Buf-
falo and Toronto; "Jake" Wells, of Wells' Southern Cir-
cuit, and Carl Lothrop, of Detroit and Rochester.
The contracts were made with the American Talk-
ing Picture Company, of No. 1493 Broadway, represent-
ing Mr. Edison, and as a result the Edison plant is work-
ing night and day turning out machines, the Edison stu-
dios in the Bronx are using every hour of daylight for
the making of films and records and contracts are being
made with leading players of the legitimate stage to play
before the new recording devices.
Among the theaters which are being equipped for
the new machines are the Fifth Avenue, the Colonial,
the Union Square and the Alhambra in Manhattan, the
Bronx in the Bronx and the Orpheum and Bushwick in
Brooklyn. Similar operations are being carried on as
far south as Birmingham, Ala. ; as far north as Minne-
apolis, Minn., and as far west as San Francisco, as well
as in Ontario and the northwestern provinces of Canada,
with the Majestic and Palace in Chicago.
Pilot's First Release
The first Pilot film, produced, "The Blacksmith's
Story," received applause and favorable comment at its
initial appearance recently at the Majestic Film Service
theater. George A. Magie, general manager of the new
company and just arrived from New York, happened in
at the close of the picture and received the warm con-
gratulations of those who had viewed the company's first
effort. The tone and quality of the film's presentation
is of a refinement that speaks well for the future success
of the Pilot brand.
The story is based on Frank Olive's poem, stanzas
of which are used as sub-titles. The blacksmith, in his
shop, receives and pays for a crayon portrait of a sweet-
faced woman in white. A man who brings his horse to
be shod asks the blacksmith if the original of the picture
is his wife. "She was," the blacksmith answers, then
seats himself, invites the stranger to do likewise and tells
the story of his dead romance. The smithy shop fades
and the picture story takes its place.
Five years previous he had loved and won for his
wife the young widow of a soldier. Bob May, who had
been shot in the battle of Malvern Hill. The little town
in which the widow had been left held so many memories
for her, that the blacksmith bought a little home and
shop in a distant town ; and there they went to live.
After two years a little daughter was born to them
The Picture of His Wife That Was.
and the world seemed all happiness. When the baby was
three years old a one-armed man stopped at the shop one
day to have his horse shod and in a conversation which
ensued the blacksmith asked the stranger how he had lost
his arm.
"Shot off at the battle of Malvern Hill," the stran-
ger replied. "Malvern Hill !" repeated the blacksmith,
"did you know Bob May?" And the stranger replied,
"Why, I'm Bob May!"
Hurriedly and without any explanation the black-
smith led the way to his home. The two men entered
the little sitting room and the blacksmith's wife, hearing
her husband call, hurried in joyfully to greet him. The
two men confronted her and at the mutual recognition
there was wonder and surprise on the face of May and
horrorified amazement on that of the startled wife.
May explained that on his return from the war he
could find no trace of his wife and had been searching
for her during the five years which had elapsed.
The blacksmith told his wife to choose between them
and whatever the decision, it would be abided by. Heart-
broken, the woman decided that alive Bob May was still
her husband and it was her duty to go with him. The
blacksmith's little daughter ran into room and both he
'I Can't Leave Baby.'
134
MOTOGRAPHY
Vol: JX, No. 4.
•and her another reached for her. "I can't go without
baby !" pleaded the mother and sorrowfully the black-
smith yielded the baby to her mother.
At the gate the blacksmith said good-bye to the little
family that was his no longer.
He concludes the pathetic story with the hope that
in heaven he may again have his wife and child.
The picture dissolves and gives place to the trade-
mark— a sea pilot in sou'wester and slicker, on duty at
the pilot wheel which moves from side to side twice before
fading from the screen.
A pretty story, that of the company's first release,
made so by good photography and excellent acting.
"The Lost Son" A Two Reel Lubin
The Lubin Company chose a strong cast for its in-
terpretation of the special two-reel story entitled "The
Lost Son," marked for release February 17. Lawrence
McCloskey is author of the story and Barry O'Neill the
producer. The cast comprises Bartley McCullum as Mr.
Nolan, Mrs. George Walters as Mrs. Nolan, Harry Mey-
ers in the title role, Martin Faust as the younger brother
and Doc T ravers as Ed Jennings.
John and George Nolan are brothers. John, a young
man of 22, while kind-hearted, is inclined to be wild and
frequents the billiard rooms. George, aged 14, is quiet
and devoted to his mother. One night John gets into a
quarrel in a pool room ; his antagonist knocks him down,
and John, seizing a billiard ball, hurls it at the man, who
drops, apparently dead. John rushes home and tells his
mother that he has killed a man. She implores him to
make his escape, which he does by the back window
just as the police raid the house. The shock of the trag-
edy affects the father so that he drops dead. John races
to the depot, boards a freight train, and is lost to the fam-
But Ed Jennings, the wounded man, does not die,
and John's mother advertises and instructs the police to
find her boy, but to no purpose. John believes himself to
be a murderer hunted by the law, and dares not read a
newspaper.
George gets a position in a store. He is industrious,
well liked and quickly promoted. His salary takes care
of the little home, but the mother continues to grieve for
the lost son. Ten years pass and George is appointed to
a position of trust. He has to visit another city on busi-
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The Lost Son Returns.
ness for the firm, and is intrusted with a quantity of
money. There a fair and races are going on, and he
thinks it all right to take a day's enjoyment. In the
crowd he is robbed or loses the wallet containing the
firm's money. Terrified at the idea of what may be
thought, he places the small amount of his own money
on a horse hoping to win back his loss. The horse loses,
and in desperation he returns to the bookie and begs him
to accept his watch on another bet. The bookie laughs,
but after much persuasion takes the watch and opens the
case. It contains the picture of a woman. He seizes
George and demands "Whose picture it is." George re-
plies that it is his mother. "It is my mother also," re-
plies the bookie. George tells him that Ed Jennings did
not die. The two brothers return to the old home. The
mother is overwehelmed with joy, and John makes good
his brother's loss.
He Thinks He is a Murderer.
Halt Police March for Film
That Lloyd Lonergan, the veteran Thanhouser
scenario chief, "owns" New Rochelle, was forcibly dem-
onstrated on the formal opening of the city's new police
headquarters. The officials in charge of the ceremonies
had given Lonergan permission to film the proceedings,
the main feature of which was the march of the police
from the old building to the new. The Thanhouser man
wanted to use the cops' march as a background for some
scenes by the Thanhouser Kid. The police were ready
to start but Lonergan and his cameraman weren't there.
They telephoned him.
"Please don't start for five minutes," requested Lon-
ergan. "My photographer hasn't shown up. He'll be
here in five minutes."
The march was postponed. In another five minutes
they telephoned him again.
"Yes," he replied, "my cameraman has arrived, but
I want him to bring more film along. He's loading up
now. Another five minutes — Please!"
Lonergan's persuasive tones won out. Proceedings
were halted five minutes more. Sure enough, at the end
of that time, he got there.
"Gee, Lloyd," said one of the officials, "you certain-
ly kept us waiting. I'm so glad you've got here at last."
"But." exclaimed Lonergan in horror, "But — the
sun has gone down ! It'll be up again in five minutes.
Let's wait !" And they did !
February 15, 1913.
MOTOGRAPHY
135
Sherlock Holmes on Thanhouser Film
The release date of the Thanhouser Sherlock Holmes
story, announced as "Sherlock Holmes Solves 'The Sign
of the Four,' " will be February 25. The story relates
that Major Sholto, a retired British army officer, who
has amassed wealth in India in a very mysterious man-
ner, died suddenly, and his two sons were unable to find
any trace of the wealth which they knew their father had
possessed. But they searched the house patiently, and at
last in an attic, concealed by a secret panel, they discov-
ered a brass bound box. Eagerly they opened it, and to
their delight they beheld jewels of almost fabulous value.
But besides the gems, they found a letter, telling
them that Mary Morstan, the orphan daughter of one
of Sholto's brother officers in India, was entitled to an
equal share in the treasure. Thaddeus, the younger
brother, was willing to carry out his dead father's wishes,
but Bartholomew, the elder, insisted that they alone
should possess the jewels. Finally Thaddeus, unable to
persaude his brother to relent, wrote Miss Morstan an
annonymous letter, telling her that she had been wronged,
and naming a place where they could meet.
Miss Morstan, perplexed by the strange communi-
cation, consulted Sherlock Holmes, the celebrated detec-
tive. Holmes and Dr. Watson, his associate, kept the ap-
pointment with Miss Morstan and were led by Thaddeus
Sholto to his home. Thaddeus told Miss Morstan of her
inheritance, and explained that he intended to force his
brother Bartholomew to surrender his share of the treas-
ure. '
They reached the Sholto mansion, and Thaddeus
Sholto went to his brother's room to summon him. But
soon he came hurrying down stairs, pale and terror
stricken. One glance at his face was enough. Holmes
and Watson dashed up the stairs, burst open the locked
door leading to Bartholomew Sholto's room and there,
huddled in his chair, was Bartholomew Sholto and on his
breast a torn sheet of paper, with five words scrawled
upon it, "The Sign of the Four." And the treasure was
gone!
One of the secrets of Holmes' great success was
that he lost no time following a clue. A quick examina-
tion showed that the man had been killed by a poisoned
thorn which had lodged in his head; then the detective,
realizing that the murderer must have escaped by the
roof, hurried up the ladder leading to the roof.
In the garret Holmes came upon fresh evidence of
intruders. In the heavy dust which had gathered upon
the garret floors were impressions of a man's boot and
- -»n
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MP-
Holmes Questions Sholts.
the ferule of a wooden leg, and the imprint of two lit-
tle bare feet. The detective hurried to the roof, where
he found, dangling to the ground below, a heavy rope,
the means by which the criminals had escaped.
Sherlock Holmes, securing a blood hound, tracked
the fugitives down, the chase finally leading him and his
co-worker. Dr. Watson, to a little ship yard, where he
learned that a man with a wooden leg, accompanied by
a little East Indian, had hired a motor boat and sailed up
the river. Holmes, in another boat pursued.
The fugitives were captured, but not before they
had thrown the treasure overboard. Then Jonathan
Small, the man with the wooden leg, and his faithful fol-
lower, little Tonga, whose deadly blow pipe had killed
Sholto, were brought to Holmes' rooms and the casket
opened. The jewels were not there.
And Jonathan Small, with the prospect of a long
prison term before him, laughed grimly, for the treasure
had disappeared forever.
Sherlock Holmes Finds the Culprits.
Says "Let City Run Picture House"
"The city has just as much authority to run a play-
house as to have charge of the public schools, and a
theater is as valuable to the city as a school," said Pro-
fessor Charles Zueblin at a meeting of the Civic Art
Committee of the Woman's Educational and Industrial
Union at the Hotel Seneca at Rochester, N. Y. Profes-
sor Zueblin, who is one of the leading lecturers in the
country, has made a study of moving pictures and is well
versed in the good and bad features of plays. Pictures
will be the saviors of society, if conducted in the right
manner, he said.
"The first thing to be done, so that we can have a
beacon light to stand out as the standard of the pictures
and plays, is for some public-spirited resident of the
city to present to the city a well-equipped theater. Place
it in the hands of the city council and leave the manage-
ment to the council."
Professor Zueblin cited instances where "hideous hy-
procrisy and cold morality do more harm than good,
where people want a city to close everything but the
churches on Sunday." This is done in many "extrava-
gantly moral cities," he said, and he told of seeing hun-
dreds of boys playing "craps" on Sundays for want of
something better to do.
"How many cities are there in this country where
the police force the picture shows to close, and refuse
to permit the boys to play baseball on Sunday, yet per-
mit golf all day long?" he asked.
136
MOTOGRAPHY
Vol. IX, No. 4.
New Thanhouser Laboratories
Thanhouser Film Corporation has established tempo-
rary laboratories at New Rochelle in fireproof buildings
at Main street and Echo avenue. The new location is
about as close to the railroad depot as the old, and is
one of the most improved pieces of factory property in
the city. The Thanhouser business office will remain for
awhile in the Cooley building. The new machinery that
had been ordered for the old plant just prior to the
fire will be put into the new laboratories without delay.
The latter will not contain a single piece of wood other
than office furniture.
Lillian Russell Kinemacolored
Lillian Russell, who is a woman of brains and origi-
nality as well as the acknowledged "American Beauty"
of the age, devised a novel entertainment, which was dis-
closed for the first time in public at Orchestra Hall, Chi-
cago, February 24.
Miss Russell's articles on health and beauty culture
in the woman's pages of the press have brought so many
Lillian Russel (center), Her Sister, Mrs. Ross and Los Angeles Ladies
at Tea in Kinimacolor Studio.
requests from readers throughout the country who are
anxious to see the American Ninon de L'Enclos and hear
her viva voc,e dissertation on the art of preserving femi-
nine charms, that she consented to go on a tour of the
principal cities with her lecture, attractively entitled
"Flow to Live 100 Years." Accordingly she bethought
herself of an ingenious device to save the wear and tear
of changing costumes, and at the same time to illustrate
her methods of dress and physical culture, by a series
of moving pictures of herself, showing her daily regi-
me from morning chocolate until "Good night." Since
the ordinary monochrome films could only show these
processes in black-and-white, totally ignoring the mar-
velous complexion which is Miss Russell's peculiar
charm, as well as her tasteful color combinations of cos-
tume, in which she takes more personal pride, she made
a reciprocal contract with the Kinemacolor Company of
America that introduces a genuine novelty in the field of
instructive amusement. As soon as Miss Russell is
through with these pictures they will revert to the regu-
lar Kinemacolor service, and be shown all over the world.
During December Miss Russell and her retinue, in-
cluding her maid and little niece, spent two weeks at the
Kinemacolor studios at Hollywood, near Los Angeles.
The entire series of photographs was taken under per-
sonal direction of David Miles, chief director of the
Kinemacolor dramatic stock companies. The pictures
are not all interiors, and while the daily life of a famous
beauty is photographed against suitable scenic settings,
showing her boudoir, breakfast room, private gymna-
sium, drawing room and conservatory, probably the gem
of the collection is the moving scenes of nature's own
matchless setting, wherein Miss Russell, at the driving
wheel of her own motorcar, takes her little party for a
spin under the blue skies and amidst the semi-tropical
foliage of the American Rivera.
Miss Russell is so highly pleased with the results of
this pictorial experiment that she has signed a contract
to appear as Lady Teazle in the Kinemacolor produc-
tion of "The School for Scandal."
Kleine's Cines and Eclipse
George Kleine's releases for the week ending Feb-
ruary 22, consist of two excellent comedies and a pow-
erful drama, making up a well balanced program. For
the Tuesday Cines "The Conjurers" describes the ludi-
crous adventures of Mr. Stout and Mr. Thynne, who,
advertising themselves as slight-of-hand performers, at-
tempt to entertain a large and enthusiastic audience.
Stout poses as the wizard while Thynne, hidden under
the table, attends to most of the magic. The scheme
works well until Thynne, taking a fancy to a chicken
which is used in one of the tricks, quietly disappears
through the door with it. Of course, this starts a row
and it all ends in the two imposters being handed over
to the police. On the same reel is the "Views of Narni
and Lake Trasimeno."
For the Wednesday Eclipse "Getting Even" is a
unique story which should receive many laughs. It tells
•~>f two young people who attempt to play rather prac-
tical jokes upon each other, but both are found out and
although they are somewhat angry at first, everything
ends happily and their acquaintance begun in this way,
develops into a lasting friendship. "Snakes and Frogs"
is on the same reel.
"His Redemption" is the title of the Saturday Cines.
It tells of two young people who are engaged to be mar-
ried and are as happy as any pair of lovers can be, until
one day the young fellow learns that the brother of his
sweetheart is a thief. Greatly shocked, he relates what
he has heard to his fiancee and then insists upon break-
ing off the engagement. The girl is heart-broken, but
close surveillance of her brother's action convinces her of
fhe truth of the accusation and she resolves to reform
him. By a clever plan, she accomplishes her object, but
he is heart-broken at the exposure of his true character
and leaves the town. Later, however, he is discovered
by friends and after making full confession of his crime,
promises to lead an honest life in the future. A com-
plete reconciliation is then effected and the old love is
restored.
Puts Snap Into Pictures
"Put snap into the picture," is the by-phrase of Jack
Richardson. And on his determined effort to carry that
out, he has built the reputation of being willing to "take
anything" in the way of a pounding or a fall or a bump, if
he gets the desired result.
Because the law of compensation always work out,
even with actors, Richardson's name has been clipped
to plain "Rich," to offset his nearly six feet of height.
Though it is hardly necessary to say it, Richardson is
the character man with the "Flying A" company (Ameri-
can Film) at Santa Barbara. When asked what kind of
February 15, 1913.
MOTOGRAPHY
137
a part he fancied most, he answered : "Give me the heavi-
est 'heavies' ; the tougher the better."
A few days ago "Rich" had a chance to prove his
assertion in a very realistic and not altogether pleasant
or safe manner. He was to be thrown off a cliff in one
of the scenes of the picture, and cowboys were to be
below to catch him. By some misunderstanding there
was a miscalculation in time. They missed the point
where was to land about 200 feet. He went over and
down the cliff, hitting the bottom with a thud. The
directors and members of the company expected "Rich"
to have an awful grouch, if he wasn't dead when they
picked him up. But he took the incident as a part of the
game, only fretting as to the effect the mishap might
have in the taking of the picture. As soon as he learned
that the camera man had been grinding away, regard-
less, and that the picture would be much more exciting
than it could otherwise, he laughed.
Richardson is a New Yorker ; has brown hair and
blue eyes and is a Culver Military Academy graduate. He
gets a chance to be the mean man in "The Animal With-
in," "Blackened Hills," "The Last Notch," "The Pois-
oned Flume" and "Parting- Trails."
Sculptor's Masterpiece Inspired By Film.
A masterpiece of sculptoring at present on exhibition
at the Art Institute of Chicago, is the latest, and one of
the best efforts of the famous Italian sculptor , Carlo
Romanelli. "Diamond-S Ranch" is a piece in bronze,
showing a -typical American cowpuncher in the act of
leaping from the saddle of his speeding cow-pony to the
back of a flying Texas "longhorn."
Sometime ago Romanelli began looking about for
some suitable subject which could be his inspiration for
Romanelli's Bronze, "Diamond S Ranch."
this year's entry in the institute prize exhibit. One day
while watching a private advance exhibition in the pro-
jecting vaults of the Selig company, Romanelli became
much impressed with a certain scene shown in "The Cow-
boy Millionaire." He secured strips of film showing
scenes which he desired to work from. After viewing
these particular scenes several times, Romanelli returned
to his studio, which is located in close proximity to the
Chicago stock yards. Here he spent eight weeks in mod-
eling his group. It was then done in bronze and sent
to the institute. Romanelli, it is said, will present the
work to W. N. Selig when the exhibition closes.
"Mr. Selig's pictures gave me all the idea I ever had
for that group," explained Romanelli. "I was never on
an American ranch in my life; I have never seen a cow-
boy ; I have never seen a steer, except in the stockyards
of Chicago."
Organization of the Vanoscope Company
The organization of the Vanoscope Company, with
large offices, laboratories and projection rooms in the
Manhattan building, Chicago, has recently been com-
pleted.
The company has taken over the patents of L. C.
Van Riper on the Vanoscope moving-picture projecting
machine. The machine has no shutter, and projects
pictures without flicker at any rate of speed the operator
may desire.
The men behind this organization are well known in
Chicago manufacturing, industrial and financial circles :
William J. Robinson, founder of the United States
Linen Company.
H. S. Wilcox, treasurer and general manager Troy
Laundry Machinery Company.
Elmer G. Case, president Case & Martin.
W. H. Munson, vice-president Melechrino Cigarette
Company ; vice-president Tobacco Products Company,
New York.
Count Oscar Bopp von Oberstadt, vice-president
Peter Schoenhoffen Brewing Company.
J. K. Dering, president J. K. Dering Coal Company.
George B. Shaw, Shaw Lumber Company; Buda
Company, Railway Supplies.
James White, president James White Paper Com-
pany.
E. J. Warren, manager National Aniline and Chem-
ical Company.
Louis C. Van Riper, inventor and patent attorney,
and many others.
The Children's Theater and Ben Greet
Educational color-films are one of the most impor-
tant features of the entertainment offered at the new
Children's Theater a-top of the Century Theater, New
York, and the lecturer who explains these films to the
children is no less a personage than Ben Greet, best
known to Americans as the producer of "Everyman" and
of "Outdoor" Shakespeare.
As is natural, the films chosen by the Kinemacolor
Company for exhibition are those especially interesting to
children and embrace many nature studies. In lecturing
on these Mr. Greet is particularly happy for it was his
love for nature which led him to present "As You Like
It" in woodland scenes such as Shakespeare must have
had in mind when he wrote of Rosalind and made her
immortal.
Universal Players Mis-Named
Three Universal players fared rather badly in the
make-up of the February 1 Motography. It was Jean
Acker of the Imp whose picture adorned the cover, not
Jean Fearnley as the caption tried to claim; and in the
Gallery on page 79 the pictures of Violet Horner and
Edith Haldeman were neatly transposed, as a reading
of the text reveals.
138
MOTOGRAPHY
Vol. IX, No. 4.
Praise For Itala Features
The following letter praising the "Palace of Flame"
feature was received by the Itala Film Company of
America from a pleased exhibitor :
I received the picture last Friday night and it is certainly a
masterpiece in every detail and by the looks of things in a week
or so might need another print. Have it booked for five runs
so far, starting Thursday night next at the highest price ever
paid here for a picture. Showed it Friday night to a lot of ex-
hibitors and there wasn't a knocker in the bunch. At the finish
applause from all.
Now please wire me upon receipt of this letter at my expense
ycur decision as to letting me have your next feature, "The Great
Aerial Disaster" ; am prepared to buy it and wish you would send
me full particulars, etc.
I received the posters from Goes Litho. Company this a. m.
and take it from me they are some work and really artistic. By
the looks of things at present the exhibitors seem somewhat
anxious to use the picture, only judging it from the paper.
This speaks well for the products of the manufac-
turer and we are glad to give space to a recommenda-
tion of this character knowing that there are all kinds
and all sorts of feature films being sold and an exhibitor
sometimes doesn't know just what value to place on the
representative's word at the time he is trying to make
a sale.
Thanh ouser's California Activities
Since the company that was operating in the Middle
West has been added to the Thanhouser force at the Los
Angeles studio, three pictures a week have been the out-
put there. This result, under the long California sun,
has been obtained with such ease that it is doubtful if
any effort will be made at all to produce pictures in New
Rochelle next winter, notwithstanding that by that time
the immense new Thanhouser eastern studio will be run-
ning. Mr. Hite feels it is wiser to work in New Ro-
chelle only in the warm months. Of course, the factory
work will be handled there the year around. Director
Henderson's Los Angeles company is headed by Flo La
Badie, Jean Darnell, William Garwood, William Russell,
Fred Vroom and Riley Chamberlin. Director HefFron's
leading Los Angeles Thanhouserites are Marguerite
Snow, James Cruze, Victory Bateman and Ann Drew.
Harry Spear, who was manager of the eastern studio
at New Rochelle, holds the same position at the Los
Angeles establishment.
Benefit for Fire Sufferers
At a benefit given in New Rochelle for Thanhouser
employees who had suffered severe losses in the recent
fire, John Bunny, the Vitagraph star, headlined. Other
players secured by Bert Adler for the program were
Pearl White of the Crystal, and Gertrude Robinson of
the Reliance, assisted by Elsie Balfour and Walter Rob-
inson. Harry Benham and Mignon Anderson in a piano-
logue ; David Thompson in a monologue ; Demetrio
Mitsoratz in operatic selections ; and the Kid and Kidlet
in a "sister act," were the Thanhouser contributions.
Players from almost every studio in Greater New York
were in the audience and a tidy sum was realized for the
fire sufferers.
"The Better Way," The First Ramo
As its first release, the Directors Film Corporation
will send forth the drama, "The Better Way." February
19 is the date of its sending, and in the play we find
Mary, disgusted and discouraged at the life of unhappi-
ness she is living with Jack Denver, her husband, who
has been drinking heavily of late. At this opportune
or rather inopportune moment, Tom Horton casually re-
news Mary's acquaintance. Horton had been Mary's
girlish ideal previous to his departure to South America
and her marriage to Jack. Mary, in this frame of mind,
is ready to listen to Horton's promises of happiness with
him and is willing to take this radical step.
Pauline, her little girl, seeing her mother packing
up, and concluding they are going visiting, packs her lit-
tle satchel and waits in the parlor until her mother ap-
pears preparatory to leaving with Horton. The sight of
the child brings Mary to her senses and the elopement
is abandoned. Jack learns the truth and makes an ear-
nest manly promise to reform.
Showings for Feature Film Buyers
The Film Supply Company of America inaugurated
the first of its regular monthly exhibitions for feature
film buyers and exchange men on Friday and Saturday,
February 7 and 8. The plan of exhibition proved to be
a tremendous success and of mutual profit and advantage
to every one concerned. The projection room of the
company, on the premises, was turned over for the two
days to prospective purchasers, and as a feature was
shown, it was announced what territory still remained
open. The result was that buying resembled the days
of horse trading. It was a veritable "film mart."
The popularity of the new departure was proved
beyond a doubt by the attendance and enthusiasm dem-
onstrated, and it is very probable that in the near future
the Film Supply Company will find it necessary to in-
crease the days for exhibitions to at least once a week.
Punch Changes Its Policy
Beginning with the release of Thursday, March 6r
the Punch Company will desert the field of slap-stick
comedy and produce nothing but high class comedy
drama. The demand for refined comedy with a real
plot and an interesting story is greater than ever and
seems to be growing continually. For this reason the
Punch Company will bend all its efforts to helping to
fill this demand, and the last release under its present
form of production will be on Thursday, February 27,
when "Bobby's Bum Bomb" and "Tracked To Florida,"
which have already been announced, will appear accord-
ing to schedule.
J. V. Ritchey, general manager of the Carlton Mo-
tion Picture Laboratories, is now in Jacksonville, Fla.r
personally superintending the change in the nature of the
Punch releases.
Pictures at Electric Club Meeting
The Electric Club of Chicago held one of the largest
meetings of its history Thursday noon, January 16, in
the banquet hall of the Sherman House. After the busi-
ness of the day was transacted in the report of the nomi-
nating committee of officers for the ensuing year, Charles
E. Nixon, of the Selig Polyscope Company, made an
address on "The History and Current Condition of the
Moving-Picture Industry." The discourse was illus-
trated with the great Selig films, "The Coming of Colum-
bus" and "The Count of Monte Cristo." The club, by a
rising vote, extended its thanks to W. N. Selig, president
of the Selig Company, to be conveyed by the speaker of
the day. The electrical experts were particularly inter-
ested in the lighting of the pictures in the process of
making, and the application of electricity in various other
devices associated with moving pictures.
February 15, 1913.
MOTOGRAPHY
139
Brevities of the Business
PERSONAL XOTES.
C. Lang Cobb, Jr., paid a visit to Motographv's office last
week. He has launched upon a hurry up trip through the United
States, his mission being to create a market for the new "Ramo"
film which will come in first class dramas and split reel comedies
and had its first release February 12, through the Film Supply
■Company. Mr. Cobb will be a busy man for the next sometime
and if fortune smiles upon his across-the-states trip will have
absolute charge of the sales, advertising and publicity ends of the
new film company. Best wishes, C. Lang !
Frederick Tillisch, who recently made such successful tours
of the United States and Canada as expert advertiser and ex-
hibitor of the Goodrich tires, and who also represented the
Goodrich company in London at the time of his demise, died sud-
denly on January 23. Mr. Tillisch was also representing "The
Five Continents" Exchange and Sales Company. A cablegram
received by Ernest Shipman, manager of the Los Angeles branch
of the Five Continents, told of his death. Mrs. Tillisch has
made no announcement of her future plans. Her many friends
throughout the country extend their sympathy to her in her be-
reavement. Mrs. Tillisch — Eva Stirling — is known throughout
the West as a progressive business woman and was at one time
advance agent for Florence Roberts.
Mrs. Toomey, wife of W. C. Toomey, vice-president of the
Mutual Film Corporation, after a few weeks' illness resulting
from ptomaine poisoning, died January 19 at her home in Wee-
hawken, N. J. Funeral services were held from St. Augustine's
Roman Catholic church and the remains placed in a vault, later
to be interred in St. Paul, Minn. Mrs. Toomey attained consid-
erable notice for her mastery of the organ. After studying in
the city of her girlhood. St. Paul, she went to Berlin, where her
instructor was Moskowski. She played the large organs at the
■expositions in Buffalo, Chicago and St. Louis and was the com-
poser of a number of songs. On her return from Berlin she
was organist at St. Paul and her playing received frequent
praise from Archbishop Ireland. Mrs. Toomey's maiden name
was Gertrude San Souci. She leaves one child, Mary Ruth, who
is not yet three years old.
Miss Marguerite Snow, James Cruze. Miss Victory Bateman
and Thomas A. Heffron have deserted New York for the Pacific
coast and one of the Thanhouser companies working in Cali-
fornia.
E. E. Randolph, who was a scenario writer at the Universal
western ranch, has gone to the Hawaiian Islands to assume charge
of the Universal company there.
H. H. McArthur, who was formerly manager of the General
Film Company's branch in St. John, Can., has resigned the posi-
tion and accepted the position of manager for the Kinetograph
Company's branch, which will open in that city soon.
E. Wales, formerly with the Kleine Optical Company, Mon-
treal, will assume charge of the General Film Company's branch.
E. Phillips Oppenheim. the novelist will write scenarios for
the Universal Film Company.
Montgomery and Stone and Miss Elsie Janis, with the mem-
bers of the company presenting "The Lady of the Slipper," were
guests of the Kinemacolor Company of America at the matinee
exhibition of "The Making of the Panama Canal" and "Actual
Scenes of the Balkan War" at the Carnegie Lyceum, New York,
February 4. Fred Stone, who has made some moving pictures
himself, is an enthusiast on the subject and selected a front row
seat so that he could study the pictures better. Once each week
some company playing in New York will be guests at the Tues-
day matinee exhibition of these pictures, which have continued
to draw big houses at the Carnegie Lyceum for the past seven
weeks and are on for a run which promises to extend many
months.
L. Geleng is directing the fortunes of photographic details
of the Eclair company for the Mutual Weekly.
J. L. Kempner will have charge of the opening of the Boston
office for the Kinemacolor company. He but recently returned
to New York from Cincinnati, where he attended there to the
opening of a company office.
Claude Patin has been transferred from the assistant man-
agership of the Paris office of the Gaumont company to that of
Flushing where his charge is foreign affairs.
J. P. McDonald, the Lhiiversal Film Company's purchasing-
agent, on his joining the ranks of the benedicts, recently was
presented with a beautiful cut glass service bv the Universal
staff.
Edward M. Roskam has resigned as manager of the World's
Best Film Company in order to devote his entire attention to the
progress of the Commercial Motion Picture Companv, lnc of
v.nich he is president.
\ ictor B. Johnson, of much experience in the newspaper
line, has been placed in charge of the advertising end of War-
ner s Features.
c ,.TotIn1Carriga» has returned to the Chicago studios of the
Selig Polyscope Company and will shortly be seen in a series
of pictures well adapted to his talents. Carrigan was formerly
a popular member of Selig's Chicago and Colorado companies
and will be best remembered for his creditable acting in the role
oi Prince Charming in "Cinderella," the three-reel feature which
the behg company released last winter.
- DLaUjette, Ta-vlor wil1 P°se for motion pictures of "The Bird
oi Paradise. Miss Taylor will go to Honolulu that the pictures
may have for a background the natural scenerv of Hawaii the
locale of the play.
Gilson Willetts, the author, will write scenarios exclusively
for the Sehg company. Mr. Willets is a famous novelist war
correspondent, traveler, playwright, special magazine writer and
scenario author. He is the writer of over fifty popular novels
and fully as many successful plays.
Gilbert Clayton, for many years well known as a stage
director, has been engaged by the Kinemacolor Companv of
America to stage some of the natural color fashion films which
are becoming such a feature of the Kinemacolor service Mr
Clayton was stage manager for James T. Powers in "Two Little
uncles, which closed just recently.
Frederick Villiers, the noted' war correspondent, who is in
charge of five Kinemacolor camera men in the Balkans has
never believed that peace would come of the recent negotiations
As a consequence of Mr. Villiers' reports he was ordered to keep
his men in the field at the points where his wide knowledge of
war reporting led him to think hostilities were most likely to
break out and by this foresight the Kinemacolor company is
assured of a continuous supply of new reels from the war zone
winch will go into service as soon as received in \merica \nd
as another consequence, the Kinemacolor pictures will provide
a complete history of this war from the first mobilization of the
allies troops to the seemingly inevitable retirement of the Turk
tiom Constantinople and his last foothold on European soil,
c nNelln ShiPman' Photoplaywright, has been engaged by the
Stellar Moving Picture Company to dramatize "The Bishop's
Candlesticks played by James K. Hackett with great success
throughout America. Mr. Hackett and his select company will
enact this dramatic success before the camera at the end of his
present theatrical tour and the Stellar company will exploit it
extensively throughout this country and abroad as one of the
big Stellar features of the future. Contracts have been entered
into with other players of note for the filming of their most
pronounced stage successes. These will be manufactured by the
Stellar company at their California studios and exploited from
time to time as special attractions in all parts of the world.
Mrs. Lawrence Marston, wife of the eminent stage director
now with Thanhouser. is appearing in those films after an ab-
sence of twelve years from the world of amusement. Mrs. Mars-
ton feels that the motion picture stage offers the married pro-
fessional woman the solution of the problem of how-to-act-and-
still-be-a-wife. She says: "You cannot travel and bring up
children. In my dozen years of retirement I had numbers of
chances at parts in legitimate pieces that Mr. Marston produced,
but sooner or later they meant traveling. That is the mother's
bugaboo that the motion picture studio has scared away. You
cannot take the babies along with you and give them" proper
care and you do not like the idea of leaving them at home in the
hands of others for even a short time. And often the road is a
matter of a long time. But when Mr. Marston went into motion
picture work and offered me a chance in it I accepted gladly, for
ii interferes with my other duties not one whit." Mrs. Marston
made her picture debut in "Good Morning, Judge." a comedy
released Sunday, February 9, in which she was directed by her
husband.
George F. Koegel. general manager of the George Wiedeman
Brewing Company of Newport. Ky., has been spending several
days in Chicago going over an industrial film which was made
for him by the Essanay Film Company. Mr. Koegel is very
enthusiastic over the possibilities of industrial film advertising
and was very highly pleased with the results of the film when
he saw its first production on the screen.
Miss Mabel Normand of the Keystone company was chosen
140
MOTOGRAPHY
Vol. IX, No. 4.
by popular vote to lead the grand march at the photoplayers'
ball held February 14 at the Shrine auditorium in Los Angeles.
Her partner was Fred Mace. The popularity vote was taken at
a recent meeting of the club.
Lincoln J. Carter has gone to Universal City to produce
versions of his celebrated play, the rights of which he has sold
to the LTniversal. These include "The Flying Arrow," "The
Heart of Chicago/' "The Indian Secret," "Down Mobile" and
"The Eleventh Hour," as well as others. Mr. Carter is much
impressed with Universal City. "You have a magnificent place
here," he said. "There is but little one could not produce here
with such scenery and with such wonderful variety."
Gene Gauntier will be seen by her many admirers in the
first film to be produced by her own company and which is to be
released in the week of February 24. Miss Gauntier is noted
as one of the greatest of film players. It was on her return from
the 30,000-mile trip to the holy land, where she starred in many
productions, notably that of "From the Manger to the Cross,"
that she organized a company of her own. The curiosity of the
film world awaits Miss Gauntier's debut as a star in her own
productions. "A Daughter of the Confederacy," a three-reel
feature, to be handled by the Warner's Feature Film Company,
v/ill be the first Gauntier release.
Charles Bartlett, Director Montgomery's leading man at the
Universal camp, is recovering from the effects of being shot
in the eye. For a time it looked as though he might be seriously
injured, but he is well on the road to complete recovery.
Ray Myers is now playing leads with Francis Ford at the
Universal City. He has been with the Bison for one and one-
half years now, playing juveniles. He played heavies for the
Kalem for a similar period.
Dorothy Phillips was amply rewarded by ner purchase last
week of fifty cents' worth of oysters. The charming leading lady
of the Essanay company was entertaining two of the members
of the stock company at her hotel. When the oysters were served
Miss Phillips discovered a pearl in one of them, valued at — the
jewelers say — $45. Lucky Miss Phillips!
Beverly Bayne of the Essanay eastern stock company has
gone to Minneapolis, her home city, for a two weeks' vacation
and it is rumored . Previous to her going she acted as one
ol the ushers at the fete de charite given in Orchestra hall, under
the auspices of the Mothers' Relief Association, and was called
upon to recite her latest composition entitled "All for a Man."
Will J. Davis, manager of the Illinois theater, was banqueted
by Chicago theatrical managers last Thursday evening. Previous
to the event the Essanay Film Manufacturing Company made
motion pictures of Mr. Davis and a few of his esteemed friends.
At the banquet the pictures were thrown on the screen and were
a great pleasure and surprise to the attending guests. George
K. Spoor and Theodore Wharton attended. The affair was one
of great enjoyment.
Dolores Cassinelli, the fair and clever "Cassey" of the
Essanay Film Manufacturing Company, received eight proposals
within the last week. A German baron wrote that he was so
smitten with her that he would leave on the first steamer after
the arrival of her letter requesting him to come on. Then_ there
was one from a plumber. He promised Miss Cassinelli if she
should accept him he would quit hitting the pipe and also stop
sleeping under the bath tub, making sixty cents an hour. Miss
Cassinelli emphatically says "that she will have no plumbers or
barons. There is a reason."
F. C. Aiken, special representative of the General Film Com-
pany, 19 South Wabash avenue, Chicago, has been a prominent
visitor in New Orleans. Mr. Aiken was in the city for an in-
spection of the film exchange and to look into the condition of
the moving-picture game in general in that part of the country.
Miss Hauffman, private secretary to George K. Spoor, presi-
dent of the Essanay company, is the authoress of a film story
brim full of comedy. It is entitled "Don't Lie to Your Hus-
band," and is making a hit with picture house patrons. Its re-
lease date was February 6.
Mrs. Nehls, wife of R. R. Nehls of the American Film
Company, suffered a number of injuries recently when she was
struck by an automobile. She is now well on the road to re-
covery.
ROLL OF THE STATES.
ALABAMA.
The Gadsden Amustment Company of Gadsden has incorpo-
rated with a capital stock of $5,000 with the object of conducting
a motion picture house on lower Broad street to encourage trade
in that section. W. P. Marshall is president.
The city of Birmingham and the Birmingham Railway, Light
and Power Company are rivals for the electric patronage of a
negro moving picture show at North Birmingham. And the price
cutting of the utility corporation forced the commissioners to
reduce the cost of electric current to the negro theater to the
munificent sum of 6 cents per kilowatt hour.
ARKANSAS.
Frank Saunders, who has conducted the Arcade moving
picture theater at Arkadelphia for the past two years, has sold
it to Gabe Pratt of Little Rock.
The three small old buildings on Madison street just east
of the postoffice block at Clarendon have been torn down by
Bateman & Co., the proprietors of the Electric motion picture
theater, and they will at once begin the erection of a building
specially adapted to the needs of a modern moving picture thea-
ter. They have discontinued their show until the new building
is completed, so that the New Majestic, which was built a few
months ago by R. O. Perry, the pioneer picture theater man in
the city, has the exclusive patronage for the present.
CALIFORNIA.
La Jolla's first theater in the Sheppard block, being com-
pleted at Girard and Wall streets, was recently opened by Hans-
biough Bros., who have taken a lease on the auditorium. New
reels of moving pictures, were shown and the house was well
patronized. Two shows will be given nightly and the program
will be changed Mondays, Wednesdays and Fridays. It will be
known as the Orient theater.
Plans are being completed by Architect F. L. Stiff for a
moving picture theater building, 50x128 feet, to be erected on
Pico street near Mariposa street, Los Angeles, for John Rams-
dell. It will have an auditorium seating 700 and two small stores.
Estimates are being taken by Architect A. Lawrence Valk
for the erection of a moving picture theater building on the
north side of Washington street near Cherry street, Los Angeles,
for the Baer Realty Company. The building will be 50x150 feet
and will contain a theater auditorium with a seating capacity of
762, two storerooms, each 14x29 feet in size, and several office
rooms.
At Sacramento the proprietor of a moving picture show of
any kind can be punished for a misdemeanor if he violates the
provisions of a bill introduced by Senator Strobridge. It pro-
vides that no nude figures or immoral pictures are to be depicted
and that no film can be run off showing a murder, robbery, prize
fight or boxing contest. The bill provides that children under
16 years of age unaccompanied by their parents are not to be
allowed in moving picture shows after 8 o'clock at night in the
winter and 9 in the summer.
CONNECTICUT.
The William Fox Vaudeville Company of New York will
erect a motion picture theater at New Britain. M. D. Farber
of Hartford and Louis Edelson of this city on West Main street
will lease same.
DELAWARE.
The Du Pont Powder Company will erect a new theater
building in Wilmington at the corner of Eleventh and Orange
streets.
J. A. Bader & Co. of Wilmington have been awarded the
contract to build the new moving picture theater at the corner
ot Broadway and Newton avenue, Camden, N. J., for William
and Charles Topkis of this city. The building will be unique
and very attractive. While built along some of the lines of the
Majestic theater in this city, it is quite different in most respects,
as the plot is a triangle, while the one here is rectangular.
FLORIDA.
A fire destroyed the McKissack's motion picture theater at
Carabelle. Loss, $4,000.
IDAHO.
Middleton people now have an opportunity to attend a mov-
ing picture show without going to some other town, arrange-
ments having been made by the management of the Bungalow
theater at Caldwell to use the I. O. O. F. hall for a moving
picture show Tuesday night of each week.
Meridian has a second moving picture show. The new thea-
ter occupies the room formerly known as the Home theater.
ILLINOIS.
Fred Lynn and Ray Walters are successors to George Davi-
son as managers of the opera house at Bushnell. The new man-
agement expects to continue the moving picture show with other
attractions. Both members of the new firm are Bushnell young
men and their success is very probable.
L. A. Miller, who has been manager of the opera house at
Waverly for the past several months, has moved to Quincy,
where he has purchased a moving picture theater and Thomas
H. Crain, owner of the local house, has resumed the manage-
ment.
J. C. Ma)r, who has been operating the moving picture thea-
ter at Franklin, has sold his business to A. G Rawlings and
February 15, 1913.
MOTOGRAPHY
141
Albert Younker, who will continue to operate it in the same
building.
A new moving picture theater will be opened at 806 Davis
street, Evanston, in the building recently purchased by Ullrich
Bros. John Bodkin will be proprietor.
Four playhouses will be located in Aurora in the thorough-
fare between Broadway and River street within a few months.
They will be located at Fox and Water streets in the Sherer
building and a new building to be erected next to the Frazier
block at River street and Downer place. The theater at Fox and
Water streets will be owned by W. H. Marple.
I. Burnstine and Joseph Shepard, proprietors of Capital
theater in East Washington street, Springfield, will establish
a new feature picture theater at 111 Sixth street.
The new picture show on the west side of the square at
Roadhouse has opened under the management of F. T. Mclver.
Everything is new and attractive and only pictures not thirty
days old are to be shown. Feature reels will be frequent and
a; many as four shown some nights. No vaudeville, only the
best class of pictures. The admission is 5 and 10 cents.
Work has been begun on the Egermann building at Fox
and Water streets, Aurora, preparatory to remodeling it for the
motion picture theater which is to occupy the structure.
Mutual Film Corporation of Illinois, Chicago, $5,000; motion
picture machinery, etc. ; Samuel C. Ward, Fred C. Churchill,
Percy H. Dunkin.
Micky Young will soon open a moving picture show in the
Hassler building at Arlington.
Mr. Moran, who has run a moving picture show in the A.
Brown building in Lockport street, Plainfield, for the last two
years, has rented the opera house and will show pictures there.
INDIANA.
Plans are being prepared for the erection of the new Hippo-
drome theater building at Seventh and Ohio streets, Terre Haute.
The audience at the Sambo moving picture theater at Shel-
burn was thrown into a panic when a film caught fire. The
operator threw the burning film into the street. The film was
destroyed.
William Thomas has opened an attractive moving picture
theater in the Thomas building at Knightsville.
Negotiations for the lease of the Sourwine theater at Brazil
were closed by Dr. Sourwine when he accepted the offer of
Dickson borthers for the control of the theater on a long time
lease. Dickson brothers are owners of the Princess moving
picture theater here anad have moving picture theaters in many
other cities. They have also just taken a lease on the opera
house at Wabash, Ind., and expect to secure a string of first
class houses. Moving picture programs will be given at the
Sourwine theater between the regular bookings.
The quick action of the proprietors of the Columbia motion
picture theater, 524 Indiana avenue, Indianapolis, it is believed,
prevented a panic when the theater caught fire recently. Im-
pressed by the calmness of the men, the spectators who were in
the theater when the fire was discovered walked out without
disorder while the flames were enveloping the entire front of the
building. The theater was crowded, when a film caught fire
suddenly. It is supposed that the operator stopped the film or
ran it too slowly and the heat set fire to it. The blaze was
extinguished finally by the fire department. The loss will exceed
$1,000. Four films, ranging in value from $100 to $200, and
two machines, valued at $175 each, were destroyed.
IOWA.
W. H. Ward of Ryan, owner of the Snodgrass Clothing
Company block at Manchester, closed a deal with Kuaach &
Son for a moving picture show to be located in the Snodgrass
company basement room. The basement has been remodeled
and has hardwood floors with steel ceiling and frescoed sides
and clusters of electric lights throughout the building, making
this room one of the finest and best located in Manchester.
Fred Brower, editor of the Bridgewater Times at Bridge-
water, has started a moving picture show in that town.
Both moving picture theaters at Lansing have changed hands.
The new proprietor is Will Ruprecht, and it is understood that
the Princess and Midland will be consolidated in one large enter-
tainment house. Both places have proven paying investments
and the public will doubtless give the new venture their patron-
age in the future just as in the past.
KANSAS.
The Colonial theater, located in Henry Schnitzler's old build-
ing at Wichita, first block on North Market street, has been
taken over by Don Powell, who has had a jewelry store at 248
North Main street. He has leased the theater from A. P.
Mackey of Denver, Colo., and is disposing of his jewelry store
to give all his attention to the moving picture business. He
intends to make the Colonial one of the leading picture houses
in the city. Mr. Powell has changed the film service and here-
after will show films from the biggest film exchange in the
world.
It is said that two theaters will be built at Bartlesville this
year, each costing about $10,000. W. G. Weaver will build one
south of new Adams Hotel and R. S. Bradley the other, north
of city hall.
Andrew Savage of Wichita paid cash and trade some Wich-
ita property to Ralph T. Owen for a moving picture show in
Eldorado. Recently he caused the arrest of Owen on a charge
of obtaining money under false pretenses. He alleges that Owen
represented that the Eldorado property was unincumbered, when
there were several mortgages and liens against it.
A new theater has opened in Leavenworth. It is one of
the finest devoted exclusively to motion pictures in the city, and
one of the finest in the state. Its name is the Hippodrome, its
location is in Delaware street between Fifth and Sixth streets,
just opposite the old Peoples theater, and its manager is Mr.
Strider, who is thoroughly familiar with the amusement business
and has confidence in his undertaking in this city.
LOUISIANA.
Louisiana Amusement & Realty Company has awarded the
contract to J. C. Petty, New Orleans. La., to erect a moving pic-
ture theater at Baton Rouge.
John Everhart, proprietor of a moving picture show at 1305
Magnolia street, New Orleans, will have to answer to a charge
of violating the lottery laws in court because he offered a prize
to patrons of his house holding a lucky number. The following
morning he was arrested.
MICHIGAN.
The burning of 500 reels of moving picture films in Viles'
Film Exchange in the Meffhing building, Hampton, in which
the exchange was located, was wrecked and the interior of the
building was gutted by fire, causing a $3,500 loss. The films
ignited by being too near an overheated stove. The losses are
only partially insured.
Frank Louzon, proprietor of a moving picture theater at
1186 Chene street, Detroit, reports that the place was entered
recently and a moving picture machine and equipment valued
at $135 was stolen.
Brown and Millar, proprietors of the Sparta Opera House,
will soon install a motion picture show in their playhouse.
Hillsdale has long needed a new up-to-date opera house and
now comes the announcement that the old opera house will be
closed to the public. A movement has been started toward a
new building. The Hillsdale Lumber and Coal Company has
offered the lumber and such other material at cost, and the
firm of R. J. Corlett & Sons offer brick, tile, cut stone, roofing
and plaster, lime and cement at cost.
Manton is to have a motion picture show, under the clean
up-to-date management of Messrs. Houghtby and McCornelli
who come with the highest recommends from the business men
in the town in which they have shown.
The new theater which Edward Bergen has been having
erected in Coloma, replacing the one destroyed by fire No-
vember 25, is completed and Mr. Bergen went to Chicago to
buy the necessary furnishings. The new building is much finer
and larger than the former one and undoubtedly will be liber-
ally patronized. It will seat 440 people.
MINNESOTA.
J. E. Reid has sold the Bijou Theater equipment to A. S.
Parmele of Dodge Center and it will be moved to that place
Mr. Reid will rent the building.
A. Labovitch, a member of the Modern Woodmen of Amer-
ica, will start a moving picture business on Selby avenue St
Paul, near the T. J. Hill school.
A brick, tile and concrete theater building will be erected
by the American Realty Company at 51 West Lake street Min-
neapolis. Cost, $8,000.
A $45 000 theater will be erected at 321 Central avenue,
Duluth. C. F. Beier, manager of the Colonial Theater Com-
pany, is manager of new organization.
Following a varied career as an old-fashioned dime museum
variety show and motion picture theater, a theater at 212 Hen-
nepin avenue, Minneapolis, was closed by order of Mayor Wal-
lace G. Nye for the non-payment of the license fee. Though
'he theater was closed, Robert C. White who says he is the pres-
ent proprietor, declared that he had a license and had had it
for two weeks He declared the police had no right to close his
mace, ibe police said the license he relied on was a museum
license and not a motion picture license.
MISSISSIPPI.
S. T. Stephens, owner of the Bijou Theater and the Air
Dome at Biloxi has sold his interests to C. B. King and
Brother of Mobile, who will continue to operate it as a hi^h-
class moving picture and vaudeville house
142
MOTOGRAPHY
Vol. IX, No. 4.
MISSOURI.
E. W. Johnson has sold his moving picture business at
Burlington Junction to Frank Dutton, who has taken possession.
KEBRASKA.
Ralph Kitchen has leased to Sam Adler the building at 1415
Farnam street, Omaha, for a moving picture theater.
W. K. Graves has the contract of converting the Union Hall
at Havelock into a moving picture show.
NEW YORK.
Walter Rosenberg has leased from Frank McKee and Wil-
liam Harris the Park Theater at Fifty-ninth street and Colum-
bus Circle, New York. The lease is for one year with an option
of eight years, at a rental of $35,000 per year, and taxes and
insurance totaling $48,000 per year. Photo-plays will be pre-
sented, with a symphony orchestra.
Far Rockaway, L. I., is to have another theater by next
summer, capitalists having had plans prepared for a theater to
be built at the corner of Cornaga avenue and James street, with
an entrance on Central avenue. The building will be of brick,
concrete and steel construction, and will have a seating capacity
of 1,200. Work on the same is to be commenced within a short
time.
International Industrial & Educational Film Company —
Manufacture and operate moving picture devices and machines.
Capital, $100,000. Delaware corporation.
Barrieco Film Company, Inc., Manhattan. — Manufacture
photo picture films, etc. Capital, $75,000. Incorporators, M. S.
Cohn, J. Barrymore, M. H. Hoffstadter, New York city.
The Cooley & West, Inc., office and store building at New
Rochelle, opposite the railroad station, has been leased to the
Thanhouser Film Company, which suffered a loss of $100,000 in
the New Rochelle fire of this week. It moved and took complete
possession of the building within less than twenty-four hours
after the fire.
Plans have been prepared for the erection of a theater build-
ing on site of old Brewster carriage factory, New York, for
Mitchell H. Mark Realty Corporation.
NORTH DAKOTA.
Plans for a new theater on the site of the old Masonic tem-
ple at Grand Forks have been made and a stock company may
be organized to erect a structure.
OHIO.
Architect Anthony Kunz is receiving estimates for the Bel-
videre motion picture house to be built on the east side of Belvi-
dere, north of Hatch, Mt. Adams, for Aloysium Schumaker.
Plans have been completed and contracts awarded to Felix
Heinrich for a new moving picture theater building to be
erected on East Seventy-ninth street, Cleveland, for Eugene
Propper. It is to be a one-story brick and steel building about
35 by 132 feet in dimensions, with a cement tile and maple floor,
electric fixtures, steam heat and a tar and gravel roof.
George Revelis of the Paradise confectionery store, is estab-
lishing a moving picture theater in Cambridge. He is from
Coshocton, Ohio.
OREGON.
The Film Theater at Toledo was dam
Ross, owner. Loss, $1,000.
PENNSYLVANIA.
A new theater will be erected at Kittanning, with John
Wick, Jr., of the Lyceum Theater, at the head of the proposi-
tion and other capital of both Kittanning and Pittsburg, in-
volved. The site for the new show house will be the property,
now occupied, fronting on Market street for a distance of
fifty-two feet and running back along McKean way to a depth
of one hundred and thirty feet. The seating capacity will be
1,400, and the cost $30,000. and the house will be opened Sep-
tember 1.
The property at 2243 North 30th street, Philadelphia, has
been sold to a syndicate which will build a moving picture theater
en the site.
A syndicate of investors will purchase dwellings, 1313
Girard avenue, corner Girard avenue and Watts street, Phila-
delphia, and will build a theater on the site.
The building at 1918 North Front street, Philadelphia, sold
to Aaron W. Musick, will be converted into a theater.
George Hogg is figuring on a one-story moving picture
house, 34 by 109 feet, on the east side of Broad street above
Louden, Philadelphia, for the Logan Amusement Company.
McCartney & Redmond were granted a permit for a one-
story fire-proof moving picture house, 62 by 133 feet, on the
east side of Richmond street, south of Clearfield, Philadelphia,
to cost $25,000.
The big moving picture house, Nos. 425-27 South street,
Philadelphia, on a lot 40 by 152 feet, was conveyed by the Model
Amusement Company to David Sablosky for a nominal consid-
by fire. J. H.
eration, subject to a $48,100 mortgage. The assessed value was
$70,000.
The Coatesville Y. M. C. A. has decided to purchase a mov-
ing picture machine and give shows twice weekly.
A moving picture theater will be built by a local syndicate
on the site, 2243-5-7 North Thirtieth street, Philadelphia, which
has been sold by Lipshutz & Wurzel, brokers. This lot is 55
by 110 feet. Another theater for the corner of Twenty-fifth
wnd Cambria streets has been planned by Anderson & Haupt,
architects.
Charles R. Miller of Upper Berne purchased the National
Moving Picture Theater from Bura Krammes, who has been
running the theater for the past few years very successfully.
Mr. Miller took possession of the theater a week ago.
Work will begin soon at the corner of Broad street and
Snyder avenue, Philadelphia, on a new theater. It will cost $125,-
000. Hopkins, Milgram & Gardner, owners.
SOUTH DAKOTA.
The Hammitt building at Aliester is now in course of
remodeling for a moving picture theater. Charles Hammitt
will have charge of same.
C. T. Smithers, proprietor and manager of the Idle Hour
moving picture house in Aberdeen, has taken the two front
offices on the second story of the building in which his theater
is located to use as more commodious quarters for his office.
The new offices make a much better location for the transac-
tion of the theater's business than the old quarters which were
in the small room in back of these new rooms.
TENNESSEE.
Arrangements preliminary to photographing the spring fes-
tival and Greek drama which will be staged on the lawn on
Centennial park at Nashville next May by the various social,
art, educational, commercial and civic organizations of Nash-
ville have been made by C. Mayer, representing the National
Moving Picture Manufacturing Company of Chicago. He stated
that he was much impressed with the undertaking which the
Nashville people have in view, and said that no city in this
country had ever attempted a festival of this sort which could
compare with this one in scope and beauty.
TEXAS.
The Princess Theater at Forth Worth was destroyed bv
fire. Loss, $12,000.
UTAH.
The "American" Theater has been chosen as the name
f-.r the new moving picture house being built in Main street,
Salt Lake City.
WISCONSIN.
G J. Doerry and wife of Mauston are making arrange-
ments with Ferdinand Schleiwert, the owner of the Lyric Thea-
ter at Beaver Dam, for the re-opening of the place as a motion
picture house.
The Appleton Theater has been leased by S. A. Rowe and
M. Hullhorst, who assume charge at once and will take prompt
steps to place the popular playhouse on a higher plane in the
world of amusements than it has before held. They will open
the house with moving pictures as soon as a complete and up-
to-date equipment can be secured.
It is reported that the store building at 29 Main street,
Oshkosh, formerly occupied by the F. Wille Hardware Com-
pany, is to be remodeled and used as a vaudeville and mov-
ing picture house. The estimated cost of the change, according
to the rumor, is approximately $6,000.
WEST VIRGINIA.
A new Motiograph moving picture machine will be in-
stalled at the Park Theater on Jefferson avenue. The machine
set ready for use has been on exhibition in the front window
of the theater for several days.
E. S. MacDonald. a former credit man for Spencer, Kel-
logg and Sons, and E. R. Powell, who previously had been in
the banking business in Buffalo, are new additions to the Kin-
emacolor staff. Their duty with the Kinemacolor company is
to originate improvements in the routine work of the company.
F. J. Flaherty, recently connected with the Majestic Film
Exchange in Chicago, has received the appointmnt of man-
ager of the newest exchange conducted by the Mutual Film
Corporation, and which is known by that name. The offices are
in the Harris Trust' building.
Mr. and Mrs. Herbert Brenon were host and hostess to
sixteen guests at a theater party and supper just recently. The
occasion was the anniversary of Mr. Brenon's connection with
Imp films and the guests comprised Mr. and Mrs. Carl Laemmle,
Mr. and Mrs. James Kirkwood, Mr. and Mrs. King Baggot, Julius
Stern, Frank Smith, Miss Jean Acker, William Robert Daly,
Mrs. Frances Brenon, John Daly Murphy, Miss Violet Horner
and Miss Lillian Greenberg.
February 15, 1913.
MOTOGRAPHY
143
Complete Record of Current Films
Believing the classification of film pictures by the nature of their subjects to be of greater importance to the exhibitor than classification by maker,
Motography has adopted this style in listing current films. Exhibitors are urged to make use of this convenient tabulation in making up their programs.
Films will be listed as long in advance of their release dates as possible. Film manufacturers are requested to send us their bulletins as early as possible.
Reasonable care is used, and the publishers cannot be responsible for errors. Synopses of current films are not printed in Motography as they may be
obtained of the manufacturers.
LICENSED
DRAMA.
Date. Title Maker. Length.
1-21 Who is the Savage Lubin 1,000
1-22 The Sheriff's Child Essanay 1,000
1-22 The Boomerang Kalem 1,000
1-22 The Unfilled Oath Pathe
1-22 A Blackhand Elopement Selig 1,000
1-28 The Tender Hearted Boy Biograph
1-23 The Old Oaken Bucket Luoin 1,000
1-23 A Ballad of the South Seas Melies 1,000
1-23 The Half Breed Pathe
1-23 A Little Child Shall Lead Them Selig 1,000
1-24 False to Their Trust — (7th story "What Happened to
Mary") Edison 1 ,000
1-24 The Farmer's Daughter Essanay 1,000
1-24 The Vengeance of Durand Vitagraph 2,000
1-25 Plot and Counterplot Cines 1 ,000
1-25 The Lorelei Edison
1-25 Broncho Billv's Gun Plav Essanav 1,000
1-25 The Cub Rep'orter's Temptation Kalem 1,000
1 -25 The Insurance Agent Lubin
1-27 A Misappropriated Turkey Biograph
1-27 The Dancer Edison 1,000
1-27 The Turning Point Kalem 1 ,000
1-27 The Guiding Light Lubin 2,000
1-27 The Girl of Sunset Pass Lubin 1,000
1-27 The Miner's Justice Selig 1,000
1-28 A Lesson from the Past Cines 1,000
1-28 A Day that is Dead Edison 1,000
1-28 On the Threshold Lubin 1,000
1-28 When Mary Grew Up Vitagraph 1,000
1-29 The Melburn Confession Essanay 1,000
1-29 The Pride of Angrv Bear Kalem 1,000
1-29 The Empty Studio Selig 1,000
1-30 Aileen of the Sea Melies 1,000
1-30 Saved by His Horse Pathe
1-30 The Sheriff's Storv Essanay 1,000
1-30 The Lesson Selig 1,000
1-30 The Smoke from Lone Bill's Cabin Vitagraph 1,000
1-31 A Perilous Cargo Edison 1,000
1-31 The House in the Woods Lubin 1,000
1-31 A Tale of Old Tahiti Melies 2,000
1-31 The Altar of the Aztecs Selig 1,000
2-1 The Doctor's Love Affair Cines
2-1 The Princess and the Man Edison 1,000
2-1 The Making of Broncho Billy Essanay 1,000
2-1 The Senator's Dishonor Kalem 1,000
2-1 Private Smith Lubin 1,000
2-3 Brothers Biograph
2-3 The Prosecuting Attorney Kalem 1,000
2-3 The Lost Xote Lubin 1,000
2-3 The Governor's Daughter Selig 1 ,000
2-4 The Phantom Ship Edison 1,000
2-4 The Ranchman's Blunder Essanay 1,000
2-5 In the Power of Blacklegs Kalem 1,000
2-5 The Three Wise Men Selig 1,000
2-5 The Skull Vitagraph 1,000
2-6 Oil and Water Biograph 1,000
2-6 The Gypsey's Warning Melies 1,000'
2-6 The Bear Hunter Pathe
2-6 How It Happened Selig 1,000
2-7 Sally's Romance Edison 1,000
2-7 The Broken Heart Essanay 1 ,000
2-7 The Last Block House Kalem 2,000
2-7 The Artist and the Brute Selig 1,000
2-7 The Whispered Word Vitagraph 1,000
2-8 A Deal in Stocks Cines 1,000
2-8 The Governess Edison 1 ,000
2-8 Broncho Billv's Last Deed Essanay 1,000
2-8 Ladv Peggy's Escape Kalem 1,000
2-8 The Miser Lubin 1,000
2-8 The Peace Council Pathe
2-10 The Buckskin Coat Kalem 1,000
2-10 Down on the Rio Grande Lubin 1,000
2-10 A Drama in the Air Pathe 2,000
2-10 Pierre of the North Selig 1,000
2-11 For Mother's Sake Cines 1 ,000
2-11 The Higher Duty Lubin 1,000
2-11 Don't Let Mother Know Selig 1,000
2-12 A Business Shark Eclipse 1,000
2-12 The Belle of North Wales Kalem 1,000
2-12 The Artist's Trick Pathe
2-12 Her Only Son Selig 1,000
2-12 Buttercups Vitagraph
2-13 A Father's Lesson Biograph
2-13 Across the Great Divide Essanay 1,000
2-13 Unmasked by a Kanaka Melies 1,000
2-13 The Clutch of Conscience Pathe
2-13 The Weapon Vitagraph 1,000
2-14 The Doctor's Photograph Edison 1,000
2-14 The Three Queens Essanay 1,000
2-14 The Regeneration of Nancy Lubin 1,000
2-14 A Little Hero Selig
2-14 The Man Higher Up Vitagraph 1,000
2-14 The Chains of an Oath Vitagraph 2,000
2-15 The Old Monk's Tale Edison 1,000
2-15 Broncho Billy's Ward Essanay 1.000
2-15 A Life in the Balance Kalem 1,000
COMEDY.
Date Title Maker
1-29 A Serenade bv Proxy Edison
1-29 Hubby's Polly Pathe
1-29 And His Wife Came Back Vitagraph
1-30 The Masher Cop Biograph
1-30 What is the Use of Repining Biograph
1-30 What's in a Name Lubin
1-30 She Must Elope Lubin
1-31 Hypnotism in Hicksville Essanay
1-31 The Horse that Wouldn't Stay Hitched Kalem
2-1 It Made Him Mad Vitagraph
2-3 Over the Back Fence Edison
2-3 The Millionaire Cowboy Selig
2-3 Cutey and the Twins Vitagraph
2-4 A Strenuous Courtship Cines
2-4 An Invincible Sleuth Cines
2-4 A Motorboat Party Lubin
2-4 The Missing Jewels Lubin
2-4 Sweeney and the Million Selig
2-4 The Classmate's Frolic Vitagraph
Elephant's Toilet Viagraph
Curing a Temper Eclipse
How They Outwitted Father Edison
Love and La Valliers Essanay
2-5 A White Rose Pathe
2-6 Don't Lie to Your Husband Essanay
2-6 Keeping Up Appearances Lubin
2-6 Stenographer's Troubles Vitagraph
2-7 Three Suitors and a Dog Kalem
2-7 The Matrimonial Ventures of the "Bar X". .Hands-Kalem
2 8 The Joke Wasn't on Ben Bolt Vitagraph
2-10 The Press Gang Biograph
2-10 Oh, What a Boob Biograph
2-10 Barry's Breaking In Edison
2-10 A Trap to Catch a Burglar Vitagraph
2 1 1 Odd Knotts Essanay
2-11 Papa Puts One Over Vitagraph
2-12 A Heroic Rescue Edison
2-12 The Girl in the West Essanay
2-13 The Rest Cure Lubin
2-13 Bill's Birthday Present Selig
2-14 The Game Warden Kalem
2-14 Trixie and the Press Agent : Kalem
2-15 One On Them Cines
2-15 The Mayor's Waterloo Lubin
2-15 From Pen to Pick Pathe
2-15 Polly at the Ranch Vitagraph
EDUCATIONAL.
1-24 The Part Plaved bv Air in Respiration C. G. P. C.
1-24 The Genet C. G. P. C.
1-24 The Possum Hunt Kalem
1-24 The Ainus of Japan Selig
1-27 Coke Industry Vitagraph
1-29 The Bulgarian Army in the Balkans Eclipse
1-31 The Chameleon C. G P C
1-31 The Making of Hats C. G. P. C.
2-1 The Great Prayer of the Arabs Pathe
2-4 The Pitcher Plant C. G. P. C.
2-4 The Swedish Submarine Maneuvers C. G. P. C.
2 7 The French Army Maneuvers C. G. P. C.
2-7 The Opening Bud C. G. P. C.
2-11 The Electrotyping Process C. G. P C
2-11 The Salt Industry C. G. P. C.
2-12 Dangers of the Street .♦ Edison
2 13 Orange Growing Lubin
2-14 The Hedgehog C. G. P. C
2-14 Borneo Potterv C. G. P. C
2-14 Buddah ' '. .Selig
TOPICAL.
2-3 Pathe's Weekly, No. 6 Pathe
2-10 Pathe's Weekly, No. 7 Pathe
SCENIC
1-17 Along the Riviera C. G. P. C.
1-22 The Manchester Ship Canal Eclipse
1-31 St. Augustine, Fla Kalem
2-1 The Beautiful Falls of Marmore Cines
2-1 Along the Columbia River Pathe
2-11 The City of San Francisco Edison
2-12 The Panama Canal Vitagraph
Length
1,000
1,000
1,000
1,000
1,000
2,000
1,000
530
470
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
500
1,000
1,000
1,000
1,000
1.000
500
500
1,000
DAILY LICENSED RELEASES
MONDAY: Biograph, Edison, Kalem, Lubin, Pathe, Selig, Vita-
graph.
TL'ESDAY: Edison, Essanay, Cines-Kleine, Lubin, Pathe, Selig,
Vitagraph.
WEDNESDAY: Edison, Essanay, Kalem, Eclipse-Kleine, Pathe,
Selig, Vitagraph.
THURSDAY: Biograph, Essanay, Lubin, Melies, Pathe, Selig,
Vitagraph.
FRIDAY: Edison, Essanay, Kalem, Lubin, Pathe, Selig, Vita-
graph.
SATURDAY : Edison, Essanay, Cines-Kleine, Kalem, Lubin,
Pathe, Vitagraph.
144
MOTOGRAPHY
Vol. IX, No. 4.
INDEPENDENT
DRAMA.
Date Title Maker Length
1-23 Rags and Riches Imp
1-23 The Symphony , Rex
1-23 The Spectre Bridegroom Eclair 2,000
1-23 The Silver-Plated Gun American 1,000
1-24 His Brother's Keeper Nestor
1-24 On Burning Sands Powers 2,000
1-24 The Mosaic Law Kay Bee 2,000
1-24 Her Fireman Thanhouser
1-24 The Road that Leads Home Solax
1-25 A Gambler's Last Trick 101 Bison
1-25 A Rose of Old Mexico American 1,000
1-25 The Masqueraders Reliance
1-25 A Child of Nature Comet 1,000
1-26 After the Shipwreck Eclair
1-26 Saved from Sin Majestic
1-27 A Dinner Bell Romance and the Footpath to Happiness. .
Nestor
1-27 The Marked Card Champion
1-27 The Latent Spark American 1,000
1-27 The Contest Comet 1,000
1-28 A Northwoods Romance Gem
1-28 Sheridan's Ride Bison 3,000
1-28 The One Who Had to Pay Eclair
1-28 When the Last Leaf Fell Majestic
1-28 The Dove in the Eagle's Nest Thanhouser 1,000
1-28 Life or Death Gaumont
1-29 White Man's Firewater Nestor
1-29 The Wild Flower of Pine Mountains Frontier
1-29 Saved by Airship Reliance
1-29 The Struggle Broncho 2,000
1-30 Gold is Not All Imp 2,000
1-30 The Angelus Rex
1-30 Little Mother of Black Pine Trail Eclair
1-31 The Trifler Victor
1-31 The Highgraders Nestor
1-31 The Rugged Coast .Powers
1-31 When Lincoln Paid Kay Bee 2,000
1-31 Psychology of Fear Thanhouser 1,000
1-31 The Scheming Women Solax
2-1 A Winning Ruse Imp
2-1 A Man's Woman Mecca
2-1 Women Left Alone American 1,000
2-1 A Wife's Battle Reliance
2-2 The Extra Baby Majestic
2-2 The Labyrinth Rex
2-3 Andrew Jackson American 2,000
2-4 Mona of the Modocs .Bison 2,000
2-4 For His Child's Sake Eclair
2 4 When the Studio Burned Thanhouser 1,000
2-5 Sunbeam Powers
2-5 The Branded Six-Shooter Frontier
2-5 The Strike Leader Reliance 2,000
2-5 When Life Fades Broncho 2,000
2-6 The Man Outside Imp
2-6 At Midnight . . Rex
2-6 The Love Chase . : Eclair 2,000
2-6 His Sacrifice American 1,000
2-6 Memories Ammex 1,000
2-7 Percy H. Baldwin, Trifler Victor
2-7 The Strike Breaker Nestor
2-7 The Favorite Son Kay Bee 2,000
2-7 The Monkey Accomplice Solax
2-8 A Frontier Mystery Bison 2,000
2-8 In the Web Mecca
2-8 Calamity Anne's Vanity American
2-8 An American Oueen Reliance
2-8 An Orphan's Conquest Great Northern
2-9 His Sister Rex
2-9 The Guilty Hand Eclair
2-10 A Daughter of Virginia Champion
2-10 The Fugitive American 1,000
2-11 On the Frontier Line Bison 2,000
2-11 Silver Fox Eclair
2-11 The Winner Loses Majestic
2-11 A Mystery of Wall Street Thanhouser
2-12 The Little Peacemaker Nestor
2-12 Bud Tilton, Mail Thief Reliance
2-12 The Wheels of Destiny Broncho 2,000
2-13 In a Woman's Power Imp 2,000
2-13 The Cowgirl and the Knight Ammex 1,000
2-14 The Duelists Victor
2-14 His Ideal of Power Powers
2-14 The Mystery Cave Nestor
2-14 Smiling Dan Kay Bee
2-14 The Thief Solax
2-15 In the Red Man's Country Bison 2,000
2-15 The Call of Mother Love Mecca
2-15 The Romance American 1,000
2-15 Within the Ten Counts Reliance
2-15 Father and Son Great Northern
DAILY UNIVERSAL RELEASES
(Independent.)
MONDAY: Imp, Nestor, Champion.
TUESDAY: Gem, Bison, Eclair.
WEDNESDAY: Powers, Nestor, Frontier, Animated Weekly.
THURSDAY: Rex, Imp, Eclair.
FRIDAY: Victor, Powers, Nestor.
SATURDAY: Bison, Imp, Milano.
SUNDAY: Eclair, Rex, Crystal.
Date
1-23
1-23
1-24
1-24
1-24
1-25
1-25
1-25
1-26
1-26
1-26
1-26
1-27
1-27
1-27
1-29
1-29
1-30
1-30
1-31
1-31
2-1
?-9
2-3
2-3
2-3
3
3
3
4
4
4
5
5
6
2-6
2-6
2-6
2-7
2-7
2-7
2-8
2-9
2-9
2-9
2-9
2-10
2-10
2-10
2-10
2-10
2-11
2-12
2-12
2-12
2-13
2-13
2-13
2-13
2-13
2-13
2-13
2-14
2-14
2-14
2-15
2-15
2-2
2-2
2-4
2-6
2-7
2-8
2-13
2-13
2-7
SCENIC.
Los Angeles, the Beautiful
.Thanhouser
JUVENILE.
2-11 Hop O' My Thumb Thanhouser
TOPICAL.
2-5 Gaumont's Weekly, No. 48 Gaumont
2-5 Animated Weekly, No. 48 Universal
2-12 Mutual Weekly, No. 7 Mutual
2-12 The Animated Weekly, No. 49 Universal
2-12 Gaumont's Weekly, No. 49 Gaumont
301
678
679
1,000
2,000
1,000
COMEDY.
Title Maker Length
Tom, Dick and Harry Punch
A Double Life : Gaumont
Sunny Smith Victor
The Magic Carpet Lux
Detective Knowall on the Trail Lux
The Hero of the uour ." Imp
Fixing the Flirts Imp
John Steals a Eurlough Great Northern
Becky Sharp Rex
Pearl's Admirers Crystal
The False Alarm Crystal
His Uncle's Wives Thanhouser
A Double Deception Imp
The Mistaken Masher Keystone
The Deacon Outwitted Keystone
How He Won Her Powers
The Wrong Box Solax
Their First Baby Punch
Fair Weather Friends Gaumont
Faint Heart Never Won Fair Lady Lux
Arabella as a Chimney Sweep Lux
The Aviator's Curiosity Great Northern
His LTncle's Wives Thanhouser
With Her Rival's Help Crystal
Box and Cox , . Crystal
A Spicy Time Imp
One on Auntie Nestor
J ed Holcomb's Prize Box Nestor
The Rich Mr. Rockamorgan Champion
Just Brown's Luck Keystone
The Elite Ball Keystone
Billy's Board Bill Gem
The Interrupted Elopement Majestic
Say, Uncle '. Gaumont
Fatty and the Bandits Nestor
Overcoats Solax
The Battle of Who Run Keystone
Tom, Dick and Harry on the Job Punch
Just Kids Punch
Dogs Will Be Dogs Gaumont
Their Mutual Friend Powers
Why Mrs. McFadden Looked Out Thanhouser
Ticfcets, Please Lux
The Marriage Lottery . Imp
Accident Insurance Crystal
Her Lady Friend Crystal
Teacher Wanted Majestic
Good Morning, Judge Thanhouser
Fresh Air Filkins Imp
Aunt Betty's Revenge Nestor
In Temperance Town Nestor
The Jealous Waiter Keystone
The Stolen Purse Keystone
Billy Fools Dad Gem
The Man Higher Up Powers
The Ranchgirl's Measurements Frontier
The Eyes of Satan Solax
The Widow and the Widower Rex
A Large Night Eclair
Pecos Pete in Search of a Wife American
Mabel's Heroes Keystone
Her Birthday Present Keystone
Some Doctor Punch
Catching the "Big Sneeze" Gaumont
Some Fools There Were Thanhouser
Leopold and the Leopard Lux
A Modern Architect Lux
Binks Did It Imp
Ben, the Stowaway Imp
EDUCATIONAL.
Bathers in Ceylon Eclair
The Seven Ages of an Alligator Thanhouser
French Alpine Maneuvers Gaumont
Deap-Sea Shell Fish Gaumont
Wonderful Fruit Lux
Cocoa Industry at Panama Imp
The Lake of Candy Mutual
Under the Microscope Gaumont
1,000
636
1,000
1.000
1,000
315
DAILY "FILM SUPPLY" RELEASES
(Independent)
MONDAY: American, Comet.
TUESDAY: Thanhouser, Majestic, Gaumont.
WEDNESDAY: Reliance, Solax, Gaumont Weekly.
THURSDAY: American, Gaumont
FRIDAY: Thanhouser, Solax, Lux.
SATURDAY: Gaumont, Great Northern, Reliance, Comet,
American.
SUNDAY: Thanhouser, Majestic.
VOL. IX.
MARCH 1, 1913.
No. 5
EXPLOITING
Published Bi-Weekly by Electricity Magazine Corporation, Monadnock Building, Chicago
LOTTIE BRISCOE,
LUBIN
GEORGE KLEINERS
CINES and ECLIPSE
MMm^,
Eclipse Feature Drama in Two Reels
Released March 3, 1913
SHYLOCK
(COPYRIGHT, 1912, BY GEORGE KLEINE)
A remarkable production adapted
from Shakespeare's
"The Merchant of Venice
99
(BASSANIO WINS FAIR PORTIA)
Everybody knows the great classic drama
and will flock to see it reproduced upon
the screen.
FEATURE IT TO THE LIMIT WITH
Special Heralds, one, three and six-sheet posters!
Get Next to this Strong Program for Next Week
NIPPED IN THE BUD comcdy
WANTED— A HUSBAND come„y
Cines
March 4, 1913
Eclipse
March 5, 1913
The Wages of Transgression Drama)
Cines
March 8, 1913
THE IDEAL OF HER DREAMS
SCENES IN MONSONE
(Comedy-Drama)
(Scenic)
(North Africa)
FOR POSTERS— Order from your Exchange, or from the ARMSTRONG LfTHOGRAPH COMPANY, Cleveland, Ohio
Send us your name to be
placed npon our mailing
list for advance advertising
matter.
GEORGE KLEINE
166 N. State St.
CHICAGO, ILL.
March 1, 1913.
MOTOGRAPHY
- > ' * '"-
The Calling of Peter and Andrew
(Sea of Galilee)
"From the Manger to the Cross"
KALEM'S BIBLICAL MASTERPIECE
A reverent motion-picture life story of Jesus of Nazareth, produced at
tremendous expense and with painstaking care, in authentic location in Palestine
and Egypt. A film that is destined to be more far-reaching than the Bible in
telling the story of the perfect life and supreme sacrifice of the Saviour, in all
countries and to all peoples.
Dr. J. K. Dixon, writing of the film, says:— "The pictures are a marvel of photographic
quality. They are splendid examples of historic reality. The settings are dignified ; the
action graceful."
FIVE REELS— 5000 FEET
STATE RIGHTS
A few territories are still open. Wire for terms and full particulars.
GENERAL FILM COMPANY
200 FIFTH AVENUE NEW YORK
If 700 like MOTOGRAPHY, tell the advertiser so.
Above, "Diverging Paths," March 10. Below, "The Story of Lavinia," March 5. Copyright 1913, Selig Polyscope Co.
WITH WHICH IS INCORPORATED THE NICKELODEON
CHICAGO, MARCH 1, 1913
PUBLISHED BI-WEEKLY BY
ELECTRICITY MAGAZINE CORPORATION
MONADNOCK BUILDING, CHICAGO
Telephones: Harrison 3014 — Automatic 61028
Ed. J. Mock and Paul H. Woodruff. Editors
Mabel Condon, Associate Editor
Allen L. Haase, Advertising Manager
Entered as second-class matter at the postoffice at Chicago, Illinois, under
act of March 3, 1879.
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CHICAGO, MARCH 1, 1913
TABLE OF CONTENTS
"Diverging Paths" and "The Story of Lavinia" Frontispiece
Editorial 145-146
A Censorship Example 145
Preventing Panics 146
What Happens to the Scenario. By Mabel Condon 147-152
Theater Magnates From Film Company 152
Motography's Gallery of Picture Players 153
Aisles Congested, Picture Proprietor Fined 154
How the Photoplayers Club Did It 155-156
A Reel Fable of Today. By Matterson R. Rothacker 156
On the Outside Looking In. By the Goat Man 157-160
Banoscopy — A Continuous Projection System. By Lewis C Van
R'Per 161-165
Current Educational Releases 165-166
Fantasies of the Flying-A 167-168
Sans Grease Paint and Wig. By Mabel Condon 169-170
Photoplays from Essanay's 171-172
Of Interest to the Trade 173-178
Brevities of the Business 178-180
Complete Record of Current Films 181-182
A CENSORSHIP EXAMPLE.
BETWEEN January 6 and February 6 the new cen-
sor board of the city of Cleveland examined some
four hundred reels of film received by the General Film
Company, the Lake Shore Film and Supply Company
and the Victor Film Company. Exact figures are avail-
able only for the 133 reels, constituting 121,000 feet, han-
dled by the second company mentioned and covering the
Mutual output during the period. Of this 121,-
000 feet, 9 feet were rejected by the censors— a total
discard of less than 1/13,000 of the whole! And Sam-
uel Bullock, representing Cleveland Local No. 1, was
assured by the censors that the figures for the General
and Universal films were almost identical.
This condition is evidence enough that local or state
censorship is not needed. Both Mr. Bartholemew and
Mr. Hunter of the Cleveland censorship experiment are
men of high ideals, sociologists deeply interested in child
welfare and similar work for moral uplift. If Cleve-
land picture programs are above even their reproach,
other reform workers should be willing to admit that
the same programs elsewhere are beyond the possibility
of criticism.
To take the specific example, nine feet out of 121,-
000, as Mr. Bullock says, is not worth looking for. Pre-
sumably the nine feet was a single cutout. Even so, had
it been left in it would last but nine seconds on the screen
— and it had already been passed by the National Board
of Censorship in New York. The Cleveland exhibitors
and renters say "we are vindicated." The National
Board also is vindicated — for every attempt to form a
local censor board is a reflection, if not a direct charge,
against the National.
Elsewhere in this issue we print a bill on censor-
ship which is now before the Ohio assembly. It has
been stated that the exhibitors of the state are unani-
mously in favor of the bill. That is not so. C. M.
Christenson of Cleveland, secretary of the National
League, is especially bitter in his opposition to the move,
and intends to make every effort possible to defeat it.
The Cleveland Local, in fact, has gone on record by
unanimous vote at a regular meeting as opposing the
bill, and telegraphed the governor of the state and its
Cuyahoga county delegation asking a hearing.
Secretary Christenson offers the following argu-
ments against the censorship bill :
1. In the first place this bill is not honest with the film
exchanges when it exacts one dollar for every reel of film,
whether it is an original reel or not. When a film has been
censored, according to the true meaning of the word, it certainly
is not necessary to also censor any number of duplicates of that
same reel. This league asks for fair and square treatment from
the film exchanges and the manufacturers. In return we should
accord the same treatment.
2. The true meaning of "censor" is protection to the public,
not extortion from some one. Extortion in any one branch
of any line of business means extortion in another branch of
that same line. That is what will happen in this case. The
fact of the matter is that the film exchanges, who without doubt
will find this tax of one dollar per reel, covering everything
in their stock, no matter how old the films may be, a severe one,
will come right back at the exhibitor with an increased cost in
146
MOTOGRAPHY
Vol. IX, No. 5.
his service. I ask you exhibitors, Are you prepared to pay this
extra cost ? Do you feel that your business will stand for an in-
crease of say anvwhere from 25 to SO per cent in cost of film
service? Bear also in mind that the brunt of this will fall most
heavily on the "little" exhibitor.
3. We now have a national censor board, composed of rep-
resentative American citizens. They represent every branch of
industry. Do you wish to nullify that board and their judg-
ment by creating a minor board of censorship That is what
you would do if you were to create a state censor board.
4. This proposed bill to create a censor board in the state
of Ohio also provides for a national censor congress, which
means that a similar censor board may be created in every state
of the Union. What would be the result? Right here I want to
say that I agree with Mr. Otto N. Raths, president of the Minne-
sota state branch of this league, who says that the formation of
state censorship boards would result in conflict similar to that
now resulting from state divorce laws.
5. To show you that the best legal minds of this country
hold the view that a state censorship is in direct violation of
existing laws, I refer you to President Taft's action on Feb-
ruary 8, 1913, when he vetoed the proposed censorship bill covet-
ing the District of Columbia. The president iield that it en-
croached upon existing laws. In this connection I wish to bring
to your attention again the decision of another great legal mind,
that of the Hon. William J. Gaynor, mayor of the city of New
York, who wrote a letter to the board of aldermen of the city of
New York, disapproving the proposed ordinance relative to
censorship of motion picture theaters in that city.
6. This bill is being promulgated by the exhibitors of this
state of their own volition, as there has been no action by any
state or civic authority to prompt such a bill as a protective
measure. May I ask the exhibitors, not only of Ohio, but all
over the United States, to serious consider this matter of state
censorship of films? Think not only of the present, think of
what the future may bring forth in case this bill becomes a law
in any or all of the states. It is a serious menace and now is
the time to act. Therefore, I feel sure that if the exhibitors of
Ohio will give this matter due consideration they will ask their
representatives in the state legislature to vote against the bill.
To sum it all up, this bill will mean a higher rental service
to the exhibitor. An old film that is renting to the exhibitor
today for one dollar will rent for two dollars after the passage
of this bill. It practically means a double taxation on all exhibit-
ors by the state of Ohio. - By this I mean that exhibitors of this
state are largely property owners and are paying taxes to the
commonwealth of Ohio on real estate, chattels, bonds and what-
soever property they may own, the same as any other citizen,
and in almost all the cities and towns of this state there is also
the license fee which the exhibitor must pay on his business.
Why, then, should the state of Ohio impose something in the
exhibitors' line of business which will increase the cost of opera-
tion of their business?
Our experience with a censor board here in Cleveland fo~
the past thirty days has proven the fact that a national censor
board is sufficient.
If every community, or every state in this country
had its own peculiar code of morals, each differing from
the other in some essential feature, then local censor-
ship might have some reason for existence. But no
such condition exists. The American race as a whole
has one standard of morality- — the highest possible. It
is equally true — and here is the gist of the whole mat-
ter— that the United States has one motion picture pro-
gram; no more. The pictures shown in Reno, Nevada;
Red Wing, Minnesota; Shreveport, Louisiana, and New
York, New York, are all the same. How ridiculous it
would be to have forty-eight separate and distinct cen-
sor boards, all with the same standards, doing the same
work upon the same material, differing only because of
the inevitable human element that defies logic and up-
sets the most carefully laid plans ! A fine example of
conservation of effort!
PREVENTING PANICS.
SINCE the recent unfortunate panic in the New York
Hippodrome picture theater, a number of munici-
palities have busied themselves with proposed ordinances
intended to protect similar audiences. In Detroit, Mich-
igan, the local Exhibitors' League is advocating the com-
pulsory projection of a slide calculated to allay the pos-
sible fears of picture theater patrons and to instruct
them in the proper course to follow in case of fire or
panic. The slide is worded something like this :
Our operating booth is fireproof. There is no danger at
any time. If a fool cries "fire" sit still — don't run. People are
hurt in the rush. All exits are plainly marked. All doors open
outward.
Some Detroit exhibitors, however, are protesting
against the proposed warning, claiming that audiences
would be unnecessarily alarmed by suggesting to them
the possibility of a fire. Therefore they petition the city
council not to consider such a law.
Between these two opposing ideas there must be
a middle path which will lead to beneficial results. If
the audience is to be told anything, the screen is ob-
viously the place to do the telling, because everybody
will read it there. If it was printed on a program, post-
ed on a bulletin board or engraved on the panels of the
wall, not one in ten would ever see it.
It is admitted that the danger in any public gathering
place is not fire, but the fear of fire. Panic is a human
phenomenon of very peculiar character. While real
danger will cause panic, imaginary danger is just as fer-
tile in its production ; for there is no reason in panic —
it is a destroyer of reason. The individual human mind
is submersed in the mob mind, which is the mind of
the beast. The mob, enraged, tears its prey limb from
limb. The mob, terrorized, tramples its weaker mem-
bers to the ground. That is why, sometimes, respectable
citizens lynch their captives without even adequate proof
of guilt — citizens who, individually, would shrink sym-
pathetically at a broken finger. And that, too, is why
' men who would risk their lives among flames and fall-
ing walls act like stampeded cattle in the grip of the
mob mind.
So the mere fact that theaters or operating booths
are absolutely fireproof is not sufficient. First it is nec-
essary to see that aisles and exits are ample for any pos-
sible emergency. The next step is protecting the peo-
ple from themselves is to make it a part of their sub-
conscious knowledge that nothing could possibly hap-
pen to them in the theater. The only way to impress
this upon them is to tell them so ; but the choice of
words for that purpose must be very judicious. Ob-
viously, it will not do to tell them how to act in case
of fire or panic ; for those elements must not exist. That
they cannot exist is, indeed, the point to emphasize.
The value of a fireproof theater, or operating booth,
from the point of view of possible panic, lies mostly in
advertising those qualities.
So it seems desirable that a slide of some sort be
shown, so worded as to carry the conviction of abso-
lute safety and easy exit, without suggesting any possi-
ble necessity for the hurried use of the latter. Here are
the points :
Our operating booth is absolutely fireproof, assuring perfect
safety at all times. When leaving the theater please do not
crowd.
There is plenty of room and the exits are ample and plainly
marked.
All doors open outward.
That form, perhaps, is not quite so strong as the
one proposed for Detroit, but it substitutes the word
safety for danger and omits the reference to a fool cry-
ing fire and people being hurt in the rush. It seems to
us that it is just as well not to suggest to the aforesaid
fool that he might cry "fire" as an experiment. These
are only hints, but with the salient points in mind a
slide may be devised that will effectually banish all dan-
ger of panic.
March 1, 1913.
MOTOGRAPHY
147
What Happens to the Scenario
By Mabel Condon
CHICAGO, ILL.«__
H-C
31^
We have received from you today the fol-
lowing manuscript:
EACH motion picture producing company probably
has its own individual method of dealing with the
manuscripts submitted for its approval. In deal-
ing with the fortunes and misfortunes of the scenario,
from the brain of the author to the film synopsis, we will
instance the method employed by the Essanay company.
The way of the scenario is devious. If it is accepted
the incidents which center around it thereafter are many
and varied, and if it is rejected it must try, try again.
On the receipt of a scenario its prompt acknowledge-
ment is made by the scenario editor in the way of a
printed postcard with the name and reference number of
the manuscript inserted. It reads as shown in form 1.
The story is read by the scenario editor and, if re-
jected, is returned to the author with the enclosure indi-
cated in form 2, the reason for its return being checked
oft' with a pen or pencil mark, as shown in the example.
If the reason for
the manuscript's re-
jection comes after
the eighth reason list-
ed, a postcard giving
information, as in
the following, is also
enclosed :
Arrange your story in
scenario form.
A synopsis of about 200
words followed by short
scenes. All manuscripts
must be typewritten.
We are in the market for
original dramatic stories
with strong strong heart in-
terest for short stories with
unusual themes and for
bright sparkling high class
comedies.
We are not soliciting
Western scenarios, costume
plays, war stories or plays
with foreign settings.
Our prices vary according
to the merit of the story.
Address all manuscripts
submitted, to the
ESSANAY FILM MFG.
COMPANY,
c/o Scenario Department,
1333 Argyle St.,
CHICAGO, ILLINOIS.
And, as far as the
company is concerned,
that is the end of that
scenario, unless it is rewritten to make the kind of a
story for which the company happens to be in the market.
But, should the scenario be available, its tale is a
happier one. That of "The Gum Man" is herewith in-
stanced.
The story, as the scenario editor received it, was neatly
typed on five sheets of Robin blue paper, typewriter size
and from the general appearance of the copy, it was evi-
dentally the work of someone who had given scenarios
and their making careful and valuable thought. At the
foot of the first page was the information, "An extra
carbon copy of this script will be supplied to purchaser
upon request."
This is how the scenario read.
the author's title was changed) :
BY GUM!
Rural Comedj . Twenty-four Scenes.
terior Settings Required.
SYNOPSIS.
Fred Smith, chewing gum salesman, stops over at Cobb's
which will be given careful consideration.
Writers should retain carbon copies of any
scenarios submitted us, as we are not responsible
for MSS. lost in the mail.
Sufficient postage tor return of MSS. must
accompany all coptrityiYg^ ii^il^l, rif^rf ri thpy
be returned.
Yours truly,/
Editor of Scenarios,
ESSANAY FILM MFG. CO.
13151333 ARGYLE STREET
Should you in<
the above sceoarif
reference number.
itl<
Form 1 .
(It will be noticed that
Four Exterior, Four In-
Corners to introduce his wares at the general store. A TrubbelJ
Hunter, constable, has just "got in" with a Detective Bureau
and is highly elated. He has several run-ins with Fred and be-
comes antagonistic. Fred meets Mamie, hotel waitress and
chambermaid. They like each other. Hunter gets word that a
notorious burglar, '"Iron-jaw" Pete, is thought to be in the
neighborhood. This criminal's distinguishing trait is a fondness
for gum-chewing. Fred is suspected. Everything points straight
to him, in Hunter's estimation. Next morning a robbery has
been committed, a valuable necklace is gone. Fred, ignorant of
this, buys a cheap necklace to present to Mamie. Hunter sur-
reptitiously sees the presentation, hastens away for a warrant and
hurries back. Meanwhile a friendly hotel clerk has "tipped off"
Essanay
Your manuscript is returned
for the reason checked below:
i.
2.
3.
4.
5.
6.
7.
OVERSTOCKED.
NO STRONG DRAMATIC SITUATIONS.
WEAK PLOT.
NOT OUR STYLE OF STORY.
IDEA HAS BEEN DONE BEFORE. ^
WOULD NOT PASS THE CENSOR BOARD.
TOO DIFFICULT TO PRODUCE.
8. TOO CONVENTIONAL.
9. NOT INTERESTING.
10. NOT HUMOROUS.
11. NOT ORIGINAL.
12. NOT ENOUGH ACTION.
13. NO ADAPTATIONS DESIRED.
14. IMPROBABLE.
15. NO COSTUME PLAYS, OR STORIES WITH
FOREIGN SETTINGS DESIRED.
16. ILLEGIBLE.
17. ROBBERY, KIDNAPPING, MURDER, SUI-
CIDE, HARROWING DEATH-BED AND
ALL SCENES OF AN UNPLEASANT
NATURE SHOULD BE ELIMINATED.
Yours very truly,
ESSANAY FILM MFG. CO.,
Studio and Laboratories
1333 Argyle St. CHICAGO, ILL.
Form 2.
Fred, who has easily convinced the clerk of his innocence. Fred
proposes a hasty marriage to Mamie; she agrees. As they are
ready to start Hunter gets back. In order to get away from him
Mamie devises a great scheme. It succeeds and they rush off,
leaving Hunter stuck fast BY GUM to a chair. They rush to
the station. Hunter, after herculean struggles, drags himself
from the chair but the seat comes with him; in this position he
hastens to the station in time to grab Mamie and Fred. But the
real crook, who had ambled through the story unostentatiously,
is now discovered by a trick of fate, and all ends happily for the
lovers and embarrassingly for the over-zealous and misguided
Trubbell Hunter.
CAST.
A. Trubbell Hunter "Rube" detective-constable
Fred Smith A young chewing-gum salesman
Mamie Hotel waitress and chambermaid
148
MOTOGRAPHY
Vol. IX, No. 5.
Clerk of Hotel; Rustics; Mrs. Green (the robbed woman)
SCENE PLOT.
Exterior —
Exterior postoffice and general store 1, 4
Exterior j ewelry store 7
Street scene 17, 23
Railway station platform 21, 24
Interior —
Hotel office 2, 5, 8, 13, 15, 19
Fred's hotel room 3, 9, 11, 14, 26, 18, 20, 22
Dining-room (corner with table) 6
Outside door Fred's room 10, 12
Note — Grips or suit-cases used by Fred and Haskins should
be dissimilar, so as to emphasize difference between them in last
scene.
PLAYING SCRIPT.
1. Exterior postoffice and general store. Hunter, dozing on
steps, is awakened by storekeeper, who appears at door and hands
parcel and letter. Hunter looks at letter, becomes animated,
tears open letter, eagerly reads :
Back to Scene — Hunter elated and suddenly becoming self-
important, hurriedly opens parcel and extracts book which he
Saaanag Jfftlm jflfg. (&a.
jo./ hrd
idL/A^.m3
Returned
Form 3.
glances at and puts in hip picket; then unwraps tissue paper from
bright badge. He admires, compares with constable's star on
coat, unbuttons vest, pins badge to suspenders while storekeeper
looks on admiring. Hunter starts away; storekeeper calls vigor-
On screen— Letter (typewritten on letterhead of Wide-awake
Detective Association).
A. Trubbell Hunter, Constable, Cobb's Corners.
Dear Brother- Worker : — You are now enrolled
in our great corps of Detectives. Badge and instruc-
tion forwarded. We will inform you of any case in
j-our district. Keep your eyes open and study the
book. Faithfully,
WlDE-AwAKE DETEC. Ass'n.
ous attention to strewn papers ; Hunter, houghty, flashes star on
coat ; storekeeper awed, apologetic ; Hunter, proud, erect, struts
majestically out of scene.
2. Office of Cobb's Corners Hotel." Clerk behind desk,
several loungers seated. Hunter enters bearing himself with air
of mystery and ill-concealed eagerness. Others curious, wonder-
ing ; they question ; Hunter, important and proud, slowly un-
buttons vest and displays badge on suspenders ; all crowd about,
peer closely, admire, congratulate, question; Hunter displays book
from hip-pocket; all examine. Fred enters from street, carrying
grips. Coming to desk, he lets grips drop, one on Hunter's foot.
Hunter, enraged, storms ; other apologetic. Hunter ignores,
rages, shakes fist, displays constable's star, then detective badge;
Fred examines both, laughs, snaps fingers carelessly and turns to
register. This done, clerk comes from behind desk, picks up
grips and escorts Fred from scene toward his room. All crowd
about register, read, discuss ; Hunter, shaking fist direction Fred
went, starts toward exit.
3. Fred's room. Mamie, busy straightening up room, chew-
ing gum vigorously, is startled at something, listens, hurriedly
finishes work and is about to leave room when Clerk ushers in
Fred. Mamie is embarrassed ; Fred admiring. She tries to edge
away, but Fred, dismissing Clerk with peremptory command at
which Clerk exits, turns, notes Mamie's jaws working, smiles,
quickly opens grip, extracts several packages of chewing gum
and presents them to her; she accepts them, simpering, and
hastily exits, turning at door to smile back at Fred. He looked
after her admiringly, then sits, produces letter from pocket, un-
folds and reads :
On screen — Written letter.
Fred Smith,
Sir : — Stop over at Cobb's Corners. General
store is asking about our new chewing gum; show
samples and take order. Yours truly,
Advance Chewing Gum Company.
Back to scene : Fred, finishing, pockets letter, looks over
sample-case filled with packets of chewing gum, closes case and
exits, case in hand.
4. Ext. General store as in 1. Hunter laboring under great
excitement, is tearing open a telegraph envelope. Trembling with
eagerness, he reads :
On screen — Telegram.
A. Trubbell Hunter, Cobb's Corners.
Capture Iron-jaw Pete Haskins burglar hiding
your district reward five hundred description tall
dark weight hundred thirty chews gum constantly.
Wide-awake Detective Association.
Back to scene : Hunter drops paper in intense excitement.
Storekeeper appears in doorway and evinces curiosity ; Hunter
instantly assumes air of importance and mystery. Fred, carry-
ing sample case, enters scene ; Hunter, turning suddenly, collides
with him. Fred, apologetic, stoops to pick up telegram; Hunter,
raging, stoops, both heads collide; Hunter falls back, snatche1-
away paper ; Fred rises, secures case, goes to Storekeeper, they
converse, Storekeeper nods, they disappear inside store; Hunter
raging but impotent, thinks, snatches book from hip-pocket,
reads, nods, replaces book, creeps with great caution to door,
screens himself behind jamb, removes hat and peers cautiously
inside; listens, suddenly draws away, hastily assumes air of un-
concern as Fred and Storekeeper appear; Storekeeper nodding.
Fred evincing satisfaction; he is tearing paper from packet of
gum, extracts a piece, puts in mouth, Storekeeper takes piece,
Fred offers to Hunter, who tries to hide delight, accepts rest
of package, puts in pocket; Fred, nodding to Storekeeper, exits
from scene, Storekeeper exits inside store; Hunter snatches out
package of gum, examines with large magnifying glass, nods,
consults book, nods, draws hat over eyes and tiptoes out of scene
after Fred.
5. Hotel office as in 2. Haskins, flashily dressed, is at desk
registering. Fred enters, stops at desk, asks question, Clerk nods.
points to dining-room, Fred exits in that direction ; Hunter, with
exaggerated caution, slinks into scene from street; Haskins
sees, moves quickly aside and sits; Hunter, hastily consulting
book, goes to desk, speaks to Clerk, who nods; Hunter tiptoes
toward dining-room. Haskins goes to desk, converses animatedly
with Clerk; during scene chews gum.
6. Dining-room of hotel. Fred is seating himself at table:
Mamie comes to table, he expresses surprise, pleasure ;_ she smiles,
lays menu before him. He is engrossed in admiration of her.
ignores menu, they talk, smile, laugh, show liking for each other.
Hunter, tiptoeing, appears at door, glances cautiously in, nods
and watches, gradually creeping closer to listen. Mamie turns,
sees, dismayed, starts back; Fred, rising, sees, is angry, starts
toward Hunter, who, hastily displaying badges, backs precipi-
tately out of scene; Mamie and Fred laugh.
Leader — The next morning.
7. Exterior jewelry store. Fred, standing in doorway, is
examining a small flat parcel with satisfaction: he places it
carefully in his pocket and walks away.
8. Hotel office as in 2. Hunter, lounging in chair, is lazily
reading newspaper. He suddenly sits up straight, becomes at-
tentive, reads excitedly:
March 1. 1913.
MOTOGRAPHY
149
On screen — Newspaper headlines.
JEWELS STOLEN
Mrs. Green Loses Necklace and Other Valuables — Necklace
Worth a Thousand Dollars.
Back to scene : Hunter, laboring under great excitement,
flings down paper as Mrs. Green, panting and disheveled, enters,
rushes to him, violently proclaims her loss and explains. Mean-
while Fred enters, listens briefly, exits toward room; Hunter
importantly reassures Mrs. Green, points after Fred, assumes an
of knowing a lot, crosses and confers with Clerk, who seems un-
convinced : Airs. Green, wailing, exits.
9. Fred's room as in 3. Mamie making up the bed. Fred
enters. She is about to withdraw ; he begs her to wait a minute ;
she pauses ; he produces packet from his pocket and proffers it.
Hesitating, she half extends hand, decides and takes it.
10. Outside Fred's room door. Hunter, snooping, kneel-
ing, tries to peer through keyhole. Disappointed, he rises, hastily
consults his book, nods, looks up, indicates transom over door,
exits from scene to return quickly with ladder ; he carefully
places it, climbs up and peers through transom.
11. Room as in 3. Fred is cramming papers and small box
into pocket ; Mamie stands with a small necklace of beads in
her hand: she is regarding it with delight; Fred shows pleasure;
she regards necklace hesitatingly, wistfully, makes up her mind,
accepts it. thanks Fred. He approaches. Both start at sudden
noise : listen.
12. Outside door as in 10. Hunter on ladder, peering over
transom, suddenly makes up mind, starts down ladder, slips,
clutches for grip, tumbles; ladder, falls. He jumps up, exits in
great haste. After brief interval Fred and Mamie appear in
doorway, both startled, curious, wondering. They see ladder,
discuss. Fred, angry, speaks. Mamie nods, steps back into room ;
P'red exits down hall.
Leader — "He's gone to get a warrant !"
13. Office as in 2. Fred and Clerk in animated conversa-
tion. Clerk displays newspaper, pointing out headlines; Fred
takes paper, glances at it, looks at Clerk, who conveys informa-
tion that Fred is suspected ; Clerk goes through pantomime to
explain Hunter climbed on ladder and saw necklace. Mamie
enters, runs down, is greatly excited ; Fred, turning, speaks to
Mamie, she nods, proffers bead necklace for Clerk; he examines,
glances toward paper, laughs, shaking head. Mamie indicates
that Fred had better go away at once. He nods, then reaches
determination to speak to Mamie : after settling bill hastily, he
exits, taking Mamie by arm and forcing her to accompany him.
Leader — A hasty proposal.
14. Room as in 3. Fred and Mamie enter. He turns her
to face him. with hands on her shoulders, proposes ; Mamie,
startled, steps back; he pleads, demonstrates much love; she
hesitates, suddenly decided, assents, runs to him. Short embrace.
He indicates need of haste, she must go and get hat ; she nods
and exits : Fred hurrying about, packs grip.
15. Office as in 2. Clerk and Hunter in animated conversa-
tion ; Hunter anxious to go, Clerk delaying him, clinging to his
arm. asking questions eagerly ; Hunter, flattered and important,
replies with vigorous nods. Haskins enters with suitcase ; he-
stops at desk, settles bill, then buttonholes Hunter and begins
asking questions ; Hunter proudly displays warrant at which
Haskins glances ; Haskins exhibits great "affection" and pride
for Hunter, patting his shoulder, punching him in ribs, crowding
quite close. Then, waving hat, Haskins exits hurriedly. Clerk
tries to delay Hunter, but he won't stop ; he hurriedly exits.
16. Room as in 3. (in this scene a chair should be placed,
on which pitch or other very adhesive substance has been
smeared: and chair seat should be loose, not fastened.) Fred,
grips packed, is all ready; Mamie, hastily tying on hat, is wills
him. They are about to exit when Hunter dashes in, waving
warrant. He denounces Fred and wants to take him away ; Free!
declares innocence, Mamie champions him ; Hunter will noi
listen, points to Mamie, ready to go, Fred argues. Hunter pro-
duces his telegram and exhibits ; Fred takes and reads.
On screen : Flash a few feet of telegram as in scene 4 Lp
identify.
Back to scene : Fred, finishing, looks astonished, does not
comprehend : Hunter goes through the motions of chewing gum
vigorously, and looks triumphantly at Fred ; then suddenly spy-
ing something, he runs to bureau and takes "wad" of chewing
gum from under edge of bureau, exhibiting it aggressively.
Fred runs to sample case, opens, displays sample packages of
chewing gum. Mamie has sudden idea, surreptitiously attracts
Fred's notice, makes surreptitious pantomime for him to engage
Hunter's attention. He does so, arguing vigorously front of
scene, while Mamie, taking packages of gum, strips, surrepto-
tiously chews on piece of gum. chews vigorously then surrepti-
tiously removes from mouth and places on chair.
17. Street scene, or railway station. Haskins enters, pauses.
sets down grip, takes a watch from -coat (outside) pocket, ex-
amines, laughs, slaping knee delightedly, places watch in grip.
at same time removing leather case from grip; he looks cau-
tiously about, then opens case, disclosing a large necklace, hastil>
closes and replaces case in grip.
18. Same as 16 (with chair prepared as before). All same
relative positions as at end of scene 16. Mamie signals to Fred
Hunter, growing angry and tired of delay, wants to go; Fred
takes him by shoulders, pushes him into chair, and begins trying
to clear himself, vigorously displaying sample case, letter from
pocket; Hunter waves them away, reaches for watch, suddenly
misses watch, he shows empty watch pocket, accuses Fred, who
shakes head, shows empty hands, and suddenly, catching Mamie's
arm and grabbing his grip, he dashes from scene, slamming door.
Hunter, astounded, has sat immobile for an instant, then trying
to rise, finds he is stuck to chair. He struggles, pulls (being
careful not to lift chair-seat), and makes great effort to rise.
19. Office as in 2. Mamie and Fred dash into scene, wave
ESSANAY FILM MFG. CO.
CHICAGO
/v 23
..JTUI-_-
SETTINC YOAJXT^ f>iy^jLtr^- ' SCENE -
RE. / ^-e ^X^O^^n^x, ,&aJLs^wv~^,
Form 4.
to Clerk, who laughs, and both dash to door to street; they exit,
while Clerk laughs to himself.
20. Back to 18; Hunter still in chair. Hunter, making
strenuous efforts to separate himself from chair, slowly lifts him-
self, the seat coming with him. He screws head around, sees
seat, tries to stand erect, cannot, retains bent-over attitude, runs
to door, tries knob, cannot open, pounds on door.
21. Railway station platform. Hawkins seated with grip
beside him. Fred and Mamie dash into scene, excitedly run up
to Haskins, make inquiry about train, he replies, they show con-
cern, drop grip beside Haskins' grip, and sit, nervous and anxious.
22. Back to 18-20. Hunter still kicking at door ; it is opened
by Clerk, who sees, is amazed, bursts into laughter; Hunter
furious, shakes fist and dashes past Clerk out of scene, chair seat
still adhering to trousers.
23. Street scene as in 17. Optional. Show flash of Hunter
running, bent over, with chair seat adhering to trousers.
24. Railway platform as in 21. Haskins, Mamie and Fred
seated as previously. All rise, listen, look off. Hunter, with
chair-seat still adhering, and followed bv rustics, dashes into
150
MOTOGRAPHY
Vol. IX, No. 5.
scene; Fred grabs Haskins' suitcase and starts toward train
which has just arrived; Haskins, shouting, starts with Fred's
case after him. Hunter and others grab Fred, Mamie and Has-
kins; the latter fights vigorously. Fred protests, Mamie also.
Hunter, proud, arrests Fred, snatches suitcase from him, Has-
kins fighting hard to get to suitcase. Hunter opens suitcase,
searches, finds parcel, opens, discloses necklace, peers into suit-
case, extracts watch, it is his; triumphantly he points to Fred.
Mamie and Fred look at suitcase, deny ownership, point to Has-
kins still struggling. All surround Haskins ; subdued he con-
fesses ownership of case; Fred and Mamie vindicated; crowd
tails out in string, one grabs chair-seat, they yank it off; Hunter,"
confused and ashamed, runs backward to station wall and standi
defiant; all laugh.
The scenario read, the editor writes his approval of
Chicago, 111., Jan. 3, 1913.
Edward T. Lowe, Jr.,
Nashville, Tenn.
Dear Sir : — We take pleasure in enclosing herewith our
check for fifty dollars ($50) in payment for your scenario
entitled "To Be Seen of Men."
Kindly sign the enclosed assignment of copyright blank and
return to this office.
We have added twenty-five cents to check for notary fee.
Please have contract signed by notary, and properly witnessed,
and return.
We will be pleased to have further contributions from you.
Very truly yours,
ESSANAY FILM MFG. CO.,
LOP-EES Per Asst. Editor of Scenarios.
Form 5.
it on a blank for that purpose, vising a carbon sheet. This
endorsement of the story is given to the producer, who
places his "O. K." upon it, returns the original endorse-
ment to the scenario editor and keeps the duplicate one
himself. An example is given in form 3.
The next step is to inform the author that his scena-
rio is approved and accepted.
Following is the duplicate of the notice sent an
author on a recent acceptance of his manuscript. Not2
the appreciation of the story expressed and the encour-
agement offered in the invitation, "We will be pleased
to have further contributions from you."
Form 6.
The copyright blank reads :
In consideration of the sum of dollars,
paid by the ESSANAY FILM MANUFACTURING COM-
PANY, of Chicago, 111., to of
(hereinafter referred to as "the Author"),
the said Auhor hereby sells, assigns and transfers to the said
Essanay Film Manufacturing Company, its assigns and suc-
cessors, the manuscript of a certain dramatic composition en-
titled " ," together with all the
right, title and interest in and to the said dramatic composition,
including the right to copy, dramatize, produce and reproduce it
in any manner whatsoever, and to obtain copyright thereof in
the United States.
The said Author warrants that she (he) has full right to
March 1, 1913.
MOTOGRAPHY
151
convey the interest herein assigned, that she (he) has not
executed and will not execute any agreement in conflict there-
i\vith, that the said dramatic composition is original with her
(him) and that no incident therein described is, to the best of
the Author's knowledge and belief, the same as or a colorable
imitation of any incident in any other copyrighted book or play.
Dated
Witnesses :
With the signing and mailing of the copyright blank,
the author's responsibility for the film story ends and
that of the Essanay company, in reality, just begins.
For the story as it is submitted to the scenario editor,
and the film as it is shown on the screen for the entertain-
ment of the public, are often strikingly dissimilar. The
original scenario may furnish the main idea and from
it the producer, into whose hands it is delivered for pro-
duction, may weave around the idea an almost entirely
new story.
That is what happened in the "By Gum!" comedy,
which was under the direction of "Lightning" Mason
Hopper — the nickname "Lightning" prefixed, because he
is credited with exceptionally rapid work.
Comedy production is Mr. Hopper's specialty and
when the film "By Gum!" was turned over to him, he
saw in it the making of comedy other than the authoi
had intended. So he set to work, sketching out his
development of the gum idea and found he had fifty-six
scenes in place of the author's twenty-four. He changed
the title "By Gum !" to "The Gum Man," dictated his ver-
sion of the story to his stenographer and picked from his
comedy company the characters needed for the roles.
The task of compiling a list of the props necessary
for the scenario's production is the next task of the pro-
ducer. Each room is listed separately as, for instance,
with the film story "The Deacon's Dilemma," which direc-
tor McMackin had in charge, the following order was
preserved in the compilation of the prop list :
Parsons Parlor (country town) — Heating Stove, Old-Fash-
ioned Bookcase and Writing Desk Combined ; Oval or Roun<!
Center Table; Organ and Stool, with Music; two or three Easy
Chairs (Old-Fashioned Upholstery); Hall Tree in Hall; Orna-
mental Kerosene Hanging Lamp ; Coal Bucket, with coal, old
newspapers and kindling wood; Wooden Washtub; Tea Kettle
with boiling hot water; Old-Fashioned Sacred Pictures (not
Catholic stuff) ; five or six Market Baskets (with paper tied over
the tops) ; two or three jars of Fruit and Preserves; two Layer
Cakes; basket of Fine Apples; Deck of Cards and Poker Chips;
Smoke-Pot for Stove ; Glass of Hot Lemonade ; Suitcase and
Hand Bag (for parson and daughter).
Parsons Dining Room (country town) — Dining Table, Old-
Fashioned Sideboard ; Small Kerosene Lamp ; Small Brown Jug
(about Yi gallon); Old-Fashioned China Cabinet; Dining Room
Chairs ; Pictures ; Same Baskets and Stuff as in Parlor.
Spinster's Parlor — Oval Center Table ; Whatnot ; Organ and
Stool; Settee or Lounge; Easy Chair; Sewing Basket; Small
Bible.
Country Kitchen — Cook Stove ; Kitchen Table ; Dirty
Dishes ; Opened Letter ; Wood Box with Split Cord Wood :
Kitchen Cabinet with Dishes. (Get something different than
what has been used so much in the scenes. Spoor is kicking
about this.)
Outside Scenes — Parson's Two Suitcases ; Boy's Sled ; Pint
of Whisky; Ladder; Basket of Eatables as Used in Inside
Scenes; Telegram ; Key to Door; Ordinary Broom; Tea Cup.
A diagram of each room with its setting is required
by the producer. This he draws on a specially arranged
large sheet of -paper, marked off in a scale of feet from
the camera's focus. The parlor of the parson's home
in the story, "The Deacon's Dilemma," is that which L
marked off in the diagram, Form 4. The figures at the
right indicate the distance in feet from the camera, while
those at the left show the width of the field or range
of the camera lens at different distances.
The cast (form 5) and diagrams, Mr. Hopper made
for "The Gum Man" story which was then ready for
reproduction. In his version of it, he eliminated the jewel
theft idea entirely, as that theme is a hackneyed one, now
One page of his recomposed version uf the scenario,
as it looked when the production of stor) was completed,
is given herewith in Form 6. In it the markings to the
left of the page serve an important purpose as they em-
body Mr. Hopper's method of facilitating his work.
The wavy line through each scene was drawn as the
taking of the scene was completed.
The capital letter "H" means "hotel."
The cross denotes an indoor scene.
The cross inclosed by a ring signifies a bedroom
scene.
The large circle marks a hall scene.
The figures, "10:40," "10:50," etc., denote the time
lold on the hotel clock.
The dot inclosed by a square denotes an out-of-door
scene.
With these markings, Hr. Hopper easily located
whatever sort of scene he wished. For a hall scene, he
had but to glance at the markings instead of looking
down each page and tiring his eyes and patience by read-
A Still Picture from "The Gum Man."
ing the guide-line to each scene.
The producer's copy is typed on crisp white paper
and the whole is given a backing of heavy blue paper,
which will be filed for possible future reference.
It took Mr. Hopper but five hours to produce the
fifty-six scenes — in all, 1,400 feet of film — which tells the
story of "The Gum Man."
While the length of the film was 1,400 feet, the
story was not taken on a film of that length, but on
sections of 200 feet. From the camera, the film went
to the dark-room of the factory where it was wound on
a roller of slat-like construction turned by hand. With
each revolution the so-wound film dipped into a tank
of developer and, after about three minutes of this
process, the characters assumed the correct distinction
of the ribbon-like film and the roller removed and placed
over a water tank where the film was thoroughly washed.
The hypo was the next and last bath and fixed the char-
acters permanently on the film. The roller was then taken
into the drying room where a warm current of air dried
the film and left it ready to be wound upon a small
reel, for picture machine use.
The various sections of film were cemented together
by girls who do nothing but this work and it was ready
for screen production.
152
MOTOGRAPHY
Vol. IX, No. 5.
An inspection of the completed story was made in
the theater of the factory, corrections, if any, were in
order, and Don Meaney, the publicity man, viewed the
film story and from it wrote a synopsis which, with a
still picture from the story, has been sent broadcast to
exhibitors.
The synopsis reads :
THE GUM MAN.
I. B. Right, commercial traveler for the Celebrated Chewing
Gum Company of Fort Wayne, Ind., arrives in the town of
Stickemville with his samples. He proceeds to the Grand Hotel
across from the postoffice, registers and goes to his room. The
proprietor's daughter, Mar}', brings up some ice water for the
whirlwind salesman. Mr. Right endeavors to speak to the lady,
but is given a cold look for his trouble. That night at the Town
Hall the "natives" of the village give a box party. Mr. Right,
having nothing on his mind but pleasure, purchases a ticket and
goes to the big "doings." Boxes filled with lunch and delicacies
are raffled off. The notable representative of the House of Guir
defeats his rival, Hiram Bartlett, in purchasing a beautiful box
of lunch. Inside the cover he finds a card with Mary Morgan's
name on it, meaning that she is to be the salesman's partner. The
two become infatuated with each other, so much so, in fact, that
they fall in love and decide to be married immediately. Hiram,
becoming jealous, provokes a quarrel which breaks up the happy
party. Not satisfied with spoiling everybody's entertainment,
Hiram informs Mary's father of the proposed elopement. The
young couple return to the hotel, where they pack up their belong-
ings. Mary's father enters the room and is rudely pushed into
a chair which has been plastered with gum. The young couple
leave the hotel in a hurry, proceed to the justice of peace and
are married. Old father Morgan, still glued to the chair and
carrying the aforesaid piece of furniture with him to the mar-
riage mill, is overwhelmed when informed of the ceremony.
There is nothing lacking but his forgiveness ; he extends that
and the groom and friends pull the chair from him, but they
pull too hard, with the result that the bride's father has to
return home holding the chair in the position from which his
zealous friends removed it.
And that is the full story of a typical comedy, from
typewriter to screen.
Theater Magnates Form Film Company
Charles Frohman, H. A. Spanuth and Alf. Hayman,
all prominent in dramatic and motion-picture activities,
have formed a $1,000,000 stock company in New York,
which will produce motion picture films in which all the
prominent artists under the Frohman management will
appear in their best-known parts on the motion picture
screen.
The starts thus posing for the films will include
Maude Adams, William Gillette, Alia Nazimova, Hattie
Williams, Richard Carle, Billy Burke, Edith Wynne
Mathison, John Drew, Julia Sanderson and others. Be-
sides these recognized stars, the casts supporting them
will be virtually the same as those seen on the stage.
Maude Adams will portray her charming interpre-
tation of Peter Pan. She will be supported by the same
company seen with her here this winter and the films will
be in the Broadway picture houses within a fortnight
afterward.
At the same time William Gillette will pose for films
of Secret Service and Sherlock Holmes. Along with
these films will come Alia Nazimova in Hichens' Bella
Donna and Ibsen's The Doll's House. The Master Builder,
Hedda Gabler and other plays.
'The Greater Love," March 3. Copyright 1913, American Film Mfg. Co.
March 1. 1913.
MOTOGRAPHY
153
Motogfraphy's Gallery of Picture Players
MISS MAE HOTELY is the character actress who
makes things happen in Lubin films. Since the first
north wind was felt in the eastern states Miss Hotely has
been in Jacksonville, Fla., where in addition to doing
superfine w ork she
has also had time for
lots of play — which to
Miss Hotely means
running a motor boat,
swimming, golfing or,
when nothing else of-
fers, just being out of
doors enjoying the
flowers and sunshine
If anybody besides
Miss Hotely knows
her age, it has been
kept profoundly se-
cret ; everybody
knows, though, that
she is by no means
old, though she has
been playing in films
for fifteen years. She
is of French parent-
age, Paris being her
birthplace, and the
convent of Notre
Dame her alma mater. The states thoroughly Ameri-
canized her and she took to stock work which gave her
the wide experience necessary for her so succssful work-
in pictures.
Mae Hoteh
A RTHUR V. JOHNSON occupies a niche in the favor
•<* of picture patrons that is truly and solely Tohnson-
esque. He is a man's man and is universally liked by
men. However, that does not prevent tne portion femi-
nine of picture fan-
dom from giving him
its sincere liking,
thus adding its
praises to that which,
already, had placed
Mr. Johnson in the
front rank of public
favor. His picture
work covers a period
of six years and was
his graduation from
valuable experience
on the stage. The
tearful melodrama
was the school in
which he began his
stage work. The next
step was Shakesper-
ean productions, in
which he supported
Robert Mantell and
Marie Wainwright ;
Arthur Johnson. thence to the motion
picture field with the Biograph company, later the Re-
liance and then the Lubin company, where he has been for
two and one-half years. He is now one of the directors
of the company in addition to being leading man.
EDGAR JONES is making a mark in Lubin films by
merit of his splendid horsemanship and he is de-
clared to be a master of horses. Pictures made "at the
Sign of the Bell" are receiving the benefit of his ability
for rough riding. Mr.
Jones was formerly a
Liebler & Co. player
and includes among
his experiences on the
stage engagement?
with Henry Miller,
Viola Allen, Kyrle
Bellew, The Holy
City and other com-
panies equally high
class. He likes the
out of door, the rough
and ready life which
photoplay work gives
him and prefers this
variety to that of
"dress-up" roles,
though he is efficient
to an equal degree in
both. He learned to
ride, he claims, when
he was a youngster
and has made horses Edgar Jones,
his "hobby" and chief recreation ever since then, finding
time for this diversion even while on the road. He is seen
to ihe advantage of both himself and the Lubin company
in film work.
MISS LOTTIE BRISCOE brought an abundance of
talent and good looks with her to the Lubin com-
pany and because of both her admirers are legion. Her
stage experience covers nearly all the years she has liver;
so far, and while 'tis
said they are not so
many, they have been
sufficient to put the
young Miss Briscoe"
on the uppermost
plane of film acting.
McKee Rankin was
responsible for her
start in the theatrical
world, for when she
was four years old he
secured her to play
the boy in "The Run-
away W i f e." She
starred for three
years in "Edith's
Burglar," played the
leading female role in
"For Fair Virginia,"
appeared as the
Prince in Richard
Mans-
in the Lottie Briscoe.
original stock company at the Orpheum theater in Phila-
delphia, was Claude of "The Little Vagrants." and en-
deared herself to Columbia, Ohio, by her work there
For eighteen months she has been a "picture lady."
Ill
field.
ith
was
'Vflk flB^^^^^ ^^' "~*f ^'itB
nn
"" ^Bte££f^^^l
™
y
154
MOTOGRAPHY
Vol. IX, No. 5.
Scene from "The Wages of Transgression," Eclipse-Kleine Drama of March 5.
Aisles Congested, Picture Proprietor Fined
"No standees in moving picture theaters," was the
ruling recently by Chief Justice Russell in a decision
handed down in Special Sessions, Part V., in the case
of Abram Marks of 195 Rivington street, New York
City. He was arrested on June 16 last. Thirty-five
persons were standing in his aisles. The decision fol-
lows closely upon the fire in the Hippodrome picture
house on Houston street and affects some thirty cases
now pending.
Justice Russell says in his opinion :
In the case at bar the defendant was clearly apprised of the
charge made against him, namely, that he had unlawfully caused
or permitted conditions to exist in his place of amusement which,
in case of fire or panic, would probably have resulted in the death
or injury of a considerable number of persons.
Reciting the fact that there are 800 moving picture
theaters in the city, and their appeal to young and old,
Justice Russell goes on :
The educational value of the moving picture is admitted by
all who take the trouble to investigate. To children it is particu-
larly fascinating and a source of much instruction and pleasure.
It affords an opportunity for the poor and those ignorant of the
language to spend many hours of enjoyment in an innocent
manner. In order to protect the people who attend these places
many safeguards are needed. Strict laws are made regarding
the construction of the booth which shelters the apparatus and
the operation of the films.
Testimony was introduced in the trial of this case to the ef-
fect that if the films, which are a preparation o" celluloid, should
catch on fire, the fire and smoke would probably be reflected
on the curtain, thus causing alarm in the audience and tending to
cieate a panic. There is always the danger of a panic, espe-
cially among foreign speaking peoples who are of an excitable
nature. Under such conditions the presence of standees in the
aisles would add to the danger and hence the act of the de-
fendant did actually render a considerable number of persons
insecure in life.
At the present moment we are appalled by the tragedy at
the Hippodrome moving picture theater on Houston street and
cannot but say that the strictest measures are necessary to pre-
vent serious injury and death. In that case the precise facts
occurred which were testified to by the expert in this case as
being likely to happen in any moving picture house even in the
one in which the law as it now stands was respected in all its
details.
The court found Marks guilty and imposed sentence
of $100 fine or 30 days.
League Forms Branch at Pierre, S. D.
A branch of the Motion Picture Exhibitors' league
for the state of South Dakota was organized at Pierre,
a large number of manager of houses in different parts
of the state being present. Milton Balsiger was elected
secretary and treasurer of the state organization. The
motion picture men have a bill that is to be presented
to the legislature, which outlines more rigid rules of safety
equipment, which censors more severely all films shown,
and which regulates Sunday entertainments. Among the
pictures prohibited are professional prize fight films.
.March 1. 1913.
MOTOGRAPHY
155
How the Photoplayers Club Did It
Their First Ball
THE Los Angeles Photoplayers' ball Valentine's night
was a disappointingly fine affair, as the Los Angeles
Examiner expressed it. One expected to see yell-
ing "Injuns" and fat Dutchmen and cowboys and poor
but beautiful girls, too.
All this dream had to be discarded when one got a
look at the ballroom scene in the big Shrine Auditorium,
for it was very much like several brilliant predecessors.
The men didn't dash in and say, "Halt!" or "Curses!";
no damsels were succored, of trustful females there were
none; one did not glimpse any squalor or wretchedness.
Nothing of all this happened.
On the contrary this affair merged all of them into a
uniform assemblage, the women in their kinemacolor
clothes and the men with the open-face accoutrement —
in other words, evening garb.
The best known characters of the film world were
there. There were comedy men, serious men, character
men, juveniles ; there were heroes and villains, kings and
beggars, saints and thieves; then, of course, there were
heroines and poor little shop girls and old maids and little
country lassies ; in fact, nothing missing.
The cruel landlord who that very afternoon had
driven the supplicating woman and her three weeping
children out into the cold world for want of twenty-five
cents for the rent was discovered in agreeable conversa-
tion with the same woman, whereas the children were
trying the waxed floor for long distance effects in sliding.
It was one of the biggest dancing crowds the audi-
torium ever accommodated, perhaps the biggest, and none
ever could have been more decorous. A few individuals
somewhat inclined to levity had suggested that "ragging"
might be desirable when things warmed up a bit.
It is to be written very severely that there was no
"ragging." A man with a megaphone mounted into the
band stand and executed a decisive flank movement on
all this kind of motive by announcing that any one who
tried to "rag" would suffer the ignominy of ejection.
The giddy waltz, two-step, etc., had to suffice.
It is a noteworthy fact that Los Angeles can assem-
ble more photoplayers than any other city in the country,
also more noted ones. The forty-two companies oper-
ating in and around the city were all so numerously rep-
resented that everybody came but the livestock. Also
most of them arrived in automobiles, which is a pretty
good argument there were no Cinderellas or their male
prototypes on hand.
The venerable dean of moving picture actors is
Charles, otherwise "Pop," Manley. He is 82. He could
have been playing in pictures before the Civil War had
"The Ferrets," March 1. Copyright 1913, Selig Polyscope Co.
156
MOTOGRAPHY
Vol. IX, No. 5.
they been invented then ; however, he has been an actor
longer than that. Naturally he takes the part of an old
man, though he doesn't look so old. However, by dint of
making up he gets the proper effect.
Another of those who can't play juvenile parts any
more is Russell Bassett, aged 66. His record is 45 years
an actor. He is the funny old man when you see him on
the screen. He is the humorous father or perhaps the fat
farmer who was so surprised at seeing his dude son come
home from college he tipped over the pail of milk, then
got mad and kicked the cow, also the son.
Among the throbbing throng was discoverable
Charles Murray, formerly of Murray & Mack. Mr.
Murray says he has played everything up to date but a
lizard. He and Jack Dillon, another comedian, together
played a horse, and got a big laugh for the stunt — a horse
laugh, maybe. Murray says it's great to be in the photo-
play game. He's gained eighteen pounds in the open air
and sunshine, and his beautiful wife, who is well known
on the stage, watches him do funny things and laughs so
much she says she is getting fat.
You couldn't help seeing those wonderful children,
Matty and Early. Two guesses are required to know,
from the names, which is the boy and which the girl.
The only violation of the anti-rag rule emanated from
the active minds and was transferred to the radio-active
persons of Matty, the boy, and Early, the girl. After a
moment, however, the girl gave the boy a biff and said
she had had enough. So much for the decorousness of it.
Arthur Mackley is a villain. But, let it be added,
only when he's being wound up in the moving picture reel
for delivery to all parts of the habitable globe. There
isn't a place on the several continents where they have
enough enterprise to get a moving picture show that Mr.
Mackley hasn't caused many an emotion of rage and hate,
but he always gets "come up with." He was one of the
most benign and genial men at the ball.
To forget Fred Mace, president of the Photoplayers'
Club and one of the most popular of moving picture
comedians, would be an omission as serious as Mace is
funny. He led the grand march with Miss Mabel Nor-
man, a leading woman. It was a beautiful, not to say
gorgeous, grand march, but Mr. Mace did not try to be
funny.
Miss Mary Charleson recently made a great hit —
she is said to be always making them — by doing a picture
all by herself, just she and her hat. She didn't have the
hat this night, but the famous moving picture referred to
couldn't have been any more effective than the one she
made.
Besides the photoplayers the audience comprised be-
tween 2,000 and 3,000 friends and spectators, and not
half of those who came to dance could find room on the
floor at the same time. The proceeds of the ball consti-
tute the foundation for a fund which will be used to build
a clubhouse for the actors belonging to the Photoplayers'
A Reel Fable of Today
By Watterson R. Rothacher
Once upon a time a Wallingford Worshipper read
the sunny side version of our Film Magnates' meteoric
rise from the unrated to the Millionaires' Column and
decided then and there that the Moving Picture Business
was the It in profit. Right away he looked through
glasses which magnified his customary Ten Per Cent
twenty times and, by botany and a facile pen, figured that
he could run his Bank Roll up to the Big Ones without
even working up a perspiration. Two days of this dope
and he was ripe. Just about this time our pregnant
friend burned into an Ex-Employee who had shoved
one of the Big Film Firms to the bankruptcy brink by
"quitting" a twenty dollar per job at the Scenario Desk.
The Ex-Employee having been in the Film Game more
than a month, knew all about it, and having been out of
it less than a week hadn't forgotten all he knew. Our
Wallingford Worshipper was in Tune with the Infinite
and they got together, verbally. The Ex-Employee was
anxious to discard the Ex ; according to him all the Gold
Pieces in circulation were cut out of Film and he knew
where the cutting was good. Judging from his glib
chatter "Bill" Selig, Carl Laemmle, George Spoor, the
Two Pops and the rest of the Successful Filmers were
mere Victims of Circumstance, and most of the Pictures
in the Moving Picture Trade Journals were copies from
Rogues Gallery originals. Compared with him the Anvil
Chorus was as silent as a church on Monday morning
and Ananias an amateur. The Wallingford AVorshipper
was aghast to learn that Honest Men in the Film Busi-
ness were about as plentiful as the Dodo in New Bruns-
wick. He was amazed to hear that even the Durkins
in the Game were pulling down a Three Figure Envelope.
He absorbed such a dose of this Glittering Guff that
after an hour of the treatment he bought the Bank of
England and made a mind bet with Gates of an amount
that called for a Special Currency Issue. And. the Ex-
Employee was still fresh and Going Strong. Several of
the Worshipper's Friends who had known him in his
sane days and who did not recognize the symptoms, fell
for his Enticing Dreams and "wanted in." The result
was the announcement of a New Film Manufacturing
Company. Its offices were an extravagant copy of the
best on Broad Street, and on paper its Stock made
Standard Oil look like a Piking Proposition. The Ex-
Employee by this time had pawned the Ex, and had slips
in the Cash Drawer. During his Moving Picture Experi-
ence he sat close to the "Information Desk," and was a
small- potato along with the other clock punchers. He
was blissfully unmindful of the Important Rules in the
game and was just a bit hazy as to whether the Patents
Company was in the American or National League. He
nursed the idea that the Mutual was an Insurance
Scheme, and to .the best of his knowledge the Universal
sold Cement ; he was absolutely certain that Film Supply
was one of Eastman's Coaling Stations. There was
nothing to it, he was Some Little Counsel. All this time
the New Venture hadn't made a ripple in Film Circles.
During one day the Wallingford Worshipper spent a
month in New York trying to get a line on Things. He
met all the Panhandlers and thousands of Breezy Floaters
who sounded like the Ex-Employee who had been his
Pathfinder. He found the Regular People too busy
making Film to give him any time. Soon after his return
to the Big Roll Top, dawn broke. The Employee wore
the Ex again, and the Wallingford Worshipper, with his
dream dissipated, and realizing that Nil stood for what
he knew about the Film Business, changed the gold let-
tering on his doors and then and there became a Feature
Film Man.
Moral : We should worry and Make Film.
March 1, 1913.
MOTOGRAPHY
157
On the Outside Looking In
By the Goat Man
ACCORDING to the Wheeling Register, a convention
of m. p. exhibitors called for February 6 was at-
tended only by the janitor of the building. It would
seem that the Ohio censorship squabble is keeping Pres.
Neff confined to his own state, for it is hard to conceive
that an exhibitors' convention could get by without his
presence.
% 3fC Jfi
I believe one of the big reasons for the large success
that has come to some of the more important film makers
rests wholly upon the treatment that has been accorded
their employes. I have visited nearly all of the plants
and I find behind the profitable enterprises a great family
of volunteers who are happy in their work. Happiness is
based upon pay. A man who finds his income sufficient
for his protection and self-preservation has time to give
his best effort to the occupation that engages him. Young
folks carry an advantage in physical energy. Older folks
have the compensating advantage of experience. Film
making requires the services of the young and old and
when you eliminate the factor of worry which attends
I!
LA
■inW
:H M
Group Taken at the Lubin Studio, Philadelphia, Tom Jefferson, Tom
McXaughton, Elgie Bowen, Miss Monroe, Christie MacDonald,
Siegmund Lubin, Alice Lloyd and Daughter.
short pay, you get the best results from your employe.
The established film maker owes much of his advan-
tage to the contentment of his co-workers. The "fly-by-
night" film factorv will learn the lesson or continue to
fluke.
^ % %
The talking picture opens a broader field for the
scenario writer. Talking pictures talk. Obviously the
"scenario" will have to talk. I fancy that the Kineto-
phone folks will know what real grief is after the fans
see 'em move and speak.
^ 3*c %z
You may wonder why I delight in being the goat of
a great industry. I can't hope to give you a convincing
answer. I know that the business wouldn't be complete
without its goat and of course we all agree that the busi-
ness, while loose in spots, is more or less complete. When
I started to follow the crowd who engaged in the film
business I couldn't find anybody who would write a let-
ter. After a year or two, about one-tenth of one per
Arthur Tries to Recoup His Losses. From Lubin's Two-Reel "L'ntil We
Three Meet Again."
cent would write, but none would sign their names.
Nowadays I get letters from men who actually sign them-
selves ! I find much compensation in these forward
moving indications. I have survived through stormy
days and am encouraged to believe that there will be a
larger need for my services as we continue to make prog-
ress. Volume eight of Motography is nearly two inches
thick. It is a splendid, big book for a bean.
* * *
I told you in my feeble way that you would live to
see the day when joy would play on Laemmle's phiz and
Swanson would get down to biz. I said there wouldn't
be a row — a bully guess, you must allow — because the
gang was in a rage and smoke obscured the wabbly stage.
But I have seen so much of this, I felt cock-sure I
May Realizes That a Change Has Come Over Her Husband.
Lubin's Two-Reel "Until We Three Meet Again."
From
158
MOTOGRAPHY
Vol. IX, No. 5.
wouldn't miss. (These boys are always seeking "spot"
and aren't happy when they're not.). When Henkel
jumped into the ring, Pat Powers didn't do a thing but
make his famous duplex bow and gather in two hun-
dred thou. I fancy Henkel got a split of Powers' dough
— or some of it — for all the trouble blew away. That
cook of Mark's still draws his pay !
^ ^ sfc
McQuade is nudging me. He, too, sees disaster in
real competition of licensed films. And he sees no good
reason for it. McQuade wants us exhibitors to ignore
the pleadings of the Kinetograph Company and stick to
General. That is good old-fashioned stuff, but when
Kennedy and Waters come around to my house, I'll ask
'em for their quotations. I've been on earth long enough
to do that. I have had my eyes on the exhibitors' end
of the business for quite a spell ! It is set up that the
Kinetograph license can be abrogated at will. Well, they
have had more or less trouble doing that sort of thing
with Fox. haven't they? Fox still gets his'n, but not
from General's choice. I am a believer in competition
in nearly all things. I can't see where competition on a
program basis can work anything but disaster. A pro-
gram should be large enough for variety and flexible
enough to supply several exhibitors in a neighborhood
without clash. General has that. Complaint has been
reduced to a minimum. Exhibitors using licensed pro-
gram have gradually come to know that an honest effort
has been made for their direct benefit. There is less
dissatisfaction to-day than ever before. Between you
and I, Kinetograph got its license by the Kennedy meth-
od. If you don't know what that means you will under-
stand when you meet Jerry. I propose to stand pat until
I can see where the change promises me more than it does
to-day.
* * *
No, my dear inquirer, the fair Lillian doesn't ap-
pear in her $1,000,000 gown as a Kinemacolor lecturer.
In the pictures she wears what is supposed to be a mil-
lion dollars' worth of toggery. It is easier to show pearls
and diamonds in pictures than it is to wear 'em out in the
open. And then, here in Chicago, it is much more safe.
Rubinstein says the J. in his name stands for juca-
tional. Bum wheeze, Ruby. I'll attend to you later.
* * *
If you will trouble yourself that much, procure Jane
Fearnley's portrait and a copy of Motography of Feb-
ruary 1. Confusion will be in evidence. We labeled a
picture of Jean Acker, "Jean Fearnley," due to the loss
of Miss Acker's photograph and Joe Hopp's notion that
Miss Fearnley was the only leading woman with Imp.
Our apology is due to both of these charming women
for the error.
^ ^ ^
We thought for a minute that Joe Brandt was com-
ing to Chicago, but he only moved up one flight of stairs
in the Mecca building. You will observe that Joe went
up — he isn't the kind of chap that goes down.
$z ^c $z
When did this man Humperdinck get into the game?
Won't somebody please act as sergeant-at-arms ?
'The Collector of Pearls," March 4. Copyright 1913, Selig Polyscope Co.
March 1, 1913.
MOTOGRAPHY
159
The film game is like an old soldiers' home. When
you get in you stay till the undertaker comes. I had
forgotten all about Bill Steiner, before he bobbed up
with a law suit involving all the big fellows and a million
of dollars. And to think he did it with office fixtures
which are listed at only $200!
^ ^ 5{c
The trouble that has followed one J. H. Brand,
alleged swindler in the name of the New York School
of Acting at Los Angeles, seems to rest largely upon
his disinclination to tell any of the incidents of his past
life. Refer to the blue book of the Bureau of Criminal
Identification. The guy who will filch money from the
idle, love-lorn, pretending to teach the art of pantomime
acting, is a bad egg.
The Cleveland censors saw one hundred and thirty-
three reels of films last month. They succeeded in cut-
ting out nine feet. There's your argument in a nut
shell. If you think the manufacturer hasn't learned his
business you are farther out than I am. While I am
still on the outside, I have been inside once or twice and
I never attempt telling the insider anything about his
game. He knows. Go back over the record and find a
place where this book says the maker of films doesn't
know and I'll buy. And to think that Ohio is trying
to impose a tax of a dollar a reel — for the local censor.
Who started that foolish proposition, anyway?
At any rate talking pictures should satisfy the
contention of mutes that the lip action isn't faked.
H* 5fc *H
Dick Rowland of Pittsburgh has followed in the
footsteps of Max Lewis and "got 'em an injunction."
It appears that Rowland has several bundles of G. F.
stock — evidence of good faith transferred when he let
go of his end of the old Pittsburgh Calcium Light and
Film Company. I never knew before that preferred
stock could do that trick, but I live to learn. With little
knowledge of the facts, it is worth noting that G. F.
prospers and whatever merit may attend the case, some
figures are available as a result of Mr. Rowland's affi-
davits. In addition to restraining the directors of G. F.
from dividing a surplus of $200,000 plus, alleged to be
rusting in the vaults right now, Rowland insists that
$844,463.95 be returned. It is stipulated that this latter
amount was paid out between May and November last
year to these makers, as follows: Biograph, $83,926.08;
Edison, $98,217.04; Essanay, $81,853.36; Kalem, $72,-
666.64; Kleine, $61,846.86; Lubin, $81,096.50; Melies,
$25,186.87; Pathe, $131,972.73; Selig, $87,762.41; Vita-
graph, $119,935.46. These figures are helpful in em-
phasizing the importance of the industry. The idea that
a camera man with a camera is about all that is needed
to make film is being rapidly dissipated. A trip around
the circle will show the over-zealous that film-making
and marketing constitutes an industry of immensity;
involves the handling of tremendous sums and has for
its purpose, clean-minded, wholesome entertainment
for millions and at the lowest possible price. It does
beat the band what a nickel will do.
often than they formerly did. There have been many
additions to the congregation since last November. The
reason is — moving pictures.
Immediately after the service on Sunday night the
church is darkened and then on a screen behind the
pulpit the film actors work out some historical drama, or
scenes from this or foreign countries pass in review be-
fore the congregation. On that night the exhibition is
free, but on Friday night a small admission is charged.
Then, however, the young wards of state institutions are
admitted free.
To a stranger the effect is somewhat startling.
On entering the church one of the first things that strikes
his attention is the red light exit signs, similar to those
seen in theaters and moving picture shows, which are
placed over all of the doors. Next the large proportion
of children present is noticed. The big screen which at
first seems so out of place in such surroundings, also
claims notice.
But usually the stranger returns, and the films have
fulfilled another of their varied uses.
Pictures Feature of Columbus Church
No Sunday or Friday night is too stormy or dis-
agreeable for the children who live in the vicinity of the
Eastwood Congregational Church, Twenty-first street,
near Broad street, Columbus, Ohio, to attend the services
there, and the grownups, too, miss the services far les*
Canada's Exhibitors Form League
Canada now has a banded association of motion pic-
ture men who intend to see to it that their rights are not
trespassed upon and that the members work together for
the general good of all. The association was formed in
Saskatoon on Sunday, February 16, and the gathering of
exhibitors was an enthusiastic one.
The afternoon session of the convention was held
in the Strand theater and in the evening a banquet was
given at the King George hotel. It was the proposed
three hundred dollar tax against picture house owners,
that brought the Saskatchewan exhibitors together to
fight the injustice, which, to the smaller exhibitors, would
mean going out of business.
The officers chosen for the association are : Presi-
dent, R. H. Bertrand, Saskatoon ; vice-president, Charles
E. Ellis, Moose Jaw; secretary-treasurer, J. A. Strieker,
Saskatoon ; executive, A. I. Mclvar, Regina ; W. L. Mc-
Bride, Prince Albert; F. G. Bailey, Humboldt; Rev. A.
E. Thompson, Grandora; W. C. Clark, Moose Jaw; T. S.
Cavanagh, Saskatoon.
A course of action was decided upon by the attending
exhibitors which will militate against the action taken by
the government.
Many speakers were present at the meeting in the
evening which was most successful and it may also be
added quite in keeping with both the spirit of the occasion
and the day on which it was held.
For the most part the cause of their gathering to-
gether was ignored and the various aspects of the moving
picture industry dwelt upon.
Meyer Cohen, who acted as toastmaster, briefly told
of the beginning of the organization and the reasons for
its formation. The local exhibitors had started it and
secured ready support from outside motion picture men.
Many obstacles had been done away with and the result
was that they now had an organization on the proper lines
which would be permanent.
The Rev. Alfred E. Thompson of Grandora was the
first speaker and he took up the motion picture industry
from the point of view of its educational value and moral
uplift. Mr. Thompson is in a peculiar situation. To se-
cure enough funds to build a church he is running a cir-
cuit all his own, between Grandora, Vanscoy and Asquith.
He is showing pictures all the time in theaters in the three
160
MOTOGRAPHY
Vol. IX, No. 5.
Shylock Agrees to the Loan. From the Kleine-Eclipse Feature, "Shylock.'
towns and as well, is using his moving picture machine
in his church on Sunday.
He stated that he considered he was doing the right
thing in attending this meeting in spite of the fact that it
was taking place upon Sunday. He felt that he could not
sit idly by, and take up the intolerable burden which the
provincial government had strapped upon his shoulders.
He thought it was time the moving picture men got up
and exerted their power.
The moving picture show, he said, was a mighty
lever for good. He showed moving pictures and showed
good pictures and provided clean, healthy and educative
entertainment to a number of young people. He also
used his machine as a stereopticon in his Sunday sermons.
People who had never come to his church before because
they were not able to understand the language but now
they were taught the story of the gospel by a more pow-
erful force than language, that of vision. In this way the
moving picture machine was of immense value.
F. G. Bailey of Humboldt stated that he had come to
Humboldt some time ago when moving pictures were not
understood and it took him a year to educate the people
of that district up to believing in moving pictures. Now
they would have nothing but moving pictures.
Aid. M. A. Maclnnes spoke on behalf of the city
and took as his subject the moving picture show as a
source of amusement to the general public. He devoted
some time to the question as to whether it was correct to
meet on Sunday and decided that in a case of emergency
like this, it was proper. There was no doubt, he said,
but that the moving picture was shortly to become one of
the strongest factors in the educational life of the city.
T. M. Fraser spoke on behalf of the press, drawing
attention to the fact that there were many complaints that
the flicker of the pictures was very injurious to the eyes.
He characterized the tax of the provincial government as
actuated by its need of money.
N. Menasse of Edmonton, the owner of the finest
motion picture theater in Western Canada, represented
the sister province of Alberta. He said that the strength
of Samson lay in the exhibitors' hands. "Make of your-
self a personality and your business an honorable busi-
ness" was the tenor of his address.
W. L. McBride of Prince Albert boasted of being
one of the first motion picture pioneers in this country.
He had operated a machine in Prince Albert fourteen
years ago. In his opinion the ideal of the new organiza-
tion should be better houses and better pictures.
Rev. Mr. Thompson closed the meeting with an al-
lusion to the Jesse James methods of the local provin-
cial government and the benediction.
A foreign business man informs an American con-
sular officer that he would like to get in touch with
American manufacturers of cinematograph films. He
desires to secure the agency for these companies in
Eastern Russia and Western Siberia. Correspondence
may be in English or German. The address may be
secured by addressing the Bureau of Manufactures,
Washington, D. C, and referring to File Number 9959.
.March 1, 1913.
MOTOGRAPHY
161
Vanoscopy
a Continuous Projection System
By Lewis C. Van Riper
WHEN La-
tham add-
ed the loop
to the film and
Pross added the
extra leaf to the
shutter of the mo-
tion-picture projec-
tor some ten years
ago it was thought
that about the high-
est stage of perfec-
tion h a d been
reached, or at least
that any further
i m p r o v e m ents
would be merely in
the nature of re-
finements in the
mechanisms a n d
part s — in details
only.
The intermit-
tent movement of
the old Swiss
watch was believed
to be about the
acme of perfection.
Manufacturers of
picture projecting
machines, as a rule,
were satisfied to let
good enough alone.
True, a few varia-
tions of the old star wheel and sprocket movement have
been brought out. such as in the Gaumont camera and in
the Power's projector, but all manufacturers have to this
day retained the intermittent movement and the shutter.
In the meantime, inventors in all parts of the world
were striving to produce a projecting machine which
would throw a continuous picture upon a screen from a
film containing a series of continuous photographs of an
object in motion, in such manner that each successive
picture would dissolve into the one preceding it, on the
principle of the dissolving stereopticon. In fact, it might
almost be said that the earliest attempts at projecting mo-
tion pictures were directed to that end. We find among
the oldest patents that of the Zoetrope or Praxinoscope
invented by M. Reynaud of France, who for the first
time in 1877 enabled a large audience to see animation
upon the screen.
About the first thing a student in physics learns is
the rule that "action and reaction are equal" and that
"the angle of reflection equals the angle of incidence."
This rule not only applies to light but to practically all
the forces of nature, including heat, sound and all forms
of energy.
Light travels at the enormous velocity of 186,330
miles per second and therefore for all earthly purposes
may be considered as moving instantaneously. It has no
atomic weight and therefore is not affected by the laws
of gravity, but moves in straight lines unless diverted
from its path by striking or entering substances of differ-
The Vanoscope — End View with Casing Cut
Reflectors. The Arrow
ent density. It will
penetrate and pass
through vacuums
without hindrance.
Paradoxical as it
may seem too,
light of itself has
no color and is
absolutely invisi-
ble. It consists
simply of waves of
different lengths,
while color is sub-
jective and exists
only in the brain.
We see light only
by reflection and
color by sensation.
To the color blind
green often ap-
pears as red and
red as green does
to one of normal
vision, while in the
dark there is no
sense of color.
Thus we know
that color is not an
element but merely
a sensation con-
veyed to the brain
through the optic
nerves. But this is
a subject which
will be treated of more fully in another chapter.
At the beginning it may be well to state for the
benefit of those not thoroughly conversant with motion
picture projection as it is carried on today, that a large
number of successive photographs are taken upon a strip
of celluloid or film. Each individual picture is about the
size of a postage stamp ; sixteen pictures are. placed in
position upon one foot of film. The pictures are pro-
jected upon the screen one at a time and an opaque
shutter is interposed to cut off the light while the film is
being moved rapidly forward to expose each succeeding
picture. This film movement is usually accomplished by
what is known as the star wheel and sprocket. The
movement of the film is very rapid and is more in the na-
ture of a series of quick jerks, each of which usually
takes about one-quarter of the time given to the projec-
tion of each picture ; that is 25 per cent of the time is
taken up in moving the pictures forward, and 75 per cent
is consumed in projecting them upon the screen. During
the one-quarter period, the light is cut off entirely from
the screen, and prior to the invention of the Pross shut-
ter (about 1903) this irregular timing of the picture
while adding to the illumination, as a matter of fact, made
the flicker very severe and trying on the eyes of the
spectator.
The Pross shutter improvement consisted of an
additional shutter or rather leaf to the shutter being in-
terposed during the period that each picture was being
projected on the screen and while it stood in a stationery
Away, Showing the Rotating and Rocking
s Indicate the Film.
162
MOTOGRAPHY
Vol. IX, No. 5.
position. This equalized the periods of darkness and
light and brought the projecting machine up to its re-
cent state of refinement. This, however, is about the
only radical improvement that has been made in project-
ing machines since the first ones were brought out by
Messrs Paul in London, Lumerie in France and Edison
in the United States. Of course, there have been re-
finements in details, and some little improvements, new
adjustments, the adding of the fire shutter, etc., but no
great progress has been made towards decreasing or
eliminating the flicker. The principle underlying the
present method of projection is that the persistence of
vision in the human eye is such that an image is retained
about one-tenth of a second and therefore it became
necessary to project these successive pictures so that the
intervals or dark periods between them did not exceed
the time mentioned, and it was found that a speed in pro-
jection of from 16 to 17 pictures per second was neces-
sary with the intermittant machine to attain the best re-
sults, to enable the eyes to retain the image of one pic-
ture until the next was projected upon the screen and
to overcome or partially overcome annoyance to the eyes
caused by the shutter intervals. This is the rate of pro-
jection now used throughout the world on all standard
projecting machines for monochrome pictures. It is
therefore apparent that heretofore the pictures had to be
taken at a speed of at least 16 per second in order that
when projected at that speed they would appear natural.
Inventors have been dreaming and working upon
machines to produce continuous projection of the suc-
cessive pictures since long before the celluloid film made
its appearance (in 1889) and among the first motion pic-
ture patents is that of Reynaud (French 1877) hereto-
fore referred to. His invention comprised a series of
mirrors mounted upon a rotating disc, and at that time
was called Praxinoscope. This was the very first at-
tempt so far as we know to project motion pictures upon
a screen. The principle employed was the same as that
used today, only the observer looked at a transparent
screen to see the moving figures which were thrown up-
on the screen from the rear of the stage, the audience be-
ing in front. Since the advent of the celluloid film scores
of patents have been issued in the United States and
foreign countries, covering various methods for using
reflecting devices, such as mirrors, prisms, movable
lenses, pictures alternating with each other from double
films, etc. One inventor provided the rotating mirror
with a constantly inclining surface jumping back at each
rotation to its original position to compensate for the
movement of the film. Another used a- double set of
mirrors placed at angles of 45 degrees with relation to
each other and employed a system of raising and lower-
ing the reflecting mirrors alternatively to compensate for
the forward movement of the film. Others arranged
for tilting a mirror forward at one-half the angular velo-
city of the film and causing it to jump back quickly to its
starting point with each successive picture.
The writer began experiments along this line years
ago and a great deal of "this world's goods" and labor
was expended in trying to work out a system by which
the successive pictures could be taken up and projected
without causing an interval or shadow to appear upon
the screen. All of the ground formerly covered by oth-
ers was gone over carefully and there appeared to be
almost insurmountable difficulties to overcome. Several
complete projecting machines were constructed during
this preliminary work which theoretically promised to
accomplish the purpose for which they were intended,
but in practical operation a dividing line or shadow al-
ways appeared upon the screen between the successive
pictures. Then too, there was the question of each
image having to go through too many reflections, making
it necessary to place the lens at a considerable distance
from the film, to say nothing of the loss of light, and
the double image which is always projected from a mirror
made in the ordinary manner.
In fact, to abbreviate a long story, after a long
series of experimental work covering the field many times
and studying the efforts that had been made in the past
along this line, it was decided that it was necessary to
break away from all precedent and to start on new and
radical lines, in fact nothing less than to work out some
plan whereby all of the movements would be rotatory
and continuous, and yet whereby the successive pictures
from the film could be dissolved into each other in exact
proportion as the illumination decreased in one picture
and increased in the succeeding one.
If this were possible to accomplish it would give 100
per cent of the light upon the screen at all times, and
there would be no period when the light was entirely cut
Picture 3
MlRF?Cf? B.
MlffROR A.
M/rrorA.
Side View.
March 1. 1913.
MOTOGRAPHY
163
P/C TU/f£ B P/C TURE A
Mirror B
Fig. 2
M/RROR B
M/RROR A
Mirror' a".
off, or in fact either decreased or diminshed in volume.
By being able to accomplish this we would overcome the
various difficulties encountered by other experimentors
in the past, and also by our own previous attempts. The
idea was laughed at at first and by many adjudged
impossible and impractical ; but from the time the writer
decided upon the rotary principle he never for a moment
doubted ultimate success or that such a result was possi-
ble.
Of course, many obstacles and disappointments were
met, but in the experimental the goal was always kept in
mind of an absolutely flickerless picture, projected with
a constant and even volume of light. When this was
accomplished other advantages would follow, such as
being able to project continuous pictures at any given
speed desired i. e., from one to 16 per second as occa-
sion required, giving absolute flexibility and full con-
trol to the operator. Another advantage would be full
relief from eye strain or shock to the optic nerves. Some
of the advantages to be obtained from such a projecting
machine would tabulate as follows :
1. Xo intervals between successive pictures, but
each succeeding picture would dissolve into the one pre-
ceeding it in exact proportion as the volume of light was
shifted from one to the other.
2. Xo flicker.
3. Xo intermittent movement of the film but it
would be drawn through continuously at a uniform speed.
4. Xo danger of fire because the film would never
stand still during projection, and as no light would be
lost through dark intervals the amount of electric current
necessary to operate would be reduced.
5. There would be no shutter and no interruption
of the pictures during projection.
6. The pictures might be taken and projected at
the rate of eight per second and produce natural results
instead of at the rate of 16 or 17 as heretofore, thus
saving 50 per cent in the cost of film for the same length
program.
7. Because there would be no eye strain but 100
per cent of light and picture on the screen at all times
the front seats in a theater would be made as desirable
as any other seats.
8. The machine would be noiseless.
9. It would be convenient to thread having no loops.
and there would be no danger of film breakage while
projecting.
10. Simplicity of operation, simplicity of construc-
tion, and long life of durability.
Anyone who has carried on experimental work to
any considerable extent must realize how expensive such
work is and the long time generally consumed in per-
fecting new appliances and mechanisms. After the com-
pletion of the first machine, while the principle appeared
to be correct there were many difficulties to overcome,
and when the second machine was finished still other
disadvantages or complications appeared.
This process of evolution and elimination continued
until no less than five complete projecting machines had
been constructed and "junked." The sixth, however,
was sufficiently successful to enable a demonstration of
the principle to be made — but still was not commercial.
But now it is possible to say that the problem has been
solved from every standpoint. At last a means of suc-
cessively dissolving one picture into the next from the
film as it moves in its path has been found in what has
been christened the Vanoscope.
In describing the Vanoscope it is necessary to state
that a new mechanical movement is employed to accom-
plish the object sought. There are two reflectors, each
describing the segment of a circle. These reflectors are
rotated around an imaginary stationery axis and alter-
nately rocked forward at the same time at one-half the
angular velocity at which the film travels. Thus, as
we have seen by the old rule of physics referred to at
the beginning of this article, the pictures may be pro-
jected in a horizontal line and appear stationery upon
the screen.
Referring to the accompanying drawings of the
Vanoscope, Fig. 1 shows a side view and also a perspec-
tive view of the film containing pictures with the mirrors
A and B. In the perspective view the picture A is being
projected by mirror A through the lens to the screen.
The side view in Fig 1 shows the postion of the mirrors
(exaggerated) when the picture A is being projectd
solely by mirror A.
Fig. 2 shows picture A after the film has moved for-
ward a short distance and mirror A has rotated to near
the point where it will pass out of the field of light. As
mirror A has rocked forward (see side view, Fig. 2) at
164
MOTOGRAPHY
Vol. IX, No. 5.
P/CTURE. B
M/RRORA
Mirror BHIi
one-half the angular velocity of the film (our old rule
again) the picture has continued to be projected in a
stationery horizontal position.
Fig. 3 shows picture A after the film has moved still
further forward and the mirror A has rotated to a posi-
tion partly out of the field of light, so that while the
whole of the picture is being projected upon the screen
it is only partially as brilliant as it was when fully ex-
posed to the light and picture B is now also partially
being projected by the mirror B and is gradually increas-
ing in brilliancy in the same proportion that picture A
is decreasing, so that the picture on the screen is now
made up from both picture A and picture B and is a
composite picture of them both, the two together making
up 100 per cent of illumination, or a complete dissolving
picture.
It must be remembered that at this point the light
which strikes the reflectors is composed of millions of
rays or bundles of rays, each of which carries a complete
image of both pictures A and B, but that owing to the
angle of incidence (our old rule) being different the rays
from picture A which strike mirror A are projected
horizontally through the lens upon the screen all the time
as both film and mirror move forward, while the rays
from picture B which strike mirror A are reflected at an
angle out of the horizontal line (see side view, Fig. 3)
and are cut off from the screen by a framing device. In
the same manner the rays from picture B are constantly
projected by the mirror 5 in a horizontal line through
the lens to the screen, while the rays from picture A
which strike mirror B are thrown up at an angle above
those from picture B, the angle of incidence being differ-
ent (see side view), and are cut off by a framer in the
same manner as those rays from picture B which strike
picture A.
It may be thought that each mirror at this point will
only reflect a component part of each the A and B pic-
ture. And so they would if the light from each picture
were cut off from the mirror in the same proportion that
its mirror moves out of the path of light, and if the mir-
rors did not receive the light from each picture at differ-
ent angles of incidence, so that each mirror in turn will
reflect into the lens only those rays of light emanating
from the particular picture on the film intended for it.
The illumination of each picture depends upon the
amount of mirror surface remaining within the field or
path of light, the other mirror compensating for the
amount of light lost by the first mirror as it moves out
of the plane of reflection in exact proposition as one
moves out of and the other moves into the light path.
After this problem had been satisfactorily solved
others presented themselves and had to be taken up one
by one and worked out. First, mirrors made in the usual
way gave a double image on the screen. This, however,,
was overcome by silvering them on the face, but so fin-
ished they were very sensitive and tarnished rapidly from
contact with the air. A way was then found to platinize
them, and this method is now giving entire satisfaction.
They do not tarnish and are very durable; besides, they
give perfect reflecting surfaces so that but a very small
percentage of light is lost, and this is a great deal more
than compensated for by the fact that none is lost by the
use of shutters.
When Edison produced the Kinetoscope 30 pic-
tures per second were necessary to bring out the illusion
of natural motion, but Messrs. Paul of London and
Lumiree of France, by means of their apparatus, which
were the first commercial motion picture projections, re-
duced the number to 16 per second, so that the additional
14 pictures, and their requisite length of film, represented
so much wasted effeort and material.
By the use of the Vanoscope and its dissolving effect,
there are no lost periods during projection; a complete
picture with 100 per cent of illumination is on the screen
at all times, making it possible not only to elminate flicker
but also to project pictures of moving objects at the rate
of eight pictures per second and give perfect life like
results as persistence of vision does not enter into calcu-
lation because the pictures never leave the field of vision ;
thus again saving 50 per cent in the film and eliminating
so much more effort and material.
The Central High School at Grand Rapids, Mich.,
was presented with a motion picture machine by the Uni-
versity Club of the city.
March 1, 1913.
MOTOGRAPHY
165
Current Educational Releases
Building Pontoon Bridges. — Pathe. A French
engineer corps builds a bridge in 22 minutes and 14 sec-
onds. An enlightening instance of the efficiency of the
French army.
Pottery Making in Dorset, England. — Eclipse.
An interesting and instructive visit to the potteries in
A'erwood. "We are shown the treading of the clay, the
potter's wheel at work, the kilns where the crockery is
dried. A collection of beautiful vessels exquisitely
moulded, concludes the subject.
The Children of Japan. — Pathe. Scenes in Japan
during the day known as children's day when the streets
are turned over to them and they are given the key to
the city. An interesting- studv of child nature.
Native Industries in the Soudan (Egypt). —
Pathe. The natives of Soudan perform their many and
\-aried labors before the camera gn'ing one a knowledge
of their habits, customs, and the crudity of their imple
ments.
them work.
There is an entertaining fascination in watching
Winter Sports in the Swiss Alps. — Kinemacolor.
A splendid travel feature, which never fails to win ap-
plause, for the excellent Kinemacolor photography dis-
plays all the varied pastimes of the region, as well as
beautiful scenic panoramas. Sleighing over the snowy
roads, tobogganing down steep inclines, and thrilling
"ski-ing" behind galloping horses divides attention with
the more peaceful but still picturesque diversions of skat-
ing, hockey, and sight-seeing parties through the heights.
An insight into one of the
Sea Anemones. — Pathe
myriad mystic animals that live their lives in the bot-
tom of the sea. They are of cylindrical shape having a
mouth equipped with numerous tentacles which, when
open, make it look for all the world like a flower. In-
teresting and instructive.
Scenes in Monsone (North Africa). — Cines.
After witnessing marvelous views of the sea dashing
upon the rocky coast, we are shown the glaring white
buildings of the government and religious institutions,
the mud baths of the inhabitants and many glimpses
into the picturesque native life and customs.
Study of Kittens. — Pathe. Kittens are the de-
light of young and old, winning all hearts by their cun-
ning antics, which is only one of the reasons why this
film will be liked and applauded. A baker's dozen of
Shylock Demands the Pound of Flesh. From the Kleine-Eclipse Feature, "Shylock."
166
MOTOGRAPHY
Vol. IX, No. 5.
kittens live their lives for a full day, from breakfast
to bedtime, before the camera. They are imposed and
simply follow their natural bent every action resulting
in numerous laughs being recorded. The photography
is of the finest and altogether it is a delightful offering.
Picturesque Spalato, Dalmatia.- — Eclipse. We
are taken on an interesting trip along the coast of Dal-
matia from the Isle of Bua to the town of Spalato. A
magnificent sunset on the Adriatic concludes the sub-
ject.
Animals in the London Zoo. — Eclipse. Taking
us on an interesting visit to this famous Zoo which con-
tains so many splendid specimens of animals of all kinds.
Glimpses of Provence (France). — Pathe. You
take a journey through one of the most beautiful parts
of beautiful France while watching this film and it is
all keenly enjoyable.
The Hairy Ainus. — Pathe. An interesting study
of the peculiar people who inhabit the islands to the
north of Japan and to whom civilization has not yet
penetrated.
The Granja (Colored). — Pathe. Views of the
grounds surrounding the Palace of the Kings of Spain.
A sight most entrancingly beautiful and the feature of
it all is a number of intermittent fountains, the most fa-
mous in all Europe.
The Waterfalls of Idaho (See America
First Series). — Pathe. From almost an arid
waste, the plains of Idaho have been converted
into a beautiful and productive farming country by the
harnessing of the very numerous waterfalls of the state
for irrigation purposes. The process by which this trans-
formation is obtained is clearly shown and explained.
Aside from all this the waterfalls are remarkable for
their natural beauty and especially Shoshone Falls which
are considerably higher than Niagara, although their
volume is not so great.
Hydrogen. — Pathe. In this film a toy balloon, filled
with hydrogen is deflated and the gas used in several
experiments, all celarly explained in the sub-titles. Each
experiment is highly interesting, showing just what hy-
drogen will and will not do. Scenes are shown explain-
ing the method of transporting this combustible gas
and also the inflating of a passenger balloon with a ca-
pacity of 6,000 cubic feet of hydrogen, which sails grace-
fully away, thus proving that hydrogen is fifteen times
lighter than air.
Eggs and Egg-Speriments. — Kinemacolor. Rapid
manipulation of objects held in the hands is an art that
has been a source of mystery and wonder from time im-
memorial. By the modern art of Kinemacolor these
clever movements have been "caught," and the conjuring
is performed with marvelous realism in full view of the
audience, and at close range, the hands of the conjurer
only appearing. First several eggs are shown and with
the yolk of one the words "Egg-speriment" are written
on the screen. A small bunlle of straw is transformed
into a nest, and when the conjurer makes passes over
it several eggs appear in the nest. Two eggs are next
broken, one into each glass, the yolk appearing as green
and red crystals. The glasses are filled with water and
the contents become solid, returning to eggs once more.
They are red and green in color, and when spun on a
plate turn white again. Two eggs are then balanced
on a large dish, after which the end of one is cut off,
and from the inside appears yards upon yards of green,
red, yellow and brown paper-ribbon. When it has be-
come quite detached, suddenly it springs back and re-
coils inside the egg. The conjurer cuts an egg in half,
holds two glasses together, and the eggs magically ap-
pear inside. Several eggs are broken over a dish and
when the shells are held over them the yolks fly upward
into the shells again. Most charming of all are the four
little chicks which flutter out of four eggs when broken.
For some seconds they hop gaily about, picking up
crumbs, their delicate yellow and black feathers "flut-
tering" with every movement. Eventually they are im-
prisoned beneath a dish cover. The cover is lifted, show-
ing a handsome brown, black and gold speckled hen. A
second lifting of the cover reveals the hen ready cooked,
hot and steaming, on its way to the dinner table. The
next picture suggests a change in the menu, as the fowl
is presented quite cold.
In Old Quebec. — Vitagraph. Scenes around about
the city of Quebec, Canada, showing many of the points
of interest, old buildings and quaint streets associated
with the early history and settlement of one of the oddest
and oldest cities in America.
Cocoa Cultivation. — Eclair. It shows the inter-
esting process of the cultivation of the cocoa tree,
which furnishes us with such an excellent and delicious
drink. The cocoa tree is a native of the tropics, and re-
quires a warm, damp climate. Its height varies from 15
to 30 feet. It bears an enormous nut, which is called the
"cabosse," and has a hard and rough exterior surface or
shell, and is of the general shape of a cucumber. The
interior is filled with a pulpy substance in which are
embedded from 25 to 40 seeds, which are called the cocoa
The seeds are taken from the nut, laid in the sun and
in that manner fermented so as to eliminate the sticky
substance which adheres to them even after they are
thoroughly washed. After this fermentation is fully com-
pleted the seeds are then roasted and ground into the
fine powder in which we obtain it.
The Titmouse (Colored). — Pathe. The Titmouse
has been termed "The Defender of Our Orchards," and
the reason for this sobriquet is clearly shown in a se-
ries of beautifully colored views of the Titmouse at
work and at play.
Life in Egypt. — (The Worship of the Dead). —
Eclair. The unsual cemeteries of this distant land, where
the people build little houses beside the graves of their
departed ones, making each cemetery a town in itself, are
shown in some remarkable views.
This subject is an exceptionally interesting, edu-
cational study, the views being most unusual and per-
fectly selected and the photography exceptionally good.
New York Fire Drill. — Vitagraph. The wonder-
ful performances of the New York Fire Department ii)
testing a new auto-electrical apparati before the mayor
and the fire commissioner, giving an exhibition of its uses ;
also the uses of several life-saving appliances. The actual
saving of persons from a building, showing the marvelous
efficiency of the different corps in the saving of life and
property.
March 1, 1913.
MOTOGRAPHY
167
Fantasies of the Flying- A
Some Selected Subjects
< 4 f~> ALAMITY ANNE, Detective," is the title of
( . the fifth "Calamtiy Anne" story to be released
v— ^ March 10, which is making for the further
popularity of Miss Louise Lester, who plays the title
role, and for the American Film Company. In addi-
tion to Miss Lester, the cast of this fifth release com-
prised George Periolat as Know-It- All ; Jack Richardson
in a typically heartless role as Rattlesnake Pete; his pal,
James Harrison, and lack Warren Kerrigan as the sher-
iff.
As the story goes, Calamity Anne climbed down
from her loft and stretched herself lazily. Then she
went to her one faithful friend, her burro, and arranged
breakfast for two. Three miles away Rattlesnake Pete,
by way of diversion, soundly and thoroughly beat Mrs.
Rattlesnake Pete and took his way with his ferocious pal
to the cache where the stolen money was hidden. Simul-
taneously, the sheriff posted up a $500 reward notice for
the same pair and aroused the cupidity of "Know-It-All
Jones," who, revolver in hand, went in search of that
five hundred.
Now it fell out that Calamity, seeing the notice,
also needed cash; so when a suspicious character ap-
peared, she hied him toward the sheriff at the point of
her gun. Alas ! The sheriff dismissed her with the re-
mark that a harmless old tramp was a poor excuse. Later
she fell upon the real bandit and so knocked the wind
out of the husky body of Rattlesnake Pete that the des-
perado in panic fled down the road. His pal fled straight
into the arms of Know-It-All Jones, who promptly
helped him along toward the sheriff. Then Calamity,
overtaking her victim, again fell upon him with such
frightful effect that he fled straight into the sheriff's
arms for protection. The sheriff refused the reward
on the ground that the bandit had given himself up —
and, to make matters worse, Calamity beheld "Know-
It-All Jones" collect his change and depart.
Heart-sick, Calamity left — and shortly after, with
only Calamity's luck, fell straight upon the cache wherein
was hidden the money. With this Calamity, in righteous
indignation, decided to vamoose ; but, on the way, lead-
ing her burro, she came upon the house of Rattlesnake
Pete and there saw his weeping and poverty-stricken
wife. Calamity's tender heart gave way. She hauled
the bags of dust from her bosom and presented them to
the unfortunate wife, leaving, with a light heart and
a heavily laden burro, for parts unknown.
The date of the public's reception of "Brother Love"
will be March 10, and it will be portrayed by actors
who are fast becoming familiar in American films. Jimmy
"Calamity Anne, Dectective," March 10. Copyright 1913, American Film Mfg. Co.
168
MOTOGRAPHY
Vol. IX, No. 5.
"Jocular Winds," March 6. Copyright 1913, American Film Mfg. Co.
Mason, the blind brother, will be played by Gene Pal-
lette, his brother, David Mason, by Edward Coxen, and
Dr. Chesterton by Chester Withey.
Jimmy Mason was blind and lived with his brother
in their cabin in the mountains. Jimmy longed for the
good things of life and when a noted specialist came
to the village, he took pity on the hapless youth and
promised to restore his sight. Jimmy was sent to town
and the doctor, after giving him a pair of glasses with
the advice not to remove them within a certain length
of time, sent him forth.
But sight was so welcome to Jimmy that he wan-
dered about the city admiring its beautiful hotels and
streets. He saw and grew acquainted with a girl who dis-
carded him promptly when his money gave out. And
then, walking out on the docks, Jimmy fell in with some
dock roustabouts, who, for the sake of a joke, tore off the
shaded glasses. Stricken blind, the boy fell on the pier.
Meanwhile the brother, alone in the mountains,
grew restless. He went to town, traced his wayward
brother and rescued him just when the latter was about
to step into the sea. Happy in his love for his brother,
Jimmy, now blind forever, returned to his cabin in the
hills.
"The Orphan's Mine" is the title of the March
15th release by the American Film Company. It has,
in its cast, Miss Christy as the orphan, Edward Coxen
as her suitor and George Field in the role of The village
no account. It tells the following story:
Grace Calvin prospected alone, independent of man's
help and quite derisive of its efficiency. Ed Corbin, pros-
pecting close by, had repeatedly offered himself as her
protector for life but she scorned that sort of help. A
day came when Grace hit gold, and that in the presence
of Blake Williams, noted bad man. He hurried to a
nearby saloon, and, from behind a partition, Ed Corbin
overheard the plan. He went himself to Grace's claim,
and with a rifle held off the thieves. Later, the would-
be bandits returned to town and stopped for a consoling
drink. Ed, entering with the sheriff, saw them. With
guns drawn, the bandits backed out of the saloon and
scurried out of the country as fast as their horses would
carry them. And then Ed, feeling that his suit had
been greatly promoted, hastened to the claim where he
found Grace willing to listen to proposals.
To Censor Pictures in Minneapolis
Strict censorship of Minneapolis motion picture the-
aters is to be established by the city license department.
Former Police Captain John Fay, who has been made
assistant license inspector, is to be the official city censor
and is to work under the direction of License Inspector
A. B. Gray.
"Should theaters refuse to co-operate with us we
can recommend that their licenses be revoked." Mr.
Gray said and added, that he believed "penny in the slot"
arcades should be licensed just as are motion picture
theaters. "Objectionable pictures are being shown in
some of these places, but we have4io method of stopping
them," he said.
March 1, 1913.
MOTOGRAPHY
169
Sans Grease Paint and Wig
By Mabel Condon
Tom Carris
TOM CARRI-
GAN had the
grippe ; his
head ached, his eyes
hurt and he had a
cough, the gr-r-r-r-r
kind, typical of
church and the mid-
dle of the sermon.
Also, Tom had a
twenty - four inch
handkerchief with a
laundry mark in the
corner which he held
to as a weapon of de-
fense in the way of
its being a burial place
for his cough, and we
got along nicely ; very
nicely, in fact, after
Thomas unconscious-
ly changed his mind
about the one best
cure for the grippe
being to get home- and to bed, and substituted, instead,
the exercise of his gift of saying things from a swivel
chair in a sunny office belonging to somebody-or-other
out at the Selig studio.
"Irish ?" I queried as the sunlight fell on Mr. Car-
rigan's sleek hair and showed a hint of red in the brown,
just where it forms a wave over his right ear. And a
big smile spoke from every feature and out of the am-
ber-gray eyes as Mr. Carrigan answered, "As Paddy's
pig," and I knew we were friends, for the next half
hour, at least.
"Glad to get back in pictures?" was the ques-
tion which made Thomas forget, after a minute, that
he was the unfortunate possessor of that grippy feeling.
"Yes, very glad." he enthused. "It's almost two years
since I left Selig's. Since then, I've done theatrical work
in California, vaudeville from there to New York, and
I didn't know just what my next venture would be.
But I heard from Mr. Selig with a 'come back' offer and
I came. And say. I was glad to get back to Chicago,
after New York."
I expressed my surprise by raising one eye-brow.
"Chicago is the one real American city! it hasn't
the snobs New York has. It's all right! You hear a
lot of people on the road rave about 'that little old town'
and 'little old Broadway.' It's the one town they're all
glad to get back to and tickled to death to get away
from.
"But getting back into motion pictures — well, I had
never thought about whether I would or not, but I know
I was proud of having been in them. After I left Selig's
I went with a company to Halifax, Newfoundland. We
were to sail from there to Bermuda, you know the
route — "
"No."
" — and before sailing we were given a spread. A
very dignified looking man was being introduced and I
grasped his hand and gave it an extra shake as I read
'R.M.P.' on a button in his coat lapel.
" 'M.P.,' I remarked with a smile. He said 'Yes,'
and looked me over with a question in each eye. 'So
was I.' I replied in answer to the question marks. Much
surprised, he asked. 'Member of Parliament?' 'Oh, no,
motion pictures,' I enlightened him and there was a dis-
tinct coolness between us for the rest of the evening.
"It was in California I played in Selig picture. I'll
tell you a funny thing that happened one day, I was cast
for a picture in which I had to fall off a cliff backward,
into the water. For days there had been a general search
for the right kind of a cliff and the scouting party came
in one day with the information that the very cliff had
been located.
"All the way to the place they kept kidding me about
the awful chance I was taking in going to do the stunt,
but they didn't succeed in worrying me much. We
were nearly there when we came to some 'handwriting on
the wall.' A religious fanatic had preceded us by a
number of years, it seems, and had carved this message
into the rock wall of the path, 'Prepare to meet thy
God!' Looked like a sure enough warning but the pic-
ture was made, just the same.
"The way for motion picture actors to do things
is the same as for others who accomplish things — kid
yourself into believing that you're having a good time
all of the time, and you'll feel fine about everything
you have to do. I don't mean not to take things seriously,
for when you're kidding yourself you're serious about
it. Comedians take themselves more seriously than other
people do because there is no joke about a comedian's
work; why, it's the most serious thing in the world to
keep people laughing."
Mr. Carrigan has an awfully nice voice.
"I don't think publicity is any too good for an actor,
as far as his work is concerned," he ran on. "When
he's advertised like grape-nuts or oatmeal the public
thinks about all the things it knows about him instead
of thinking of his work; thereby, the actor loses. As
regards a motion picture actor, it's not so bad, though
I think the less people know about us, personally, the
better it is for us.
"I think it's the worst possible thing for the busi-
ness, to have its tricks given away, the way newspapers
do in column and page information about how the pic-
ture people gain effects. That's hurting the business.
The inside of the industry ought to remain so.
"And did you know that there's falling off in pic-
ture attendance ? Well, there is. The improvised dramas
that have been furnishing entertainment are not the at-
traction they used to be. There is something to take
he place of them, though, and I think Mr. Selig has the
right idea. It is the picturizing of old-time plays and
stories, the kind that have had the public favor for
years. Take 'The Two Orphans,' for instance; that
was a bully success and there's another being planned
now that will be even bigger.
"The sippy-soppy, bluey-bluey kind of stuff is the
kind the actors hate to play and the public just tolerates."
Then Mr. Carrigan coughed long and deeply, to
make up for all the times he hadn't coughed, and when
he came out of his handkerchief, I asked him the his-
tory of the ring on his right hand, the setting of which
looked for all the world like a bug. And that's just
what it was, a scarab, a real Egyptian one.
Napoleon gave the ring to this man — Carl Safre
170
MOTOGRAPHY
Vol. IX, No. 5.
Alloy Sprague Harbaugh. his field general, and finally
it became the property of the field general's grandson,
who was Mr. Carrigan's pal at school in Washington.
The pal hocked it so many times and Mr. Carrigan un-
hocked it an equal number of times, so the pal decided
that his Thomas chum could take better care of it than
he himself could, so gave it to him. Mr. Carrigan ex-
pects to give it back, sometime, but isn't worrying about
just when.
On the inside of the ring is engraved the Egyptian
script, and on the outside are carved mummies and
Cleopatra's needle. The scarab is beginning to decay
in one or two places, and before I had a chance to show
ignorance by suggesting its visit to a jeweler, Mr. Car-
rigan remarked that it would probably hold for another
thousand years.
With a sweep of his hand which included, seem-
ingly, everything he wore, Mr. Carrigan remarked that
everything he has was given him.
"Then, why work?" I wanted to know of the man
who is called the "juvenile lead" and the man so-called
returned, "Oh, just to kid myself into believing I'm hav-
ing a bully time !"
Professor Sees This, Fifty Years Hence
"Fifty years from today a college faculty will con-
sist essentially of a president, a janitor and a moving-
picture man." Such was the prediction made recently
by Dr. Edwin C. Bolles, professor of American and
English history at Tuft's College, Medford, Mass., at
a talk* to the students at the daily chapel exercises upon
the recent inventions which "make moving pictures
talk."
"The professors," he continued, "will be able to
give their lectures without even entering the class room,
the moving-picture films will reproduce their voice and
every one of their characteristic gestures and postures.
So complete will the lectures be in detail that examina-
tions will become obsolete. (Here he was interrupted
by the applause of the students.) We will be able to
see and hear our actors and actresses and even the great
opera singers while they are taking a holiday trip through
Europe."
The "traveling Vitagraphers" have reached Japan.
They will stage three dramas in the beautiful gardens
of that land in which the Vitagraph players will appeal
so near like real Japs that it is doubtful wftether the pic-
ture fans will recognize in them their favorites of the
Vitagraph easterners. The company -is making its head-
quarters at Yokohoma while in Japan.
The police committee of the Board of Supervisors
of San Francisco, Cal., gave final consideration to the
pending moving-picture ordinance, and will recommend
its passage with the proposed license charge on firms cut
down to 50 cents each. Even this final reduction was
not satisfactory to the dealers, who declared that the
proposed charge was both unfair and unconstitutional.
The proceeds of the license collections are to cover
the expense of having special exhibitions of films given
for the benefit of the board of censors.
'The Sands of Time," March 14. Copyright 1913, Selig Polyscope Co.
March 1, 1913.
MOTOGRAPHY
171
Photoplays from Essanay's
Some Coming Releases
4 4 T^\ ROPHECY proclaims pure photoplays please pa-
r-'^ trons." But prophecy is not all that so proclaims.
The millions of photoplay fans that go nightly
lo see motion pictures are the best and biggest proof
of the declaration. There is no question about the char-
acter and choice of films the public desire seeing most,
either. In this connection we may use the slogan, "Es-
sanay establishes exceptionally excellent examples." This
is especially so in all of Essanay's eastern dramatic pro-
ductions.
A strong comedy full of eccentric and clever ideas,
carried out in an exceptionally unique manner, is the
hilarious comedy, entitled "The Misjudging of Mr
Hubby," booked for release Wednesday, March 12. Mi.
Gaylor is accused by his wife of flirting. Mrs. Gaylor
more than accuses her husband, when she discovers a
pair of lady's kid gloves in her husband's pocket. Inno-
cent Mr. Gaylor had found the gloves on the sidewalk.
Gaylor informs his wife that he has work to do at the
office that evening, and leaves the house. Mrs. Gaylor
engages the services of a detective to determine whether
or not Mr. Gaylor is keeping company with a woman.
The comedy situations that arise from both Mr. and
Mrs. Gaylor engaging the services of detectives, brings
about many laughable moments. Things are finally
straightened out to the satisfaction of everybody. Augus-
'An Old, Old Song."
"A Bottle of Musk."
tus Carney, as the misjudged hubby, more than proves
his ability as a splendid character man ii; this hilarious
comedy. Eleanor Blanchard pleases her audience beyond
expression in her splendid character.
A drama with a purpose, enacted exceedingly well,
is "A Bottle of Musk," booked for release Tuesday,
March 11. Dean Warner, a prominent professor in a
state university, accuses his daughter's sweetheart, Walter
Driscall, with appropriating the funds of the college
from the safe, and is about to engage the services of
a detective. Ruth, the professor's daughter, to prevent
a scandal in the university, informs her father that she
will discover the real thief. Ruth takes a bottle of
musk to her father's office, opens the safe, and puts a
little of the perfume on every bill in the cash box.
Some time later Mr. Warner's private secretary, a stu-
dent at the university, is discovered with scented bills
and Driscall is exonerated. Ruth Stonehouse as the calm
but determined daughter gives a realistic perfomance,
while William Walters, as the stern father, makes a
splendid reputation for himself.
"Old Gorman's Gal," booked for release Thursday,
March 13, is a heartrending, pathetic Western drama.
Dorothy Gorman is made the target for her father's sel-
fishness and brutality. Disgusted with life in general,
Dorothy decides to marry a man with money. Tom Jor-
172
MOTOGRAPHY
Vol. IX, No. 5.
Old Goman's Gal."
dan, desperately in love with Dorothy, pleads with her to
marry him, but is told that it would be useless, as she
would be just as bad off as she is now. That same after-
noon, a stranger from the East, on horseback, in search
of a drink of water, meets Dorthy at the well. Impressed
with the stranger's good looks and pleasing personality,
Dorothy is smitten with him. The stranger tells the
young, innocent girl of the bright lights and the good
times to be had in the East. Removing the saddle from
the horse, they hitch the animal to a runabout, and
drive away for the railroad station. Their elopement
is ended rather abruptly when the vehicle is struck by a
passing mail train. The stranger is killed instantly
Some months later, Tom Jordan, having received a
splendid situation as foreman of a large ranch, is seated
on the front porch of his magnificent home with Dorothy,
the wife of the man she would not marry. Gladys
Fields, a splendid artist, proves her ability beyond ques-
tion in this.
An excellent example of an Essanay object les-
son is "An Old, Old Song," booked for release Fri-
day, March 14. John Wright, a wealthy lawyer, re-
fuses to consent to the marriage of his daughter, Alice,
to Henry Starck. Further, he emphatically tells his
daughter to leave his home. A few years later, Alice's
husband now dead, she makes a living for herself and
young daughter by sewing. The daughter, Ruth, a
child of twelve, wins a musical contest at school and is
awarded a check for a thousand dollars. One of the
judges, taking a liking to Ruth, escorts her to her home,
where he meets her mother. He is overjoyed to discover
that Ruth's mother is his daughter, Alice. William Wal-
ters, as the unrelenting father, demonstrates his ability as
a splendid "heavy" man. Ruth Stonehouse as the mother
of Ruth, gives a beautiful interpretation of her character.
The daughter, Gertrude Scott, pleases.
A Western photoplay of power and passion, based
on jealousy, is "Broncho Billy and the Step-Sisters,"
booked for release Saturday, March 15. Broncho Billy is
in love with Agnes Shepard. The jealousy of the step-
sister, Evelyn, suggests a scheme which, if carried out,
would result in the breaking of the engagement between
Agnes and Broncho Billy. Evelyn's idea is carried out
to the letter, when Agnes arriver in Broncho Billy's of-
fice and discovers Evelyn with her arms about Agnes'
sweetheart. Agnes, convinced that Broncho Billy has
deceived her, returns the engagement ring. Too proud to
make a real confession, Broncho Billy refuses to explain.
A few days later, Broncho Billy is injured by an enemy.
Fearing he will die, Evelyn confesses to Agnes her under-
hand method of trying to make Broncho Billy love her.
Agnes rushes to Broncho Billy's bedside, forgives him,
kisses him fondly — and he dies in her arms. G. M.
Anderson as "Broncho Billy" plays the role of the lover
in a pleasing and true to life manner.
"King Robert of Sicily" in three reels, "The Spy's
Defeat," in two reels and "The Fall of Montezuma" will
be released very soon.
The western Lubin film "Greed for Gold" is to be
released March 17, in place of "A Girl Spy in Mexico,"
which had already been scheduled for that date.
'Broncho Billy and the Step-Sisters. :
March 1, 1913.
MOTOGRAPHY
17:
Of Interest to the Trade
'When a Feller Needs a Friend
By Frank Dayton.
The scene, a place where a little face,
Unmindful of the chill,
Gave childish stare at a billboard, where
Was featured "Broncho Bill."
"Oh, Gee ! I wish that I could see
A chance, a dime to spend,
But I've not enough, and it's awful tough
When a feller needs a friend !"
As he heaved a sigh, a man passed by
Beneath the arc lights glow;
He saw the lad with face so sad,
And took him to the show.
'Twas good to see his boyish glee,
And the man could comprehend
That where're you go 'tis great to know,
When a feller needs a friend.
With face aglow all through the show,
He gazed in wondrous thrill.
And saw with pride the daring ride
Of the man called "Broncho Bill."
Each vivid scene upon the screen
He watched until the end,
And as they rose to go he said, "I know
When a feller needs a friend !"
He said no more till they reached the door,
Then thanked the kindly man
For what he'd seen upon the screen,
And then away he ran.
On a newsboy's cot he dreamed of what
His future might portend ;
If this dream came true, what he could do
When a feller needs a friend.
As years rolled by the lad climbed high,
And gained in wealth each day ;
The path he sought was the moral taught
That night at the photoplay.
And "Broncho Bill" he thinks of still.
And will until the end;
But his one best bet is, don't forget
When a feller needs a friend.
"Pauline Cushman." Civil War Story
"Pauline Cushman," the story of a Yankee spy,
will be released as a two real Special feature March 24
by the Selig company. This will be a thrilling memory
of the Civil War, and has been produced with rare re-
gard for historical detail and the very atmosphere of
Winnifred Greenwood as "Pauline Cushman."
grim visaged war. The heroine, Pauline Cushman, was
one of the daring and picturesque personages given a
brevet for gallantry on the field of battle and was made
a major by the late Gen. James A. Garfield. This beau-
tiful and adventurous woman was an actress and an-
nounced her allegiance to the South from the stage of a
theater in Louisville, barely escaping with her life as
the result of her temerity. This theater scene promises to
be unique. The picture will be reviewed in an early
number of Motography.
BattTe Scene from Selig's Civil War Film, "Pauline Cushman.
A Strong Week for Kleine
George Kleine will release a program of interest-
ing and pleasing variety for the week ending March 8,
1913.
"Nipped in the Bub" is the title of the Tuesday
Cines. It describes the adventures of a young man who
is sent to the city to study law, but soon neglects his
work because friends persuade him that he has great
talent for the stage. He resolves to attempt a career in
that direction and interviews a theatrical manager, who
finally offers to "star" him. Everything progresses splen-
didly until his father appears at the theater in search
of him. Catching sight of his son, the angry parent
rushes upon the stage and forcibly ejects the principal
actor, thus putting an end to the show. The next time we
see Willie he is back on the farm working hard and
occasionally lamenting the fact that his talents should
be wasted thus.
On the same reel is a bright little comedy entitled
"Wanted a Husband." It tells of two old beaus who
answer a wealthy widow's advertisement for a husband.
One of them has "cold feet' when he beholds the widow's
ugly face and her six children, but the other does not
hesitate a moment, but "signs articles" at once and
proudly claims to be the happiest man alive.
For the Wednesday Eclipse "The Wages of Trans-
gression" is a subject of considerable more than average
dramatic merit. It tells of the attempts of a man who
under the disguise of friendship attempts to bring dis-
honor to his friend's home by making unwelcome ad-
vances toward his wife. The latter is a woman of lofty
virtue and devoted to her husband. It is most inter-
esting to follow her ingenuity in carefully repulsing the
174
MOTOGRAPHY
Vol. IX, No. 5.
"The Wages of Transgression."
overtures of the would-be home wrecker with chilling
dignity, although her feelings are greatly outraged by
his persistence, but at the same time keeping her hus-
band entirely ignorant of the entire matter, because
she knows that he is under great obligation to the man.
A bright contrast to the tragedy is introduced by the
appearance of her little daughter, Dolly, who during
a dinner party which is being given at the house, gets
out of bed and after arraying herself in her mother's
clothes, comes down to joint the party. By a strange
coincidence, her appearance leads up to the betrayal
of the true facts in the case to the husband who, in a
terrible fit of anger, determines to wreak vengeance upon
his false friend. He calls him into an adjoining room
and soon a huddled figure lying upon the floor gives
evidence that the man has paid for his transgression.
"The ideal of Her Dreams" is the Saturday Cines
Release. It deals with the experiences of a charming
and somewhat romantic young girl who falls in love with
a photograph of a handsome army officer. Day and night
she dreams of her ideal and her infatuation soon leads
to a complete estrangement from her sweetheart who
has been her true friend for years. But her disillusion-
ment is not long in coming. An old friend of the family,
seeing the picture, claims to know the gentlemen and of-
fers to introduce her. She finds the "ideal of her
dreams" to be an old gray-haired man who acknoweldges
that the picture is authentic, but was taken forty years
ago.
On March 3 will be released the Eclipse special
two-reel feature, "Shylock," reviewed in our last issue.
Two Reel Film of Mexican Border
A two-reel story coming at an opportune time, is
the Lubin release of March 15, entitled "An Adventure
on the Mexican Border." It was written, produced and
acted in, by Romaine Fielding. On the United States
side of the line dividing Mexico from the United States,
the United States soldiers are camped, with a view of
protecting the international line and the citizens of the
United States. Fifty yards on the other side the Mex-
"Juggling With Fate," March 12. Copyright 1913, Selig Polyscope Co.
March 1, 1913.
MOTOGRAPHY
175
ican soldiers are camped to do likewise for their country.
One of the bright-eyed senoritas of the southern race
captivates two officers, one a captain of her own na-
tionality, the other a lieutenant belonging to Uncle Sam.
Both of these men, true and staunch in war and love,
have a silent battle to gain the lady's hand. The cap-
tain of the Mexican troops, being the older of the two,
wins the maid by his quiet love and kindness. The
irrepressible United States trooper tries to take the sen-
orita's heart by storm, but is repelled. On the spur of
the moment, to punish his rival, the lieutenant tells a
falsehood to his commanding officer, and nearly causes
international complications; but after analyzing the situa-
tion, the lieutenant rises above all personal feelings and
delivers the captain from jail, returns him to his fiancee
across the line, and goes back to take his place and await
his punishment.
The parts are taken as follows :
A soldier of Mexico Romaine Fielding
A soldier of the United States Robyn Adair
The senorita Mary E. Ryan
Her friend Eleanor Mason
Her father Richard W angemann
Captain of U. S. troops Lieutenant Rudd
U. S. private Moritz Cytror.
Mexican lieutenant Henry Alrich
The Rev. C. L. Fowler, pastor of the Baptist church
of Blue Springs, Mo., and editor of the Truth and Grace,
a religious magazine, in a lecture at Rich Hill on "The
Ideal Minister," scores ministers who are so worldly as
to patronize the moving picture shows.
The Ohio Censorship Bill
There is now before the 80th general assembly of
the state of Ohio the following bill, No. 322, presented
by Mr. Snyder, of Hamilton, providing a board to cen-
sor motion picture films and prescribing the duties and
powers of the same. The bill is as follows :
Section 1. It shall be unlawful for any person, persons, firm
or corporation to exhibit or show any motion picture within the
state of Ohio, unless it shall have been passed, approved and
stamped by the Ohio state censor board or a congress of censors,
as hereinafter provided.
Section 2. There is hereby created a board known as the
Ohio state censor board consisting of three members to be ap-
pointed by the governor for terms of two, three and four years
respectively and thereafter for terms of three years.
Section 3. It shall be the duty of such board to examine
and censor as herein provided, all motion picture films to be ex-
hibited and displayed in the state of Ohio, which shall be sub-
mitted to them before they shall be delivered to the exhibitor
for exhibition, upon the payment to said board of one dollar
($1.00) for each film to be censored, or, for any reel or film
exceeding one thousand (1,000) lineal feet the sum of two
dollars ($2.00).
Section 4. All and only such films as are, in the judgment
and discretion of said board, of a moral, amusing or educational
character, and not of an indecent subject, nor representing lust,
shall be passed and approved by such board, and shall be stamped
or designated in an apropriate manner and consecutively num-
bered that the same may be projected upon the screen preceding
the picture.
Section 5. A majority of the members of said board shall
constitute a quorum and in regular session may exercise all of
the powers and duties of the board During the absence or in-
capacity of any member of said board, the governor may apoint
a member to fill such temporary or permanent vacancy.
Section 6. By a majority vote of the state censor board
hereby created, such board may work in conjunction with any
'High and Low," March 1. Copyright 1913, American Film Mfg. Co.
176
MOTOGRAPHY
Vol. IX, No. 5:
censor board or boards of other states as a censor congress and
the action of said congress in approving or rejecting films shall
be considered as the action of the board hereby created and
such action should be so designated, and, when passed, approved,
stamped and consecutively numbered by said censor congress
and the fees paid to the Ohio state censor board as provided
for herein, shall have the same force and effect as if approved by
the board hereby created in separate session.
Section 7. When films have been passed and approved by
the Ohio state censor board or the censor congress and stamped
and numbered by said board or congress, as provided for herein
they may be shown and exhibited within the state of Ohio with-
out restriction or interference, any other ordinances or regula-
tions to the contrary notwithstanding.
Section 8. Such censor board shall, before the tenth day of
each month make a complete report of the amount of money
received by them for censoring picture films and shall pay all
money so received into the general revenue fund of the Ohio
state treasury.
Section 9. Each member of said board of examiners shall
receive an annual salary of fifteen hundred dollars ($1,500),
except the chairman, who shall receive an annual salary of two
thousand dollars ($2,000). The secretary of such board shall
receive an annual salary of twelve hundred dollars. All salaries
hereunder and all expenses necessary to maintain such board and
carrying into effect the purpose thereof shall be paid out of the
general revenue fund of the state of Ohio which, however, shall
not exceed in any one year the revenue produced in censor-
ing films.
Section 10. Any person violating any of the provisions of
this act shall upon conviction thereof be fined not less than
twenty-five dollars ($25.00) nor more than three hundred dollars
($300.00), or imprisonment not less than thirty days or more
than one year, or both, for each offense.
Section 11. An emergency is hereby declared to exist, by
reason whereof it is necessary for the immediate preservation
and safeguarding of the public morals, that this act take effect
from and after its passage and approval.
Rowland Enjoins General Film Company
Richard A. Rowland, who holds 46 shares of the
preferred stock of the General Film Company, obtained a
temporary injunction recently from Supreme Court Jus-
tice Hendrick against the directors of the company and
the film manufacturer whom they represent on the com-
pany's board. This injunction restrains the directors from
dividing $211,116.03 surplus now in the company's treas-
ury. Mr. Rowland is also bringing suit to compel the
return to the company's treasury of $844,463.95 which
he said was paid out to film manufacturers who joined
the General Film Company.
Taft Vetoes Film Censorship Bill
The bill proposing a censorship by the District of
Columbia Commissioners for all films was vetoed by
President Taft on the ground that it would encroach
on one of the duties of the police department. In the
message to congress, returned with the vetoed bill, the
president suggests the passage of a measure that will
simply prohibit the exhibition of objectionable films, and
calls attention to a letter from the commissioners to the
attorney general, in which the District executives say
they would rather not be burdened with the duties of the
censorship.
The president's message, in part, follows :
Upon inquiry I find that the requirement of section 2, that
all picture films shall be submitted to the district commissioners
for investigation and approval before exhibition, is under pres-
ent conditions not only unnecessary, but incapable of enforce-
Essanay Comedy "Finnegan," March 19.
March 1, 1913.
MOTOGRAPHY
177
ment without unduly encroaching upon the services of the police
force of the district. In this connection I wish to call your atten-
tion to the accompanying letter to the attorney-general on the
subject from the district commissioners, dated February 3, 1913.
I beg to suggest that the purpose of this bill may be accom-
plished by a statute merely prohibiting, under a penalty, the exhi-
bition of objectionable pictures, without the requirement of prior
investigations and approval by the commissioners before exhibi-
tion, and to recommend the passage of such a measure.
Tries to Form European Film Trust
An attempt to form a combination in the European
cinematograph film market, launched recently by Charles
Pathe, is meeting with bitter opposition, and has resulted
in a combination of other interests concerned. It is Mr.
Pathe's hope to form two combinations, the chief of which
is to comprise five of the largest film producing firms
in Europe and the minor one to embrace about fifty of
the smaller manufacturers who "will control the output
of the film market in Europe, and limit the number of
manufacturers." The group would supply films direct to
the showman, and thus put the middleman or renter out
of the business.
The executive committee of the Cinematograph Ex-
hibitors' Association of Great Britain and Ireland, an
influential body to which thousands of exhibitors belong,
has pledged itself "to support only those manufacturers
who will support an open market for the sale of films,"
and the Reuter's Association has declared, through its
secretary, that the movement is "doomed to defeat, for
the spirit of the trade in England is unquestionably
against the establishment of what would be virtually a
trust and a monopoly."
Nehls Affects Economies
R. R. Nehls of the American Film Manufacturing
Company, who found himself with a big studio on his
hands, conceived the idea that there was no absolute
necessity for the expensive downtown office and has cut
out this expense by removing the office to the studio
building. Mail to the American Film Manufacturing
Company should be addressed to 6227-35 Evanston ave-
nue, Chicago.
Powers Resigns from Universal
P. A. Powers has resigned as vice-president and di-
rector of the Universal Film Manufacturing Company.
His entire holdings in that concern have been purchased
by Carl Laemmle and William H. Swanson. The trans-
action, including the transfer of v$204,000 common stock
and $75,000 preferred, was executed on February 13.
The Powers' producing companies will remain with the
Universal and the programme will not be changed.
Ramo Comedies Ready for Release
"Not Like Other Girls" and "Moving Mother" are
two films to be shown soon, marked with the Ramo brand.
The story of the first film follows :
Laurie, at the kittenish age, learns that some of her
girl friends are attending a gymnasium. She also takes
a course with the hope of getting thin.
She does not like the gymnasium work, but does like
the handsome instructor, who nevertheless puts her
through all the exercises including boxing.
The instructor places her on the scales to show the
loss of weight, but the scales show a gain of five pounds.
The instructor's endeavors at comfort are mistaken by
Laurie for love making and a proposal of marriage,
which she accepts to his consternation. The instructor
incidentally learning she is quite wealthy, decides to ac-
cept her and make the best of the situation.
"Moving Mother" is Mamie's problem. Just when
Mamie's mother, who always thinks she is sick, has de-
manded absolute quiet, the ceiling of the flat falls. Mamie
getting no satisfaction from the independent janitor, hires
another flat outside. Mother takes a sleeping powder,
and they are unable to awaken her when the moving men
arrive. Mamie moves, however, and mother still sleeps
on the sofa.
Mother at length awakens in new surroundings, con-
cludes she has been abducted, and summons the police,
who further complicate matters. Mother finally seeks re-
lief in another sleeping powder.
A New Film Reel
The invention of a new reel, known as the "Delaney
film reel," is claimed to avoid the rewinding of the film
after its use in a very simple way. The film can be
taken out on the reel of the lower magazine and put
into the top magazine for immediate use. This would
eliminate loss of time through rewinding, save space in
the operator's room and the pay of an extra man doing
the rewinding as well as the rewinding machine. It is
also claimed to increase the life of the films. United
States patent has been allowed recently and patents in
foreign countries are applied for. Schiller and Company,
Chamber of Commerce building, Detroit, Mich., handle
the invention.
Talking Pictures Make Big Hit
The Edison Kinetophone talking pictures shown
in Chicago at the Majestic and Palace vaudeville theaters
are scoring a big success. The Majestic manager re-
ports the feature one of the biggest drawing cards in
his experience.
Essanay Scores Again
Et> MACK. —
From the Chicago Record-Herald.
178
MOTOGRAPHY
Vol. IX, No. 5.
Lindsay Advocates Films for Churches
"The time is not far distant when churches, as well
as schools, will be turned into moving picture shows,"
declared Juvenile Judge Ben B. Lindsey, in a recent talk
on "Children, the Hope of the World." "Not picture
shows all the time," said the judge, "but part of the time,
and the sooner the better.
"The church should be made interesting— just as
the picture show is. Last year 125,000 admissions were
paid by Denver children to the picture shows. Think
of a church or a Sunday school with an attendance equal
to that. It is the fault of the church and not the child
that the situation is not reversed.
"The child mind is the window of the world. The
greatest problem of this generation is to know how to
unfetter the mind of children. They are the hope of the
world. The schools and the church are under a tre-
mendous responsibility to childhood. Children do not
understand half they are told in some Sunday schools and
much that they do understand they do not believe.
"The church, the home and the school must save
the child. They will win only when they learn their
lesson from children and of course they will win in
time."
The suit recently instituted in the Supreme Court of
New York by C. V. Henkel, formerly auditor of the Uni-
versal, praying for the appointment of a receiver for the
film company, and the first hearing of which on February
7 was postponed to February 19, has been withdrawn.
F. F. Proctor has just signed a contract with Henry
J. Brock, President of the Kinemacolor Company of
America, whereby the photoplays now being produced by
David Miles and the Kinemacolor stock in Los Angeles,
Cal., will be presented in all the theaters of the Proctor
Circuit.
The construction of the all glass studio for the
Thanhouser Film Corporation is progressing rapidly.
The building will be a first class fireproof place and one
that will look mighty good when it is finished, but it is
taking lots of work and "keeping 'yours truly' right on
the job," reports C. J. Hite.
Brevities of the Business
PERSONAL NOTES.
John F. Pribyl has spent the last ten days in New York City
as personal representative of W. N. Selig of the Selig Poly-
scope Company of Chicago.
Joseph Hopp has been so strenuous in the conducting of
affairs for the Standard Film Exchange of Chicago that he has
been forced to take a two weeks' rest. Accompanied by his old-
est daughter, he has gone to Tennessee and Georgia on a visit to
relatives.
Jefferson Osbourne's complete recovery from burns sus-
tained in the St. George Hotel fire permits him to again appear
in Nestor films under the direction of Milton fl. Fahrney.
Miss Mary Charleson is again playing with the western
Vitagraph company after her vacation trip to San Francisco.
H. K. Somborn made a short stop in Chicago recently on
his three weeks' investigation tour of motion picture conditions
throughout the country. Mr. Somborn is president and general
manager of the European Feature Film Corporation of New
York City. His company will import feature subjects from
Europe.
Miss Florence Weill is again well after her several weeks'
illness and is again working in Vitagraph pictures under Rollin
S. Sturgeon's direction at Santa Monica, Cal.
George Magie reports success in his second trip for orders
for the Pilot Film Corporation of Yonkers, N. Y.
Morris Spiegel has resigned his services from the Warner's
Feature Company. He formerly was in charge of the Buffalo
office.
S. S. Hutchinson, president of the American Film Manu-
facturing Company, is now sojourning up and down the Cali-
fornia coast in search of scenics of an unusual and interesting
4dnd. This is a work after Mr. Hutchinson's own heart, as he is
not only an enthusiastic "picture fiend" in the broader sense of
the word, but is also extremely fond of making them. His apti-
tude in such matters is well evidenced by a master scenic of a
year ago in which he succeeded for the first time in photograph-
ing the submarine gardens of the Pacific ocean. On the present
trip Mr. Hutchinson proposes to make a new scenic of San
Francisco from an angle never before covered. He will also
make a series of unique industrials in upper California. He has
with him R. D. Armstrong, one of the Americans best camera
men and a former scenario editor, which assures not only the
best of photography, but the natural abilities of a scenario editor
in the selection of subjects.
Colonel and Mrs. E. A. Mace, parents of Fred Mace, come-
dian of the Keystone company, have gone to Los Angeles from
Philadelphia and will make their home there.
Omer F. Doud, who has been spending some months at the
western studio of the American Film Manufacturing Company
at Santa Barbara, is back at his old desk in Chicago, where he
will again assume the publicity duties of the American.
George S. Gillette, president of the Educational Motion Pic-
ture Exchange of New York City, has been in Lynchburg for
the past two weeks with a number of his assistants engaged in
the work of taking a composite film of the city and its many
industries and places of interest. The film will consist of about
3,000 feet and will be shown for a week at the Academy of Music
about the middle of March. The films will then be turned over
to the various exchanges, which will be allowed to send them
out in their . own names as being produced by them. Pictures
have already been shown in Richmond. A. L. Campbell, for-
merly in vaudeville with the team of Gillette and Campbell, is
secretary-treasurer of the company.
Jack Warren Kerrigan, that popular leading man of the
American Film Manufacturing Company, is now enjoying the
more or less novel sensation of seeing himself in "store" clothes.
Jack in the two years he has played "leads" for the American has
been almost always in chaps and open skirt. Apparent now that
he is starring in "dress-up" parts, Kerrigan has added a new
train of admirers, judging from the sudden increase of his always
heavy mail. Jack is quite as delighted as his many friends, as
it has given him an opportunity to demonstrate his versatility.
Miss Marguerite Snow and James Cruz played the principal
roles in a little scene of their own choosing one recent week.
Miss Snow was the bride and Mr. Cruze the groom. After a
brief honeymoon they are again at work at the Thanhouser
studio.
David Horsley, treasurer and part owner of the Universal
Film Company, is vacationing in Los Angeles, together with his
wife and little son. He is a regular onlooker at things Universal
and marvels at the many changes made in the studio and vicinity
since his last visit several months ago.
J. J. Allen, head of the Canadian Film Exchange, visited
picture activities in Los Angeles last month.
Leon J. Rubenstein is the head of the Ruby Combination
Features, which have arranged for a debut in the film world.
F. A. Farnsworth is the newest recruit to the scenario depart-
ment of the Universal Film Company.
F. J. McGuiness has left the Kinegraf company and cast
his fortunes with the Improved Feature Film Company.
Ben W. Beadell, Chicago representative of the Edison com-
pany, has been looking after the installation of the Kinetophone
talking pictures at the Majestic Theater in Chicago. Ben is
always on the job when Edison apparatus is involved.
Oscar Eagle, the director, was attempting to show the Selig
trick horse, Arabia, a new piece of business. Arabia did not
approve of the suggestion and showed his displeasure by biting a
good sized piece of flesh from the palm of Mr. Eagle's hand. A
few days later the horse repeated this performance and bit his
trainer. Now the producers are finding it difficult to secure
players who will work with the dumb wonder.
Miss Beverly Bayne, the charming young ingenue of the
Essanay Eastern stock company, has returned from her two
weeks' vacation spent in Minneapolis with her grandmother, Mrs.
March 1, 191.
MOTOGRAPHY
179
S. G. Pearl. The rumor that was broadcast last week may be
true, you never can tell — besides Miss Bayne returned with a
cane under her arm. It looks suspicious, anyhow.
Florence Turner, six years with the Vitagraph company
and known to many people as the "Vitagraph Girl," retired
from pictures for the present. Many offers are open to Miss
Turner for extended engagements in vaudeville, one of which
she will accept for a short time. Later, she expects to visit
Europe where she probably will be secured for the largest music
halls. She will consider some of these offers and others to
assume the leads in a number of big feature films to be produced
abroad. The great number of friends and followers of Miss
Turner who will regret her retirement may comfort themselves
with the hope that she soon will be seen again on the screen.
E. S. MacDonald and E. R. Powell are recent additions to
the executive staff of the Kinemacolor company. Mr. Mac-
Donald, formerly credit man for Spencer Kellogg & Sons, is
working out the details of certain improvements in the routine
work of the company. Mr. Powell, who was formerly in the
banking business in Buffalo, will have charge of the film service
department.
Charles A. Pryor, of the Yale Feature Film Company, and
Charles E. Wynard, expert camera man, are on an extended
to the coast in the interest of the firm's business. En route they
will take pictures of the Tonopah mine, outside of Tonopah,
Nevada, for the Hawaiian government and for a number of
western states. The mine is the property of the Tonopah Gold
Mining Syndicate.
Eleanor Blanchard has reported the loss of her new silk
evening gown to the Summerdale police station. The gown was
valued at $75. The question is, Can Miss Blanchard act with-
out it?
A. Kessel and C. O. Bauman of the Kay Bee compaany have
returned to New York after their several months' stay in
California.
Miss Helen Dunbar, in the costume of a gypsy, met with a
novel experience last week. While waiting on the street for the
camera man to come, a little girl asked Miss Dunbar to tell her
fortune. The fortune telling was ended rather abruptly when
the child's mother grabbed her away from Miss Dunbar, think-
ing possibly the latter would steal her "precious."
Frank Dayton, the "heavy" man of the Essanay eastern
stock company, injured himself yesterday by falling from a box
car in the yard of the Northwestern railroad. Dayton was
climbing up the iron rungs, which were coated with ice, and
slipped and fell between the cars.
ROLL OF THE STATES.
ALARAMA.
The new moving picture theater at Birmingham has opened
for business with H. M. Newsome as proprietor.
Miss L. Thomason of Scottsboro has arrived in Fort Payne
and will open a picture show in the opera house block.
ARKANSAS.
Prof. T. J. Ashford, the famous blind leader of the Camden
Concert Band, has put in a new motion picture house at Camden.
The band will share in the business enterprise. The band has
been in existence for two years and has earned a reputation all
over this section of the state.
CALIFORNIA.
La Jolla's first theater in the Sheppard biock being com-
pleted at Girard and Wall streets was opened by Hansbrough
Brothers, who have taken a lease on the auditorium.
J. H. Parker, manager lease department of the California
Realty Corporation, O. E. Farish, president, has leased a moving
picture theater to be erected on Washington street near Cherry,
Los Angeles.
Plans are being prepared for a three-story brick store, thea-
ter and hotel building to be erected at Marine and Front streets,
Ocean Park, for Stineman & Kramer. There will be stores and
a moving picture auditorium in the first story.
COLORADO.
Announcement was made that work on the United States
theater building, a $100,000 moving picture house to be built in
Denver, will begin about May 1. The promoter, J. J. McClusky,
of New York, has taken a ninety-nine-year lease on the two lots.
The Union Printers' Home of Colorado Springs will erect
an amusement theater to cost $50,000 in the near future. Presi-
dent Lynch of the International Typographical Union is inter-
ested in the plan.
Ray Freund, alterations to building in Denver for moving
picture purposes,. 3217 Zuni ; $1,000.
In line with all up-to-date picture playhouses throughout
the country the Isis Theater and Amusement Company of Long-
mont has installed a big pipe organ in its theater. It is a very
fine instrument, the finest in the state outside of Denver.
DELAWARE.
Pan-American Motion Picture Company, capital, $1,000,000;
Herbert E. Latter, Wilmington.
The Red Moon picture house at 41 Market street, Wilming-
ton, has closed for improvements.
FLORIDA.
B. E. Miller will open a picture theater in the new Davis
building at Jacksonville.
The Ideal theater, the prettiest and most popular little mov-
ing picture show in Ocala, has again changed hands. M. E. Rob-
inson is the new owner. The business will be under the direc-
tion of L. R. Robinson.
T. S. Menifee has erected a theater at Fort Lauderdale and
will open shortly with a first class program of moving pictures
and vaudeville.
GEORGIA.
The people of Ashburn are at last enjoying a first class
moving picture show. The Palace theater has just been opened,
with J. S. Shingler, Jr., manager.
Moving pictures have become a permanent feature of life in
the federal prison in Atlanta, thanks to Mrs. Emmaheal Douglas,
who came forward with an offer to give a picture machine to the
prisoners and her offer was accepted.
ILLINOIS.
Allardt Feature Films, Chicago; capital, $5,000; manufac-
turing moving picture supplies and films ; incorporators, Sidney
Stein, Samuel Spitzer, Charles Rudolph.
Tolon is to have a new amusement venture in the form
of a modern picture show. An electrician from Champagne has
begun a series of shows which will be given in the township hall
on Wednesday and Saturday nights hereafter.
Proprietors of nine motion picture houses of Rockford have
organized for the purpose of securing the right to operate Sun-
days. A petition for a referendum vote on the question is being
circulated.
Mr. Peterson of Bloomington may possibly start a moving
picture show in the Wagner building on the north side of
McLean.
Architects are working on plans for a new theater to be
erected in Peru. Charles Nedler, the druggist, is to have this
building erected.
A new photoplay theater will be opened in Mason City in
the near future. Truman Hardin and Harry Aldrich of Mason
City have leased the main floor of the J. J. Prichett building on
South Main street and same will be converted into a theater.
Contracts have been let for remodeling the store recently
vacated next to the City Hall National Bank, Evanston, for a
new moving picture theater. Cost $15,000.
Talbert Williams of Champaign, 111., will open up a moving
picture show at St. Joseph.
The Curry building on North Main street, Rochelle, is being
remodeled into a photoplay theater. Roy McMullen, manager.
The Strong & Johnson picture show has opened at Maiden.
IOWA.
C. B. Wilder, who for many years was manager of the
Downerville creamery in Castle Grove, has purchased a moving
picture show at Oelwein and will soon remove to that place.
E. M. Henle will erect a new moving picture house on Sya-
more street, Davenport, between Second and Third at a cost of
$35,000. Mr. Henle now owns a moving picture establishment in
Muscatine and one in Clinton.
MINNESOTA.
The Huntleys, well known at Sugar Loaf as dealers in
motion picture house supplies as well as being in the film mar-
ket, have assisted in installing one of the latest dissolving ma-
chines at Mankato. Picturesque views of Sugar Loaf were
among the pictures shown on the screen the first night.
MISSOURI.
A fire in a moving picture theater at 15 North Broadway.
St. Louis, at 5 :30 one recent afternoon started in the operator's
room and for a few minutes threatened the building, but the
asbestos bound booth confined the flames until firemen arrived.
The loss of two reels and the damage to the operator's booth
is, estimated at $350. According to the police, the blaze originated
from a reel which caught fire in some mysterious manner. The
operator escaped uninjured. After the fire was out the per-
formance continued. The theater is conducted by Winthon
Thompson, 3214 Morgan street.
John Franklin's new moving picture theater at Palmyra has
been opened to the public. It is a handsome and comfortable
place and is attracting good sized audiences nightly. Mr. Frank-
lin expects to put in a modern front in the building as soon as
the weather will permit. He has a good picture service and an
excellent machine, and will run every night except Sunday. The
Broadway theater runs three nights in the week.
The new Empress theater on Olive street. St. Louis, just
180
MOTOGRAPHY
Vol. IX, No. 5.
west of Grand avenue has opened with a high class vaudeville
and moving picture bill. The semi-weekly changes of bill will
be Mondays and Thursdays.
NEBRASKA.
Architect Kirschke is preparing plans for the new theater
building to be erected by Woolstenholm & Sterne at Grand
Island.
The moving picture show at the Ord city hall has changed
hands, Mr. Harris selling his interest to Messrs. Gilmore & New-
comb, who will continue to entertain the public at the same old
stand.
NEW YORK.
Nathan Langer, architect for Adolph Kreader, has filed
plans for the construction of a moving picture show on the west
side of Third avenue, New York City, the cost to be $6,000.
J. H. Briggs, who conducts a market at the corner of Jeffer-
son and Bronson avenue, Rochester, has opened his new theater
adjoining his business, to be known as the Jefferson theater. It
is the handsomest moving picture theater in Rochester, is strictly
fireproof and up to date in every respect; has a seating capacity
of 300. Mr. Briggs has installed two No. 6 Powers A machines
and will have continuous pictures afternoons and evenings.
Willard B. Phetteplace of the well-known firm of Phette-
place & Prindle, is the new lessee and manager of the Bijou
theater on North Broad street, Norwich. George A. Marquis,
the former owner and former manager of the moving picture
house, has been compelled to give up the work on account of poor
health.
The Dreamland Amusement Company, with play houses in
Utica and Oneida, has leased the opera house at Utica for the
coming season and took possession February 1, installing a mov-
ing picture show.
William J. Hamilton has engaged Architects Taber & Bax-
ter to prepare plans for motion picture theater to be erected on
South Salina street, Syracuse, at a cost of $20,000.
The moving picture theater being erected at St. Johns place
and Bedford avenue, Brooklyn, has been leased by Benjamin H.
Roth.
New York Motion Picture Company. Incorporated, films,
of Manhattan, $500,000; Adam Kessel, Jr., Charles O. Baumann,
Mae C. Kenny, 159 Milton street, Brooklyn.
International Picture Machine Corporation, Manhattan. Au-
tomatic photograph and picture devices ; capital, $100,000. In-
corporators : E. C. Alger, W. L. Post, T. F. Conrad, New York
City.
NORTH DAKOTA.
Archie Miller of Devils Lake has leased the Minot opera
house and has opened it as a first class moving picture theater.
Cleveland is to have one of the finest picture theaters in the
country, according, to A. H. Lewis, who is building the Mon-
arch at Euclid and East 105th street. The auditorium of_ the
theater, which is to seat 800 persons, is 60x116 feet, with ceiling
seventeen feet high and four-foot drop to the floor. Particular
attention has been given to the heating and ventilating and it is
to be a "daylight" house with full illumination during the exhi-
bition. Lewis, who formerly owned the Corona on Prospect
avenue and the Orpheum on East Ninth street, has been spend-
ing six months visiting theaters in eastern cities and has installed
many new improvements in his new place.
C. P. Morton was granted a permit to build a picture theater
at Fifth and John streets, Cincinnati, at a cost of $15,000.
The Broadway Realty Company has been granted a permit
to build a moving picture theater at 404 East Pearl street, Cin-
cinnati, at a cost of $10,000.
The Cincy theater, a moving picture theater on McMillan
street, near Peebles corner. Cincinnati, was transferred from
John Hagerty to George W. Vaughn on a lease which is written
for one year. The theater is at 782 East McMillan street. The
lease is at $100 a month.
James A. Braden, who recently moved to Marion from Card-
ington, has closed a deal with O. E. McDanel, owner and man-
ager of the Royal moving picture theater on East Center street,
whereby he assumed charge of the business. The new purchase*-
will make many improvements. A thoroughly modern theater
will be conducted.
The Broadway Amusement Company is a new Toledo cor-
poration, organized with capital of $10,000 for the purpose of
building and operating a moving picture theater on Broadway.
Incorporators of the company are Thomas L. Gifford, W. T. S.
O'Hara and A. A. Sullivan. Officers of the company have not
yet been elected. The building to be erected by the company
probably will be located on Broadway between Walbridge and
Maumee avenues, according to a representative of the corpora-
tion. It is to be unique in plan and arrangement. The company
eventually may open other theaters in other parts of the city or
in other cities.
OHIO.
A permit has been taken out by Dr. Kolb and those asso-
ciated with him in Norwood adjoining Cincinnati for the erec-
tion of the $60,000 motion picture theater, which is to be erected
en the site of part of the Sanker garden, a landmark in that
suburb. The building is to be up to the latest in picture theaters
and it will seat, it is said, close to a thousand on one floor. The
property for this improvement was purchased some time ago
through Broker George Poole.
OREGON.
Another new theater will be erected at Sixth and Stark streets,
Portland, and will be built by the Rector Realty Company.
PENNSLYVANIA.
The building 1918 to 1924 North Front street, lot 54 feet by
72 feet, which was formerly used by the U. G. I. Company as
its Kensington office and recently sold by the company, is to be
altered into a moving picture theater.
Welsh Bros, of Centralia awarded the contract to Evert
Bros, for the erection of a motion picture theater building at
Kulpmont, work to commence at once.
G. J. Reich has granted permit to erect moving picture
theater on east side of Broad street, north of Louden street,
Philadelphia.
RHODE ISLAND.
A loss of $55,000 was caused by a fire which started in the
machine room of a moving picture theater in the Exchange
building in Woonsocket and spread to adjoining stores in the
block.
TEXAS.
The manufacture of motion picture films is the purpose
cf the Satex Film Company of Austin, which filed its charter
lecently with the state department. The capital stock is $25,000
and the incorporators are : Ed Besserer, Wesley Tilley and
Charles C. Pyle, all of Austin. The incorporators, together with
F. M. Sanford, J. L. Costley and G. A. Bahn, constitute the first
board of dirctors.
WASHINGTON
G. Anderson, an old theater man from Spokane, has leased
the opera house at Deer Park and will conduct this place as a
moving picture theater in the future.
WEST VIRGINIA.
Grafton Theater Company of Grafton, W. Va., to own and
operate theater and moving picture shows. Authorized capital,
$5,000. Incorporators: A. K. Belt, Nora Belt, Leo J. Rasche
of Grafton, W. Va., and R. Linn and Charles H. Gibbs of
Fairmont, W. Va.
A deal was consummated between W. E. Crawford, proprie-
tor of the Casino Vaudeville and Picture Theater and John F.
Gerling whereby Mr. Crawford became the owner of the Ger-
ling building on West King street, Martinsburg, W. Va. The
price is said to have been $15,000. Mr. Crawford will convert
the building into a theater at an additional cost of $15,000.
Forest Halsey, who gave the Reliance company "The Open
Road," is convalescing from a pneumonia attack which con-
fined him for several weeks at the Polyclinic hospital. He has
gone to his home in Fredericksburg, Va., where he will work
0.1 a feature release while he climbs back to his old-time state
of health.
Frederick Beck, who manages the interests of the Special
Event _ Film Company, is taking pictures of institutions and
tlieir inmates in Elmira and Utica to add to his educational
series.
WISCONSIN.
W. F. Smith, formerly located in De Sota as a furniture
dealer, opened the Colonial moving picture and vaudeville house
at Clarion, Iowa, which is apparently a credit to its proprietors'
enterprise and thrift. Mr. Smith's new theater is of colonial
design, furnished throughout in mission furniture. It will be
used for occasional vaudeville attractions and for continuous pic-
ture shows.
A new concern which will engage extensively in the manu-
facture of motion picture machines, electric air compressors, au-
tomobile specialties and other mechanical articles, has been organ-
ized at Milwaukee and will be known as the Wiboken Manu-
facturing Company, with a plant and salesroom at 248-250 Reed
street. The company is capitalized at $50,000. The head of
the company is George A. Knaak of Oshkosh, who has con-
ducted a similar business on a smaller scale in that city. The
machinery of the Oshkosh plant is being removed to Milwaukee.
The motion picture machine and air compressor are inventions of
Mr. Knaak.
March 1, 1913.
MOTOGRAPHY
181
Complete Record of Current Films
Fi?ms ^llbe ltsted l« long in advance of their release dates as possible. Film manufacturers are requested to send us their bulletins as early as possible
ReMOMble care is ustd, and the publishers cannot be responsible for errors. Synopses of current films are not printed in Motography as they may be
obtained of the manufacturers.
LICENSED
DRAMA.
Date Title Maker. Le
2-5 ' In the Power of Blacklegs K^'f.m
2-5 The Three Wise Men ■ • • • .Selig
2-5 The Skull Vitagraph
2-6 Oil and Water Biograph
2-6 The Gypsey's Warning Melies
2-6 The Bear Hunter PaV?e
2-6 How It Happened u-?.ehS
2-7 Sally's Romance Edison
2-7 The Broken Heart Essanay
2-7 The Last Block House K^V°-
2-7 The Artist and the Brute Sehg
2-7 The Whispered Word Vitagraph
2-8 A Deal in Stocks Cines
2-8 The Governess Edison
2-8 Broncho Billy's Last Deed Essanay
2-8 Lady Peggy's Escape Kalem
2-8 The Miser Lubin
2-8 The Peace Council Pathe
2-10 The Buckskin Coat Kalem
2-10 Down on the Rio Grande Lubin
2-10 A Drama in the Air Pathe
2-10 Pierre of the North Sehg
2-11 For Mother's Sake Cines
2-11 The Higher Duty Lubin
2-11 Don't Let Mother Know Sehg
2-12 A Business Shark Eclipse
2-12 The Belle of North Wales Kalem
2-12 The Artist's Trick Pathe
2-12 Her Only Son Selig
2-12 Buttercups Vitagraph
2-13 A Father's Lesson Biograph
2-13 Across the Great Divide Essanay
2-13 Unmasked by a Kanaka Melies
2-13 The Clutch of Conscience Pathe
2-13 The Weapon Vitagraph
2-14 The Doctor's Photograph Edison
2-14 The Three Queens Essanay
2-14 The Regeneration of Nancy Lubin
2-14 A Little Hero Selig
2-14 The Man Higher Up Vitagraph
2-14 The Chains of an Oath Vitagraph
2-15 The Old Monk's Tale Edison
2-15 Broncho Billy's Ward Essanay
2-15 A Life in the Balance ' Kalem
2-17 Drink's Lure > Biograph
2-17 The Peril of the Dance Hall Kalem
2-17 The Lost Son Lubin
2-17 Two Men and a Woman Selig
2-18 Love C. G. P. C.
2-18 His Enemv Edison
2-18 The Engraver Lubin
2-18 The Pink Opera Cloak Selig
2-18 Just Show People Vitagraph
2-19 Where the Mountains Meet Essanay
2-19 Panic Days in Wall Street Kalem
2-19 The Prodigal Brother Pathe
2-19 Beau Brummel Vitagraph
2-20 St. Joseph's Taper Melies
2-20 Nobody's Boy Selig
2-21 The Will of the People Edison
2-21 The Redemption Kalem
2-21 Art and Honor Lubin
2-21 Range Law Selig
2-21 Cinderella's Slipper Vitagraph
2-22 His Redemption Cines
2-22 The Minister's Temptation Edison
2-22 Broncho Billy and the Sheriff's Kid Essanay
2-22 The Mountain Witch , Kalem
2-22 The Unknown Lubin
2-24 A Chance Deception Biograph
2-24 The Fire Coward Kalem
2-24 The Teacher at Rockville Lubin
2-24 Mother Pathe
2-25 The Western Law That Failed Essanay
2-25 The Flaming Forge Selig
2-25 When the Desert Was Kind Vitagraph
2-26 The Message of the Palms Kalem
2-26 The Final Justice Vitagraph
2-27 Love in an Apartment Hotel Biograph
2-27 The Supreme Sacrifice Lubin
2-27 Molly's Mistake Melies
2-27 The Pioneer's Recompense Pathe
2-27 The Bank's Messenger Selig
2-27 Tim Grogan's Foundlings Vitagraph
2-28 A Will and a Way (8th in "What Happended to Mary"
series) Edison
2-28 Swag of Destiny Essanay
2-28 Dr. Maxwell's Experiment Lubin
2-28 The Understudy Selig
2-28 The Old Guard Vitagraph
3-1 A Martyr to Duty Cines
3-1 The Photograph and the Blotter Edison
3-1 The Influence on Broncho Billy Essanay
3-1 The Missing Bonds Kalem
3-1 Under the Make-Up Vitagraph
ngth.
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
2,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
2,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
2,000
1,000
1,000
1,000
1,000
2,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
500
1,000
2,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
2,000
1,000
1,000
1,000
1.000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
COMEDY.
Date Title Maker Length
2-12 A Heroic Rescue Edison 500
2-12 The Girl in the West Essanay 1,000
2-13 The Rest Cure Lubin
2-13 Bill's Birthday Present Sehg 1,000
2-14 The Game Warden Kalem
2-14 Trixie and the Press Agent Kalem
2-15 One On Them Cines 1,000
2-15 The Mayor's Waterloo Lubin 1,000
2-15 From Pen to Pick Pathe
2-15 Polly at the Ranch Vitagraph 1,000
2-17 Confidence Edison 1,000
2-17 Wild Man for a Day Lubin
2-17 Training a Tightwad Lubin
2-17 A Corner in Crooks Vitagraph 1,000
2-18 The Conjurers Cines 570
2-18 Bound to Occur Essanay 1,000
2-19 Getting Even Eclipse 735
2-19 After the Welsh Rabbit Edison 1,000
2-19 The Early Bird Selig 1,000
2-20 There Were Hoboes Three Biograph
2-20 An Up-to-Date Lochinvar Biograph
2-20 Teaching Hickville to Sing Essanay 1,000
2-20 Annie Rowley's Fortune Lubin 1,000
2-20 Maggie Tries Society Life Pathe
2-20 Mr. Ford's Temper Vitagraph
2-21 Identical Identities Essanay 1,000
2-21 The Cold Storage Egg Kalem
2-22 His Date with Gwendoline Pathe
2-22 The Locket Vitagraph 1,000
2-24 In a Tapanese Tea Garden Edison 1,000
2-24 The College Chaperon Selig 1,000
2-24 Suspicious Henry Vitagraph
2-24 Four Days Vitagraph
2-25 Fooling Papa Cines 615
2-25 When a Man's Married Cines 385
2-25 The Ranch Owner's Love Making Edison 1,000
2-25 The Female Detective Lubin 1,000
2-26 All On Account of a Transfer Edison
2-26 The Gum Man Essanay ' 1,000
2-26 Yankee Doodle Dixie Selig 1,000
2-27 Lady Audley's Jewels Essanay 1,000
2-28 Sally's Guardian Kalem
2-28 Pickwick Papers Vitagraph 2000
3-1 Auntie's Affinity Lubin 1,000
3-1 The Cheapest Way Pathe
EDUCATIONAL.
2-11 The Salt Industry
2-12 Dangers of the Street
2 13 Orange Growing
2-14 The Hedgehog
2-14 Borneo Pottery
2-11 The Electrotyping Process
2-19 Snakes and Frogs
2-21 The Great Centipede
2-21 How Briar Pipes Are Made
2-21 Odd Occupations in New York
2-25 A Study of Kittens
2-25 Sea Anemones
2-25 Importing Cattle From Mexico Into the U
2-26 Animals in the London Zoo
2-26 The Newest Method of Coaling Battleships
2-28 Native Industries in Soudan, Egypt
2-2S The Children of Japan
2-28 Building Pontoon Bridges
2-28 What New York is Doing for Its Deaf,
Blind
. ...C. G. P. C.
Edison
Lubin
....C. G. P. C.
. ...C. G. P. C.
. ...C. G. P. C.
Eclipse
. ...C. G. P. C.
. ...C. G. P. C.
Kalem
....C. G. P. C.
. ...C. G. P. C.
S Lubin
Eclipse
at Sea. .Edison
. ...C. G. P. C.
. ...C. G. P. C.
. ...C. G. P. C.
Dumb and
Kalem
2-18
2-20
2-20
2-22
2-26
2-17
2-24
2-26
500
265
315
SCENIC.
Views of Narni and Lake Trasimeno Cines 435
The Yosemite Valley in Winter Selig
Views of Ireland Vitagraph
Picturesque Tasmania Pathe
Glimpses of Provence, France Pathe
TOPICAL.
Pathe's Weekly, No. 8 Pathe
Pathe's Weekly, No. 9 Pathe
Blackpool, the "Coney Island" of England Eclipse 300
Governor Wilson Vitagraph
DAILY LICENSED RELEASES
MONDAY: Biograph, Edison, Kalem, Lubin, Pathe, Selig, Vita-
graph.
TUESDAY: Edison, Essanay, Cines-Kleine, Lubin, Pathe, Selig,
Vitagraph.
WEDNESDAY: Edison, Essanay, Kalem, Eclipse-Kleine, Pathe,
Selig, Vitagraph.
THURSDAY: Biograph, Essanay, Lubin, Melies, Pathe, Selig,
Vitagraph.
FRIDAY : Edison, Essanay, Kalem, Lubin, Pathe, Selig, Vita-
graph.
SATURDAY: Edison, Essanay, Cines-Kleine, Kalem, Lubin,
Pathe, Vitagraph.
182
MOTOGRAPHY
Vol. IX, No. 5.
Date
2-7
2-8
2-8
2-8
2-8
2-8
2-9
2-9
2-10
2-10
2-11
2-11
2-11
2-11
2-12
2-12
2-12
2-13
2-13
2-14
2-14
2-14
2-14
2-14
2-15
2-15
2-15
2-15
2-15
2-16
2-16
2-17
2-17
2-18
2-18
2-18
2-18
2-18
2-18
2-19
2-19
2-19
2-19
2-19
2-20
2-20
2-20
2-20
2-20
2-20
2-21
2-21
2-21
2-21
2-21
2-21
2-22
2-22
2-22
2-23
2-24
2-24
2-25
2-25
2-25
2-25
2-26
2-26
2-26
2-27
2-27
2-27
2-27
2-28
2-28
2-28
3-1
3-1
3-1
2-13
2-14
2-14
2-14
2-15
2-15
DRAMA.
Title Maker Length
The Monkey Accomplice §?lax „ „„_
A Frontier Mystery V?Ison 2'000
In the Web • • Mecca
Calamity Anne's Vanity American
An American Oueen • • • • • • .Reliance
An Orphan's Conquest Great Northern
His Sister • • Re*
The Guilty Hand • • • • • ■ • ■ Eclair
A Daughter of Virginia Champion
The Fugitive American 1,000
On the° Frontier" Line Bison 2,000
Silver Fox ,v^cla!r
The Winner Loses Majestic
A Mystery of Wall Street Thanhouser
The Little Peacemaker Nestor
Bud Tilton, Mail Thief Reliance
The Wheels of Destiny Broncho 2,000
In a Woman's Power Imp 2,000
The Cowgirl and the Knight Ammex 1,000
The Duelists Victor
His Ideal of Power Powers
The Mystery Cave ■•Nest°r
Smiling Dan Kay Bee
The Thief Solax
In the Red Man's Country .Bison 2,000
The Call of Mother Love • • Mecca
The Romance American 1,000
Within the Ten Counts ■ • • : • • .Reliance
Father and Son Great Northern
Billy's Double Capture • • ««
The Terrible Daughter Eclair
Hello, Central, Give Me Heaven Imp
The Finer Things American 1,000
The Song of the Telegraph 101 Bison
The Telegraph Operator ■•Eclalr
Girl, Artist and Dog Majestic
The Pretty Girl in Lower Five Thanhouser
When All Was Dark Gaumont
The Vale of Ossola Gaumont
The Harvest .Nestor
The Girl of the Range Fr°ntler „ „AA
The Bells Reliance 2,000
The Sharp-Shooter Broncho 2,000
The Better Way Ramo
An Imp Romance • • Im.P
The Great Unknown Eclair 2,000
The Cowboy's Heir American 1,000
A Child's Conscience Mutual
The Coward Am™eK
The Two Glasses VVPllot
The Purchase Price . .Nestor
Two Sides of a Story Powers
The Appeal Victor
The Counterfeiter ,- Kay Bee 2,000
The Two Sisters Thanhouser
Till the Day Breaks Solax
The Bugler of Company B 101 Bison 2,000
The Call of Mother Love Mecca
Love Is Blind American 1,000
Two Thieves Rex
The Sisters .' , fmp
When the Light Fades American 1,000
The Coward's Atonement Bison 2,000
The Message in the Cocoanut Majestic 2,000
Sherlock Holmes Solves "The Sign of the Four"
Thanhouser 1,000
On the Brink of Dishonor Gaumont
The Vortex Nestor 2,000
The Stranger's Trail Frontier
The Lure of the Violin Broncho 3,000
Kins: Danforth Retires Imp
In the South Seas • • Rex
The Man Who Dared Eclair 2,000
The Quality of Mercy Ammex
On El Camino Real Nestor
The Law of Compensation Powers
Smiling Dan Kay Bee
The Red Girl's Sacrifice Bison 2,000
High and Low American
The Lure of the City : Reliance
COMEDY.
Catching the "Big Sneeze" Gaumont
Some Fools There Were Thanhouser 1,000
Leopold and the Leopard Lux
A Modern Architect Lux
Binks Did It Imp
Ben, the Stowaway , Imp
DAILY UNIVERSAL RELEASES
(Independent.)
MONDAY: Champion, Imp, Nestor.
TUESDAY: Bison, Gem.
WEDNESDAY: Animated Weekly, Frontier, Nestor, Powers.
THURSDAY: Eclair, Powers, Victor.
FRIDAY: Nestor, Powers, Victor.
SATURDAY: Imp, Bison, Mecca.
SUNDAY: Crystal, Eclair, Rex.
Date
2-10
2-11
2-12
2-12
2-12
2-13
2-13
2-13
2-13
2-13
2-13
2-16
2-16
2-16
2-16
2-17
2-17
2-17
2-18
2-19
2-20
2-20
2-20
2-20
2-20
2-21
2-21
2-22
2-22
2-22
2-23
2-23
2-23
2-23
2-24
2-24
2-24
2-24
2-24
2-25
2-26
2-26
2-26
2-26
2-26
2-27
2-27
2-27
2-27
2-27
2-27
2-28
2-28
2-28
2-28
3-1
2-13
2-22
2-27
2-20
2-22
2-23
2-17
2-19
2-19
2-19
2-26
2-26
2-26
Title Maker Length
The Stolen Purse Keystone
Billy Fools Dad Gem
The Man Higher Up Powers
The Ranchgirl's Measurements Frontier
The Eyes of Satan .Solax
The Widow and the Widower Rex
A Large Night Eclair
Pecos Pete in Search of a Wife American 1,000
Mabel's Heroes Keystone
Her Birthday Present Keystone
Some Doctor Punch
Strictly Business Crystal
An Awful Scare Crystal
The Hired Dress Suit Majestic
Half- Way to Reno Thanhouser 1,000
When a Man Marries Nestor
Her Stepmother Champion
Heinze's Resurrection Keystone
Billy's Strategy Gem
Burstup Holmes Solax
Below Stairs Rex
A Landolrd's Troubles Keystone
Forced Bravery Keystone
By Parcel Post Punch
Rowdy Starts Something Punch
The Leopard and the Burglars Lux 429
When Uncle Made His Will Lux 544
Binks, the Strikebreaker Imp
Evelyn's Strategy Reliance
The Indian Servant Great Northern
The Other Girl Crystal
Schultz's Lottery Ticket Crystal
Billy Wants to Cure His Father Eclair
Skirts and Shocks Majestic
A Fool for Luck Nestor
A Pig's a Pig Nestor
The Duke and the Actor Champion
The Professor's Daughter Keystone
A Tangled Affair Keystone
Billy Joins the Band Gem
Tricks in All Trades Powers
The Birthday Cake Reliance
Not Like Other Girls Ramo
Moving Mother '. Ramo
The Veteran's Mascot Solax
Father's Finish American
Father and Godfather Mutual
Bobby's Bum Bomb Punch
Tracked to Florida Punch
Watch Your Step Gaumont
The Doll and the Devil Pilot
A Counterfeit Courtship Victor
Pat and a Brave Financier Lux 518
Arabella and the Wizard Lux 455
The Bashful Boy Solax
Binks, the Tightwad Imp
EDUCATIONAL.
Under the Microscope Gaumont
A Study in Crayon . . •. . . Imp
Denizens of the Deep Gaumont
SCENIC.
Lake Candy Mutual
Kullen, the West Coast of Sweden Great Northern
A Dead Town Eclair
TOPICAL.
Tournament of Roses Nestor
Animated Weekly, No. 50 Universal
Mutual Weekly, No. 8 Mutual
Gaumont's Weekly, No. 50 Gaumont
Animated Weekly, No. 51 Universal
Mutual Weekly, No. 9 Mutual
Gaumont's Weekly, No. 51 Gaumont
DAILY "MUTUAL" RELEASES
(Independent.)
MONDAY: American, Keystone.
TUESDAY: Majestic, Thanhouser.
WEDNESDAY : Broncho, Mutual Weekly, Reliance.
THURSDAY: American, Mutual, Punch.
FRIDAY: Kay-Bee, Thanhouser.
SATURDAY : American, Reliance.
SUNDAY: Majestic, Thanhouser.
DAILY "FILM SUPPLY" RELEASES
(Independent)
MONDAY: American, Comet.
TUESDAY: Gaumont.
WEDNESDAY: Solax, Gaumont Weekly.
THURSDAY: Ammex, Gaumont, Pilot.
FRIDAY: Thanhouser, Solax, Lux.
FRIDAY: Lux, Solax.
SATURDAY: Great Northern Gaumont.
VOL. IX.
MARCH 15, 1913.
No. 6
Published Bi-Weekly by Electricity Magazine Corporation, Monadnock Building, Chicago
t
GEORGE KLEINE'S
CINES ^d ECLIPSE
Sensational Cines-Kleine Feature
Released April 7th, 1913
THE QUEEN OF SPADES
(COPYRIGHT, 1913, BY GEORGE KLEINE
IN TWO REELS
AN ABSORBING STORY OF A VERY REMARKABLE WOMAN
A woman of culture and refinement is compelled
by misfortune to enter the employ of unscrupulous
money sharks.
In these circumstances she leads a brilliant life,
but all is suddenly altered when, on the eve of her
daughter's marriage, her fiance determines to break
off the engagement on account of the mother's
ambiguous position. Her daughter's happiness is
paramount, however, and is preserved through a
mother's sacrifice.
A marvelous production, with Miss Marie Hesperia
and Mr. L. Lupi in the principal roles.
1 -*
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M~Z^^3H^BflBlBB81
1
THE GORGEOUS RECEPTION
Special Heralds, One, Three
and Six Sheet Posters !
A SPLENDID PROGRAM OF CURRENT RELEASES
Cines
March 18, 1913
WHO'S CHAMPION NOW?
Their Country Relations
(Comedy)
(Comedy)
Eclipse
March 19, 1913
AN INNOCENT OFFENDER (Dram,
A thrilling detective story. The unexpected happens every minute.
Cines
March 22, 1913
A MOTOR-CAR ROMANCE
(Comedy-Drama)
Jack tries to take advantage of his fiancee, but he won't do it again ! The film shows why.
FOR POSTERS— Order Irom your Exchange, or from the ARMSTRONG LITHOGRAPH COMPANY, Cleveland, Ohio
Send ns your name to be
placed upon our mailing
list for advance advertising
matter.
GEORGE KLEINE
166 N. State St.
CHICAGO, ILL.
March 15, 1913.
n n
THE HOUSE OF
SELIG
Announcement Extraordinary
-7 Selig Masterpieces Soon to be Released
The fame of Selig Masterpieces has spread to the furthermost corners
of the world. Exhibitors constantly clamor for more — more — more.
It is commonly acknowledged that no features can compare with those
produced by the House of Selig. The demand for more Selig master-
pieces has lead us to announce the immediate release of three great
features.
Pauline Cushman— The Federal Spy
In Two Reels. The Elaborate War-Time Masterpiece
Released March 24. As a Special.
(See full page adv. and review elsewhere in this issue i
A Change of Administration
In Two Reels. A Timely Masterpiece On the Political Patronage Evil
Released April 5. As a Special.
A Wise Old Elephant
In Two Reels. Selig's Wild Animal Novelty
Released April 14. As a Special.
Book Each One of These Masterpieces TODAY send for Descriptive Matter
Two More Weeks of Selig Winners
L
Mar. 17— LOVE BEFORE TEN
Fascinating Juvenile Drama
Mar. 18— TURN HIM OUT
Farce Comedy. On same reel;
PEKING, CHINA
Educational
Mar. 19— THE SHERIFF OF YAVAPAI
COUNTY. Drama of the West
Mar. 20— THE EX-CONVICT
Drama of the Underworld
Mar. 21— THE DANCER'S REDEMPTION
Spanish Romance
Mar. 24— THE OLD CLERK
Drama
Mar. 25— THF SCALES OF JUSTICE
Drama
Mar. 26— THE LIFE TIMER
Western Drama. On same reel with;
SHANGHAI, CHINA
Educational
Mar. 27— THE FOOD-CHOPPER WAR
Comedy
Mar. 28— SALLY IN OUR ALLEY
Comedy Drama Feature
J-
WiAA t,J> 1 12 f^i-J. -H *■ 1-J. L 1 1. l. Ll L ^fl
c
^1<\ L ■H-lJJJ.-IJJA.tJJl.HJlJIlI.ir
1
3EZ2ZS33
The SELIG POLYSCOPE CO.
20 East Randolph St., Chicago, 111
BRANCH OFFlCES:{l^n t/sTu£?e% STUDIOS: {<££•* *" A„„>„.
SEND US YOUR NAME. WE WILL SEND YOU WEEKLY BULLETINS FREE
WITH WHICH IS INCORPORATED THE NICKELODEON
CHICAGO, MARCH 15, 1913
PUBLISHED BI-WEEKLY BY
ELECTRICITY MAGAZINE CORPORATION
MONADNOCK BUILDING, CHICAGO
Telephones: Harrison 3014 — Automatic 61028
Ed. J. Mock and Paul H. Woodruff, Editors
Neil G. Caward, Associate Editor
Mabel Condon, Associate Editor
Allen L. Haase, Advertising Manager
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CHICAGO, MARCH 15, 1913
TABLE OF CONTENTS
"The Spy's Defeat" Frontispiece
Editorial 183-184
Neil G. Caward Joins Us 183
More on State Censorship , 183
Surreptitious "Ads" in Films 184
Our New Book 184
Historical Incident in Two Reel Feature 185-186
Motion Picture Making and Exhibiting. By John R. Rathbun.... 187-190
Motography's Gallery of Picture Players 191
Exposition to be Vast in Scope 192
Show Exhibitors' Strength to City Officials 192
On the Outside Looking In. By the Goat Man 193-195
Film Ordinance Devised for Milwaukee 195-196
Company Snowbound on Mt. Lowe 196
How the Chicago Censor Board Works. By Mabel Condon 197-198
Recent Patents in Motography. By David S. Hullfish 199-201
Colored and Talking Pictures Coming 201
"Incidents in the Life of a Photoplayer" 202
Current Educational Releases 203-204
Photoplays from Essanay's 205-206
Barney Oldfield in Keystone Speed Film 206
Advantages of State Censorship. By M. A. Neff 207-209
Current Kleine Comment 209-210
New States Soon to Organize 210
Of Interest to the Trade 211-214
Brevities of the Business 214-216
Complete Record of Current Films 217-218
NEIL G. CAWARD JOINS US.
NEIL G. Caward, recently editor of Photoplay Maga-
zine, has joined the editorial staff of Motography,
and will be identified with it, we hope, for a long time to
come. Mr. Caward, besides his editorial experience in
the motion picture field, has followed the rose-strewn
path of the exhibitor, acquiring thereby a certain spirit
of fraternity toward the men who present the silent
drama to the public. Most of the trade already know
him or of him, so it is unnecessary to bespeak for him
the courtesies usually accorded representatives of the
trade's own press.
MOKE ON STATE CENSORSHIP.
FOLLOWING our presentation two weeks ago of the
arguments of Secretary Christenson of the National
League against the principle of state censorship, Mr.
Christenson offers a supplementary explanation of his
attitude :
I desire to comment on the Ohio state censor board bill, fol-
lowing my previous letter in your journal.
On February 26 we had a conference of prominent exhibit-
ors of this state at Columbus and this matter was thoroughly
discussed pro and con. The bill, as proposed, was taken up in
detail and several important changes were made, especially that
of charging on old reels, this being reduced to 25 cents per reel.
Other changes were also made in the bill.
The motive for presenting this bill in this state was made
more clear to my mind and, after listening to the arguments
of exhibitors from Cincinnati, Columbus, Toledo and other
points, wherein they stated that their municipalities have been
asked to hold in abeyance proposed city ordinances for local
censor boards, and, after taking into consideration that Ohio has
recently gained the privilege of coming under "home rule" (giv-
ing all municipalities the right to enact their own laws governing
their own cities), I have come to the conclusion that, if we can
get a censor board that will have jurisdiction over the entire state,
doing away with petty boards such as are proposed in many
towns, it would be the better plan. In this way the enactment
of this censor board bill will supercede the enactment of home
rule and so it will be impossible for the municipalities to create
any other censor boards in their home towns.
Further, inasmuch as no lawyers were able to devise means
whereby the present national censor board could become legalized
in this state, my contention was a hopeless one, and I now feel
that this censor board bill, as approved, is the best way out of
the difficulties which beset us.
I also wish to call the attention of the other states to the
fact that I am advised the United States government would be
unable to enact a law creating a national censor board that would
be legal in the states outside of the District of Columbia. I am
further advised that the present national censor board has no
legal standing, even in its own state, that of New York, being
simply a self-constituted board of censors.
This proposed Ohio censor board bill has a provision in it for
a national congress of censors, and if this bill becomes a law
in Ohio and the other states should legalize this Ohio censor
board in their own states it can in this way become a legal na-
tional censor board, with headquarters for such a board at such
a place as may be selected. Such a congress would minimize
the expense to manufacturers and the film business in general.
So if there are any proposed state or city censor boards in
other states I would advise the members of our league to try to
hold such proposed measures in abeyance until we have passed
an Ohio law creating this censor board. In this way only can
we secure harmony of interests and really benefit all concerned.
The bill has been gotten up with the desire to be of benefit
to the exhibitors and the entire industry and my earnest hope
184
MOTOGRAPHY
Vol. IX, No. 6.
is that the governor will appoint to this board substantial busi-
ness men who are familiar with the film business and therefore
capable of censoring films when this bill becomes a law.
This undoubtedly gives the subject of state censor-
ship a new completion — in Ohio, at least. It is better
to have a state censor than fifty or a hundred municipal
censors. And the proposed National Congress of Cen-
sors would do much to unify the motives of censorship
and harmonize the methods. Nevertheless, such a con-
gress would be comprised of not less than fifty state
representatives, all working on the same material and
without the dictates of peculiar or different local condi-
tions that actuate the political or industrial representa-
tive.
If a legalized censorship is really needed, it is un-
fortunate that a national censor body is out of the ques-
tion, because, as pointed out before, the problem is pure-
ly national and not local. That the present National
Board of Censorship has no legal standing we already
know. But it is entirely efficient and effective, and has
all the force of a legalized body — being supported by
public opinion, without which no law is enforced.
Whether the work of such a self-constituted body could
be legalized locally by statutes or ordinances demanding
that all films carry its signature is a matter for lawyers
to decide. Presumably such laws would not hold if
attacked.
Under present conditions, therefore, state censor-
ship seems inevitable if legalized censorship is to obtain
at all. But the economic principle remains. There never
can be a logical field of work for a state censor of motion
pictures. A state censor can do no work, that is, which
is not needlessly duplicated, or rather multiplied, without
adding one iota to the net result. State censorship must
always be a make-shift to accommodate a defective sys-
tem.
SURREPTITIOUS "ADS" IN FILMS.
A COPY of a letter which President Neff has sentout
in answer to a number of communications received
by him reads as follows :
In regard to advertisements appearing in pictures five letters
have been received in the past two days in regard to a picture
entitled "The Family Jar" released by Pathe January 18, 1913.
A. Engle, manager Empire theater, Fort Dodge, Iowa, is the last
gentleman to protest against the advertisement that seems _ to
appear in this picture. He states that the picture is nothing-
more than an advertisement for the Beech Nut Company.
My attention for the past year has been called to the vari-
ous advertisements that appear in pictures. Now I wish to be
frank and just in regard to the pictures containing advertise-
ments. First. I do not believe a censor board should pass pic-
tures containing advertisements of the kind mentioned. Second,
I do not believe the manufacturers purposely place these adver-
tisements in their pictures, but really believe it to be the fault of
the camera man. It would seem, however, that a manufacture-
would have someone closely scrutinize all of its films and when
an advertisement appears, cut it out; this would immediately
eliminate all effort on the part of the advertisers to appear before
the camera man when he is taking the picture, and every camera
man should have explicit instructions to see that advertisements
were not taken. It is not fair to exchanges who have to pay
so much per foot for advertising films. It is not fair to our ex-
hibitors to use them for the purpose of displaying advertisements
in film for the financial benefit of others. It is more unjust to
the public to force them to sit in an audience and Iook at an
advertisement which they do not care to see. I would advise
every exhibitor, where an advertisement' appears in_a film, to
refuse to run it and also to refuse to pay rent on such films.
It is not fair and just to try to force the exhibitors to run
advertising films free. Several exhibitors I know of have gone
to the trouble of cutting out advertisements and not run them
at all.
As I am in favor of a censor board, I believe all stalling on
pictures and advertisements should be looked upon as undesirable
and whoever censors the pictures should see to it that a square
deal is given everybody.
Surreptious advertising in films of an alleged en-
tertainment nature is reprehensible so long as the ex-
change is forced to buy and the exhibitors compelled
to run such films as are given them, without the exercise
of selection. With market conditions such that the ex-
change and the exhibitor are free to reject such subjects
as arouse their distaste or suspicion, then the regular
release which contains a half -concealed "ad" stands on
its merits.
More than once we have drawn a parallel between
film producing and newspaper publishing. The news-
paper "paid reading notice" corresponds to the kind of
film mentioned by Mr. Neff. Recently the United States
Postal Department ruled that all such paid reading no-
tices in newspapers must be plainly marked "advertise-
ment."
But it must be remembered that newspapers enjoy
a special privilege from the post office in the way of
"second class entry," which gives them a low rate of
postal distribution. The recent ruling referred to, there-
fore, is not for the protection of the newspaper-reading
public, nor for the protection of the "legitimate" adver-
tiser, but for the benefit of the post office itself. In
other words, the postal authorities will not give "second
class" privileges to papers whose contents are obviously
devoted advertising to the exclusion of news and infor-
mative reading matter. But the publication which does
not claim second class privileges, and which places post-
age to the full third-class amount on each copy is under
no such restrictions. It may carry nothing but advertis-
ing, disguised or not, and still exact a price from its
readers if it can get it.
With all respect to President Neff's argument, we
fail to see any material for the work of a censor board
in the kind of film he mentions. The censor is concerned
wholly with the moral influence of the picture, and not at
all with its commercial aspect. Even a legalized censor
board acting in harmony with and recompensed by the
exhibitors would be outside its jurisdiction in censoring
advertising in a film, so long as the advertising was en-
tirely wholesome and of good influence.
A hypothetical arrangement whereby motion picture
films could enjoy transportation facilities similar to the
"second class" privilege of the publisher, and each brand
of film could carry the equivalent of a "second class"
mark, perhaps these problems would all be solved. Until
that time (which will probably never come) it is squarely
up to the exhibitor. If he is not strong enough to handle
it, he will have to get stronger.
OUR NEW BOOK.
FOR a year we have been working on a new book, to
be called "Motion Picture Making and Exhibiting."
It is now ready for publication, and will issue very short-
ly. The entire work will also he run serially in Mo-
tography, and the first installment appears in this issue.
The author, John B. Rathmun, is an associate editor of
Motography, an instructor in machine design at Chicago
Technical Colloge and writer of a number of text-books.
In "Motion Picture Making and Projection" we
have met the demands of both classes — the interested
layman and the doubly interested worker. It may be
neither the biggest book on its subject nor the cheapest;
but it is unquestionably the biggest work that has ever
been offered to this field for one dollar. It will have
about 220 pages, regular 8 vo. size, well illustrated and
full of concentrated information.
March 15, 1913.
MOTOGRAPHY
Historical Incident in Two Reel Feature
Selig's "Pauline Cushman,,
THE historical account of the daring
escapes and brave deeds of Pauline
Cushman, the only woman spy men-
tioned in accounts of the Civil war per-
iod, forms the basis of the Selig Polyscope
Company's latest two-reel thriller, to be
released on March 24. The film is entitled
"Pauline Cushman — The Federal Spy"
and is said to be not only historically cor-
rect in every detail, but also to be second
to none of the Selig war dramas from the
standpoint of production
The story, written Cy Charles E.
Nixon and produced by director Eagle, re-
quires an unusually large company of
principals and over 1,000 extra people in
the telling. The title role, that of the
brilliant, beautiful and impulsive Pauline,
is enacted by Miss Winnifred Greenwood
and gives her an opportunity for by far
the best work this reviewer has ever seen
her do.
From the advance showing of the
film one is impressed by the accuracy of
detail, particularly in a dressing room
scene in the early part of the first reel.
Here one discovers the heroine in her
dressing room in Wood's Theater in
Louisville, and notes on the wall posters
and billing of such theatrical enterprises
as Laura Keene in "Our American Counsin," Arlington's
Minstrels, and the Worrell Sisters. In a following scene
one obtains an unusual view of the auditorium of Wood's
Theater during Miss Cushman's production of "Camille,"
and sees the audience and the players on the stage, at the
same time. It is a really commendable bit of stage direc-
tion and quite out of the ordinary in pictures.
The battle scenes of the second reel are convincing
and give the spectator the impression that he is actually
witnessing a brilliant
charge or a spectacu-
lar defense.
The story of the
film in brief is as fol-
lows :
Pauline Cushman.
playing at Wood's
Theater in Louisville,
receives in her dress-
ing room a note from
Colonel Martin, a pa-
r o 1 e d Confederate
brigader. requesting
an audience with her
at the Southern hotel.
Before leaving to
keep her appoint-
ment. Miss Cushman
meets Hank Holmes,
a Pinkerton operative
in the employ of the
North,, and agrees to
act as a spy for the
Winnifred Greenwood
Pauline Cushman.
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Pauline is Shown the Secret Service Emblem.
Union during the stormy days just be-
ginning.
At the meeting with Colonel Martin the
actress is called upon to lead a demonstra-
tion in behalf of the Confederacy, and in
order to ingratiate herself with the leaders
of the South she consents to give a public
ti >ast that evening to Jefferson Davis and
the Confederacy. We next see the audi-
ence gathered in the theater to see Miss
Cushman's "Camille" and obtain a glimpse
of the players themselves, enacting a scene
from the second act of Dumas' great
drama. Rising from the table Miss Cush-
man steps to the footlights and, lifting
her wineglass on high cries "Here's to
Jefferson Davis and the Southern Con-
fedaracy. May the South always main-
tain her rights!" At the conclusion of her
toast the speaker dashes the wine remain-
ing in her glass onto the Union banner
which drapes the stage box.
Immediately all is confusion and the
audience in an uproar. The Southern
sympathizers were, naturally, delighted
and broke into cheers, while the loyalists
in the audience howled their rage and dis-
gust, and a few of them even attempted
to climb over the footlights to do violence
to the fair actress. Several Confederate
officers came to Miss Cushman's assistance and helped
her to escape beyond the Mason and Dixon line, where
she became the boast of the Southern camps as a victim
of "Yankee tyranny."
Pauline is next seen within the Confederate lines,
whither she has gone to obtain news of the movements
of General Forrest's army. She again encounters Hank
Holmes, now disguised as a negro, and is discovered
while in consultation with him. Suspecting her of being
a spy the Confederate
who had surprised
her hurried Pauline
to headquarters and
saw her arrested and
placed a prisoner in
the quartermaster's
tent. In a war chest
within the tent the
federal spy discovers
some valuable secrets
and, later, is given an
opportunity to escape,
after disguising her-
self in the uniform of
a Confederate drum-
mer boy. Her escape
is discovered and a
thrilling chase fol-
lows, but eventually,
Pauline reaches Rose-
cran's headquarters
and safety.
In the second reel
186
MOTOGRAPHY
Vol. IX, No. 6.
The Actress-Spy was Brought Into Camp.
of the film we see Pauline again in the enemy's lines and
under arrest. She is confined in a room next to that in
which the field telegraph instrument is installed, and by
means of a steel ramroad, which she runs through a hole
in the wall of her room and up against the telegraph in-
strument, is enabled to read the messages being sent
out from the adjoining room. Though tests prove that
the clicks of the sounder cannot be heard through the
wall, Pauline reads the Morse code by holding the end of
the ramrod in her teeth and so receiving the vibrations
of the dots and dashes as they are ticked off.
She conveys this information to the federal officers by
"invisible ink" applied to her cuffs, which she sends
by Holmes "to the laundry," and
so warns the Northern troops of
an ambush that has been pre-
pared for them at Lewiston Gap.
Rosecrans is seen on the way to
the front and we then get a view
of the Confederates building an
ambush with brush and logs. The
concealed battery waits in vain
for the Northern troops, how-
ever, only to discover too late
that they have been flanked, and
themselves have to flee. Stirring
and realistic scenes of the battle
of Lewiston Gap follow, this
part of the picture certainly be-
ing thrilling enough to satisfy
the most exacting.
As the battle ends we see Pau-
line Cushman crossing the field.
accompanied by Union officers.
As a reward for her bravery and
daring she is created a Major,
being the only woman known to
history who ever bore this title
in the army of the North. The
pretty actress is receiving the
praise of the federal officers as
the drama end in a drifting halo
of battle smoke.
The cast enacting this stirring
war drama for the Selig com-
pany is as follows :
Pauline Cushman, the Federal
spy Winnifred Greenwood
Colonel Martin George L. Cox
Watershine Jack Nelson
Major Russell William Stowell
(Officers in the Confederate army.)
Henry Holmes, secret service
agent Charles Clary
General Forrest, Confederate of-
ficer T. J. Commerford
General John Morgan, Confed-
erate officer Lafayette McKee
Joe. Confederate drummer boy. .
Norman Fowler
Major Blackstone, Confederate
officer Walter Roberts
General Rosecrans, commander
Federals Grant Foreman
Simpson, orderly to General
Rosecrans Irwin Hardy
Major O'Neill Thomas Dixon
Colonel Stone Maxwell Sargent
(General Rosecrans' staff.)
General Bragg, commanding Con-
federate forces. .. .Harry Lonsdale
Joe Martin, General Bragg's tel-
graph operator. .Julius Frankerberg
(Officers, soldiers, sentinels, civilians, players, servants, etc., etc.)
The exhibitors who have long been awaiting the
next big Selig war drama will undoubtedly be well satis-
fied with this extra reel subject and with it as an attrac-
tion be well on the road to luring the nickels and dimes
to their box offices.
Dr. William M. Davidson, superintendent of public
schools of Washington, D. C, is strongly advocating the
passage of a bill now before congress to permit the use
of the schools of the District as social centers where
educational motion pictures can be shown for the ben-
efit of adults as well as of children.
The Account of the Theater Riot was Read with Interest.
March 15. 1913.
MOTOGRAPHY
187
Motion Picture Making and Exhibiting
By John B. Rathbun*
CHAPTER I. THE PRINCIPLES OF MOTOGRAPHY.
THE conception of motion is purely a comparitive
process. When a person views an object in uni-
form motion, he really makes note of the successive
positions of the object in regard to some fixed or station-
ary point in the scene. Because of the rapidity with
which he makes these comparisons, he has no remem-
brance of any particular position and therefore the in-
dividual impressions gradually fade into one. giving him
an idea of continuous progress. The fixed point that is
used for the comparisons may either be an object in the
scene or the limiting edges of his field of view. If he
observes a simple moving object such as a ball, against
a blank background, and followed it in such a way that
it always occupied the center of his line of sight, he
would receive no idea of motion. If a stationary post
were placed behind the moving ball, he would at once
unconsciously start measuring its successive positions in
regard to the post.
When a single snap-shot photograph is taken of an
object in motion, the picture will reveal the attitude and
position of the object at the instant of exposure. If a
second picture were taken immediately after the first, it
would show the position at the second instant, and so on.
If a series of such pictures were examined, one after the
other in the ordinary way, the progress of the object
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1. — Six Successive Views of a Ball Passing Across a Picture. The Ref-
erence Line Occupies the Same Position on Each Picture.
would be seen, but without any suggestion of motion.
Should the series of pictures be presented to view
so rapidly, that the eye would not have time to view and
analyze each of the pictures separately, the conditions
mentioned in the first paragraph would be reproduced,
resulting in the sensation of motion. This illusion de-
pends principally on what is known as "persistence of
vision," or in other words, upon the time required for
the optic nerve to transmit a visual message from the eye
to the brain. This delay in the transmission of the image
results in a continued impression, equal in length, to the
time required to pass from the retina to the brain. Thus
the brain continues or "persists" in seeing an object after
it has passed entirely out of the field of view.
While this time is only 1/24 of a second in the aver-
age person, it is long enough to allow a machine to sub-
stitute a second picture while the brain is still recording
the first. As the sensation of the first view fades away
it is immediately succeeded by the second without a per-
ceptible lapse of time giving the impression of a single
picture. As the first picture becomes fainter, the second
continues to increase in brightness, and. finally obliterates
all previous positions of the object. A common example
of this property of visual persistence may be had in view-
ing a flash of lightning. To the observer, the flash ap-
*This is the first installment of a serial article, which will comprise a
reprint of our new book of the same title. The book will be ready very
shortly.
pears to last 1/24 of a second, or more, while the flash
actually lasted less than .0001 second.
In motion picture work advantage is taken of this
— IO— —II— —12-
— 3 —
Fig. 2. — Twelve Successive Attitudes of a Horse Taken by Muybridge.
When Passed Rapidly Before the Eyes the Pictures Give the
Impression of Motion.
property of sight, the successive pictures being thrown
on the screen so rapidly that the eye construes the succes-
sion as continuous motion. When the shutter of the
projector is opened for about 1/32 of a second, the im-
pression is started. This view is now shut off quickly,
and a second view is moved into the field of the lens
which in turn is thrown on the screen before the impres-
sion of the first has died away. In practice this operation
is repeated at the rate of sixteen pictures per second.
The illusion is greatly accentuated by the stationary
objects in the picture, and by the edge of the screen which
has a fixed relation in regard to the spectator.
The twelve pictures shown by Fig. 2 illustrate the
principles of the motion picture, each picture in the
figure showing the position assumed by the horse at the
particular instant at which the picture was taken. They
are reproductions of a series of instantaneous photo-
Fig. 3. — An Early Type of Disc Machine. The Pictures are Illuminated in
Succession by a Narrow Beam of Light.
graphs taken by Edward Muybridge in 1870, and are
considered to be the first motion pictures ever taken of
a living subject by photographic methods. When passed
188
MOTOGRAPHY
Vol. IX, No. 6.
rapidly and intermittently before the eye in their proper
order, the horse moves its legs in a life like manner and
the jockey bounces up and down on its back.
THE ZOETROPE.
The little "whirligig," known as the "Zoetrope," was
the first motion picture machine to be placed on the
market, and dates from a period previous to 1850. It
was originally intended as a toy for children, and prob-
ably for this reason did not awaken much interest in the
possibilities of the moving picture at the time of its in-
ception. The little device contains all of the parts char-
Fig- 4. — Toy Zoetrope, Showing the Arrangement of the Pictures and Slots.
acteristic of the modern projectors, or their equivalent,
and performs the cycle of operations in the same way
and sequence described in the foregoing paragraphs.
It consists of a hollow paste-board cylinder mount-
ed on a vertical spindle on which it can be rotated rapidly
in a horizontal plane. Equally spaced vertical slots are
cut in the side of the pasteboard cylinder which extend
to a point about half way from the bottom. The pictures,
which are printed on strips of cardboard, are merely
outline drawings showing simple objects in ten or twelve
successive positions, and are spaced to correspond with
the spacing of the slots in the side of the box. The pic-
ture strips are placed inside and near the bottom of the
box with the picture side of the strips facing the interior
so that they can be viewed by looking through the slots
from the outside of the cylinder.
When the Zoetrope is revolved rapidly, the slots and
wall spaces alternately expose a picture to view and cut it
off in the same way that the shutter of a modern projec-
tor acts on a film, so that the observer receives the im-
pression of motion from the succession of pictures. As
the pictures and slots advance in opposite directions, be-
ing on opposite sides of the cylinder, the action of the
slots is very rapid, the cutting speed being twice that of
the peripheral speed of the box.
THE EXPERIMENTS OF MUYBRIDGE.
The progress of the motion picture was hampered at
all stages of its history by the lack of suitable photograpic
materials, and it was not until 1870 that dry plates could
be obtained that were fast enough to record exposures
of less than 1/20 of a second. The cameras of that time
were naturally not adapted for the rapid transfer of the
exposed and unexposed plates, and consequently the de-
sign of the camera required complete revision before
it could be used for motion pictures.
In 1870, an Englishman, Edward Muybridge, con-
ceived the idea of taking a series of photographs of
moving objects by means of a number of independent
cameras, spaced equally along the path of motion. The
shutters of the cameras were to be arranged so that the
subject made the exposure by contact with the shutter
triggers, as it passed in front of the lens. Muybridge
finally succeeded in interesting Governor Stanford of
California, who financed the proceeding, principally we
judge, because of the opportunity that the pictures of-
fered in studying the action of his race horses. The re-
sult of his work is shown in Fig. 2.
On one side of Stanford's exercise track, Muybridge
erected a white-washed high board fence for the pur-
pose of throwing the horse in brilliant silhouette, for
with the dry plates of that day it was useless to attempt
detail with the short exposures that he intended to use.
Across the track, and opposite to the fence, were placed
twenty-four separate cameras, spaced at equal inter-
vals. A string from the shutter of each camera was
stretched across the track to the fence so that the horse
would strike each string in passing and thus snap the
shutter when it was exactly in front of the lens. The
horse in passing was thus photographed twenty- four
limes.
As the pictures were taken primarily for the pur-
pose of studying the attitudes of the horse in the different
stages of its progress, the fence was divided into panels
equal in width to the spacing of the cameras. Each panel
was numbered so that the pictures could be identified in
regard to the positions of the horse. These pictures
created considerable comment at the time, particularly
among artists, in regard to the unsuspected muscular
action and attitudes of the trotting horse, and settled
conclusively all disputes arising from the criticisms of
Remington's and Messonier's paintings.
The pictures were afterwards projected on a screen
by means of a modified zoetrope wheel, whereupon the
Fig. 4-A. — A Double Disc Machine. One Disc Contains the Pictures, and
the Other the Slots. As the Discs Revolve in Opposite Directions,
the Action is Similar To That of the Zoetrope.
peculiar positions were resolved into the natural and
continuous motion of the animal. These pictures, while
successful in delineating the motions of the limbs and
muscles, had a very serious fault which was due to the
fact that the image of the horse did not progress across
and pass off the screen, but remained prancing up and
down in the center of the picture. This was the result
of taking the individual pictures at the time when the
horse was exactly in front of the cameras instead of
from a single stationary view point as with the modern
March 15. 1913.
MOTOGRAPHY
189
motion camera. An effect similar to that of the Muy-
bridge pictures would he obtained by following the horse
with a camera in an automobile.
While these experiments paved the way to future
success, the Muybridge system was out of the question
for practical work, for not only were the pictures all
broadside views, but 16,000 cameras would be required
for a commercial 1,000-foot reel.
THE CELLULOID FILM.
The invention of the celluloid film by Eastman was
really the greatest single step in the development of the
motion-picture machine, for the chief trouble experi-
enced by the earlier experimenters wras due to the awk-
ward and complicated mechanism used to shift the in-
flexible and fragile glass plates. In addition to the
mechanical troubles, the enormous bulk of the dry plates
made the continuous operation of the machine almost
impossible, and required in addition a considerable
amount of storage room. The flexible celluloid film in-
troduced by Eastman made it a simple matter to feed
a great number of pictures at an exactly uniform speed,
and also made it possible to store a large number of
photographs in a small space.
r? *
1*1
1 4 I
■ * 3
Fig. 4-B. — A Series of Motion Pictures Arranged on a Glass Dry Plate.
The Machine Projecting These Pictures Moves the Plate Up and
Down, and Shifts from One Row to the Next as Soon as
the Last Picture in the Row is Projected.
In the modern film the 16.000 photographs on 1,000
feet of film makes a roll only 10 inches in diameter and
\y% inches thick. To accommodate the same number
of photographs on a glass dry plate would require an
area of approximately 82 square feet, which, when put
into practical use in a single plate, would make a strip
one foot wide and 82 feet long. Subdividing the glass
into 82 plates of one square foot area would require
a very complicated mechanism and careful manipulate
to secure the perfect centering of all the plates in the
projector.
As soon as the celluloid film appeared upon the mar-
ket, the principal difficulties in building a machine were
removed, and work was started immediately by Edison
mfL ■ "ma.
•
* -iMiM***-
*
Fig. 4-C. — A Modern Celluloid
Film, Showing t'ie Arrange-
ment of the Pictures and
the Sprocket Holes. Full
Size.
Fig. 4-D. — A Full Sized Reproduction
of the Original tiiograph Film. This
Film is Much Larger Than Those
in Use Today, and Has a Very
Crude Form of Perforation.
on his "Kinetoscope." This was the first commercial
machine to employ photographs in a continuous strip.
In the Kinetoscope and in modern machines the
film is in the form of a long strip. The individual pho-
tographs run down the center of the celluloid ribbon,
edge to edge, the top of one picture coming directly on
the bottom edge of the other. The strip is run through
the projector in front of the lens like a belt, and as soon
as each picture is centered in the correct position by the
driving mechanism a flash of light is sent through the
transparency, projecting the picture on the screen. As
the position of the moving object of the film varies
slightly on each picture, the rapid succession of pictures
thrown gives the spectator the impression of motion.
edison's kinetoscope.
While Edison had done a considerable amount of
work in developing the motion-picture machine before
the advent of the celluloid film, he realized that a com-
mercial success was impossible with glass plates, and
therefore delayed serious work on the problem until
the celluloid film was announced as a success in the
ordinary photographic processes. Shortly after this his
first machine, the "Kinetoscope," made its appearance,
at the Chicago World's Fair in 1893.
The original Kinetoscope did not project the pic-
tures on a screen, but exhibited them directly through a
magnifying glass arranged in a peep hole in the side of
the cabinet containing the mechanism. On dropping a
nickel into the slot the lights were turned on automatic-
ally, and the observer at the peep hole saw a simple
series of pictures that ran about thirty seconds. The pic-
tures ran with such rapidity that they appeared in the
most life-like manner to the wondering spectator, but
as the show was short and represented little more than
the old, well-known zoetrope, they did not arouse much
enthusiasm.
190
MOTOGRAPHY
Vol. IX. No. 6.
The Kinetoscope contained about 40 feet of film
in the form of a continuous band or belt. The band was
wound around four or five sets of pulleys in parallel
strands, so that the him could be placed in a small
Fig. 5. — The Optica] System of the Motion Picture Projector.
portable cabinet. At the top of the Kinetoscope the film
was taken over two large wheels in a horizontal direc-
tion, and was passed between a magnifying glass and a
small incandescent light so that the images on the film
could be seen through the glass. A circular rotating
disc having a radial slot was placed in front of the mag-
nifying glass, and was arranged so that the positions of
the slot and a picture registered when the picture was in
the proper position in regard to the spectator. When
the picture was either approaching or receding from the
field of the lens, it was covered by the solid sector of the
disc.
This shutter rotated continuously in a direction op-
posite to that of the film, and made one complete revo-
lution during the time taken to pass each picture across
the field. The film traveled continuously in a fixed rela-
tion to the position of the slot in the shutter, this rela-
tion being maintained by a set of sprocket. wheels whose
teeth engaged with perforations in the edge of the film.
By means of gears the film and revolving shutter were
driven as one unit.
The Kinetoscope differed from the machine of today
in having a continuously moving film instead of the inter-
mittent movement used in the modern machine which
stops the film momentarily when an image comes between
the lens and the light. The intermittent feed was found
necessary in the projector for the reason that the high
speed of the shutter in the continuous machine did not
permit of sufficient illumination to project a strong,
bright image on the screen.
(To be continued.)
The Globe Stove & Range Company, Kokomo, Ind.,
have prepared a 1.500- foot moving-picture film, entitled
"How Globe Stoves are Made," as an aid to dealers
in advertising Globe stoves and ranges. The pictures
can be obtained by merchants who will make the proper
arrangements for showing them in their territory. Col-
ored stereopticon advertising slides, showing Globe prod-
ucts, together with the merchant's name and address,
have also been prepared and are offered to dealers. The
company sends detailed information concerning these and
other helps in the sale of its goods.
'Cupid Never Ages." March 24. Copyright 1913, American Film Mfg. Co.
March 15, 1913.
MOTOGRAPHY
191
Motographys Gallery of Picture Players
MARC McDermott is "our own Marc" to the picture
lovers who choose their favorites by merit of their
work rather than the way they wear their hair or make
love. His acting in Edison films marks him as one of
much stage experi-
ence and a brief re-
sume of his life re-
veals the fact that he
made his theatrical
bow at an early age
and has been in the
profession ever since.
He played Shakes-
pearean roles for sev-
en years in George
Rignold's company
and came to the states
from his native Eng-
land, with Mrs. Pat
Campbell, traveling
from coast to coast,
in leading roles with
her company. He
played "Sherlock
Holmes" for two sea-
sons under Frohman
management, and lat-
Marc McDermott. er piayed with Marie
Dainton and the late Dennis O'Sullivan, with Mansfield
and with Joseph Brooks. Two years ago he signed with
the Edison people and has been more than deserving of
the title "leading man" ever since.
ELSIE M'LEOD is of the ingenue type that makes
people come again to see her. She is one of the
many girls in Edison films who add to the beauty of the
scenery and is the girly-girly kind whose utter femininity
seems to imply that
youth and laughter
will be hers to the end
of time. She is one
of the youngest of
picture ladies and her
appearance in films is
characterized by a
winning manner that
is Miss Elsie's by di-
vine right of inherit-
itance. It was that
same winning man-
ner which made its
possessor a favorite
in her classes at
school, the belle of
her girl-day parties
and that now prom-
ises to give her that
which she most de-
sires— the general ap-
probation of the
world of picture
seers. Though she has been in film work for a com-
paratively short time, the name "Elsie McLeod" is by
no means unknown to those whose favor the demure
Elsie is courting. Rather it is heralded with pleasure
EDNA Flugrath is one of the Edison little ladies who
is attaining that which is necessary to picture-success,
favoritism on the part of the thousands who nightly at-
tend picture shows, the world over. Miss Flugrath's
rising popularity is
r a t he r remarkable,
since she is really
very new in the art
and very unassuming
in both her work and
her appearance. Per-
haps it is just that
which is making for
her rapid headway in
the work into which
she put her best ef-
forts and which is
meting out in return
a noticeable advance-
ment, the very best
spur she could have
to keep her ambition
pinned to the topmost
rung of the ladder of
picturedom success.
Already she is play-
ing leads with much Edna Flugrath.
success and her frail prettiness gave her place among the
company's best looking players. Not only is Miss Flug-
rath the possessor of ability and charm but also of a snap
and daring that will carry her to any height.
Elsie McLeod.
AUGUSTUS Phillips worries not a bit about the
variety of roles he is called upon to play for the
pleasure of spectators whose favored films are those
with the ring around the "E." For Augustus can assume
any kind of a part
and make it stand
out by itself, with
all the credit going
Phillips-ward. He is
a most pleasant per-
son, say those who
know Mr. Phillips
personally, and his
pleasing appearance
warrants that deci-
sion on the part of
those who know him
merely as a screen ac-
quaintance. His the-
atrical work covers a
number of years, and
an amount of exper-
ience that made suc-
cess -in his chosen
line inevitable. His
best known work was
that with the Spooner
stock company in
Brooklyn, N. Y. The
Edison company rejoiced when Mr. Phillips responded
to its invitation to join its ranks where his interest in
his work, which is stamped with individuality and charm,
brought him popularity to an unlooked for degree.
Augustus Phillips.
192
MOTOGRAPHY
Vol. IX, No. 6.
'Eastern Flower," March 22. Copyright 1913, American Film Mfg. Co.
Exposition to Be Vast in Scope
An announcement has already been made of the
first exposition of the moving-picture trade which is to
be opened on Monday, July 7, in the New Grand Central
Palace of New York City, this exposition being held in
conjunction with the third annual convention of the Mo-
tion Picture Exhibitors' League of America, but a recent
bulletin gives more detailed information regarding the
nature and scope of the exhibition.
The bulletin states that the exhibits, which will be
arranged on the main floor of the Grand Central Pal-
ace, the area of which exceeds forty thousand square
feet, will be divided into seven main sections and classi-
fied as follows : 1 — Development of the cinematograph
industry from its commencement to the present day;
2 — Exhibition of American and foreign camera and pro-
jecting machines; 3 — Representations of cinematograph
subjects, etc.; 4 — Theater equipment and electric light-
ing novelties; 5' — Mechanical orchestral organ, piano
and other musical attractions in the picture theater; 6 —
Miscellaneous allied industries and 7 — An international
cinematograph congress.
Everybody connected with the trade is planning to
exhibit or co-operate in making this, the first exposition,
a memorable success, and it will undoubtedly go far to-
ward creating additional interest in motion pictures.
As has already been chronicled the exposition is to
be given under the management of the Motion Picture
Exhibitors' Association of New York, and a special com-
mittee has already been appointed to have charge of
the arrangements, the offices of this committee being lo-
cated in the German Bank building at Fourth avenue
and Fourteenth street. All the work of promoting the
exposition will be directed from that office.
Show Exhibitors'1 Strength to City Officials
The trials and tribulations of the motion-picture
men were depicted recently, not upon a screen, but orally,
by Samuel H. Trigger, president of the New York Mo-
tion Picture Exhibitors' League, and by W. B. F. Rogers,
its attorney, who addressed the Buffalo exhibitors at
their annual smoker held at the Statler hotel. Members
of the board of aldermen, councilmen, supervisors and
heads of city departments were guests.
Before this assemblage, Mr. Rogers said, "We have
not brought the city officials here to bribe them, but to
demonstrate the strength of the movement behind the
motion-picture industry. We wish to appeal only to
your sense of fairness in dealing with motion pictures.
The motion-picture show is subjected to much unfair
criticism and there are many laws governing the opera-
tion of the movies which should not be upon the statute
books."
The motion-picture industry, according to Mr. Trig-
ger, is still in its infancy. The president of the New
York league told of the difficulties of the motion-picture
promoters in New York during the McClellan adminis-
tration, when the shows were closed on Sunday and the
vaudeville houses allowed to remain open. He said that
there was strong opposition to Sunday shows there.
March 15, 1913.
MOTOGRAPHY
193
On the Outside Looking In
By the Goat Man
SHARK yourself into position to contemplate the
making of half a billion feet of negative film in a
year and realize at the same time, that ninety-nine
per cent of it stood up under the scrutiny of the National
Board of Censorship. Some wise bunch are making 'em.
It doesn't cost me a cent to kick. Bill Swanson is
the Big I Am of his crew and he knows all about it. I
want Bill to tell me why he doesn't censor the word
"craze."' What is the idea? Is it merely a craze or
is it a business? As a manufacturer, is it good business
to snap off the top buttons and say there's a hundred mil-
lion invested to make films to satisfy the demands of a
"craze?" Kill the word. Let us realize that we are work-
ing along wholesome, constructive, instructive lines ; that
we represent a worth-while business ; that it is an indus-
try rather than a game.
sfc sfc :{:
The Deputy Goat has sent me a motion picture of
his son, Pliny W. Home — a fine, up-standing chap with
a big smile and a suit of jumpers. Pliny, associated with
Frederick R. Eldredge, is making Seltagraph films and
from official sources I am told that Seltagraph means
Scenic. Educational, Local, Topical. Artistic-graph stuff.
Here's luck.
According to the news dispensers of Gotham, Percey
Waters, when he was manager of G. F., told Bill Fox,
"'you're only a little splinter." Waters had offered Fox
$69,000 and then $89,000 for the Greater New York
Film Rental Company. Lie admonished Fox to be sen-
sible about it and "maybe I can get you $110,000." Fox
insisted that his business was worth a lot more than that
and refused to sell. The point I wish to make is Water's
superior knowledge of little splinters. He must have
hunted porcupines once upon a time.
^ ^ %
Billy Home says he is a Biograph regular. Look
for him in that fetching masterpiece — "A Horse on
Bill."
* * *
The cutest stuff in town is the fuzz that Al Green-
land is encouraging on his upper lip. Summer time may
help it. Winter in Greenland would discourage prolific
growth of anything.
* t- *
At Los Angeles the police confiscated a large quan-
tity of liquor by pouring it into the street, of course
Pathe had a camera man right there and it seems quite
likely that the film will find a place in the fittings of all
well-meaning: booze cute establishments.
'Sally in Our Alley," March 28. Copyright 1913, Selig Polyscope Co.
194
MOTOGRAPHY
Vol. IX, No. 6.
Adam Geschwindt isn't a film man — he is editor of
The Silent Partner, a tremendously useful big little
magazine at 200 Fifth av., New York. He tells me that
integrity, energy, judgment, optimism, calmness, decision,
tolerance, credit, genius, temper, sincerity, preserverance,
character, punctuality, cheerfulness, habits, self-con-
fidence, knowledge, enthusiasm, health and appearance
are the component parts of the efficient man. It is a
comprehensive list, but it omits reliability — something
F. J. Grandon's Lubin Company at Los Angeles, Cal.
more significant than genius, surely. I give space to
this analysis to emphasize some of the qualifications that
are wholly lacking in tremendously successful film men.
A film man begins and ends with energy, decision, preser-
verance, self-confidence and enthusiasm. He is all of
these at all times. Energy is the big feed under his belt',
decision is the telegraph blank in his hand; perserver-
ance is his total disregard for everything and everybody
till he lands; self-confidence is his know-how, and enthus-
iasm his economy. Film men are a type by their lone-
some.
* # *
When I see the word "trust," as it is juggled by
independents, I always think of the juggler. Will the
primer class please take its position over there by the
wall ? Now then, altogether : In what respect does the
independent maker and renter differ from the licensed
maker and renter?
^ ^ ^
I recall the G. F.'s removal of a number of my pa-
trons when it took over the better exchanges of this coun-
try, but G. F. is finding service through these pages now-
adays. My repeated expression that a film man knows
his business has been confirmed many times. It was
hard to lose customers in the early, struggling days, but
it is comforting to get 'em lined up in these better days
of the business. When General Film was organized it
had bigger fish to fry than to bother about the adver-
tising feature. Time worked the problem out. Adver-
tising helps the game, but the film itself must be the
prime factor. Heinz would never get away with his
fifty-seven varieties if the pickles weren't good. You can
buy a drink for a nickel, but a high ball on a limited train
costs forty cents — plus a dime to the dispenser. The
day is fleeting when a $300 reel will get by with the
$3,000 reel and ask no odds.
* * *
Out of the corners of my eyes I see the signs of the
goat in the thirst emporiums. It ought to be my best
season. Will Pop Rock please write ?
As the readers of Motography may have discovered,
I taboo film criticism. The film review, after all, is only
one man's idea of it. The films I see are usually extraordi-
nary. Last week I saw two subjects — approximately
13,000 feet. No, this isn't phony talk, it's real. Two sub-
jects— 13,000 feet. Kalem's "From the Manger to the
Cross" and Cines-Kleine "Quo Vadis." I shall deplore
Kalem's choice of title for its biblical masterpiece, be-
cause it is held literally. Had it been named "The Life
of Christ," the producer would have carried it beyond
the crucifixion to the ascension. This beautiful, 5,000-
footer stops at the cross and if I recall my old Sunday
school lessons, it might have gone a little farther for a
more pleasing ending. However, this is merely sug-
gestion. "From the Manger to the Cross" is splendid.
It is the kind of production that will interest a clientele
that does not come under the classification of film fan.
It is this tremendous clientele that must be reached and
every effort to do it should be encouraged. That Kalem
sought Palestine for the settings is in itself most com-
mendable.
The other subject, "Quo Vadis," is something quite
apart. I know that no maker in this country would
tackle such a job, unless it might be Mark Dintenfass.
Mark, you know, is the man who is unafraid. "Quo
Vadis" is stupendous, amazing, real. There is nearly
8,000 feet of it in five parts. It was made by the Cines
Company of Rome, who must receive the plaudits of the
entire film world for having achieved the ultimate. No
film has ever equalled this one and, having reached such
Scene from Lubin's "Tamandra the Gypsy," Two Reels.
infinite perfection thus early, it would be foolhardy to
prophesy what may follow. I have read Sienkiewicz's
novel and I have seen the drama, but prior to last Fri-
day night at the private theater of George Kleine, I had
not lived in Nero's time and sat with him through his
orgies and partaken of his bloodthirsty entertainments.
If we are waiting for a film to lift us from a possible rut,
it is here. I propose not to make myself ridiculous in
hurling boquets. If you are interested in motion pictures
you will sit for two and a half hours, much as I sat,
riveted to your seat, forgetting time, and awake to a
realization that it was all too short. If you are not inter-
March 15, 1913.
MOTOGRAPHY
195
"The Dancer's Redemption," March 21. Copyright 1913, Selig Polyscope Co.
ested in motion pictures and will see this film without
enthusing — the booby-hatch for you !
* * *
Charley Simone threatens to make another dive into
the film vortex, now that he parades past 1600 Broadway
in fine disdain. I'm going to form a little Goat Club
when I go down to New York. Anybody want the
emblem ?
^ ^ ^
I wish to know more of the folks who help to make
the crowd; I'd be less selfish with my pokes and speak
my mind out loud. I know too few, 'tis sad to say, be-
cause I stick at home and never amble out and play, or
hike around, or roam. I'd like to call on Darwin Karr
and visit Billy Quirk and if I get away that far, I'll
buckle down to work. I know Dick Nehls, but never
heard of Mr. Railroad Neil — I'll find these fellows, 'pon
my word, and never miss a meal. From coast to coast
the boys are few who call me by my name. I seem to be
so very new. I bow my head in shame. It comes from
lacking railroad fare and hanging 'round the dumps
where everybody's on a tear and going through the
jumps. If Laemmle'd lend his ear a while and Smith
would settle down, I'd clear my system of its bile and
visit Gotham town. I'd see Joe Farnham in his suite
and Hadley in his car ; give Charley Hite a bite to eat —
drag Henkel to the bar. I'd sit with Streyckman's at
the Screen and lariat McGee and see if Kessel could be
seen, or find what he would see. I'd paint my sign on
Eric's shirt and lay for H. Levine ; I'd even try to mildly
flirt with Mrs. Harry Bean ! I wish I knew more of the
crew — the bunch I have to know. It keeps me in an
awful stew to hear the rooster crow! J. Stewart Black-
ton has the laugh, while Speedon has the say — I wish I
had the Vitagraph — I'll get it yet, some day.
* ^ ^
Sran H. Twist is smoking his own private brand
and complains of headaches. Think it over.
Film Ordinance Devised for Milwaukee
A tentative draft of the motion picture-film censor-
ship ordinance, devised for Milwaukee, Wis., in response
to growing public demand, has been made public by its
author, Aid. Percy Braman.
It provides for a board of censorship to be appointed
by the mayor, the members to serve without pay for a
two-year term.
There are seven sections to the ordinance. The
first forbids exhibition of any suggestive picture or one
depicting murder, suicide, robbery, stabbing, clubbing,
or beating of a human being. The second establishes
the board of censorship and its secretary, salary, $1,500
per year. The third forbids the exhibition in Milwaukee
of any picture, unless it has been approved by the cen-
sors and affixed with a stamp, "Passed by the Local
Board of Censorship." This section will not apply to
pictures shown for purely educational, charitable or
religious purposes by fraternal, charitable, educational
and religious associations, or by libraries, museums and
schools.
196
MOTOGRAPHY
Vol. IX. No. 6.
'The Old Clerk," March 24. Copyright 1913, Selig Polyscope Co.
The fifth section gives members of the board of cen-
sorship and the secretary the right to enter free any
place where motion-picture films are shown or stored.
The sixth prescribes as a penalty for violation of the
ordinance, a fine not to exceed $50 or the revocation
of the license of the showhouse, or both, as the court
may direct. The seventh section declares the ordinance
is to become effective as soon as passed.
The ordinance does not aim to cover the subject.
Aid. Braman has purposely left unprovided for the ques-
tion of who shall bear the expense of affixing the stamp
on the film. It is estimated that each stamp will cost
about 30 cents. Other questions will be settled when
the ordinance is taken up by appropriate committees of
the council.
Aid. Braman declares his measure will not serve
its purpose unless the council adopts the Fiebrantz ordi-
nance licensing theaters, holding that until theaters are
licensed the city can have no way to compel observance
of the law.
Company Snow-Bound on Mt. Lowe
David Miles and the Kinemacolor stock company in
California recently ascended Mt. Lowe for the purpose
of taking some motion pictures with real cloudland scen-
ery. Scarcely had they taken the pictures and were pre-
paring to return to Los Angeles, when a heavy snow
storm caught them and made the descent impossible.
Always prepared for emergencies on these field expedi-
tions, Mr. Miles established a camp for his company in
some deserted log cabins, where they lived very comfort-
ably for three days. By that time the food supply was
running low, and though almost snowed in, they man-
aged to send a messenger on snow shoes to the nearest
telegraph station.
The relief expedition from the Hollywood head-
quarters of the Kinemacolor Company found that Mr.
Miles had draughted a realistic new scenario, founded on
memories of Whittier's "Snowbound" with scenic set-
tings like one of Bret Harte's Sierra stories, and the half-
famished actors had played their parts with such genuine
feeling and appreciation of the situation that it was pro-
nounced one of the finest productions of the Kinemacolor
stock company, much better, in fact, than the story which
they originally started out to take.
To Break Ground for Amerian Studio
President S. S. Hutchinson has decided that the
breaking of ground for the new Mission street studio
at Santa Barbara, Cal., shall be made quite an event.
Some prominent citizen will be requested to turn the first
spade of earth which shall mark the commencement of
work on the company's permanent studio in that city.
It is also possible that there will be- some other features
added and the people in general will be invited to par-
ticipate. Moving pictures of the ground breaking exer-
cises will be taken as the situation will lend itself admir-
ably to this with the unusual mountain setting in the
background.
March 15, 1913.
MOTOGRAPHY
197
How the Chicago Censor Board "Works
By Mabel Condon
SERGEANT Jeremiah W. O'Connor, head of the
Chicago Police Department Motion Picture Bureau,
was making his morning call upon the chief, but I
could wait for him over on that chair near the secretary's
desk, for he'd be in any minute. So I waited through
twenty minutes, that seemed like five, and watched a six-
feet-three, two-hundred-pound man copying little black
figures from one red-backed book into another red-
backed book, and every time the secretary opened the
upper right-hand drawer of his desk got a glimpse of
two ugly looking guns, pointed in my direction.
A man with a Van Dyke beard and a derby,
that seemed to set uneasy upon his head, came in with
the complaint that he used black powder in his gun and
that the old thing kicked, would the secretary tell him
what was the matter with his gun? Certainly, the secre-
tary would. The man copying the little black figures
would tell him also, and so would the other four men in
the office.
"Shot yesterday and today— a new order," wearily
remarked the Van Dyke one. "Shooting away ten shots
at a brick wall — well, maybe you don't have to in your
department, but it's a new ruling in ours. Posted yester-
day, I tell you — I don't know whose orders, but they're
there. Wait — I'll go right in and ask !" And the rest-
less derby and the Van Dyke went briskly forth, just as
a fresh-skinned, trim looking man with "sandy" hair
and a mustache to match hurried in, taking off his over-
coat as he came. He made for the department's one
vacant desk so I knew him to be the sergeant.
And a welcoming sergeant, too. "Sit right down
and ask me anything you want to," he invited, and I did.
For six years the motion picture bureau has been
in existence, and for the last two of the six Sergeant
O'Connor has been its head. He has ten inspectors and
one clerk as his assistants and this is the power that de-
cides what, in motion pictures, the Chicago public is
not to see.
"We have no set rules for censoring films," said
the sergeant, "that is up to the broad-mindedness of
my men. And they are broad-minded; that and un-
prejudiced, otherwise I would have no use for them in
this department. They have to be absolutely free from
prejudice as to race and religion, for no nationality will
be debased nor a monkey made of a priest, minister or
other representative of any religious teaching, while the
Chicago censors are on the job.
"And it is the minor public that the inspectors have
in mind, and not the adult public, when censoring films.
We aim to have nothing shown on the picture screen
that would be harmful to children.
"In many cases it is not the action of the story
that is harmful but just the sub-title; in such a case the
sub-title only is cut. For instance, a mine is blown up
by an army, of strikers. In the vicinity of the mine are
constant dynamite explosions and the blowing up of the
mine looks just like any of the other eruptions of rock
and belching of smoke. There is nothing harmful in the
scene itself, the objection is to the sub-title which reads
'Angry Strikers Blow Up Mine.' The sub-title is ordered
cut out while the action itself is permitted and no harm
done.
"There is always better censorship, or at least I
feel that there is, when I can assign my men in pairs
to view films. But with only ten men, and an almost
hourly demand for them every day, I can only send one.
"But wait until we have our own theater here in
the City Hall on the tenth floor! They're getting it
ready now and arranging for a screen and picture ma-
chine, and then every bit of censoring will be done right
here in our own building and there will be three in-
spectors viewing the films all the time. That will be in
less than two weeks and when the theater's all ready
and before the business of inspection starts, I'm going
to have a little party of my own up there and run off
all the cut-outs that have been made for the last year.
I'm going to invite the chief and some reporters and
some film men I know — but I don't know who all just
yet, but I think it will be an interesting little affair."
I thought so, too.
"I find that a man is not a fully capable inspector
under one year's service, with one or two exceptions.
Some of my men have been with this department for the
whole six years of its existence and I can rely abso-
lutely on the judgment any of them make on a film.
"Some times, though, the inspector is undecided
about a film and in such a case it is held for another
inspection and I and one or two of my men view it and
pass united judgment upon it.
"One of the worst week's work we've had was that
ending February eighth. Of 135 films inspected ten
were rejected and cut-outs made in twenty-three. One
of the best weeks was that ending with March 1 ; 124
films were viewed, but one was rejected and short cut-
outs ordered, in nineteen. A good week, I called that,
and the chief thought so too. Here, look over the two
reports and see for yourself."
The reports were typewritten and tabulated, first,
the rejected films with the names of their makers, fol-
lowed by the footage of the film. Then were given the
cut-outs and the why and wherefore of them.
The February eighth report showed a total of 10,300
feet of rejected film and 11,024 feet of cut-outs. That
of March first totaled altogether 2,573 feet, 1,000 of that
being the length of the one rejected film.
Some of the reasons for the rejection of the films
were : killing of woman and setting house on fire ; shoot-
ing of man ; abuse of children ; shooting and burglary ;
murder and suicide ; immorality, brutality and blowing
of man to death; abuse of children and stabbing; bribery
and intimidation ; murder and poisoning of man ; robbing
house ; immoral scenes and boys stealing ; woman be-
comes a drunkard; robbery and assault; kidnapping boy
and girl and sub-title of "$25,000 reward, dead or alive."
Causes for ordering cut-outs were very similar and in
most cases they were short scenes that were merely in-
cident to the film, while the films rejected were ordered
so on account of the objectionable tone permeating them
throughout.
The cut-outs causes were : suicide ; stealing and
abusing dog ; battle between Indians and settlers ; man
shooting at Mexicans and killing man; hold-up of mail-
carrier in house; hold-up of stage coach; shorten all
scenes of battles between Indians and settlers ; sub-title,
"First Job George Did was His Sister's Fiance," and
entering house through window and struggle in house;
198
MOTOGRAPHY
Vol. IX, No. 6.
sub-title of killing squaw and hitting squaw with bottle;
man entering house through roof and stealing jewels;
sub-title referring to bomb; sub-title of drugging and
scene of burning man at stake and sub-title of torture;
masked burglar in house ; duelling scene and killing of
man.
Such a report is made out weekly by Sergeant O'Con-
nor and submitted to H. F. Schuettler, first deputy su-
perintendent of police, and then the reports are filed.
I returned "the worst and the best" to the sergeant
and guessed I'd go. He said to come again, any time.
I replied that I would and as I started for the third
floor elevator I met the Van Dyked man on his return
trip from his own department, wherever that was, and
in his right hand he idly swung the black powder gun.
The machine is attached to a board not more than
two feet long, and can be fitted to an ordinary incandes-
cent lamp socket and removed at will.
Educators who have examined the machine say that
it is of value to them because it can be operated slowly
enough to completely analyze motion, the circulation of
the blood, and the minute steps of a surgical operation.
Mr. Jenkins has sold the selling rights of his new
invention to a Chicago company who have interested the
Chicago school board to the extent of purchasing 800
new machines to be used for educational purposes in
the city schools. He also expects to soon close a con-
tract for the manufacture of these machines and it is
probable that he may be induced to permit local man-
ufacturers to bid on the product.
Special Picture Machine for Educators
A new and simplified motion-picture machine, which
is said to reduce to the minimum the possibility of fire, is
being investigated by a committee from the Franklin In-
stitute and the National Education Association. It is
the invention of C. Francis Jenkins, Washington, D. C,
who has invented other motion-picture improvements,
and who was awarded the Elliott Cresson medal of the
Franklin Institute in 1898.
The demonstration was made by Mr. Jenkins at the
Hotel Walton, and both safety and efficiency are claimed
for the invention through the placing of the shutter be-
tween the film and the light, thus safeguarding against
fire.
Advises Shows for Residence Districts
"I consider a motion picture show an interesting
and instructive adjunct to any neighborhood," declared
Miss Anna Gilday, before the Ladies' Floral club, which
met in the Covenant Presbyterian church, Sixtieth street
and Swope parkway, Kansas City. "The average resi-
dence show is clean and entertaining. The war we are
waging is against the brand of film filth produced by
many downtown moving picture shows. Very few resi-
dence theaters come under our ban. I would welcome
the introduction of such a place of amusement in any
neighborhood providing it is run on a clean educational
basis." Miss Gilday has been investigating picture-
quality in the interest of the Athneum.
"When a Woman Won't," March 17.
Copyright 1913, American Film Mfg. Co.
March 15, 1913.
MOTOGRAPHY
199
Recent Patents in Motogfraphy
By David S. Hulfish
PATENT No. 1,037,188. For an Improved Safety
Shutter for Projecting Machines. Issued to Ed-
ward L. Aiken, East Orange, N. J., assignor to
Thomas A. Edison, Incorporated, West Orange, N. J.
The application was filed in 1905, and the patent issued in
1912.
In the improved shutter here patented by Mr. Aiken,
the object striven for has been to devise an automatic
fire shutter for the film window which may be conveni-
ently attached to projecting machines already in use
without the valuable feature of the safety shutter.
Much talk is heard now of safety shutters or fire
shutters which have been or hope to be "approved" for
motor driven projection machines, and one feature which
seems to be regarded as a necessity for such "approved"
safety devices is that the shutter shall close and stop the
light from the film window in case the film should break,
even though the motor which is driving the projector
should continue to run.
The invention covered by this patent does not fall
in the class for motor driven machines, and the inventor
expressly states, it is obvious that any stoppage of the
1 ,037,188.
driving crank will cause the shutter to close. The break-
age of the film will not automatically close the shutter,
but on the other hand the film will not be subjected to
the wear which inevitably occurs when the film is used
for driving the shutter controlling mechanism.
Two shutter plates are used in the improved shutter,
labeled 28 and 29 in the illustration. These swing upon
the pivot points 30 and 32, the shutter plates moving
to right and left to open the path for the cone of light
from the condensers to the film window. Both of the
shutter plates are controlled by the single rod 39, when
opened, and are closed by the single counterpoise weight
38.
That the shutter may be out of the operator's way
when threading up the motion head, the plates of the
1,037,325.
shutter are located just at the front of the condenser
cone. This accounts for the round shape of the upper
portions of the plates when closed together as shown in
the illustration.
The claims cover the use of the pair of shutter plates
operated by a single rod and controlled by the film driv-
ing mechanism.
1. In a moving picture apparatus, a shutter comprising a
pair of pivoted plates, an operating rod connected to both of
said plates at points which occupy relatively opposite positions
with respect to the pivots of said plates, and means controlled
by the film-driving mechanism for operating said rod, thereby
turning said plates on their pivots in opposite directions, sub-
stantially- as set forth.
Patent No. 1,037, 325. For an Improved Film Gate.
Issued to Alvah C. Roebuck, Chicago, 111., assignor to
Enterprise Optical Company, of same place. Applica-
tion filed in 1910; patent issued in 1912.
In his preliminary statement of invention, the in-
200
MOTOGRAPHY
Vol. IX, No. 6.
ventor clearly outlines the object for which this im-
provement is offered:
This invention relates to kinetoscopes of the Intermittent film
feeding type, and has for its object to provide a simple and ef-
1,037,346.
ficient structural formation and arrangement of the film tension-
ing mechanism of the apparatus whereby a uniform and extended
resilient contact of the lateral pressure member or shoes against
the film is attained, with the resulting advantages of an avoid-
ance of uneven wear of the guide ribs of the aperture p!ate,
as well as the liability of damage to the sprocket holes in the film
due to excessive tension necessary where short surface contact
is had. With such uniform and extended tensioning contact the
stoppage of the film in unison with the stoppage of the inter-
1,037,346.
mittent sprocket wheel is insured, and any tendency of the teeth
of the sprocket wheel to jump the sprocket holes of the film is
eliminated, all as will hereinafter more fully appear.
In the film gate the film passes between the gate
and a pair of friction plates or presser plates. The ar-
rangement of the presser plates and their springs is in-
genious and forms the novel feature of invention as out-
lined in the claims.
Accompanying this review are reproduced all of the
five figures of the drawings of the patent.
Fig. 1 shows the assembly of the film gate, viewed
from the rear of the motion head ; Fig 2 shows a vertical
section view and Fig. 3 a horizontal sectional view
through the film gate. The presser plate is shown in
perspective view in Fig. 5. There are two of these
presser plates used, one upon each margin of the film
strip; they are labeled 9 and may be identified by that
number in all three of the assembly views. The one
spring labeled 12 and 14, and shown in perspective view
in Fig. 4, is clamped at its medium part by the heads of
screws 13 and 13, and its ends have the downwardly
turned ribs 14 which press with spring tension upon
the ends of the presser plates 9 and 9.
While the spring member labeled 12 and 14 is a sin-
gle piece of spring metal, yet from its form and man-
ner of fastening to the gate and of bearing upon the
presser plates each side of the rib 14 is subject to the
indepenndent pressure of one arm of the spring from the
1,038,349.
clamping screw 13, and the two pressure plates are
independent of each other.
By reason of the return hook end 10 forming the
notch 11 in the presser plates 9, the spring 12 also holds
the plates from dropping out of position when the film
gate is opened.
Patent No. 1,037,346. For an Improved Automatic
Stereopticon. Issued to Alfred M. Smiley, Franklin,
Pa. Filed 1911, issued 1912.
The particular purpose of the stereopticon of this
improved form is the display of advertising slides in
windows, and other public places, the slides being changed
automatically at frequent intervals by the action of a
small constantly running electric motor.
If used in a theater for fixed slide announcements
between reels of films the slides would be changed auto-
matically, leaving the operator free for adjusting and
threading the motion head. The device is not suitable
for song slides if used with motor changer.
Two drawings of the slide changer are shown here-
with, one view showing the face or flat side of the wheel
2 of slide pockets, each pocket being labeled 3, and
the other view showing the edge of the wheel of slide
pockets.
March 15, 1913.
MOTOGRAPHY
201
In each of the two views may be seen the motor 16
which by a round belt drives the grooved pulley 15. The
pulley 15 has upon its shaft the worm 14 (see first view)
which in turn drives slowly the worm wheel 13 and the
shaft 10. The striker arm 12 (see second view) there-
fore turns continuously, and once in each revolution
strikes a pin of the circle of pins labeled 9 upon the
wheel of slide pockets. When the arm 12 strikes a pin
9, the wheel 2 is moved quickly just enough to bring the
next slide into position, and then remains motionless
with the slide behind the projection lens until the striker
arm 12 has completed the remainder of its revolution.
To hold the slide steady in the path of the light, and
to insure proper centering of the slide upon the optical
axis of the lens, a spring detent is arranged. A ball is
held in the end of a tube and is pressed by a spring
against the face of the wheel, the wheel being provided
with a number of depressions in one of which the ball
rests to center the slide for projection.
Patent No. 1,038,349. For Improved Projection
Appraratus. Issued to Emorg W. Goodrich, Boston,
Mass. Application filed, 1910, and patent issued, 1912.
The invention is more suitable for the lecturer or
college professor before his class than for the motion
picture theater, yet the patent is of interest as showing
progress in the general art of projection.
Mr. Goodrich states :
This invention relates to projection aparatus of that type
which can be used for both opaque and transparent projection
work, and the objects of the invention are to provide a novel
projection apparatus which is comparatively simple and which
can be readily adapted either for opaque or transparent projec-
tion work and which can also be used for microscopic projec-
tion work ; and to provide an apparatus by which the image
of either the transparent or the opaque object may be projected
onto the screen with the apparatus in any one of several positions.
When the apparatus is adjusted as shown in the il-
lustration, the ray of light from the lamp 4 is shown by
the dot-and-dash line and is reflected by the mirrors 23
and 31, being therefore adapted to project from any
transparent or light-permeable object laid in the level
box 19.
When the mirror 23 is lifted, the ray of light will
pass through the microscopic lens 42 and project from
microscopic slides or objects at 43.
The lantern is arranged also to have easy adjust-
ments to adapt it to project from large opaque objects,
either flat, as pictures and drawings, or bulky, as speci-
mens of minerals, etc.
Colored and Talking Pictures Coming
Gaumont's Chronochrome and Chronophone
MOTOGRAPHY is able to announce the early ap-
pearance in America of the Gaumont talking pic-
tures which have been making such a hit in Paris
during the past year and a half. Travelers who have
witnessed exhibitions at the Gaumont Palace Hippo-
drome in Paris, pronounce Mr. Gaumont's talking pic-
tures equal to if not superior to those recently placed on
exhibition in this country, there being absolutely no loss
of synchronism at any point. It is the claim of the Gau-
mont people that such loss is practically impossible, and
in any event can be rectified in a second. It will be re-
membered that when the talking pictures were exhibited
in this country some years ago the greatest defect found
was in the breaking of the film, which destroyed the use-
fulness not only of the film but of the record also. The
Gaumont folks have now perfected an arrangement
whereby any break in the film and the consequent loss
of one or two pictures is immediately compensated by a
readjustment in the phonographic record, so that the life
of a Gaumont talking picture is now as long as that of
the ordinary film.
The Gaumont Company of Flushing, New York, has
arranged a demonstration of the Gaumont talking pic-
tures to occur in New York early in the spring. This
will be under the auspices of one of the leading scientific
publications and will be made before a selected audience
of scientists and motion picture capitalists. The invita-
tions to this demonstration will be sent out shortly. On
the same occasion it is Mr. Gaumont's intention to dis-
play the Gaumont Chrono-chrome natural color pictures,
which are now on daily exhibition at the Coliseum in
London, and which have met with the complete appro-
bation of critics in the British capital. According to some
British amusement papers, the Gaumont pictures are
superior to any other natural color pictures which have
yet been seen in that market, the inventor seemingly hav-
ing overcome completely the loss of register of colors,
so frequently apparent in the natural color pictures gen-
erally seen in American theaters.
The technical expert of the London Bioscope in a
recent issue of that publication writes as follows of the
chrono-chrome pictures :
Briefly it may be said that the results of chrono-chrome are
secured by the simultaneous photographing and ultimate projec-
tion of three photographs containing the primary color values
in the field before the lens. In previous experiments in the same
direction it has been found impossible to accurately superimpose
the three color value pictures, each one, of course, projected
through its respective color filter upon the screen. Messrs.
Gaumont have, however, completely overcome the difficulty, and
as proof of the simplicity and ease with which the superimposi-
tion may be performed, it is only necessary to record the fact
that in one picture which was unintentionally thrown upon the
screen with the colors projected out of register, they were almost
immediately and accurately superimposed.
As, in the color system under review, there Is always on
the screen (with, of course, the exception of the intervals dur-
ing the interception of the shutter) a multi-colored picture, eye
fatigue is conspicuous by its absence, as no persistence of vision
is necessary for the blending of one color rnto another, the
actual natural colors themselves being displayed. The color
effects are, therefore, not illusionary, but real.
At the demonstration given at the London Coliseum on the
morning of Thursday last we were afforded an opportunity of
judging the results of a wide range of subjects: Flower studies,
farm yard scene, panoramic scenes in the Balearic Isles, butter-
flies, harvesting and others. In all there was nothing but admira-
tion expressed by the large audience, the flower and butterfly
series perhaps calling for most admiration. Certainly it can
be said that never before have the myriads of nature's tints
been so faithfully recorded. The bloom on the begonias and
the remarkable iridescent tints on some of the butterflies were
beautiful and beyond anything we had previously thought it
possible to obtain by photographic means, while proof that there
was no limitation to the process was afforded upon the projec-
tion of the harvesting scenes and views of the Riviera — faithful
reproductions of nature.
One test for color process is white and the remarkable purity
of this was shown in the last picture, introducing the tricolor
and Union Jack, both of which, fluttering in the breeze, stood
but in apparent relief as if no photographic medium were used.
Mr. Gaumont has on various occasions combined the
natural color pictures with the phonograph and doubtless
will do so in America, thus bringing into one common
mechanism, all the latest and greatest improvements in
the motion picture art.
202
MOTOGRAPHY
Vol. IX, No. 6.
March 15, 1913.
MOTOGRAPHY
203
Current Educational Releases
Black Pool, the "Coney Island" of England. —
Eclipse. Showing the crowds of pleasure seekers en-
joying the "Scenic Railway," the "Chute-the-Chutes"
and the many other modes of recreation at their disposal.
Black Diamonds. — Vitagraph. An inspection of
the coal mines of the richest coal fields in the United
States, giving an insight to the methods employed in
mining the fuel product. A very instructive and absorb-
ing industrial.
Tiflis (Russia) — Eclair. Tiflis, a contraction of
the word "Thilis Kholakhi," meaning the Town of Hot
Waters, is the capital of Trans-Caucasian Russia. It is
situated about 1,408 feet above sea level, in a mountainous
country. The population is about 20,000. It is the seat
of several Colleges, one Observatory, one Museum of
Natural History, one Cathedral, which is supposed to
have existed since the foundation of the town in 445, and
one Armenian Cathedral, built in 1480. Tiflis is an im-
portant center for jewelry, weapons, carpets, cotton ar-
ticles, salt, tobacco, silk and wool. It is also noted as a
famous bath resort.
The Butterfly of a Day (Colored). — Pathe. The
history of the Ephemera, or common, yellow butterfly
that lives only from sunrise to sunset is unfolded herein
by means of various microscopic views. After the but-
terfly has taken wing the camera follows its destiny
through gloriously colored fields and beautiful flowers.
The film is both pleasing to the eye and enlightening
to the mind.
Cod Fishing From a Trawler.- — Pathe. A de-
lightful journey to the fishing banks to witness the catch-
ing and handling of a boatload of enormous cods.
Niagara Falls. — Kinemacolor. The Niagara River
extends between Lakes Erie and Ontario, having a de-
scent of 326 feet throughout it course of 36 miles. The
Falls, preceded and succeeded by rapids, are the largest
in the world. The Canadian or Horseshoe Fall, is 6,240
feet wide, with a descent of 158 feet, and the American
Fall is one-third the width of the Canadian, with a de-
scent of over 162 feet.
Some wonderful effects are obtained in this film
which gives extraordinarily beautiful views of the cloud?
of spray and of the sun shining through the mist, giving
rainbow effects.
The Chateau of Chambord. — Pathe. A visit to
the favorite residence of Francis I, King of France.
The camera follows the balcony around the entire super-
structure of the building permitting close observation of
the most remarkable single instance of the beauties of
Renaissance architecture in existence.
The River Wanganui. — Melies. A trip on the
beautiful Wanganui, known as the "Rhine of New Zea-
land." The river flows through gorges from one hun-
dred to five hundred feet deep, fringed with trees, ferns
and mosses.
Taking us on a delightful journey through the wildest
and most picturesque parts of Norway, views of Marok
Fjord, the Defoe Fjord and Cascade, the entrancing
waterfall, known as the Bridal Veil, together with some
marvelous sunset scenes, are shown.
The Stickleback. — Pathe. An interesting study
of a peculiar species of fish, the only one of the vertebrae
animals known to build a nest as the birds do.
Zermatt and Gorner Grat. — Kinemacolor. Zer-
matt, one of the most popular resorts in Switzerland, lies
in a green valley surrounded by steep mountains, and is
dominated by the huge rock pyramid of the Matterhorn.
This neighborhood is indeed the very sanctuary of the
"Spirit of the Alps" ; all around are marvelous pan-
oramas of mountain and valley, glacier and snow-ex-
panse, combining to make some of the most wonderful
sights in the world. In this subject many panoramas
are given which comprise 50 miles of Alpine peaks.
The opening scene gives a general panorama, includ-
ing the Matterhorn. Simply glorious are the Alpine
views that follow. The whole extent of the Bernese
Oberland is seen here. The panorama is continued to the
famous Monta Rosa, 15,000 feet high, the second highest
peak in Europe, Mont Blanc, of course, being the highest
of all. Three people are photographed standing at the
top of the Gorner Grat. From that point may be seen
50 glaciers. The white expanses on the mountain-sides
aer all glaciers. Finally is shown a truly wonderful
scene — sunset and moonlight near the Matterhorn. As
the sun sinks a veil of cloud drifts across the peak like
thin smoke. The moon is rising in the east meanwhile,
so that even as the sun sinks behind the mountains the
ghostly light of the sister luminary lights up the peaks,
and we get a beautiful scene of the Alps by moonlight.
The Luxemburg Gardens. — Pathe. The Luxem-
burg Gardens were constructed at the order of Marie de
Medici and the natural coloring of the gardens repro-
duced in the film prove them to be all that the word beau-
tiful can mean.
A Tahitian Fish Drive. — Melies. It happens only
once every ten years, by special permit of the govern-
ment, and is attended with great rites and- ceremonies
traditional to the island.
A Tour of the Alps. — Pathe. If you have not
journeyed through the Alps, see this film ; it will bring
back the memory of nature's most beautiful handiwork.
Fjords and Waterfalls of Norway. — Eclipse.
Venice, California. — Kinemacolor. Kinemacolor
proves that it is not necessary to take a long sea voyage
in order to see "A City of the Sea," for there is a ver-
itable Venice on the southern coast of our own Cali-
fornia. Although not so old, of course, and constructed
on a smaller, more modern scale, this American Venice
has plenty of room to grow without encroaching on the
sea, and in its miniature way is just as picturesque, if
not as dirty, as the ancient city on the Adriatic. Neither
is it necessary to sail to the Hawaiian Islands in order
to see the celebrated sport of surf boat riding, for Venice
boasts a number of natives and visitors who are as expert
204
MOTOGRAPHY
Vol. IX, No. 6.
as the original Kanakas. It is an impressive sight to
see these bold swimmers riding the Pacific rollers while
standing upright on a board, but it is a ticklish trick as
well, and Old Neptune's untamed seahorses frequently
give their riders a spill, which adds to the comedy effect.
The film concludes with the remarkable peformance of a
cowgirl lasso expert, who dons a brown velveteen coat
while keeping the riata constantly circling in a ring
around her.
Artillery Manuevers. — Pathe. In the matter of
artillery equipment, the French army has been awarded
the palm by the greatest authorities on the subject. In
this film they perform some extremely hazardous feats,
fording rivers, climbing steep hills and riding gullies at
breakneck speed. There is a thrill in every foot of the
film and it is a convincing instance of the boasted prow-
ess of the French artilleryman.
Maori Life. — Melies. A picture of life in New
Zealand as lived by the original natives of the island, the
Maoris. Interesting and intimate views of their daily
customs, habits and manners.
Courious Scenes in India. — Edison. It shows
queer looking "Pilgrims" in their fantastic dress and
rites. A solemn religious ceremony in which the im-
mense "Temple Elephant" is taken into the temple to re-
ceive his gorgeous trappings for the annual parade at
Kandy which is also shown in a close view as it passes
through the narrow crooked streets. We also see domes-
ticated elephants of enormous size performing tasks re-
quiring in addition to their enormous strength, a higher
degree of intelligence than has ever been attained by any
other animal.
In addition to the many other wonders of this pic-
ture we have a close view of wild elephants being cap-
tured and tethered to trees, putting forth tremendous
efforts to break their bonds.
Glimpses of Naples and Vicinity. — Cines. After
spreading before us a magnificent panorama of the old
quarter of the town with Mt. Vesuvius looming up in
the distance, we are shown the castle occupied by the
American consul, Ovo Castle, the Tomb of Virgil and
many other interesting sights, after which we are taken to
see the motorboat races at Positano.
A Modern Horse. — Edison. The task of removing
tree stumps and undergrowth of all kinds from the land
which is to be occupied by the immense Ashokan Reser-
voir is of such magnitude that it cannot be realized or
imagined by the average person in the every day walks
of life.
For the speedy and efficient accomplishment of this
work, the contractors have brought to their aid some of
the most modern and interesting traction engines obtain-
able, and in this picture, we show one of these monster
machines performing some remarkable feats. The engine
carries its own tracks in the form of an endless
chain attached to the wheels which enables it to travel
over any kind of ground whether hilly, sandy or marshy,
with the utmost ease. The tree stumps, etc., to be re-
moved are attached to the engine, by a long steel wire
cable and when the engine is started we see them literally
dragged out by the roots leaving only a jagged hole to
mark the place where these monarchs of the forest once
grew.
We also see the machine used for plowing, drawing
from twelve to eighteen plows at one time and turning
immense forrows which would require the use of forty
to fifty horses and fifteen to twenty men to accomplish
the same work.
A close view shows the machine in the details of its
construction and how it is loaded for transportation by
its own power, crossing an open space of three feet be-
tween railroad platform and flat car.
A most interesting and amazing series of views
shows the great machine doing a little cross-country tour-
ing, crossing a wide ditch full of water as easily as if it
were on Fifth avenue. Other scenes show the agility
of the tractor as a mountain climber as it ascends grades
so steep that the light front wheel is lifted completely off
the ground, giving to this very serious and business-like
machine the appearance of a very frivolous bucking
broncho. But never did bronchos possess the enormous
power which this modern steed displays.
Rambles in Paris. — Kinemacolor. The film opens
with views of the Jardin d'Acclimation, where swans and
other water fowl, antelopes and springboks are to be
seen. A visit to Lunar Park, the great fun-city, follows.
Here some excellent views are obtained of the popular
amusements, such as the "Witching Waves" and the "Air
Blast." A number of the great parks are next visited, in-
cluding the Pare Monceau and the Pare St. Cloud. Here
are beautiful flower beds, wide gravel walks and orna-
mental trees. Another notable and truly continental
feature is the large number of statues which are to be
seen on every hand. The goldfish in the lake make a
pretty picture. The film concludes with views of the
park at Versailles. These photographs were taken on
"fountain day" when immense crowds congregate to
watch the beautiful fountains playing in the park.
"Picturesque Spalato." — Eclipse. Spreads before
us many beautiful sights in and about the town and some
magnificent sunset scenes on the Adriatic Sea.
Winter Sports at Are, Sweden. — Kinemacolor.
This charming subject opens with a panorama of Are, a
little place prettily situated at the foot of Mount Ares-
kutan. With the high ground beyond and a lovely blue
sky, this beginning is very attractive. As the panorama
continues, the whole of the mountain comes into view,
its slopes are covered with snow. The next scene shows
the railway station, Are, and some people waiting for a
train. We next see the funicular railway on which tour-
ists ascend Mount Areskutan. We are now introduced
to the winter sports at this favorite resort. Men clear
away the snow from an extensive track over which sleigh-
ing will take place. Horse sleighing and ski-ing come
first. In the former sport ponies draw men along. The
animals are fairly speedy, though their appearance is not
much to boast of. In these scenes the Swedish flag will
be noticed. It has a yellow cross on a blue ground.
Juvenile tourists, not all skilled, now engage in a race on
skis. Views of ski-ing follow ; men cross a snowclad dill-
side, and the pines in this section, with snow on the leaves,
make an artistic picture. Bob-sleighing, in which tobog-
gans are used, is full of movement and interest. The last
section illustrates ice yachting at the base of Areskutan.
A sleigh is fitted with a sail and it is surprising how great
a speed is obtained in a fair breeze. The last picture in-
cludes a magnificent sky-photograph, making a scene of
surprising beauty and realism.
March 15, 1913.
MOTOGRAPHY
205
Photoplays from Essanay's
Some Coming Releases
HISTORY was either
made for photoplays
or photoplays for his-
tory, which ever you may
choose to determine. His-
tory never made any better
spectacular episode or fea-
ture than the Franco-Ger-
man war. The Essanay Film
Manufacturing Company
has taken this remarkable
subject and built a romance
about it, which has devel-
oped into a story, entitled
"The Spy's Defeat." The
costumes which have been
reproduced from the 19th
century, give a peculiarly
good taste and impression to
the audience. The photo-
graphy is excellent, as is the
portrayal. The synopsis of
the story was given in the
last issue of Motography,
and the dramatic feature in
two reels will be released as
a special Monday, March 31.
On Tuesday, March 25,
"The Sheriff's Honeymoon"
will be released. This, a
story of the West, is typical
of the peculiarly hilarious
situations that arise when
provoked by cowpunchers.
Tom McCarthy, sheriff of
Pine Ridge, Arizona, is ridi-
culed by the cowpunchers
for doing his own washing.
His patience reaches the
limit when they hang a laun-
dry sign on his gate. Thor-
oughly disgusted with single
life and all that goes with it,
McCarthy determines to get
married, for better or for
worse. In a newspaper, the
sheriff reads of a young lady
who would like to marry a
man of the West. It didn't
take long for McCarthy to
make a "hit," with the ad-
vertisee, Soffie Clutts, which
was proven by the sheriff
leaving town the following
day to marry the mysterious
lady. During his absence,
Bad Pete, on a "semi-an-
nual," makes everybody in
town take to their heels, or
hide in the cyclone cellars.
Returning to Pine Ridge
wjth his bride, McCarthy
discovers the disturber and
"The Hero-Coward."
'The Sheriff's Honeymoon.
quickly locks him up. That
night the ranchmen, cow-
punchers, and in fact all of
the sheriff's friends, give
him a big reception. The
sheriff informs the boys
"that they may have the key
to the town and go as far
as they like" — and hilarity
reigns supreme. Arthur
Mackley, as the sheriff and
husband, gives a splendid
performance. Julia Mackley,
as the advertised bride, de-
monstrates her dramatic
ability beyond question.
"The Scratch" is released
Wednesday, Mach 26. Pre-
dominant in this feature are
the funny counterplots. John
Walsh, a retired capitalist,
invites several of his warm-
est friends to a week-end
party at his magnificent
mansion on the Potomac.
After the first dinner, the
ladies retire to the balcony,
to discuss "other women."
The gentlemen remain at
the table to enjoy their ci-
gars. An hour or so later
Harry Scott, one of the
guests, excuses himself. On
his way to his room, he
meets Mrs. Cooper and Miss
Henry on the balcony, where
they chat for a while, until
the ladies excuse themselves.
Endeavoring to get into his
room in the dark Scott
makes the terrible mistake
of entering Miss Green's
room for his own. Think-
ing Scott an intruder, Miss
Green grapples with him,
and finally scratches his face
severely. The plan of es-
cape which Scott works with
his colleagues the following
morning proved a huge suc-
cess. Miss Green informs
the ladies of the household
of what happened the night
previous. When Scott en-
ters the dining room with a
piece of court plaster on his
face is sure she has discov-
ered the guilty party. Her
untimely conclusion, how-
ever, is cast to the four
winds, when eight more
gentlemen enter the dining
room with court plaster on
206
MOTOGRAPHY
Vol. IX, No. 6.
their faces. This confused Miss Green considerably,
until Scott explained his mistake and apologized. Miss
Lillian Drew as Miss Green plays the role admirably,
and Augustus Carney, is the shrewd Harry Scott.
"The Hero-Coward," is released Friday, March 28.
Jack Wallace is discharged from the police force for
cowardice. He later secures a position as elevator opera-
tor in the DeLuxe Hotel. Bill Snell, a notorious crook
and auto bandit, escapes the police, just as they are about
to lock him up. The fugitive seeks refuge with friends
who operate a card game on the fifteenth floor of the
DeLuxe. His friends give him an automobile coat,
goggles and a revolver. He escapes through the window
and rushes up the fire escape. The police break down the
"Broncho Billy's Gratefulness."
door, just as Snell reaches the eighteenth floor. Wallace,
having taken the car up to the top floor, is hailed by
Snell, who commands the former to take him down in
a hurry. The elevator bell rings, and Wallace starts his
car up again. A desperate fight ensues, in which Wallace
is severely injured. He finally overpowers Snell and
the car descends to the main floor, where the bandit is
taken into custody by the waiting officers. Mrs. Wallace
calls on Captain Walters later, and explains to him that
her son has been scared in his youth by a runaway horse,
a cause similar to that for which he had been discharged.
Captain Walters calls on Wallace at his home with a
squad of police, and reinstates him for bravery. Further,
he is promoted to sergeant, E. H. Calvert, as the hero-
coward, demonstrates his remarkable dramatic ability in
this splendid feature. Helen Dunbar as the loving
mother plays her part well. William Walters, as the
captain of police, gives an excellent performance.
"Broncho Billy's Gratefulness," released March 29,
is a thriller calculated to arouse fighting blood. Broncho
Billy, suffering from fever, collapses on the doorstep of
a ranchman's home. John Harding, returning from
work, discovers Broncho Billy, carries him into the house
and places him on the bed. A doctor is summoned. A
few weeks later Broncho Billy, fully recovered, thanks
Harding and his wife and returns to town, where he is
welcomed by everybody. Two days later a former sweet-
heart of Mrs. Harding, Fred Church, hiding behind a
tree opposite Harding's home, watches patiently until
the husband leaves. With a few of Mrs. Harding's old
love letters in his hand he tries to force his attentions
on her, threatening to expose her to her husband. Mrs.
Harding finally ousts the fellow from her home. Noting
the look of sorrow and discontentment on the face of his
wife, Harding demands an explanation. His wife tells
him. The husband, swearing revenge, shoots Church.
Harding is later captured by the sheriff. Mrs. Harding
informs Broncho Billy of her husband's arrest. In an
odd spirit of gratitude, Broncho Billy holds up the sher-
iff and his posse, which enables Harding to escape with
his wife across the border into Mexico. Evelyn Selbie
plays Mrs. Harding, in a creditable manner. Fred
Church, as the villian, plays the part with a "punch."
G. M. Anderson is of course "Broncho Billy."
Barney Oldfield in Keystone Speed Film
Mack Sennett, the Keystone director, finished a pic-
ture recently in which speed is shown to an exaggerated
degree. Barney Oldfield races his Benz at ninety miles
an hour against a Santa Fe train, traveling at the rate of
sixty-five miles an hour, and rescues Mabel Normand,
who is tied to the tracks.
Through the courtesy of E. W. McGee, general
passenger agent for the Santa Fe, the Keystone director
was granted the use of the old Redondo road and a late
model locomotive, baggage car and passenger coach. A
special permit was granted by the authorities of Ingle-
wood, for Barney to go the limit in the speed line.
The villain, Ford Sterling, ties Miss Normand to
the tracks, climbs into the cab of the locomotive and with
a blow on the head, renders Engineer McNeil of the
Santa Fe, unconscious and with the throttle wide open
dashes down the track.
Mack Sennet, the lover, discovers Barney's car. He
calls the speed king and asks him to help him save the
girl. Oldfield jumps into the car and pulling Sennett
into the seat beside him, dashes down the road in pur-
suit.
Lee Bartholomew, standing on the running board
of the locomotive photographs every move of the villain
at the throttle, while Walter Wright with another cam-
era, catches the race between the train and the automo-
bile and the rescue.
The climax comes when Oldfield rounds a curve at
fifty miles an hour, stops the car and Sennett jumps out
and rescues Miss Normand from the shadow of the
approaching train. The race continues along the road
and from the cab Sterling throws bombs at the car which
gradually pulls away from the train as Barney hits the
ninety-mile pace.
March 15, 1913.
MOTOGRAPHY
207
The Motion Picture Exhibitors'* League
of American
General Headquarters
703 Euclid Ave., Cleveland, Ohio
OFFICERS OF NATIONAL ASSOCIATION.
President, M. A. Neff, Lock Box 15. Cincinnati, 0.; Secretary. C. M. Christenson. 703 Euclid Ave., Cleveland, 0.; Treasurer, J. J. Rieder, Jackson. Mich.: Vice-Presidents,
W. A. Pettis, Conneaut, O.; Wm. J. Sweeney, Chicago, 111. ; Ferd J. Herrington, Pittsburgh, Pa.; B. L. Converse, Owassa, Mich.; IT. J. Kembusch, Shelbyville, Ind. ; E. W.
Waugh, Huntington, W. Va. ; Orene Parker, Covington, Ky. ; Geo. H. Wiley, Kansas City, Mo. ; Chas. Rothschild, San Francisco, Cal. ; Sidney Asher, New York, N. Y. : Fulton
Brylawski, Washington, I). C. ; L. F. Blumenthal, Jersey City, N. J.; H. C. Farley, Montgomery, Ala.: A. D. Saenger, Shreveport, La.; Thos. A. Brown, Iowa City, la.;
W. H. Wasserman, Nashville, Tenn. ; T. P. Finnegan, Dallas, Tex.-; Carl Gregg, Tulsa, Okla. : Paul LeMarciuard, Winnipeg, Can. ; E. F. Tarbell, Tampa, Fla. : Geo. Osborn,
St. Paul, Minn.; C. H. Phillips, Milwaukee, Wis. ; Geo. F. Washburn, Boston, Mass.; Glenn D. Hurst, Reno, Nev. ; E. Wayne Martin, Hutchinson, Kan.; J. E. Schlank,
Omaha, Neb. ; Julius Meyers, Charleston, S. C. : S. A. Arnold, Mena, Ark. ; Hiram Abrams, Portland, Me. ; O. T. Curtis. Pueblo, Colo. ; Fred Abbley. Gulfport, Miss. ;
P. R. McMahon, New Britain, Conn. ; S. Y. Merchant. Providence, R. I. ; A. B. Campbell. Sedro Wooley, Wash.
Advantages of State Censorship
By M. A. Neff
I DESIRE to make a public statement to the exhibitors
of the conditions existing at the present time; first,
I wish to congratulate all the members of The Mo-
tion Picture Exhibitors' League of America on the
splendid organization and grand showing we have made
since our Chicago convention. There are now thirty-five
states affiliated with our organization. The League is in
a prosperous condition and new states are being organ-
ized and new members are joining our locals and our
state organizations. The indications now are that there
will be very few states indeed outside of our organiza-
tion when the big convention assembles on the 7th of
July in the Grand Palace in New York City. Our con-
vention in New York is expected to surpass all other
efforts and establish a record for attendance. Letters of
inquiry are daily being received about the New York
convention. Great preparations are being made through-
out the United States and Canada to attend the conven-
tion ; special trains will be run and large delegations from
the various states will attend. In fact the country is lit
up all over with the anticipation of the splendid entertain-
ments, instructive and educational features of the conven-
tion and the Congress of Arts.
Leaving the convention, we now turn to the sub-
ject which seems to be agitating the exhibitors, manufac-
turers, film exchanges and all others connected with our
line of business throughout the country, namely the cen-
soring of pictures. Right here, I desire to make a frank,
plain statement of facts in regard to the Censor Bill pro-
posed in the state of Ohio, at the state convention held in
Toledo, Ohio, on the 16th and 17th of July, 1912. It
was apparent at that time that in the near future a con-
stitutional amendment would be passed in the state of
Ohio giving to each municipality the legal right to home
rule. At the Toledo convention a resolution was unani-
mously endorsed by Ohio exhibitors that Ohio favor a
State Censor Board. Governor Cox, then a candidate for
Governor, spoke at the convention and endorsed the reso-
lution. There was nothing said or done in regard to the
censor bill until we met in national convention at Chi-
cago on August 13, 1912. Previous to our Chicago con-
vention, I extended an invitation to the National Censor
Board and their officers to meet with us in Chicago, to
devise a plan whereby we might create a legally consti-
tuted national censor board. By a resolution in our con-
vention, in Chicago, I was authorized to appoint a com-
mittee to meet the representative who had come from New
York to Chicago to discuss the censoring of motion
pictures. The committee was appointed but, before they
conferred with him, they found that he had returned to
New York, and a little later there appeared in the papers
articles favoring a meeting in Baltimore to organize a
League. At that time the press mentioned the fact, but
discouraged it, especially the New York press. Nothing
came of it.
The exhibitors of Southern Ohio held a meeting at
the Cincinnati Zoological Gardens on the fifth of October
and Hon. J. H. Cox, together with other distinguished
speakers, favored the state censor board and the exhibi-
tors of Ohio again went on record as favoring a state
censor board.
About three months ago, I wrote letters to the
president of the General Film Company, the Universal
Film Company and the Mutual Film Company, asking
their advice as to a censor board. I gave them my views
freely on the censor board question and outlined a plain
of the bill for the state of Ohio. I heard from the presi-
dent of the General Film Company, and from his letter
I was under the impression that he favored a state censor
board for Ohio, but he was exceedingly doubtful if we
could secure one. Up to the present time I have not
heard from the other manufacturers.
Sometime ago I was in the state of New York in
company with James L Hoff of The Moving Picture
World and Samuel Trigger, state president of the New
York league; we visited the headquarters of the Peoples
Institute, also the headquarters of the National Board of
Censorship, located at 50 Madison avenue, New York
City. In a conversation with a Mr. John Collier, educa-
tional secretary. I discovered that they were all at sea
as to a plan whereby a legal national censor board could
be established. After discussing the matter with them, I
came to the positive conclusion that we could get no
relief from the National Censor Board of New York or
The Peoples Institute, by reason of the fact that the
public, and especially the police power of each state and
municipality, had discovered that the National Censor-
ship Board was self constituted, with no authority what-
sover, and was formerly established for the purpose of
soothing or pacifying those who are ever ready to con-
demn and find fault or disturb by reason of their fanatic
disposition and keen appreciation of other peoples' busi-
ness.
Before writing the present censor bill of Ohio, I
communicated by letter with Mr. John Collier and asked
for suggestions, particularly if he could give me any-
208
MOTOGRAPHY
Vol. IX, No. 6.
thing tangible whereby we might work out a satisfactory
plan of censoring pictures in Ohio. He wrote back on the
26th of December, 1912, "that they had done nothing
in the matter." I wrote him again and on the 2nd of
January, 1913, he wrote again stating that I had '"put
a knotty problem up to them," but he suggested .nothing
along the lines of censorship that would help the condi-
tion in Ohio. I invited Mr. Collier or any committee they
cared to send to our Columbus convention on the 21st,
22nd, and 23rd of January 1913, and no one came to con-
fer with us from the National Board of Censorship.
In September I consulted our national attorney, Ex-
Senator Foraker, in regard to a national censor board,
hoping that we would receive relief through the Congress
of the United States legally constituting a censor board
that would be effective throughout the country. The fol-
lowing letter is an exact copy of Senator Foraker's com-
munication to me dated September 18th, 1912 :
Without stopping to examine authorities or taking the
trouble to write you a formal legal opinion, but answering your
question informally, as you have requested me to do, the local
authorities of the state and municipalities have an undoubted
right in the exercise of the police power to establish a censor-
ship of such character as they may deem necessary with respect
to the exhibition of moving pictures and I do not know of any
power conferred by the constitution of the United States under
which the Congress or the federal authorities could exercise
a censorship or surveillance with respect to the mere exhibition
of moving pictures. The transaction is not in the nature of
interstate commerce, but only a local transaction that falls en-
tirely within the authority of local officials.
After receiving this information, in my humble way
I tried honestly and earnestly to protect trie motion pic-
ture industry and all engaged therein. I wrote the bill
which is now before the legislature of Ohio and we have
every reason to believe that it will pass and become a
law. This censor bill was read twice before the state
convention held at Columbus on the 21st and 22nd of
January, 1913, and was unanimously approved. It has
been read the first time in the House and now is before
the judiciary committee and we hope will be reported out
favorably, within a day or two, as every exhibitor that
I know in the state of Ohio, at this date, is in favor of
the censor bill.
Before presenting this bill to the legislature or to
our convention, I was very careful and solicitous as to
the legal standing of sections six and seven of the bill.
Section six reads as follows : "By a majority vote of the
state censor board, hereby created, such board may work
in conjunction with any other censor board or boards
of other states as a censor congress, and the action of
said congress in approving or rejecting films shall be
considered as the action of the board hereby created,
and such action shall be so designated, and, when passed,
approved, stamped and consecutively numbered by said
congress, and the fees paid to the Ohio State Censor
Board as provided for herein, and shall have the same
force and effect as if approved by the board hereby
created in separate session." Section "seven reads as fol-
lows : "When films have been passed and approved by
the Ohio State Censor Board or the Censor Congress,
and stamped and numbered by said Board or Congress,
as provided for herein, they may be shown and exhibited
within the state of Ohio, without restriction or interfer-
ence, any other ordinances or regulations to the contrary
notwithstanding."
The following letter received from Senator Foraker
reads as follows, dated February 3rd, 1913 :
I herewith return the draft of a bill providing for the
board to censor motion picture films and prescribing the duties
and powers of the same.
I have made but a few slight changes. In the form so indi-
cated the bill will be constitutional and in every way, so far
as I can see, be effective to accomplish the purpose you have
in view.
This letter from Senator Foraker shows that the
Ohio board of censors may work in conjunction with
one or more states and establish a constitutional legal
censor board, whereas if other states desire, they may
have their pictures censored free of charge. All that
other states would have to pass would be a law accepting
all pictures censored by the National Congress of Cen-
sors. Now let us see what this means: If two or more
states pass a censor bill the same as Ohio will pass, and
will co-operate with the Ohio State Censor Board and
establish a Censor Congress, they can legally censor all
the films for all the states free of charge. It is our in-
• tention and purpose, after we have tried our Ohio state
plan of censoring, to raise only a sufficient amount of
money to pay the salaries and expenses of our State Cen-
sor Board, whether they work alone, or with other states.
I wish to convey this idea to the exhibitors through-
out the country : a Censor Congress, established from
two or five states, can do the work for all of the states
and the states that pass a law endorsing the Censor Con-
gress will not have to pay one cent for censoring the
pictures that are used in their state. A congress so es-
tablished will be legal, will be paid a salary, and will be
under the jurisdiction and control of the law, and when
a picture is censored by this congress, it can and will be
shown in every municipality throughout the United
States, the state concurring, without the consent of the
municipalities.
The National Censor Board, as now organized, can-
not. Teg^lly be endorsed by any state, as it has no legal
standing in the state of New York. The National Board
of Censors of New York is financed by public donation
and, that the exhibitors and others interested may know
who contributed, here are the names of the contributors :
In 1912, J. J. Kennedy, on behalf of the licensed manu-
facturers, contributed $9,000; the Motion Picture Dis-
tributing and Sales Company, on behalf of the inde-
pendent manufacters, contributed $900; Civic societies
of Wisconsin, etc. $148.80; individuals $38; rebate from
New York Telephone Company $11.21, making a total
receipt of $10,098.01. This report is made by V. Everet
Macy, treasurer of the People's Institute. These names
are given to inform the public and also some of the exhi-
bitors, who probably do not understand the situation ; a
few of those on the National Board of Censors are Ly-
man Abbott, Andrew Carnegie, Andrew Edison, Samuel
Gompers, William Ives, Miss Hildegarde M. Babbitt,
Mrs. Sarah C. Clapp and many other distinguished per-
sons.
I wish to say I believe that the National Censor
Board has done good work, and has accomplished much
good, but the time has arrived when the public under-
stands that the National Censor Board is composed of
civic societies and has no legal authority. Naturally the
people are not impressed when they see on the curtain
that a certain picture has been passed by the National
Board of Censorship, and they also know the police
power was invoked before the picture could be shown.
Every active member of this Board deserves great credit
for their untiring efforts in assisting to bring about bet-
ter conditions, and to uplift the business, but owing to the
great progress made in the moving picture industry and
the many demands on the exhibitors, manufacturers, and
film exchanges and others, it becomes absolutely neces-
sary to proceed along legal, safe, business lines.
In a short time in the state of Ohio, we will have
home rule, giving the legal right to every municipality
in the state to exercise their police power without inter-
March 15, 1913.
MOTOGRAPHY
209
ference. We have attached to our censor bill an emer-
gency clause, which is absolutely necessary to legalize
the bill and put the censor board in effect and operation
before home rule takes effect in the state of Ohio. If
we should fail to do this, millions of dollars that are now
invested in the state of Ohio through arbitrary methods
and municipal censor boards, of which we now have a
sample in Cleveland, Ohio, every film exchange and every
exhibitor that does business in our state would lose fin-
ancially. In my opinion, after the censor bill becomes a
law, its efficiency will be thoroughly established, and not
only the exhibitors but everyone connected with our line
of business will be more than pleased with the result.
I would ask the exhibitors throughout the country
to go slow, unless you are confronted by similar condi-
tions to those we have in Ohio, and if you are, to move
quickly. If there is no urgent necessity, do not endorse
any censor . board or pass a state censorship law until
the Ohio State Censor Board has been thoroughly tried.
I wish to say further President Taft, in his decision
in the District of Columbia, did not say that censoring
was unconstitutional ; but stated that he did not wish
to interfere with the police power of the district. That
is just what will happen in the state of Ohio, if we do not
have a state censor board. The police power in each
municipality will establish a legal censor board which no
one can interfere with and it would be unconstitutional
to try to do so.
Therefor, there is nothing possible for us in Ohio
to do for protection, but to pass a state censor bill as
quickly as possible and then to co-operate with a national
congress.
Current Kleine Comment
The Art of Cines and Eclipse
GEORGE KLEINE is putting out a very acceptable
run of regular releases this month. A good part
of them are dramas of the clean, wholesome kind, with
a strong human appeal which always meets with the ap-
proval of every one in the audience. Another important
factor in regard to Cines and Eclipse releases, and one
which is meeting with approval from most exhibitors, is
the large number of travelogue and industrial subjects
which are forming part of the reels.
A story of intense heart-interest, and one which
will hold the attention of young and old, is offered in
although received rather coldly by the old man at first,
the simple innocence of the child soon touches the stony
old heart of the grandfather, and he welcomes them all
in one big embrace. The human interest element is
extremely well brought out.
"The Lost Wager" is the title of the Wednesday
Eclipse. It contains a rather unsual plot, and teaches a
little moral lesson quite effectively. A wealthy noble-
man becomes dissatisfied with the luxury and ease of his
everyday life, and to create a little excitement at his club
makes a wager that he can live a month as a roustabout
The End of the Game. From Kleine-Cines "His Grandchild."
Bobbie Acts as Peacemaker. From Kleine-Cines "His Grandchild.'
"His Grandchild," the Cines release of Tuesday, March
11. It relates to two old army officers, who have been
lifelong comrades until a dispute over a game of chess
disrupts their friendship, an incident which proves rather
serious to the Colonel's son, for he is in love with the
Captain's daughter. The young couple are secretly mar-
ried, however, but when they ask for her father's ap-
proval, he refuses, and even disowns his daughter. Sev-
eral years afterwards, while sitting by the fireside with
memories of the past still haunting his mind, the Captain
is very much surprised to receive a letter from his little
grandson, wishing him a happy birthday. Through the
kind efforts of his old housekeeper, little George, accom-
panied by his parents, is invited to a birthday party, and
without spending a penny that he does not earn. Dressed
in his old clothes he succeeds in carrying out his purpose,
living on what he can earn in doing all sorts of odd jobs,
but on the last evening of his allotted time he is tricked
into losing his bet by a base deception. However, re-
turning to his club, he gladly pays the wager, but com-
placently announces that he gained some things more
valuable to him during this month of toil — health and
happiness.
On the same reel is an interesting travelogue sub-
ject entitled "Picturesque Spalato, Dalmatia," which
spreads before us many beautiful views in and about the
town, and some magnificent sunset scenes on the Adriatic
Sea.
210
MOTOGRAPHY
Vol. IX, No. 6.
"The Girl and the Horseshoe" is the Saturday
Cines, describing how a pretty girl finds a horseshoe and
depends upon it to bring her good luck. It does, but not
at first as anticipated. The various incidents come very
unexpectedly, and the audience is kept in suspense until
the very last.
On the same reel is a comedy entitled "Winning
Smiles." It tells of a young fellow who goes out in
search of smiles upon pretty women's faces, but his at-
tentions invariably meet with the most disastrous results.
He finally concludes that smiles are generally dangerous,
?.nd when a lady approaches he makes himself scarce.
For the Cines release of March 22, "A Motorcar
Romance'' is a clever comedy drama, well portrayed.
While spending the summer at the Palace Hotel.
Fred Lewis becomes very much taken with pretty Flor-
ence Reid, and the two soon become engaged. One day,
A Pleasant Journey. From Kleine-Cines "A Motorcar Romance."
however, the arrival of a dashing young widow puts a
new complexion on matters. For a moment Fred forgets
his sweetheart, and invites the widow to go for a
motor trip with him. The journey proves an exciting
one. The chauffeur seems to be determined to keep the
pair under the closest surveillance, for he turns around
at the most inopportune moments. When the car suffers
a breakdown, Fred and the widow attempt to take advan-
tage of a nearby cozy nook, but the chauffeur soon breaks
in upon them with the information that the car is ready.
They then proceed to a "wayside inn," but when
Fred and his guest are comfortably seated tete-a-tete in
the dining room, their driver again interrupts in a most
impudent manner, which so shocks the widow that she
departs in a huff. When Fred accuses the chauffeur, the
latter pulls off a pair of false whiskers, disclosing the face
of his finance. Fred realizes that there is nothing to do
but beg forgiveness and promise never to repeat such an
escapade.
The officials of Schuylkill county, Pennsylvania, say
that fully one hundred saloon keepers have decided not
to renew their licenses and that they will go out of busi-
ness. The saloon men say the moving pictures are driv-
ing them out. The saloons were formerly the meeting
and lounging places of the majority of the men of the
county, but now, it is said, they resort instead to the
moving-picture theaters with great benefit to themselves
from the moral, the physical and the financial points of
view.
New States Soon to Organize
President Neff will be extremely busy during the
week of March 24th as he is to attend conventions in
Tennessee, Alabama, Louisiana and Mississippi.
Tennessee will meet in convention at the Tulane hotel,
of Nashville, on Saturday morning, March 22; National
Vice-President W. H. Wasserman, of Nashville, will
have full charge of arrangements for the convention.
Big preparations are being made for the convention. Ex-
hibitors of the state of Alabama will meet in Birming-
ham, at the Hillman hotel, at 10 a. m., Monday, March
24; Alexander Wall, of Birmingham, will have charge
of arrangements for the Alabama convention. Birming-
ham exhibitors are enthusiastic and have already made
application and sent in a fee for a charter. Matters of
importance in Alabama, that vitally interest every exhib-
itor in the state, will be taken up at the convention. It
is confidentially expected that every exhibitor in the state
that can possibly be at Birmingham on the 24th will be
there. Louisiana will meet in New Orleans at the Grune-
wald hotel, at 10 a. m., Thursday morning, March 26,
W. H. Gueringer, of the Alamo theater, New Orleans,
will have full charge of arrangements. Louisiana exhib-
itors are expected to communicate with him. When
Louisiana was organized at Shreveport last year, there
were only just enough present to perfect an organization,
now that New Orleans is ready to come into the organ-
ization and the whole state realizes the benefits to be de-
rived, a much larger state local will be formed at the con-
vention and with the co-operation of all exhibitors in
the state with the national officers. On March 28th the
exhibitors of the state of Mississippi will meet in Gulf-
port ; all arrangements will be made by the National
Vice-President, Fred Abbley, of the New Dixie theater,
Gulfport, for holding the convention. For full partic-
ulars Mississippi exhibitors will address Mr. " Abbley.
Strong sentiment for organization prevails throughout
the southern, states.
If he has ,rtime left after organizing the four states
mentioned above President Neff expects to run over
into Texas "to" consult with Texas exhibitors. If not,
he will ask some of the officers of the Texas organiza-
tion to meet him in New Orleans.
West Virginia will also hold a big convention on
the 15th and 16th of April. Mr. Neff expects to be
present at the West Virginia convention ; L. R. Thomas,
of Moundsville, West Virginia state secretary, is chair-
man of the committee on arrangements. All the exhib-
itors in the state of West Virginia should communicate
with Secretary Thomas.
President Neff was in Columbus three days of last
week in consultation with the state officials in regard to
some bills before the legislature and the new building
code.
Police Must Pay to See Shows
Because of complaints of moving-picture theater
owners of officers demanding admission to shows, Chief
of Police Sebastian of Los Angeles, Cal., issued a sweep-
ing order against any police officer seeking free admission
to shows or accepting passes.
The order issued* by the chief is general, including
all uniformed men, detectives and plain-clothes men. The
notice carries the statement that any further complaints
will cause immediate inspection and any violations will
be met with drastic action.
March 15, 1913.
MOTOGRAPHY
211
Of Interest to the Trade
American Scenario by White
In purchasing from Stewart Edward White the
story "Ashes of Three," the American Film Manufac-
turing Company feels that it solved one of the trouble-
some problems of the extra reel story.
Most film makers are keen to secure copyrighted
stories by well known authors for reproduction, and
while the American does not in any way minimize, in its
own opinion, the value of such stories, it nevertheless
thinks that in laying your requirements before the
author and having your story written to suit local needs,
you obtain a distinct advantage over the already written
tale. At the same time the value of well known names
can be retained in advertising the film.
Probably no other writer of the past decade has
done more to perpetuate the West in story than Stewart
Edward White. His "Conjuror's House" and "Arizona
Nights" are classics of the fast vanishing Far North and
West of tradition, and with others of their kind are
familiar to readers the world, over.
Mr. White makes his residence in Santa Barbara,
where is located the western studio of the American. He
is a frequent visitor at the plant and is well acquainted
with the abilities of such "Flying A" favorites as Jack-
Kerrigan, Pauline Bush, Jack Richardson, Jessalyn Van
Trump and Louise Lester. Also, living in Santa Bar-
bara, he is familiar with the scenic possibilities of that
famous winter resort. Hence Mr. White can use his
remarkable story-telling powers to splendid advantage.
Kinemacolor to Start Road Shows
Such a success has the Kinemacolor representation
of "The Making of the Panama Canal" and "Actual
Scenes of the Balkan War" proved at the Carnegie Ly-
ceum, New York, the Kinemacolor Company of Amer-
ica have decided to send out two road shows to play at
the regular prices of first-class theatrical attractions.
The eastern show opens at the Tremont Temple,
Boston, Mass., on March 17th and the western show
opens at the Olympic theater, Cincinnati, Ohio, on March
16th. Each of these shows will be an exact duplicate of
the show now running at the Carnegie Lyceum and will
be accompanied by a competent speaker to supply ex-
plantory comment in regard to the Balkan War and the
Canal.
A big feature of these road shows, as of the show
now running at the Carnegie Lyceum, is the series of
three "animated maps" which, by the aid of trick pho-
tography, so forcibly impress the spectator. These three
are "An Animated Map of the Balkan States," showing
by "pulsating" color waves the political history of the
Balkans from 1360 to 1913; "Lanes of Travel as Af-
'Love Before Ten," March 17. Copyright 1913, Selig Polyscope Co.
212
MOTOGRAPHY
Vol. IX, No. 6.
fected by the Panama Canal," showing how time of ocean
travel will be shortened between different ports; and
"The Working Model of the Gatun Locks," which shows
just the process by which steamships will be lifted from
ocean to sea level.
Ticket Boxes on Rental Basis
Many exhibitors will doubtless be interested in the
steel or wood ticket boxes being manufactured by the
H. R. Langslow Company of Rochester, New York,
and leased on easy payment plan.
The box proper may be ordered either in sheet steel
or oak while the superstructure, carrying glass plates
and tilting tray, may be purchased in either polished
brass or enameled cast iron. The tilting tray has been
adopted instead of a mutilating drum, for the double pur-
pose of economy and the fact that the ticket, having
been forced below the tray level, is guarded by a de-
pendable lock and so is accessible only to a properly
authorized person in possession of the proper key. The
tickets are retained in a heavy canvas bag, well sewn,
carrying draw strings for closing, which run through
brass eyelets. Instead of the usual lever for operation
the device has a strong brass Wheel, operating a revolv-
ing tray, whose operation is free and unstopped, and
consequently subject to no shocks or jars. The base is
sufficiently heavy to anchor the box in position or may
be bolted to the floor if desired. The easy payment plan
will probably boom the sale, as the initial expense is
greatly reduced and the cost of the box is defrayed as
it earns its own cost.
Another Calamity Anne Picture
Still another of the Calamity Anne pictures will be
released by the American Film Manufacturing Com-
pany on March 29. Its title is "Calamity Anne's Beauty"
and Miss Louise Lester, in the role of the rough woman
of the mining camps in the days of '49, will probably
make this character more interesting than ever.
This latest of the Calamity Anne series deals with
the efforts of "Calamity" to acquire beauty, by means
of marvelous lotions and powders which she procures
from Dr. Stickum, a traveling patent medicine man, a
part enacted by Jack Richardson. The beauty cure fail-
ing to work, Anne starts out to do a little beautifying on
her own account, and handsomely decorates the eyes of
the quack doctor with her fists. Having polished him
off to her complete satisfaction Calamity retires to a
hay-mow for a real beauty sleep. Besides Miss Lester
the story involves Jessalyn Van Trump, Charlotte Bur-
ton, Phyllis Gordon, Jack Richardson, Warren Kerrigan,
George Periolat and W. J. Tedmarsh.
Preparing for Screen Club Ball
The first public function of the Screen Club has
been set for Saturady evening, April 19, when that organ-
ization will give its first annual ball at Terrace Garden,
Lexington avenue and Fifty-eighth street, New York
City. That this event will make history in the social
end of motion pictures is already conceded and it is esti-
mated that several thousand people, members of the
club, their friends and admirers, will be on hand to make
this event a most noteworthy one.
Under the direction of a most able entertainment
committee, preparations are fully under way to uncover
some novelties in the way of surprises which will be
startling. William Robert Daly and Herbert Brenon
are in charge of this committee.
A most unique and probably the most elaborate sou-
venir which has ever been gotten up for an affair of this
kind, is being prepared and compiled by Joe Farnham,
formerly "Gordon Trent" of the Morning Telegraph.
This will be a souvenir book containing a history of
the motion picture industry and its growth, the history of
the Screen Club from its inception and formation, photos
of the leading players of the industry, literary efforts of
the club members, etc., etc. It is to be a handsome vol-
ume of more than one hundred pages, beautifully bound
in a flexible suede leather cover, embossed with the
club crest and in colors. It promises to be a work of
art, worthy of careful preservation and a volume that
will add to the attractiveness of any library table.
The advertising in this program is also in the hands
of Joe Farnham, and he announces that loyal friends
of the Screen Club are sending their copy to him in
good style, but there are still some delinquents. Mr.
Farnham is to be found at the offices of the Film Supply
Company of America and that address will be the head-
quarters for the Screen Club Ball program committee.
New Motiograph Equipment Ready
The Chicago Approved Motiograph Equipment is
going to be known as the "No. 1002 Chicago," the No.
1002 simply designating the number used in the factory
for convenience, and the word Chicago defining the dif-
ference of the regular No. 1002 equipments, of which
there are already three types.
Already the manufacturer has had a great many in-
quiries from Motiograph users who want to know if
their equipments cannot be changed over to correspond
with this Chicago approved equipment. While this is
possible, it would be rather an expensive change, and in
the opinion of the manufacturer it would be just about
as economical to trade in the old model of your Motio-
graph and purchase the new Chicago approved equip-
ment outright.
We are advised by the manufacturers that detailed
drawings, as well as photographs, are being made, and
as soon as these are ready for publication we will give
space to them in our columns.
Peerless People Have New Player
A new type of automatic orchestrion is announced
by the Peerless Piano Player company in recent bulletins.
The new device stands six feet high, thirty-four inches
deep, and is five feet four inches wide. The body of the
instrument contains the full eighty-eight note Peerless
pneumatic player orchestrian and is equipped with a set
of wood pipes, thirty-two in number, (either violin or
flute being optional with the purchaser) bass and snare
drums, cymbal and triangle, a set of castenets, solo man-
dolin, tympani and crash cymbal effects, all the effects
being produced automatically and direct from the per-
forated roll.
The fumed oak or Circassian walnut case, brass
trimmed throughout, is equipped with a music drawer
containing a fifteen-selection roll which re-rolls auto-
matically after the selection has been played, although
any piece can be repeated by means of pneumatic push
buttons which will re-roll the piece to any desired part,
a second push button being used to again start the play-
ing. This is a feature said to be exclusive with the
Peerless instruments.
March 15, 1913.
MOTOGRAPHY
213
Kinemacolor Gets Inauguration
When the sun of March 4th shone on President
Wilson taking the oath of office before the Capitol in
Washington, it witnessed not only the inauguration of
a new administration but also of Kinemacolor as a news
feature reporter in this country. This unique process
of taking motion pictures with nature's own coloring
was just perefected when King Edward VII died, and
his funeral pageant, as well as the coronation ceremonies
of his successor, were the first great public events filmed
by Kinemacolor, — with such success that George V gave
that company preferential opportunities to photograph
the gorgeous Durbar at Delhi in all its native magnifi-
cence.
But although Kinemacolor has made the Panama
Canal zone a reality to millions of Americans who will
never see that annex to our territory, the inauguration
of President Wilson is really its first opportunity to
photograph a characteristic American pageant by Kin-
emacolor. And right nobly it responded to the occasion,
— not merely in recording the parti-colored parade in its
real atmospheric hues, as Kinemacolor alone can do, —
but also in the promptness with which these pictures
were completed and projected on the screen.
Exactly 24 hours after the event the Kinemacolor
moving pictures of the inauguration ceremonies and
parade were shown in all the Proctor theaters in New
York City, with such vividness that many in the audi-
ence who had just returned from Washington were able
to recognize themselves upon the screen. William Mor-
ris featured these films at his Wonderland in the New
York theater and as fast as duplicates could be printed
they were sent by special messenger to all the theaters
using the Kinemacolor service. Had it not been for
the congestion of crowds and delays in trains from
Washington, even this remarkable record might have
been broken, — but as it stands it beat all the black-and-
white films to the public picture theaters by four or five
hours' margin in most cases.
the praise of many while the elaborate and varied settings
and the unique and beautiful bits of scenery go far
toward making the film one of especial quality.
Change in Officer of Patents Company
William Pelzer has tendered his resignation as secre-
tary of the Patents company. The resignation was ac-
cepted and George Scull was elected to Pelzer's office
and is now vice president and secretary. Mr. Pelzer re-
tains his office as secretary of the General Film Company.
C. H. Wilson, of the Edison Company, has been
elected director of the Patents company to fill the vacancy
on the board left by Mr. Pelzer's withdrawal. This
leaves the following as the present officers of the Patents
company: Henry N. Marvin, of Biograph, president;
George Scull, of Edison, vice-president and secretary,
and J. J. Kennedy, of Biograph, treasurer.
Kathlyn "Williams Now Mrs. Frank Allen
Miss Kathlyn Williams, leading woman of the Selig
Polysope company was married on the afternoon of
March 4, to Frank R. Allen, an actor.
Allen is 39 and Miss Williams is 28. She is known
as the "California Venus." A den of wildcats is said to
have played a part in this "movies" romance. A clever
office boy had written a scenario which involved a ven-
ture into a wild animal cage, and the film was made out
at the wild animal farm near Eastlake Park. Miss
Williams ventured into the cage of wildcats while Allen
stood outside. It was a perilous moment, and Allen
knew then for the first time from the way his heart
jumped up into his throat that he loved the heroine.
Miss Williams' intuition probably let her in on the secret
even before that. Anyhow, the wild-cat scene helped to
precipitate matters and the almost-immediate marriage
followed.
''Prisoner of Zenda" Shown in Chicago
The Chicago try-out of the feature film, "The Pris-
oner of Zenda" with James K. Hackett in the dual role
of the king and of Rassendyl, was enthusiastically re-
ceived by the spectators — by-invitation-only who filled
the Orpheum theater, on State street, on the morning of
March 1. The five-part picture is a production of the
Famous Players Film Company and undoubtedly, will
score a tremendous popularity wherever shown. Mr.
Hackett's support are all players of note, and the move-
ment of the story proceeds from one scene and one reel
to another without a hitch. The sepia tones of the pic-
ture, in contrast to the usual black and white, received
Copyright Suit "Won by Crown Feature
In the action of the Crown Feature Film Company,
of 145 West Forty-fifth street, New York City, and
the Royal Feature Fflm Company against the Bettis
Amusement Company and Will C. Bettis, of Toledo, O.
Judge Killits, in the Federal District Court for the north-
ern district of Ohio, ruled for the Crown Feature Film
Company. The action was one over alleged infringe-
ment of copyright.
The Crown Feature Company of New York im-
ported "St. George and the Dragon," a Milano produc-
tion, and sold the rights for Ohio to the Royal Feature
Film Company. The plaintiffs claim that the Feature
Film Company of New York bought the picture in
Europe and exhibited it in Toledo. Suit aginst the ex-
hibitor followed.
First Ramo Release Is Made
Releases of the new Ramo brand of films began on
March 12 with a drama entitled "The Better Way" and
are to follow along regularly on Wednesday of each
week. The release of March 19 will be "The Dividing
Line," it is now announced, instead of "Not Like Other
Girls" and "Moving Mother," the split reel previously
advertised for that date. "The Grip of Jealousy" will
be the third number on Ramo's list of releases, that reel
going to the exhibitor on March 26. Ramo films, it will
be recalled, are releasing through the Film Supply Com-
pany of America.
National President M. A. Neff is making an active
campaign against a measure known as House Bill No.
227, recently introduced in the Ohio Legislature, and
which calls for the amendment of the present regulations
of the construction of moving picture theaters. The
present code provides that a building must not be less
than 25 feet wide and 15 feet in height. The house com-
mittee in charge of this measure changed this provision,
making the minimum width 20 feet and the minimum
height 13 feet. When the bill reached the Senate an
amendment was added making the minimum width 18
feet and the minimum height 13 feet. The revised bill
has been referred back to the house committee which will
decide its final fate.
214
MOTOGRAPHY
Vol. IX, No. 6.
"Flying A" Cowboys Race Their Ponies
The first racing matinee of the Santa Barbara Driv-
ing Club was held recently over the newly opened Gelles-
pie speedway. The ponies in the two quarter-mile dashes
brought the crowd to its toes. Carl Morrison, one of the
American's cowboys, riding Cappo, won in 32 seconds.
Lee Jones ran Cecil second, while A. F. Burrell, on Gal-
vin de Lis was third. The special race between five of
the "Flying A" cowboys was a hummer. Fred Ihlen-
stein on Kid won in 29 seconds. Chick Morrison started
the bunch and then joined in the race, dashing into sec-
ond place with Cota. The race was a beauty.
To Present "Broncho Billy" on Stage
A scientific test is being arranged to see whether
the theater patron prefers films thrown on the screen or
productions in real life.
A. H. Woods, a theatrical producer, and G. M.
Anderson, who plays a dual role as a moving-picture star
and proprietor of a large company, will conduct the test.
Anderson has practically accepted an offer by Woods to
present "Broncho Billy," one of Anderson's most pop-
ular vehicles as a photoplay, in real life on the stage.
A large company of cowboys and horses will be car-
ried on a tour of the principal cities. By this test the
proprietors hope to find out which the public really
prefers.
Thanhouser Films Get Praise of Censor
L. E. Smith, who bears the long title of Inspector
of Places of Public Entertainment of South Australia,
Australia, writes to the Thanhouser Film Corporation :
"I have charge of the Inspection Department of Mo-
tion Picture theaters in South Australia, and your ad-
vance notes on films will be of service to me. I might
inform you that your films appear to be great favorites
with the public attending our picture theaters nightly.
The picture business is flourishing here, and in spite of
the great number of picture theaters going here nightly
to crowded houses, there are several more fine up-to-date
large theaters now in course of erection. There is a great
public demand for motion picture entertainments, and
I am of the opinion that it is the right kind of entertain-
ment for the people.
"I must take the opportunity here of complimenting
you on the excellent films that you produce weekly. They
are splendid; the acting and cinematography is perfect
and hard to beat. Your films are clean and free from
objectionable matter, and I might say uplifting to the
people. A censor of films would not be needed if all
producers turned out the same class of matter your firm
does."
Opie Read's "Starbuck" Mail Heavy
Opie Read, the novelist, who recently played the
part of Jasper Starbuck in a dramatization of his famous
play, made by the American Film Manufacturing Com-
pany, is the recipient of an enormous increase to his
usually heavy mail as a result of his work in that picture.
Mr. Read, who is now touring the country on his Chau-
tauqua lecture circuit, frequently finds evidence of enter-
prising theater proprietors who arrange to show "The
Starbucks" while Mr. Read is lecturing in the city.
"Thus," says Mr. Read, "I frequently occupy the only
two halls in town at one and the same time."
At the recent Semi-Annual Conference of the Na-
tional Vice-Presidents of the Motion Picture Exhibitors'
League, held at Columbus, Ohio, a resolution was unani-
mously adopted to designate April 8, 1913, as Motion Pic-
ture Exhibitors' Day, and requesting all members of this
league in every state to contribute ten per cent of their
gross receipts on that day for the purpose of carrying
on the work of the league, five per cent to go to the
National League and five per cent to the State League.
Cincinnati local has already indorsed the resolution and
;t is expected that the various other branches of the
league will follow suit.
Brevities of the Business
PERSONAL NOTES.
Edwin August is author of the scenario "The Calling of
Louis Mona," which is being produced out at the Universal
camp.
Kathleen Kerrigan, sister of Jack Kerrigan, leading man
of the American Film Manufacturing Company, is playing in
"Every woman."
Wray Physioc is enthusing over the third release of the
Ramo Film Company, "The Grip of Jealousy." Speaking of
Physioc, he happens to be the youngest director in the moving
picture business, but then he is very old in experience.
Florence Barker, one of the best known motion picture act-
resses, succumbed to pneumonia February 28 in a hospital at
Los Angeles, Cal., after a siege of several weeks. Her body
was sent to her home in the east. Miss Barker had acted as
leading lady for many motion picture concerns both in this coun-
try and abroad. She was practically the only American actress
who has played leads with foreign companies. Among the com-
panies with which she had been connected are Pathe Freres,
Powers and Biograph. Her last engagement was with the West-
ern Majestic Company.
Director Wilfred Lucas has entered the Bison ranks and
has all his old company with him, including Bess Meredith, Harry
Fisher and Ethel Grandin. A new addition to the cast is F.
Modjeska, a grandson of Madame Modjeska.
Henry McRae, who has been connected with Seng's for two
years and engaged in producing their great animal pictures, is
now a director of Universal films. Included in his company are
Mona Darkfeather, Charles Bartlett and Roy Watson.
Jack Hopkins is playing leads with the Ramo Film Com-
pany. Jack foremrly was with Lubin.
William Walters, the "heavy" character man of the Essanay
eastern stock company, was called upon to play an Indian role
last week in a photoplay production. During Mr. Walter's thirty
years' experience on the stage this is the first time he has
ever been called upon to play the role of an Indian.
Director Otis Turner is about to produce a story which is
probably still the favorite of all boys. It is the story of
Robinson Crusoe.
Buster Emmons is a new child actor in the Powers forces.
He is eight years old and is making his debut in a Matty
and Early story entitled, "Early's Lesson," which is receiving
the attention of Director Matthews.
Director Frank Montgomery has been selected to produce the
Lincoln J. Carter plays for the Universal's following. He will
start with "Bedford's Hope" and has already assembled a com-
petent company.
Miss Helen Dunbar, the "heavy" character woman of the
Essanay eastern stock company, is spending her two weeks'
vacation at French Lick Springs. This is the first time in two
years that Miss Dunbar has been absent from the company.
Carrie Clark Ward (Mrs. Sedley Brown) is again at the
Universal camp. She is playing comedy roles opposite Russell
Bassett.
Miss Ruth Hennessy, a charming member of the Essanay
eastern stock company, is an accomplished toe dancer, which
was proven during her engagement in Chicago some time ago
with Joe Howard's production, "Love and Politics."
March 15, 1913.
MOTOGRAPHY
215
Mrs. Julia R. Hurley, who has forty-five years of stage
experience to her credit, will play a series of special roles for
the Solax company. Mrs. Hurley it was who played the part of
"Meg Merrilies" in the Reliance release, Guy Mannering.
Barney Gilmore is another addition to the Solax players.
His engagement will cover a series of portrayals of Irish char-
acters.
Edward Barry, whose offices are at IS East Twenty-sixth
street, New York City, is the American representative of the
General Film Company of Australasia.
Sam Warner will be in control of the New York office
of Warner's features while Harry Warner, the company's vice-
president, is on a tour of the New England territory.
Francis X. Bushman is one of the busiest men in Pitts-
burgh, where he happens to be just now lecturing on the ever-
interesting subject of the motion picture and showing moving
pictures in which he appeared for more than a year in leading
roles. Mr. Bushman is a fascinating talker and draws capacity
houses at whatever theater he appears. Theaters throughout
Arkansas, Louisiana, Mississippi, Tennessee, Alabama, Georgia
and Florida will be stopping off points for Mr. Bushman during
the latter part of March and the whole of April.
C. Spencer has secured control of the motion picture busi-
ness of Australia. Besides being the promoter of the General
Film Company of Australasia, he is also owner of the exchange
business of the Greater J. D. Williams Amusement Company.
Edwin August has left the Powers company and joined the
Vitagraph players under Director Rollin S. Sturgeon at Santa
Monica, Cal.
Horace G. Plimpton, manager of the negative department of
the Edison company, has gone to Europe on a business trip.
He intends visiting the picture studios in London, Berlin and
Paris.
Frank Fernandez, a former Melies player, is at Santa Monica,
Cal., now with the Vitagraph company.
Ruth Stonehouse has been absent ten days from the Essanay
studio owing to an attack of scarletina. At first it was thought
Miss Stonehouse's malady was scarlet fever and the rest of
the players at the studio were about to be placed in quarentine
when the doctor pronounced the ailment scarletina. Miss Ruth
is again ready to report daily at the studio.
Herman Riffkin, as manager of the Eastern Feature Film
Company offices at 12 Union square, New York, is handling state
rights pictures for New York, New Jersey and New England.
Jean Acker's broken leg is slowly improving and Jean expects
it will be "as good as new" in about a month. The injury was
the result of an accident while Miss Acker was motorcycling.
Frank Meyer has the Chicago office of the Famous Players
Film Company in charge.
Robert McWade, Sr., a member of the Vitagraph stock
company, died at his home March 5.
S. S. Clark has charge of the syndicated publicity depart-
ment at the Universal offices.
Lee Beggs is again in pictures, but this time it is in Imp
comedy instead of the Solax brand.
Jack Cohen of the Imp company and Miss Jennie Lesser
were married March 13 and the good luck wishes that went with
them on their honeymoon testified to the regard of many friends.
E. B. Lockwood, manager of the special exhibit department
of the Advance Motion Picture Company, is making a trip
through the southwest in the interests of his company. He
will be gone six or eight weeks.
Charles S. Holloway of the Du-Holl Manufacturing Com-
pany was a visitor at Motographyjs office this week. The Du-
Holl company's specialty is industrial motion pictures and its
offices are in the Chemical building, St. Louis, Mo.
Miss Irene Hunt, who plays leads for the Lubin company
in Los Angeles, is out of pictures for awhile owing to a broken
arm caused when Miss Hunt's mount, which she was riding just
for fun between scenes, threw her off his back. Miss Dolly
Larkin is being tried out in the leading roles pending Miss
Hunt's recovery.
Donald Macdonald of Director Christie's company of the
Universal has been on the sick list for some days, but has for-
tunately fully recovered. While engaged in acting at the beach
in Mr. Christie's "Mermaid" picture, he slipped upon some rocks
and sprained his ankle. "Mack" is still walking with a cane, but
it is not noticeable in the pictures. This young man was born
under a lucky star, for he manages to be in most of the things
that happen, but is never very seriously hurt, and when he is, he
manages to make the best of things.
Frank Mostyn Kelly, who is acting with David Wall's com-
pany, is one of the best known caricaturists in the country. He
has been associated with several large newspapers. He has also
done a good deal of writing and is very well known on the
vaudeville stage. Mr. Kelly is taking character parts at present.
ROLL OF THE STATES.
CALIFORNIA.
Thomas Lee has a contract to erect a one-story concrete mov-
ing picture theater, 30x80 feet, at Bath and Main streets, Elsinore,
for Thomas Carmady.
Revised plans have been completed by Architect Frank T.
Kegley, Jr., for a moving picture theater to be erected at Marine
and Front streets, Ocean Park, for Messrs. Stineman & Kramer.
C. M. Applestill, sheriff of Imperial county, is having plans
prepared by Architect E. J. Borgmeyer of Los Angeles for a hol-
low terra cotta moving picture theater building for El Centre
It will be 50x140 feet and seat 700 people.
COLORADO.
Arlington W. Howell, who for several years has been pro-
prietor of the Dreamland picture show in Pueblo, has purchased
the Savoy moving picture theater in Colorado Springs.
A permit has been granted for the building of a moving pic-
ture theater on Seventeenth avenue between Lafayette and Marion
streets, Denver. It is to cost $3,000 and the owner is Dr. John R.
Hopkins.
Mrs. R. E. Smith is altering her store at 3029 East Colfax
avenue, Denver, for a moving picture theater at a cost of $1,000.
ILLINOIS.
Somonauk is going to have a moving picture show. C. G.
Cress and Claude Mooring have leased the building which is
occupied by Fred Miller and will fit it up as an up-to-date picture
house.
_ A movement is on foot to build an open air theater this
spring at Greenview.
George Brown of Hopedale has sold his moving picture outfit
to Hiram Oldham, who will continue the show at the same place.
Evanston is to have another moving picture theater. The
meat market, which for the past twelve years has been occupied
by Robert Lorimer at 911 Chicago avenue, will soon be remod-
eled into a place of entertainment for the south ward citizens.
The owners are Bodkins & Kern, the same who are building the
new theater next to the City National Bank on Davis street. It
is said that the rental paid for the place at 911 Chicago avenue
is $100 a month for ten years.
All members of the LaGrange village board were present
when the question came up of granting a moving picture license
to the Chicago Film Company to operate every Wednesday and
Saturday afternoon and evening in the town hall. The petition
was promptly turned down, as the hall is not built in accordance
with the rigid rules of the ordinance authorizing moving pictures
in LaGrange.
C. G. Cress and Claude Mooring will open a motion picture
theater at Mendota in the building vacated by Fred C. Miller.
IOWA.
Fire of unknown origin at Fort Madison destroyed the
Auditorium Princess motion picture theater. Loss, $2,000.
L. H. Dammann will open and conduct a moving picture
theater at Bennett.
Ben Jenkins has purchased the moving picture machine of
T. D. Barber and is giving shows at Yetter.
Lou Hester has gone to Denison, where he has purchased
and taken charge of the Majestic, the only moving picture show-
there.
A new moving picture show is to be added to Clarinda's
places of amusement in the near future. It is to be opened in
the building west of the Herald office.
The Scenic theater at Sheldon was sold by R. A. Sleeper to
D. E. Harvey and Charles Rider. A new moving picture ma-
chine, one of the best made, was installed in the Scenic recently.
INDIANA.
F. W. Stein, who took over the Pearl theater, one of the first
moving picture houses in Fort Wayne, will make a number of
improvements, such as redecorating the interior as well as mak-
ing improvements on the exterior.
A deal is practically closed by which Mrs. Morse sells the
Princess theater at Argos to Mr. E. H. Ingalls of Kankakee, 111.
KENTUCKY.
Fire originating from electric wires coming in contact with
the ceiling of the Gem theater at Frankfort destroyed the mov-
ing picture show house. The theater contained only seventy spec-
tators and none were seriously injured in the rush. A girl
fainted and was injured by being trampled upon. The loss is
estimated at $2,000.
KANSAS.
Fort Scott is to have another picture show house. Oscar
Herold and Rex Walls will be the owners of the same. The
location will be in the building on South Main street, formerly
occupied by the Phillips confectionery. They hope to have the
theater opened by the first of March.
The Airdome at Ottawa will be torn down and removed
from the corner of Fourth and South Main streets to the south-
216
MOTOGRAPHY
Vol. IX, No. 6.
east corner of Tecumseh and North Main streets, according to
announcement made by Robert L. Bailey, owner of the Airdome.
Following a talk on the "Censorship of Moving Pictures,"
the club women of Lawrence at their annual dinner adopted a
resolution to further in every possible way the censorship of
moving picture films.
The Empire theater, a new motion picture house at Hutch-
inson, has been opened.
T.OUSIANA.
Plans have been prepared for the erection of a moving pic-
ture theater at Baton Rouge for the Louisiana Amusement and
Realty Company.
MARYLAND.
A moving picture theater will be erected on Madison avenui:
near North avenue, Baltimore, by Samuel E. Reinhard.
MICHIGAN.
J. H. Sharon, 296 Lincoln avenue, Detroit, is preparing to
erect a moving picture and vaudeville theater at the northeast
corner of Greenwood and Calumet avenues, the first playhouse to
be erected in that portion of the city. The building which will
house the theater will also contain stores and flats, and will
be erected at a cost of $25,000 modern in all respects. The theater
will seat 600 people. As yet no name has been selected for it.
William Nicholai has purchased of Captain Slyfield the Ar-
cade theater at Port Huron.
MINNESOTA.
The Gem theater at Owatonna changed hands, Allen Hartviz
selling the same to C. L. Carlyle and A. T. Wiggins, both of
Sioux Falls, S. D.
MISSOURI.
Louis Oppenstein, owner of the Globe theater at Kansas
City, will construct a new theater at the southwest corner of
Thirteenth and Walnut streets. Permission to build was granted
by the city council. Work will start immediately. The new
theater will be finished by September 1, it is expected. It will
cover 115 feet frontage on Thirteenth street and 96 feet on
Walnut street. The cost will be $150,000.
A. R. Gibson and Percy Jones have purchased the Monarch
theater at Unionville from Clove Exline. Mr. Exline has had
charge of the theater only a short time. The new managers
intend to make it a much better show than it has ever been
before and they should make it go. Miss Marvel Pickenpaugh
has been engaged to furnish the music.
A building permit for a building at the northeast corner of
Independence avenue and Benton boulevard, Kansas City, was is-
sued to. C. O. Jones. The building will embody a moving pic-
ture theater, a public hall and stores. It will be two and three
stories, of brick, concrete and steel construction. The cost will
be $38,000. It will be completed by September 1.
MONTANA.
Pringle & Irwin, the popular proprietors of the Star theater
at Hamilton, have purchased the Family theater of Cecil C.
Nixon and taken possession. They run the Family every night,
while the Star theater is open on Saturday and Sunday evenings.
NEBRASKA.
The question of closing the moving picture theaters at Alli-
ance on Sunday was presented to the city council and after
much discussion it was decided to leave the matter to a vote
of the people at the spring election April 7.
Knowles' new brick storeroom on Grand avenue and Wil-
liams' splendidly constructed new brick building, two doors from
the postoffice, Ponca City, are soon to be converted into moving
picture theaters, giving the residents of Ponca City some amuse-
ment places.
Six prominent business men formed an organization for the
promotion of amusements in Plymouth and the picture theater
was decided upon as a starter. They have leased the old Wild-
haber double store on Main street, taken out the partitions and
posts, made the whole into one large room that will easily seat
400 people. The equipment for the theater is on the ground and
consists of a $700 electric piano, a Power's 1913 motion picture
machine, an 8-horsepower engine and a 5,000-watt dynamo.
Oketo is soon to be fixed up with a moving picture show
which will entertain the people at the opera house twice a week.
Dan Doyle has purchased the Gem moving picture theater at
Minden and will improve same.
The Palm theater at Gothenburg has changed hands. The
new proprietors, M. M. Harvey and son, have taken charge.
An attempt was made to open up the moving picture shows
in Fremont one recent Sunday. After the crowd arrived and
the pictures began to flash the chief of police walked in and ar-
rested the proprietors.
NEW YORK.
The stage extension of the People's Music Hall, a motion
picture house at Nos. 104 and 106 Bowery, New York, formerly
the National Garden, was destroyed by fire.
Fitzhugh Hall, which has stood watch for years over the
prosaic canal boat, has seen the Rochester Free Academy change
from a school into administrative offices and has withstood many
transformations within itself, is being furnished for the exhibi-
tion of moving pictures.
The Greenwich theater at Greenwich was totally destroyed
by fire. The loss was about $15,000 and there is a partial insur-
ance. The building was a large wooden structure with a fifty-
foot tower, and it burned like tinder. It had a capacity of 800
persons.
Harry Hellman and William Frischneck have purchased the
Lutheran Tabernacle church on Clinton avenue, Albany, and
converted same into a theater building. Harry Hellman, manager.
Greater New York Moving Picture Company, Inc. of Man-
hattan, theaters, $10,000. Harry McKeon, David Heinsuis, Bessie
Gordon, 230 West 108th street, New York City.
Empire Photoplay Corporation of Manhattan, moving pic-
tures, $10,000; Fred Holman, Sophie L. Erber and Emil Erber.
611 West 112th street, New York City.
NORTH CAROLINA.
Eagle Film Company of Charlotte to operate a film ex-
change ; authorized capital, $125,000, with $1,600 paid in by W. F.
Aldrich and R. D. Craven and A. F. Sams.
A fire damaged the Pastime theater at Henderson. The
owners, S. H. Allen and Frank B. Roland, state that the loss,
$600, was fully covered by insurance.
NORTH DAKOTA.
Archie Miller, manager of the Grand theater at Devils Lake,
has leased the Jacobson opera house in Devils Lake and opened
a picture show.
A moving picture theater is being erected at Marshall
Springs.
After lying idle for many years the old Jacobson opera house
at Minot has been renovated and made into one of the finest
picture theaters in the northwest.
OHIO.
The Center Amusement Company was incorporated at Cin-
cinnati with $20,000 capital stock by J. G. Guetle and others for
the purpose of operating a moving picture theater at York and
Freeman avenue.
R. J. Morris, president of the Kleervue Film Company, 402
Columbia building, is preparing to ask bids on building the only
moving picture studio between New York and Chicago. The
studio is to be located in Elyria. The company has already pur-
chased two acres and is said to have options on three more
The main building will contain offices, developing and storage
rooms and at one end will have an indoor studio with walls and
roof of frosted glass. The whole structure is to be 161 feet long
and 50 feet wide and Mr. Morris states that it will be the largest
in the country.
Because the nickelodian proprietors at Steubenville have
raised the price to shows from five to ten cents, the women and
children of this city organized a boycott to make them reduce
prices.
OREGON.
Plans have been prepared for the erection of a moving pic-
ture theater on Sixth street, north of Washington, at Portland
for Foster & Kleiser.
PENNSYLVANIA.
Spaulding & Zorn are about to begin the erection of a $200,-
000 moving picture theater at the intersection of York, Howard
and Hope streets, Philadelphia. It will be a one-story brick
and terra cotta front structure with a seating capacity of one
thousand. The dimensions will be 78 by 108 feet.
Louis A. Finberg has a contract to remodel the old office
building of the U. S. I. Company at Nos. 1918 to 1924 North
Front street, Philadelphia, into a moving picture theater for
Aaron W. Musick. It will be 54 by 12 feet.
P. J. Hurley is figuring on a moving picture theater at
Broad and Louden streets, Philadelphia, for the Logan Amuse-
ment Company.
W. E. Butler is having plans prepared for a moving picture
theater at 2928 Richmond street, Philadelphia.
The moving picture theater in the Exchange building, Woon-
socket, was damaged by fire.
TEXAS.
A. D. Baker, who owns moving picture shows at Houston.
Red Rock, Bastrop, Lulling, has bought one at Smithville.
J. C. Young of Commerce has leased the Brooks Tone thea-
ter at Denison for exhibition of moving pictures.
A. D. Baker of Lockhart has bought out the Star Theater
and the Airdome, at Smithville, both moving picture shows.
Houston's latest motion picture playhouse, me Rex, 511 Main
street, opened for business, with every prospect for continued
success. The house seats 500.
March 15, 1913.
MOTOGRAPHY
217
Complete Record of Current Films
Believing the classification of film pictures by the nature of their subjects to be of greater importance to the exhibitor than classification by maker,
Motography has adopted this style in listing current films. Exhibitors are urged to make use of this convenient tabulation in making up their programs.
Films will be listed ts long in advance of their release dates as possible. Film manufacturers are requested to send us their bulletins as early as possible.
Reasonable care is used, and the publishers cannot be responsible for errors. Synopses of current films are not printed in Motography as they may be
obtained of the manufacturers.
LICENSED
Date.
2-28
2-28
2-28
2-28
2-28
3-1
3-1
3-1
3-1
3-1
3-3
3-3
3-3
3-3
3-3
3-4
3-4
3-5
3-5
3-5
3-6
3-6
3-6
3-7
3-7
3-7
3-7
3-7
3-7
3-7
3-8
3-8
3-8
3-8
3-8
3-8
3-10
3-10
3-10
3-10
3-10
3-11
3-11
3-11
3-11
3-11
3-12
3-12
3-12
3-13
3-13
3-13
3-13
3-13
3-14
3-14
3-14
3-14
3-14
3-14
3-15
3-15
3-15
3-15
3-15
3-15
3-15
3-17
3-17
3-17
3-17
3-17
3-18
3-18
3-18
3-18
3-19
3-19
3-19
3-19
3-19
3-19
2-27
2-28
2-28
3-1
3-1
2-25
2-25
2-26
3-3
DRAMA.
Title Maker. L
A Will and a Way (8th in "What Happended to Mary"
series) Edison
Swag of Destiny Essanay
Dr. Maxwell's Experiment Lubm
The Understudy Sehg
The Old Guard Vitagraph
A Martyr to Duty Cines
The Photograph and the Blotter Edison
The Influence on Broncho Billy Essanay
The Missing Bonds Kalem
Under the Make-Up Vitagraph
Shylock Eclipse
The Sheriff of Stone Gulch Kalem
The First Prize Lubin
The Deputy's Sweetheart Sehg
O'Hara's Godchild Vitagraph
Ann Edison
On the Mountain Ranch Lubin
The Wages of Transgression Eclipse
The Blind Composer's Dilemma Kalem
A Heart of the Forest Vitagraph
The Wrong Bottle Biograph
An Equine Hero Pathe
The Spanish Parrot Girl Selig
The Lost Deed Edison
A Mistaken Accusation Essanay
The Hand of Fate Essanay
His Children Lubin
Until We Three Meet Again Lubin
A Husband Won by Election Selig
The One Good Turn Vitagraph
Broken Ways Biograph
The Ideals of Her Dreams Cines
The Priest and the Man Edison
Broncho Billy and the Squatter's Daughter Essanay
The War Correspondent Kalem
The Retreat from Moscow Pathe
A Girl's Strategem Biograph
The Open Switch Kalem
The Soul of a Rose Lubin
Diverging Paths Selig
Red and White Roses Vitagraph
His Grandchild Cines
A Bottle of Musk Essanay
A Lucky Chance ~.... Lubin
Jan Vedder's Daughter Edison
The Ferrets Selig
The International Spies Kalem
The Grim Toll of War Kalem
Juggling with Fate Selig
Old Gorman's Gal Essanay
When John Brought Home His Wife Lubin
A Gambler's Heart Melies
The Love that Turns Pathe
The Deceivers Vitagraph
A Youthful Knight Edison
An Old, Old Song Essanay
The Indian Maid's Warning Kalem
Loved by a Maori Chieftess Melies
The Sands of Time Selig
Sisters All Vitagraph
The Unwelcome Guest Biograph
The Girl and the Horseshoe Cines
The Gauntlets of Washington Edison
Broncho Billy and the Step-Sisters Essanay
The Woe of Battle Kalem
An Adventure on the Mexican Border Lubin
Innocence Pathe
Kathleen Mavourneen Edison
The $20,000 Corot i\alem
Greed for Gold Lubin
Notre Dame Pathe
The Mouse and the Lion Vitagraph
The Vengeance of the Kabyle C. G. P. i^..
The Portrait Edison
Dolore's Decision Lubin
The Birthday Gift Vitagraph
An Innocent Offender Eclipse
Prisoners of War Kalem
The Escape Pathe
The Sheriff of Yavapai County Selig
The Strength of Men Vitagraph
The House in Suburbia Vitagraph
COMEDY.
Lady Audley's Jewels Essanay
Sally's Guardian Kalem
Pickwick Papers Vitagraph
Auntie's Affinity Lubin
The Cheapest Way Pathe
The Ranch Owner's Love Making Edison
The Female Detective Lubin
All On Account of a Transfer Edison
A Queer Elopement Biograph
ength.
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
2,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
2,000
1,000
1,000
1,000
1,000
1,000
2,000
1,000
1,000
2,000
1,000
1,000
1,000
1,000
1,000
1,000
2,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
2,000
1,000
1,000
1,000
1,000
1,000
2,000
1,000
1,000
1,000
3,000
1,000
1,000
1,000
1,000
1,000
1,000
2,000
1,000
1,000
2000
1,000
1,000
1,000
Date Title Maker
3-3 Look Not Upon the Wine Biograph
3-3 Superstitious Joe Edison
3-4 Nipped in the Bud Cines
3-4 Wanted a Husband Cines
3-4 Billy McGrath on Broadway Essanay
3-4 The Collector of Pearls Selig
3-4 Hubby Buys a Baby Vitagraph
3-5 A Letter to Uncle Sam Edison
3-5 The Discovery Essanay
3-5 The Story of Lavina Selig
3-6 A Montana Mix-up Essanay
3-6 Will Willie Win Lubin
3-6 Misfortunes of Mr. and Mrs. Mott on Their Trip to Tahiti
Melies
3-6 The College Life Vitagraph
3-7 Parcel Post Johnnie Kalem
3-8 Pete Joins the Force Lubin
3-8 Going Some Pathe
3-8 He Waited Vitagraph
3-10 It Wasn't Poison After All Edison
3-10 Absent Minded Joe Kalem
3-10 Put Yourself in Their Place Vitagraph
3-11 The Way Out Vitagraph
3-12 The Lost Wager Eclipse
3-12 Aunt Lisa's Visit Edison
3-12 The Misjudging of Mr. Hubby Essanay
3-12 A Timely Bath Pathe
3-12 His Honor, the Mayor Vitagraph
3-13 The Spring of Life Biograph
3-13 Tightwad's Predicament Biograph
3-13 The Fugitive Selig
3-14 Over the 'Phone C. G. P. C.
3-14 Jones' Jonah Day Kalem
3-14 Jones' Waterloo Lubin
3-14 Sixes and Nines Lubin
3-15 The Dog House Builders Vitagraph
3-17 The Power of the Camera Biograph
3-17 A Delivery Package Biograph
3-17 Love Before Ten Selig
3-18 Their Country Relation Cines
3-18 Who's Champion Now Cines
3-18 The Housekeeper of Circle C Essanay
3-18 Turn Him Out ...Selig
3-18 According to Advice Vitagraph
3-19 Mother's Lazy Boy Edison
3-19 Finnegan Essanay
EDUCATIONAL.
3-4 The Butterfly of a Day — the Ephemera C. G. P. C.
3-4 Cod Fishing from a Trawler C. G. P. C.
3-4 The Titmouse C. G. P. C.
3-5 Pottery Making in Dorset, England.... Eclipse
3-5 The Hairy Ainus Pathe
3-6 Army Target Practice Lubin
3-6 The Upa Upa Dance Melies
3-7 Hydrogen C. G. P. C.
3-7 The Granja C. G. P. C.
3-8 Black Diamonds Vitagraph
3-10 Bees and Honey Edison
3-10 Firemen's Drill Vitagraph
3-11 French Artillery Maneuvers C. G. P. C.
3-12 A Modern Horse Edison
3-13 The Great Wall of China Selig
3-1 5 Quebec Zouaves Vitagraph
SCENIC.
3-3 Curious Scenes in India Edison
3-5 The Waterfalls of Idaho Pathe
3-8 Scenes in Monsone, North Africa Cines
3-1 1 The Stickleback C. G. P. C.
3-11 The Chateau of Chambord. C. G. P. C.
3-12 Picturesque Spalato Dalmatia Eclipse
3-12 A Tour in the Alps Pathe
3-14 The Luxemburg Gardens C. G. P. C.
3-18 Peking, China Selig
TOPICAL.
3-3 Pathe's Weekly, No. 10 Pathe
3-10 Pathe's Weekly, No. 11 Pathe
3-17 Pathe's Weekly, No. 12 Pathe
Length
600
575
425
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
650
1,000
650
1,000
1,000
1,000
400
600
1,000
1,000
1,000
350
350
400
DAILY LICENSED RELEASES
MONDAY: Biograph, Edison, Kalem, Lubin, Pathe, Selig, Vita-
graph.
TUESDAY: Edison, Essanay, Cines-Kleine, Lubin, Pathe, Selig,
Vitagraph.
WEDNESDAY: Edison, Essanay, Kalem, Eclipse-Kleine, Pathe,
Selig, Vitagraph.
THURSDAY: Biograph, Essanay, Lubin, Melies, Pathe, Selig,
tagraph.
FRIDAY: Edison, Essanay, Kalem, Lubin, Pathe, Selig, Vita-
graph.
Vitagraph.
IDA
gra.
SATURDAY: Edison, Essanay, Cines-Kleine, Kalem, Lubin,
Pathe, Vitagraph.
218
MOTOGRAPHY
Vol. IX, No. 6.
INDEPENDENT
DRAMA.
Title Maker Length
On the Brink of Dishonor Gaumont
The Vortex Nestor 2,000
The Stranger's Trail Frontier
The Lure of the Violin Broncho 3,000
King Danforth Retires Imp
In the South Seas Rex
The Man Who Dared Eclair 2,000
The Quality of Mercy Amrnex
On El Camino Real Nestor
The Law of Compensation Powers
Smiling Dan Kay Bee
The Red Girl's Sacrifice Bison 2,000
High and Low American
The Lure of the City Reliance
In the Blood Rex
Now I Lay Me Down To Sleep Imp
The Greater Love American 1,000
Conscience Gem
His Brother Bison 2,000
Big Bob Nestor
The Crimson Cross Eclair 3,000
The Man From Outside Reliance 3.000
The Barrier Broncho 2,000
Dr. Jekyll and Mr. Hyde Imp 2,000
The Stool Pigeon Rex
A Race for Life Frontier
Jocular Winds American
Kith and Kin Ammex
The Sculptor's Strategem Gaumont
How the Spirit of '76 was Painted Pilot
The Greatest of These is Charity Nestor
In a Roman Garden Powers
The Prima Donna Victor
The Lost Despatch Kay Bee 2,000
Her Neighbor Thanhouser 1,000
The Kiss of Tudas Solax
At Mad Hole Canyon Bison 2,000
The Blind Shall See Mecca
The Transgression of Manuel American 1 ,000
Just Jane Reliance
Troubled Waters Rex
An Honest Young Man Thanhouser 1,000
The Bixter Bitten Majestic
A Strong Revenge Keystone
The Fringe of Sin Imp
Fond Heart Saves the Day Champion
Calamity Anne, the Detective.... American 1,000
A Cadet's Honor Excelsior
The Flaming Arrow 101 Bison 2,000
Just a Shabby Doll Thanhouser 1,000
The Bond of Brotherhood Gaumont
The Cause Nestor
The Reprobate Reliance
From Death— Life Imp
Brother Love American 1,000
Wine, Women and Reformation ....Ammex
With a Grain of Salt Nestor
The Curse Powers
Indian Justice .Lux 695
The Plans of the House Solax
Indian Blood 101 Bison 2,000
The Orphan's Mine. American 1,000
A Regained Reputation Reliance
An Empty Box Rex
Kathleen Mavourneen Imp 3,000
Her Dreams of Yesterday Excelsior
When a Woman Won't American 1,000
The Battle of Bull Run Bison 3,000
The City Fellow Majestic
The Sovereign Soul Gaumont
The Butterfly Gaumont
Her Friend the Bad Man Nestor
For Better or for Worse Eclair 2,000
The Judge's Vindication Reliance 2.000
The Pride of the South Broncho 3,000
Date
2-25
2-26
2-26
2-26
2-27
2-27
2-27
2-27
2-28
2-28
2-28
3-1
3-1
3-1
3-2
3-3
3-3
3-4
3-4
3-5
2-5
3-5
3-5
3-6
3-6
3-6
3-6
3-6
3-6
3-6
3-7
3-7
3-7
3-7
3-7
3-7
3-8
3-8
3-8
3-8
3-9
3-9
3-9
3-10
3-10
3-10
3-10
3-10
3-11
3-11
3-11
3-12
3-12
3-13
3-13
3-13
3-14
3-14
3-14
3-14
3-15
3-15
3-15
3-16
3-17
3-17
3-17
3-18
3-18
3-18
3-18
3-19
3-19
3-19
3-19
2-27
2-27
2-27
2-27
2-28
2-28
2-28
2-28
Date
3-1
3-2
3-2
3-2
3-2
3-2
3-3
3-3
3-3
3-3
3-3
3-4
3-4
3-4
3-5
3-5
3-5
3-6
3-6
3-6
3-6
3-6
3-7
3-7
3-8
3-8
3-9
3-9
3-9
3-10
3-10
3-11
3-11
3-12
3-12
3-13
3-13
3-13
3-13
3-13
3-13
3-14
3-15
3-15
3-15
3-16
3-16
3-16
3-16
3-16
3-17
3-17
3-18
3-19
3-19
3-2
3-4
3-9
3-13
3-16
3-6
3-5
3-5
3-6
3-12
3-12
3-13
3-19
3-19
Title Maker Length
Binks, the Tightwad Imp
A Night in Town Crystal
An Innocent Bridegroom Crystal
A Comedian for Love. ., Eclair
A Kimona Tragedy Majestic
The Way to a Man's Heart Thanhouser 1,000
When He Jumped at Conclusions Nestor
The Girl Sleuths Nestor
The Bum's Hallowe'en Champion
The Sleuth's Last Stand Keystone
A Deaf Burglar Keystone
Brass Buttons Majestic
His Heroine Thanhouser 1,000
It's Delightful to be Married Gaumont
Eph's Dream Powers
Indians Powers
Napoleon Solax
The Sleuths at the Floral Parade Keystone
The Rural Third Degree Keystone
Gontran's Surprise Mutual
Impetuous Jim Punch
No Wedding Bells for Jones Punch
Pat's Busy Day Lux 465
Wheri the Stormy Winds Do Blow Lux 518
Binks, the Black Hand Imp
Outwitted Great Northern 1,000
Ma and the Boys Crystal
Knights and Ladies Crystal
The Tester Tested Eclair
Papa's Helping Hand Nestor
Whe<n Hubby Entertains Nestor
Billy's Troubles Gem
The I Twin and Shoshone Falls Gem
Hawjdns* Roomer Powers
Officer Henderson Solax
Sweet Familiar Faces Gaumont
The Chief's Predicament Keystone
Jenny's Pearls Keystone
Cliasing a Son-in-law .* Mutual
Father Tamed Punch
His First Kodak Punch
The "Baker and the Sweep Lux 288
Bink's Gouty Foot Imp
Leo's Vacation Imp
Fritz 'and Oscar Out of Luck Great Northern
Calicowan Crystal
Who's the Goat Crystal
When He Wants a Dog, He Wants a Dog Eclair
Frau Van Vinkle's Crullers Majestic
Babies Prohibited Thanhouser 1,000
The Village Choir Nestor
The Honeymoon Lodging Champion
Billy Wins Gem
The Downfall of Uriah Snoop Powers
In the Wrong Flat Solax
EDUCATIONAL.
Life in Egypt Eclair
Kittens Gaumont
Cocoa Cultivation Eclair
Life in India Mutual
The Lizards Eclair
SCENIC.
Tiflis, Russia Mutual
TOPICAL.
Gaumont Weekly, No. 52 Gaumont
Animated Weekly, No. 51 Universal
Mutual Weekly, No. 10 Mutual
Animated Weekly, No. 52 Universal
Gaumont's Weekly, >J o. 1 Gaumont
Mutual Weekly, No. 11 Mutual
Animated Weekly, No. 2, 1913 Universal
Gaumont's Weekly, No. 2, 1913 Gaumont
COMEDY.
Bobby's Bum Bomb Punch
Tracked to Florida Punch
Watch Your Step Gaumont
The Doll and the Devil Pilot
A Counterfeit Courtship Victor
Pat and a Brave Financier : . . Lux
Arabella and the Wizard Lux
The Bashful Boy Solax
518
455
DAILY "MUTUAL" RELEASES
(Independent.)
MONDAY : American, Keystone.
TUESDAY: Majestic, Thanhouser.
WEDNESDAY: Broncho, Mutual Weekly, Reliance.
THURSDAY: American, Mutual, Punch.
FRIDAY: Kay-Bee, Thanhouser.
SATURDAY: American, Reliance.
SUNDAY: Majestic, Thanhouser.
DAILY UNIVERSAL RELEASES
(Independent.)
MONDAY : Champion, Imp, Nestor.
TUESDAY: Bison, Gem.
WEDNESDAY: Animated Weekly, Frontier, Nestor, Powers.
THURSDAY : Eclair, Powers, Victor.
FRIDAY: Nestor, Powers, Victor.
SATURDAY: Imp, Bison, Mecca.
SUNDAY: Crystal, Eclair, Rex.
DAILY
'FILM SUPPLY" RELEASES
(Independent)
MONDAY : American, Comet.
TUESDAY: Gaumont.
WEDNESDAY: Solax, Gaumont Weekly.
THURSDAY: Ammex, Gaumont, Pilot.
FRIDAY: Thanhouser, Solax, Lux.
FRIDAY: Lux, Solax.
SATURDAY: Great Northern Gaumont.
VOL. IX.
APRIL 5, i913.
No. 7
EXPLOITING
Published Bi-Weekly by Electricity Magazine Corporation, Monadnock Building, Chicago
DOLORES CASSINELLI
ESSANAY
GEORGE KLEINE'S
CINES and ECLIPSE
rlMA
Cines Special Feature in Two Reels
Released April 7th, 1913
THE QUEEN OF SPADES
(COPYRIGHT, 1913, BY GEORGE KLEINE)
A marvelous production replete with gorgeous scenes and intensely dramatic situations.
Love, jealousy, hatred, pride, greed, self-sacrifice, supreme happiness and
deepest sorrow are intermingled in this absorbing drama.
The gripping story of a beautiful woman who sacrifices her ambitions and her
life of social triumphs for her daughter's sake. Feature it with
Special Heralds, One, Three and Six-Sheet Posters;
BOOK EVERYONE OF THESE RELEASES FOR NEXT WEEK!
Cines
April 1, 1913
HE WOULDN'T GIVE UP
(A rip-roaring comedy, don't miss it)
Eclipse
April 2, 1913
THE FRUIT OF SUSPICION
(A powerful heart-interest drama with a purpose)
Cines
April 5, 1913
FAINT HEART NE'ER WON FAIR LADY
(There's a laugh in every foot of this comedy)
FOR POSTERS— Order from your Exchange, or from the ARMSTRONG LITHOGRAPH COMPANY, Cleveland, Ohio
Send as your name to be
placed upon our mailing
list for advance advertising
matter.
GEORGE KLEINE
166 N. State St.
CHICAGO, ILL.
April 5. 1913
MOTOGRAPHY
.3
THE HOUSE OF Iw
G
3fl@*3
Selig Features Extraordinary
Selig Masterpieces are recognized as the exhibitor's "One Best Bet." As a
box office attraction they have no rival. Selig Masterpieces stand alone
in the film field. They are unique; in-
dividual— unapproachable. The public
go wild over them. Insist upon having
every Selig Masterpiece as soon as it is
released, /|%
17)
Book These Three Today:
"Pauline Cushman — The Federal Spy"
The Great War-Time Masterpiece
In Two Reels. Released as a Special March 24th.
"A Change of Administration"
A Timely Masterpiece on the Political Patronage Evil.
In Two Reels. Released as a Special on April 5th.
(See review and special advertisement in this issue)
"A Wise Old Elephant"
A Remarkable Wild Animal Novelty.
In Two Reels. Released as a Special on April 14th.
(See review and special advertisement in this issue.)
Selig's Quality Program for First Half of April
UiilliLU
I
Mar. 31 — The Prisoner of Cabanas
Cuban War Drama Fealure
Apr. 1st — Margarita and the Mis-
sion Funds Early Calilornia Mission Drama
Apr. 2nd — A Lucky Mistake
(Comedy) on same reel with:
Chinese Temples (EducaiionaD
Apr. 3— Arabia, The Equine Detec-
tive Featuring the "Human" Horse. Arabia
Apr. 4th — The Hoyden's Awakening
College girls drama
Apr. 7th — Vengeance is Mine
Picturesque Drama
Apr. 8th— Robert Hale's Ambition
Drama of City and Country
Apr. 9th— The Shotgun Man and
Stage Driver Western Story
Apr. 10th — Tommy's Atonement
{Drama) On same reel with:
The Tombs of the Ming Emperors
(Educational)
Apr. llth— With Love's Eyes
Drama
Best Bookings for a Bigger Business
Publicity Aids for Selig Masterpieces
An elaborate assortment of posters and publicity aids have been prepared
for exhibitors use in connection with the three special features listed above
Selig Polyscope Co.
— STUDIOS — '-jsjJ
'CHICAGO-LOS ANGELES- ^-^^C?
■PRESCOTT, ARIZ.- "<':;'^iLlD
-CANON CITV, COLO." ^*;Sss>
Chicago U.S.A.
■^ FOREIGN OFFICES —
«. -LONDON - BERLIN -
'*? ST. PETERSBURG- PARIS-
BUDAPEST - RIO OE JANERIO
w
rain
I
PTR
TB)TkT
WITH WHICH IS INCORPORATED THE NICKELODEON
CHICAGO, APRIL 5, 1913
PUBLISHED BI-WEEKLY BY
ELECTRICITY MAGAZINE CORPORATION
MONADNOCK BUILDING, CHICAGO
Telephones: Harrison 3014 — Automatic 61028
Ed. J. Mock and Paul H. Woodruff. Editors
Neil G. Caward, Associate Editor
Mabel Condon, Associate Editor
Allen L. Haase, Advertising Manager
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act of March 3, 1879.
TERMS OF SUBSCRIPTION
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Single copy 10
NOTICE TO ADVERTISERS
Changes of advertising copy should reach the office of publication not
less than ten days in advance of date of issue. Regular date of issue, every
other Saturday. New advertisements will be accepted up to within five days
of date of issue, but proof of such advertisements can not be shown in
advance of publication.
NOTICE TO SUBSCRIBERS
Remittances — Remittances should be made by check, New York Draft
or money order, in favor of Motography. Foreign subscriptions may be
remitted direct by International Postal Money Order, or sent to our London
Office.
Change of Address — The old address should be given as well as the
new, and notice should be received two weeks in advance of the desired
change. 1 ) *4
London Office 36 Maiden Lane, Covent Garden
S. Rentell & Co., Representatives
This publication is free and independent of all business or house con-
nections or control. No manufacturer or supply dealer, or their stockholders
or representatives, have any financial interest in Motography or any voice in
its management or policy.
CHICAGO, APRIL 5, 1913
TABLE OF CONTENTS
Scenes from "A Wise Old Elephant" Frontispiece
Editorial 219-220
"Moving Picture Sections" 219
The Power of Pictures 220
C. W. Post Uses Advertising Films. By Watterson R. Rothacker. .221-222
Biograph Identities Revealed 222
Who's Who in the Film Game 223
Klaw and Erlanger to Enter Picture Field 224
Motion Picture Making and Exhibiting. By John B. Rathbun 225-228
Releases Diplomatic Feature 228
Sans Grease Paint and Wig. By Mabel Condon 229-230
Current Educational Releases 231-232
A Diamond-S Potpourri 233-234
May Buckley Joins Selig Forces 234
Motography's Gallery of Picture Players 235
The Photoplayers' Pennant 236
On the Outside, Looking In. By the Goat Man 237-240
New Publicity Stunt 240
The Motion Picture Exhibitors' League of America 241-242
Photoplays from Essanay's 243-244
"The Queen of Spades" '. '. 245-246
Of Interest to the Trade 247-254
Brevities of the Business 255-258
Complete Record of Current Films 259-260
"MOVING PICTURE SECTIONS."
NOT long since we were accustomed to open our local
newspapers with a sense of hostility and suspicion,
scanning the editorial columns for innuendo or open at-
tack against the industry. Today we see not merely fa-
vorable comment, not merely occasional short stories of
the films, but whole Sunday pages, and even "Moving
Picture Sections," installed as regular features of metro-
politan dailies.
Casually viewed, this change of heart, or develop-
ment of interest, seems but a national tribute to a con-
stantly growing business and a recognition of the people's
choice in entertainment. An investigation of the news-
paper motive shows in many cases, however, an ulterior
purpose. That purpose, naturally, is to secure advertising.
With the encouragement of example, several of the
many bright minds engaged in trade publicity work have
conceived the plan of establishing motion picture depart-
ments or press syndicates in connection with the big
newspapers of the country. But to overtures in this
direction the newspaper publishers have made, as a rule,
but one reply. "Show us the business," they say, "and
we will give space to your department. But first we must
be assured of so many dollars of advertising."
So some of the newspapers are running motion pic-
ture departments and getting a little advertising. A few
bold spirits are even running their "sections" without
any advertising. But, with a few exceptions, the news-
paper's tendency is to demand payment in full, in ad-
vance, for its film exploiting.
Of course the newspaper publisher feels sure that
the motion picture business is overflowing with easy
money, that it appeals directly to his readers and that
those readers ought to be worth something to the rich
and open-handed film man. In this attitude he is just
naturally and humanly selfish. He does not take into
account the fact that all the films shown in the country
are made by the same few manufacturers, while every
other newspaper in the country has as much right to film
advertising as his particular paper. The result, should
every newspaper succeed in establishing a motion picture
section with advertising accompaniment, is beyond im-
agination— and certainly beyond any possible commercial
merit.
Let us take another view of the situation. Our na-
tional entertainment is motion pictures. Our national
pastime is base ball. All the newspapers give unlimited
space to baseball news and stories, and they do it with-
out any advertising, because their readers demand it by
buying the papers that print most about it
The only reason people buy newspapers anyway is
because the newspapers print what the people want to
read. They want to read about local and national hap-
penings, about their favorite sports, about entertainments.
The newspapers already print the news and the sports ;
but they want pay for printing the entertainments. Is
the attitude logical?
Exploitation in the newspapers is good for the
220
MOTOGRAPHY
Vol. IX, No. 7
motion picture trade in many ways. It helps it to perma-
nent establishment, converts its enemies, reassures its
doubters, confuses its reformers, spreads its popularity
and helps to standardize its operations. But even that is
no reason for demanding paid advertising from the
manufacturer. The function of the newspaper is not
to serve any particular coterie of business men, but to
serve the public at large.
The newspaper publisher today demands tribute
from the motion picture trade because he can do so with-
out protest ; in serving moving picture news to the public
he has little or no direct competition.
But presently, in each community large enough to
support two or more newspapers, one of them will see
a way to gain friends and increase circulation by print-
ing that same motion picture news on its merits, as base-
ball news is printed. When that happens, the competing
papers must fall into line. And happen it will, before
very long, from the very nature of the popular interest
in the subject.
The legitimate advertising prospect for the local
newspaper is the picture theater itself. We believe the
exhibitor should advertise to his own local public — and he
can do that only by patronizing the newspapers. Even
in the big cities, where suburban theaters would be pay-
ing for much waste circulation if they advertised in the
larger papers, small "neighborhood" weeklies are fre-
quently found that afford splendid mediums. So much
of a field has the newspaper in film advertising. But the
national film manufacturer the local paper cannot rea-
sonably expect to get.
THE POWER OF PICTURES.
THERE is much food for thought in the recently pub-
lished account of the resignation of the Rev. W. H.
Jones, pastor of the First Reformed church of Valley
Stream, L. I., after seeing a moving picture based on a
biblical story. In explaining his resignation Rev. Jones
is alleged to have said "I realized that I was wasting my
time, for I had before me living characters whose ac-
tions, as they unfolded their sublime story, were far more
potent than anything I could say in the pulpit. A religious
subject, thus tactfully and reverently treated, in my
opinion, will do more to advance the cause of religion
and to uplift humanity than a thousand eloquent preach-
ers ever can hope to accomplish by their oratory."
Despite the music and magic of the human voice, the
fact remains that the verbal language of mankind is only
the primer of expression. The eye is the great interpre-
ter of external and visual things. The automatic com-
munication of the eye's observation to the mind repre-
sents the only absolute description in the power or posses-
sion of the human faculties. The mirror can describe
an article more perfectly than the most comprehensive
language can indicate in words — and the eye is the hu-
man mirror. One recalls that pictures are the oldest
means of communication known to man — that pictures
were the first primative agencies for the transference
and transfusion of .thought, and still remain the most
graphic method of expressing the conceptions of the
mind and the imagination. What language is to the hu-
man voice the photograph is to the illustrative power of
the picture. A succession of pictures is the most vivid
description of a train of thoughts. The motion picture
is therefore a continuous series of thought illustrations,
direct, lucid, graphic, vivid. It is the mirror of the in-
cidents and emotions it portrays — a moving train of
thoughts.
Take for instance a film story in which an attempt is
made to teach a moral — a film wherein the good charac-
ters are rewarded and the bad ones punished — and most
of those which get past the censor board are more or less
variations of that theme. That sort of thing in a book
would simply digust or irritate the average boy, but
when he sees the actual deed and the ultimate reward
before his very eyes the effect is different ; he cannot
escape the impression that here is actual life and that
right doing is an admirable thing.
It is not only easy but quite natural to believe, there-
fore, that the motion picture is to become one of the most
powerful agencies ever employed not only in the work
of the church but in every line of endeavor, and this
conclusion is being reached, slowly but surely, by not
only the prominent leaders in religion and social uplift,
but also by captains of industry, and broadminded think-
ers interested in human welfare.
NEW USE FOR MOTION PICTURES.
Moving pictures are being put to new use, which
will result in the saving of life and limb. Professor
Munsterburg of Harvard is responsible for what is
known as the cinematograph nerve test, which it is said
will reduce motor car accidents in the United States to
a minimum. The professor's theory is that no young
man ought to become a chauffeur if his tests indicate
that he would not be quick enough to stop his car if a
child ran out in the roadway in front of the wheels, says
the New Orleans Picayune. In the test for chauffeurs
at Harvard the subject is placed in a motor car in a hall
equipped for this purpose. He is seated at the wheel
of the machine, which is jacked up so that all the ma-
chinery is movable while the car remains stationary.
The experiments are conducted in a darkened room.
In front of the cars is a white wall, on which moving
pictures of great size are shown. They are immediately
before the student's eyes. The student is then told to
act as he would in real life if he saw any one of the
things happen that appear on the screen. Although he
knows that the car is not actually running, the fact that
he is under a test puts the student on edge and makes
him behave approximately as he would under ordinary
circumstances. A child is first shown on the screen with
startling realism, tottering across the road in front of
the car. The chauffeur is, of course, expected to handle
his car without an instant's loss of time, just as he would
have to do if the emergency rose in real life. This is
the most important test to which the students are sub-
jected by the Harvard system.
BELOIT COLLEGE ADOPTS PICTURES
Beloit (Wis.) College will be the first educational
institution of its kind in the United States to enlist the
aid of the moving picture theaters to advance the cause
of education. Arrangements have been concluded with
local film houses to have them grant the college the right
to show an educational film of some sort each Saturday
afternoon and evening. Dean George L. Collie, who
recently returned from a trip around the world, will
appear while the pictures are being shown and will lec-
ture on them. Many of the scenes that will be shown
will be of various strange countries, many of which Dean
Collie has visited. It is expected to make a special price
for high school children in order to influence as many
as possible to attend. The plan is only one step in the
college's extension campaign.
April 5, 1913
MOTOGRAPHY
221
C. W. Post Uses Advertising Films
By Watterson R. Rothacker
CW. POST probably knows the value of adver-
tising better than any individual one can men-
* tion. Mr. Post has, by consistently con-
ducted advertising, fought his way to the top of the
millionaire column and won an enviable reputation which
extends from coast to coast, from the northern extrem-
ities of Canada to Cape Horn, and into remote points
abroad, without skipping the most obscure whistling sta-
tion. Everybody has heard about C. W. Post and,
through Mr. Post, they know Battle Creek, Michigan, as
a pure food center.
Now Mr. Post has hit upon a plan to bring the pure
food industry of Battle Creek to the very eyes of the
public, who, by means of his enterprise, and moving pic-
tures, can see just how pure foods are manufactured
without the expenditure of time and money necessary
to an actual trip to Battle Creek.
Mr. Post's selection and use of moving pictures for
advertising purposes is significant. It is notable for the
very good reason that Mr. Post is a post graduate of
the advertising experience school ; he knows what's what
among advertising media and when he picks a medium
it is equivalent to the announcement that the medium
selected has survived the most severe acid test.
Mr. Post is utilizing moving pictures on a character-
istically broad scale. He is using them along educational
lines ; he is, on film, throwing open the doors of his big
Battle Creek plant and bidding the public everywhere to
come and see for itself that "There's a Reason" for
the Post success and for the goodness of the foodstuffs
carrying the Post name.
The first visit to the great Postum factories at Battle
Creek is a revelation. It is different from anything the
uninitiated might expect. Who would imagine that in
a business office could be found magnificent paintings,
statues and curios which would be a credit to the British
Mr. Post in His Office.
Art Museum? Who would harbor the impression that
a firm whose yearly advertising appropriation approaches
nearly two million dollars and whose business involves
many times that magnificent amount, would have any
time to make the individual visitor feel as though it was
the one great pleasure in life to show and explain every-
thing? Nevertheless this is true at the Postum plant,
for there, in with the bustle and buzz of an immense in-
dustry, you will find the most wonderful art treasures
and the most unusual courtesy. The only trouble is that
the thousands who have made the visit and the hun-
dreds who take advantage of the opportunity daily are
as a drop in the ocean to the millions at distant points
A Machine in the Postum Plant.
who can't afford the time or money necessary to enjoy
these interesting things at first hand. So Mr. Post has put
his art galleries, his offices, his wonderful machinery and
his. splendid factory operation on film and is bringing
the mountain to Mohammed.
Mr. Post has entitled his film story "The Making
of Pure Foods in Battle Creek," and in it gives an eye
trip through his institution. He has taken great care
that the pictures are free from blunt commercialism and
that the story is reliably presented and replete with edu-
cational interest.
The first scenes show the administration building
and grounds of the Postum Cereal Company at noon
hours. Here crowds of happy Post employees are de-
picted in recreation. Groups of young men and women
are shouting in the glee of a snow ball battle while
the older folks look on as the fun progresses.
Then follows a picture of the factory and office
buildings — not quite so graceful as the administration
building but models of their kind and immaculately clean.
We now enter the reception room for visitors and
for the moment are amazed. Here there is not the sug-
gestion of anything commercial. It is as though one
was visiting a baronial hall where the huge fire place
roars an unqualified "Welcome !"
Up a stairway and we are at the entrance to Mr.
C. W. Post's private office. Fortunately Mr. Post is in.
He looks young to be one of the big makers of adver-
tising history. His face shows no mark of his early
struggles. His manner has none of that one might ex-
pect from a real captain of industry, but there is about
him the indefinable something which commands respect
and at the same time establishes a democratic footing.
One instinctively senses Mr. Post's bigness. To see him
at his desk weighing big affairs in a moment, decisively
222
MOTOGRAPHY
Vol. IX, No. 7
signing documents which involve thousands and hun-
dreds of thousands, is a study. It shows Mr. Post, the
man, a living exemplification of his "There's a Reason"
slogan.
After having seen C. W. Post one is prepared for
the art gallery; for here is reflected his good taste; here
are gathered masterpieces of priceless value — graceful
statues, impressive tapestries, wonderful specimens from
the artist's brush and other things which delight the eye
and acclaim the connossieur. It is here that Mr. Post
and the members of his cabinet find environment con-
ducive to the thoughtful consideration of their big plans.
And now we are to see how the famous Grape-nuts
food is made. We are told that Grape-nuts is produced
from the best wheat and barley and then we see just how
it is done. First the milling of these nutritious grains.
Then in logical sequence we see the white clad operatives
and the spotless machinery mixing dough for Grape-
nuts, forming Grape-nut loaves, baking the loaves, slic-
ing the loaves, final baking of Grape-nuts before grinding,
and right on through the whole carefully directed process
even to the making, filling and sealing of the moisture-
proof boxes which we see packed, shipped and on their
way to the ultimate consumer. At this point appears a
tenances of these youngsters is to feel at once that any-
thing capable of conjuring such an expression of utter
enjoyment is something that appeals to you. And as the
picture closes and the screen is light you. instinctively
wish for breakfast time and a box of the goodies the
babies made such a fuss about.
Sealing Packing Cases.
series of pictures showing how the housewife prepares
Grape-nuts at the table, and the scene is then transferred
to the "manufacture of instant Postum." Instant Postum
is a beverage made from wheat and the juice of sugar-
cane. We see how the wheat is cleaned and roasted for
Postum, then comes percolating regular Postum for in-
stant Postum, evaporating boiled Postum for instant
Postum, then instant Postum as it comes from the evap-
orator to be powdered, the cans being filled with the fin-
ished product; then the studio scene featuring the use
of instant Postum in the home.
"The making of Post Toasties" from delicately
browned flakes of Indian corn, sweetened with sugar, is
very interesting. This series of scenes shows cooking the
corn by steam, rolling cooked corn into flakes for post
toasties, Post Toasties toasting in the oven, then the pack-
ing room where sacks are put in the boxes, the boxes
filled, weighed and sealed in a manner that insures per-
fect cleanliness, packed in large cartons, consigned to
the warehouse from where they are sent down a gravity
chute to waiting freight cars. This picture closes with
a scene where three happy, rosy-cheeked babies of grad-
uated ages are having the time of their life eating Post
Toasties. To see the smiles of satisfaction on the coun-
Biograph Identities Revealed
Motion-picture fans the country over will be sur-
prised, and yet surely delighted, to know that at last the
Biograph Company is ready to make known the identity
of its players. For years this concern has jealously
guarded the names of its employees and it has been
almost impossible for the exhibitor to answer the nu-
merous queries that have deluged him from his curious
patrons, who wanted to know who played this or that
role in the Biograph film they had just seen, but now
publicity is to be given the players. A handsomely
printed, tastefully designed poster, 16x23 inches in size,
containing the names and photographs of twenty-six of
the players has been prepared by the Biograph com-
pany and will, it is understood, be sent to anyone remit-
ting ten cents in stamps or coin to cover the cost of
wrapping and mailing. The following players' faces
appear on the poster: Gus Pixley, Lionel Barrymore,
Charles Hill Mailes, Charles H. West, Edward Dillon,
Walter Miller, W. Chrystie Miller, Henry Walthall,
Mary Pickford, Kate Toncray, Blanche Sweet, Grace
Lewis, Florence Lee, Kate Bruce, Claire McDowell, Dor-
othy Gish, Mae Marsh, Lillian Gish, Harry Carey, Rob-
ert Harron, Charles Gorman, Alfred Paget, Walter
Chrystie Cabanne, G. Jiquel Lande, G. Dell Henderson,
and W. J. Butler.
Mace Developing a "White Hope"
Fred Mace, of the Keystone Film Company, is as
busy as the proverbial "bird dog" these days. Together
with his motion-picture activities Fred has taken under
his wing "Big Ed Kennedy," a promising candidate for
heavyweight pugilistic honors, and has arranged matches
right along for his protege.
Kennedy has appeared in several of the current Key-
stone releases, making an ideal "copper," and his han-
dling of malefactors is very realistic.
Mace, himself, would make no mean opponent in
the ring, as he tips the beam at 200 pounds and has con-
siderable skill with the gloves. He is an enthusiastic fight
fan and maages to see all the big bouts staged on the
Coast.
Lubin Editor Has Birthday
Hugh D'Arcy, famous as the author of that stirring
poem, "The Face On the Floor," had a birthday last
week, and to show that he was still a young fellow, in-
vited a number of his friends to a little celebration. It
took place on the roof garden of the Continental hotel
and was a joyous occasion. Hugh made every one of the
guests tell their right age and then absolutely refused to
tell his own age. However, everyone agreed that the host
did not look or act as old as he really was, no matter
what that age might be. Speeches of the two-minute
kind filled the little gaps between the rounds of "drinks
and eats," while a vaudeville show was an added attrac-
tion. The affair was attended by many prominent the-
atrical and literary people and was one of the most en-
joyable events of the season.
April 5, 1913
MOTOGRAPHY
223
"Who's Who in the Film Game
WHEN Pop Rock
posed for the por-
trait which adorns
this page — for purposes of
publicity, perhaps, or that
the record for posterity might be the more complete,
maybe — he persisted in having his fun. Pop always
looks for the pleasure that will accrue to him and he sel-
dom gets the worst of it. In this instance, he insisted
on gripping between the teeth of his jaws, south by west
of his nose, the best end of a Corona-Corona cigar, band
and all. Pop dotes on bands ! The photographer and
his partners, accustomed as they were with Pop's playful
proclivities, protested the prank, but to no purpose. If
they wanted his photograph
they would take it, butts and
all, or leave it. He had been
summoned against his
wishes and in the middle of
his after luncheon smoke
and he wasn't inclined to let
go. If he was to submit to
having the picture taken, his
Corona-Corona would share
the honors.
But Pop hadn't foreseen
the possibility of having one
put over on him. It cost two
dollars to extract that weed
from the grip of those
square jaws and plug up the
hole in his lips. It was that
good friend, Charles
Schwaranki Scovern, who
performed the dermatologic-
al trick and' helped to undo
the mischief which Pop felt
was beyond repair. While
the job is reasonably good,
it betrays a tiny smirk that
isn't there. Pop Rock doesn't
smirk. He's no half way
artist. He laughs or he cries,
but he never sulks. There
are times when he won't rise
from his chair to greet his
best friend, but that can't be
charged as a serious fault.
Men who are much younger
than Pop, and with no excuse at all, do the same thing.
. Of course, his real name isn't Pop, but film men
never think of that. He is Pop, the original. There are
other Pops in the business, but only one William
Tecumseh Pop Rock. And he's president of the Vita-
graph Company of America with offices strung around
the world, but more particularly on Manhattan and Long
Islands. Pop is usually flitting around visiting his offices.
It is a. long flit from Brooklyn to Paris and there is al-
ways some one bound for the same place. Pop finds
congenial friends wherever he goes and always when
he arrives. Dull care hasn't looked him in the face for
ever and ever so long. If you will be careful to examine,
there are some tiny wrinkles at the corners of his eyes.
Facts and Fancies About a Man
You Know or Ought to Know-
got in on the tidal wave
Pop Finds Congenial Friends Wherever He Goes and Always When He
Arrives.
They were caused by their
eternal twinkle.
But Pop hasn't always had
a bed of roses. He used to
work — early and late. He
of motion pictures when the
tides were running about as high as they do on Lake
Michigan. But he stuck. When there wasn't anything
better than the penny in the slot machine, Pop had all
of 'em he could corral in a great hall at Coney Island,
where he held concessions. Much has been written
about his earlier activities in the film business. Every-
body knows that Pop was in at the beginning and that
he will be tangled up with pictures as long as he lives.
The only inventions that
are credited to William T.
Rock are unrecorded at the
patent office. They consist
chiefly in new ways to spend
money. Pop lies awake
nights in devising methods
to entertain his friends. He
is never so happy as when
wholly surrounded by guests
who are there at his com-
mand and who are pledged
to enter no protest when he
calls for the check. The
Vitagraph players and their
friends never know what
new stunt Pop has in store
for them, but they know it is
on the way. It may be re-
called, a few years ago when
film men journeyed to At-
lantic City to air their trou-
bles, that Pop chartered all
the roller chairs and hired
all the pushers. If you were
to ride the board walk you
did it as Pop's guest and
waved a Vitagraph banner!
You had your choice of do-
ing this or walking. Nor
did it matter whether you
belonged to the film folks or
not, for all of the chairs
were under his embargo.
Many stories of a similar
nature are credited to him.
Wm. T. Rock lives in Flatbush, Brooklyn, where he
finds the drive to the main plant particularly suitable for
his limousine. The home is luxuriously furnished with
the things Mr. and Mrs. Rock have picked up in many
parts of the world. Pop enjoys his home when he has
time for it, but he prefers travel, partly because his
business demands it and principally because it keeps him
in practice — spending money.
The hardest work he has been known to do in recent
years is to jimmy the cork out of a fifteen-cent bottle of
Grove's cough cure and snip the bands from fifty-centers.
He is a member of numerable clubs and is a tremendous
factor in the licensed film organizations of this country.
224
MOTOGRAPHY
Vol. IX, No. 7
He is an extensive investor in real estate in Greater New
York and operates an adding machine to keep tab on
his flat buildings. It is known that he has more varieties
of flats than Heinz has of pickles and things.
Klaw and Erlanger to Enter Picture Field
Owing to the vast number of plays which they have
produced in the last fifteen years and of which they still
control the rights, the decision of Messrs. Klaw & Er-
ianger to enter the motion-picture field is likely to make
things interesting for the long established manufacturers
of motion-picture films, according to New York advices.
The difficulty that confronts the firms already oper-
ating is to obtain the film rights of successful plays in
sufficient number to supply their customers. Scores of
plays and the scenery and costumes that go with them
will be at the disposal of Klaw & Erlanger.
That firm's announcement runs :
"The organization will be known as the Protective
Amusement Company and will include A. H. Woods
and others. One of the largest studios in the country
will be built for the manufacture of the films, which are
to be leased or rented to a limited number of motion
picture theaters throughout the United States and Can-
ada. In the smaller cities only one franchise will be
given.
"It is the purpose to release two plays a week and
service will be ready by the first Monday in next Sep-
tember, as by that time more than 100 plays will have
been made up and ready for shipment, thus insuring a
change of bill twice a week and a continuous service of
one year, or fifty-two weeks.
"The difficulty with feature plays in the past has
been that the owner of a theater might get one in one
week and then have an interval of several weeks before
he could get another. He never has felt secure that he
could have 104 plays a year, or in other words, to have
the time in his theater booked just as the large theaters
of the United States are now represented and booked
by the theatrical syndicate.
"It is the intention of the company to expand its
operations beyond the United States and Canada to all
the large cities of the world, for, in addition to their
plays, they are now in negotiation with several persons
touring different parts of the world taking pictures for
special films, for which Klaw & Erlanger will have the
exclusive rights." .
In Australia and Canada
Kinemacolor is just beginning a boom in Australia,
houses having been opened in the principal cities, in-
cluding Sidney, Melbourne and Adelaide. Audiences
in the Antipodes are said to be enthusiastic over the
natural color motion pictures and especially fond of
American dramas, such as are being produced by the
Kinemacolor stock companies in California.
In Canada, too, where there are no suitable houses,
theaters are being erected especially for Kinemacolor
presentation, and in a short time this process will be on
view throughout the Dominion — when some Canadian
subjects will be filmed to meet the local demand.
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"Woman's Honor," April 12. Copyrighted 1913, American Film Mfg. Co.
April 5, 1913
MOTOGRAPHY
225
Motion Picture Making and Exhibiting
By John B. Rathbun
CHAPTER I. (CONTINUED).
THE MODERN PROJECTOR.
IN its optical system or arrangement of the lenses and
light, the moving picture machine greatly resembles
the magic lantern, or stereopticon. Like the stere-
opticon, the projector has a small cabinet called the
"lamp house" which contains the light, a condensing lens
that concentrates the light upon the small area of the
picture, and an objective lens that receives the impres-
Fig. 6. — The Lamp House, Showing the
Lamp and Condenser Lens.
Fig.
.—The Disc Shutter.
Three Blades.
sion of the illuminated image on the film and projects it
upon the screen. These three elements exist in both
machines, and are arranged in the same relation.
The film feeding mechanism, which is independent
of the optical system, brings forward a small length of
the film, equal in length to the height of the picture, and
holds it firmly in position while the light is being admitted
by the shutter. After the picture has been shown for a
sufficient length of time, and after the shutter is again
closed, another length of film is fed, and so on. It is
absolutely necessary that the pictures be held in exactly
the same place on the screen, so that the stationary por-
tions will fall exactly, in the same place. If there is
the slightest variation in this respect the pictures will
jump, or flutter rapidly, as the film passes through the
gate, causing a very disagreeable effect in the eyes of the
spectator.
This requires a very accurate mechanical movement,
for a variation of 1/100 of an inch in the position of the
film will cause a movement perhaps 240 times as great on
the screen, or will cause the image to vary by 2.4 inches
in position. After being pulled into the exact posi-
tion, the film must be held so rigidly that no vibration
will affect its centering. The device that turns on and cuts
off the light must be so adjusted that no light passes
through the film except when it is stationary in the gate.
In all commercial machines, the relation between
the feeding mechanism and the film is maintained by the
sprocket teeth of the driving gear and the perforations
on the edge of the film, each perforation occupying a
definite position in regard to the pictures. When the
film is placed in mesh with the sprockets and one picture
is in the correct position when the shutter opens, it is
evident that each successive picture will come to rest at
the same place with an equal turning movement of the
feeding sprocket, as the perforations are equally spaced.
As the shutter revolves at a fixed ratio with the sprockets,
each picture will be exposed in the gate, when exactly
central with the screen.
While it may seem a simple matter to devise a
machine to perform this operation, it is really quite
difficult, as the slightest error in the feed will be greatly
magnified on the screen. Any wear of the parts caus-
ing lost motion, or any lack of adjustment will cause
serious flickering due to uncertainty of the film position.
Many years of experiment were necessary before the cor-
rect materials were found to resist the enormous wear
and tear of the moving parts, and before the design was
worked out so that the proper adjustments could be made.
The improvement made in projectors during the last few
years in respect to jumping and flickering is evident to
anyone who has long been a patron of the motion picture
show.
THE OPTICAL SYSTEM.
By the term "optical system" we mean the parts of
the projector that generate the light and project the
image on the screen, the lamp, the condenser lens, the
film, the objective lens, and the screen are the principal
parts of this system. In Fig. 5, the lamp L, and the con-
denser C are contained in the cabinet or lamp house
H. The condenser lens C receives the widely dispersed
light rays given by the lamp L, and concentrates them
in a small area on the film F, greatly increasing the bril-
liancy of the illumination on the film. The rays that
formerly occupied the entire area of the condenser are
now reduced to a diameter equal to the arrow B, and
since the same amount of light now occupies a much
Fig. 7. — Diagrammatic View of the Components of the Motion Head, Show-
ing the Position of the Disc Shutter.
smaller area, the intensity or brightness is greatly in-
creased.
As the converging rays pass through the transparent
film F, they are broken up by the image on the surface,
the darker parts of the image obstructing more light than
the more transparent portions and as a result, cause the
values of the different portions to be recorded on the
screen in proportion to their density. If the arrow B on
226
MOTOGRAPHY
Vol. IX, No. 7
the film, for example, were perfectly black, it would
obstruct all of the light in its path so that its shadow
would be produced at D, on the screen. In the same way
the outlines of the lighter objects on the same film
would be shown in proportion to their density.
In passing from the film to the objective lens P,
the converging lines of light cross the optical center
Fig. 8.— The Barrel Type Shutter.
line {X-X) at a point midway between the two lenses
that form the objective P. From the point of intersec-
tion, the lines of light again spread out or diverge, but
in such a way that the lines that were formerly at the
top of the image on the film are now thrown on the bot-
tom of the screen. The reason of the inversion of the
image on the film will be seen if the line reaching from
the top of the arrow B is followed to the bottom of the
screen, and the lower end of the arrow D. Since the
angle of the light rays reaching from B to the center
of P is the same as that reaching from P to D it is evident
that D is as much larger than P as it is farther from the
point of intersection. It will be noted that the center of
the condenser is on the same center line as the center of
the objective lens.
It is evident that the film must stop centrally on the
center line of the lens X-X if the image is to be equally
distributed on the screen S, without distortion. The film
mechanism is arranged so that each picture is centered
on the optical center line at the moment that the shutter
is opened. To prevent light from passing around the
edges of the picture on the film and to steady the film, a
small plate with an opening equal to the size of the pic-
ture is placed centrally on the line X-X at G. This is
known as the film "gate."
As the area of the condenser lens is much less than
the superficial area of the sphere of light surrounding the
arc P, about 90 per cent of the light is lost by absorbtion
by the walls of the lamp house, hence only 10 per cent is
effective at the condenser lens for projection. In the
future the projector will, no doubt, be provided with a
reflector that will concentrate and throw the light on the
condenser where it belongs. When this is accomplished,
it will be possible to secure brighter pictures with less
expenditure of current.
THE MOTION HEAD.
The part of the projector that contains the film
mechanism is known as the "motion head" and is entirely
independent of the optical system except that the head
sometimes affords a support for the objective lens. In
the casing of the "head" is the shutter, the intermittent
film feed, the two film magazines, and the safety shutter.
At the side of the housing is the operating crank for
driving the machine.
The principal elements of the motion head are shown
in their usual relation by Fig. 7. The light from the
condenser C passes through the film F, the gate G, the
objective lens O, and the shutter D to the screen at E.
The sprocket 6" engages with the perforations in the
film and draws the fresh film from the reel R. A roller
V keeps the film in engagement with the sprocket and
controls a loose loop L known as the "takeup" loop.
This loop prevents excessive strain from being thrown
into the film by the intermittent feed.
From the loop, the film is drawn into the film gate
G where it is straightened out and put under slight ten-
sion by the friction of the tension plate K. The film is
drawn through the gate by the sprocket T which is
driven by the intermittent movement, the film being kept
in contact with the sprocket by the roller U. From the
sprocket the film is wound on the reel R. The light pass-
ing through the film is periodically interrupted by the
shutter D at the time when the film is being pulled
through the gate.
THE SHUTTER.
In nearly all machines the film remains stationary
in the gate for four-fifths of the one-sixteenth second
taken to pass one picture. One fifth of the total time is
taken for the shifting of the film, and therefore repre-
sents the time the lens would be covered by the shutter,
were the action of the shutter instantaneous. Since a
considerable length of time is required for the shutter
edge to traverse the width of the light beam, the actual
period of darkness is greater than the theoretical time,
which of course reduces the value of the screen illumina-
tion. To obtain a maximum shutter opening and illum-
ination it is evident that the shutter should close promptly
and open promptly at the instant that the picture comes
to rest in the gate and when it again starts to move out
of the field of the lens.
The problem of quick shutter action has led to the
development of a multitude of devices, only three of
•Fig. 10. — The Geneva Intermittent Movement Used for Feeding the Film.
which have survived the tests of practical usage. All of
the three shutters, the disc, barrel type, and multiple disc
types, are rotary and revolve continuously in fixed re-
lation to the movement of the film feed mechanism.
The barrel shutter used in some machines now on
the market consists of two parallel blades, that revolve
together about a common center, the blades being seg-
ments of the surface of a cylinder whose center coincides
with the center of rotation as shown by Fig. 8. When
the blades A and B are in the position shown, the con-
verging light rays C-C and D-D pass between them to
the screen. On rotating the cylinder in the direction
April 5, 1913
MOTOGRAPHY
227
shown by the arrows, the blade A starts to cut off the
upper rays C-C, and the blade B cuts upward through
the lower rays D-D, thus cutting the beam at double
the peripheral speed of the drum. When the edges of A
and B are opposite one another on a horizontal line, the
light is completely interrupted. This action occurs twice
per revolution, making it possible to run the shutter at
half the speed of the film feed or at the rate of one revo-
lution for two pictures.
As the blades work from both sides of the ray at
the same time, the cutting action is very rapid, being
twice that of a single edge that passes through the ray
in the ordinary manner. When the drum is revolved at
the same speed as the film shift mechanism, the light is
admitted to the lens and cut-off twice per picture, which
makes the interruption less apparent and reduces the
flicker that is in evidence at the lower speed of one in-
terruption per picture. Because l f the high cutting
speed that results in a small cylinder diameter, the
barrel type of shutter is placed inside of the motion
head casing between the film and the objective lens, and
centered on the apex of the converging light rays.
The disc shutter, the most commonly used type, is
simply a circular sheet metal disc in which two or more
sector shaped windows or openings are cut, and unlike
the barrel type, its edges enter one side of the beam only,
and from there pass entirely across the beam. As the cut-
ting speed of a single opening is only half that of the bar-
rel type shutter, the disc is necessarily of larger diameter
and must contain more openings in order to keep the rate
of opening and closing above the flicker point.
When a disc shutter has but one blade that acts
only during the fifth of the total period when the film is
being changed, four-fifths of the light reaches the screen.
As this period of exposure is comparatively long, the
single blade is not desirable. With a two-blade shutter
that is arranged so that each blade covers the lens dur-
ing one fifth of the total picture shift, twice as many
impulses are obtained, but the light is reduced by one
fifth more, making the screen illumination only three-
fifths of the maximum. The number of interruptions
Fig. 11. — The Geneva Movement Connected to the Sprocket Wheel as it
Appears on the Machine.
given by a two-blade disc shutter are equal to those of
the barrel type running at the same speed.
In practice the disc shutter is usually supplied with
three openings and blades, each opening being approxi-
mately one-sixth of the total area of the disc. . Fig. 9
shows the arrangement of the three bladed disc. Double
discs have been used in some cases to obtain the quick
the discs being revolved in opposite directions so that the
opening and closing characteristics of the barrel shutter,
light beam is cut in two places at the same time. This
of course doubles the cutting speed and materially re-
duces the flicker incident to a single blade traveling at a
low speed.
INTERMITTENT MOVEMENTS.
The intermittent motion required for shifting the
film through the gate converts the continuous rotary mo-
Fig. 12. — Film Sprocket.
tion of the crank into a series of short rectilinear move-
ments, each of which is equal to the height of the picture
on the film. There are many devices by which this re-
sult may be accomplished, but as there are only two
of these movements in extended use, we will confine
ourselves to a description of these types.
The "Geneva movement," which is by far the most
commonly used type on projectors, possesses nearly all
of the desirable qualities of a film feeding mechanism.
It starts the film slowly, brings it up to speed without
strain, it then brings it to rest at a gradually decreasing
rate. During the interval at which the film is at rest in
the gate, the device holds it firmly in place without dan-
ger of slack or vibration, either of which would cause
the image to flicker on the screen.
The movement consists of two parts : the "star,"
which is fastened to the sprocket shaft, and the "pin"
wheel that revolves continuously with the operating
crank, the latter element being the driving member.
These parts are shown in elevation by Fig. 10, in which
A is the star wheel, and B is the wheel carrying the pin.
When the wheel B is revolved in the direction shown
by the arrow, the pin C engages with the slot F and
turns the cross A through one-quarter of a revolution,
the point of the cross passing through the opening G
in the retaining ring D. After turning through this
quarter revolution, the slot arrives at the point H and is
held rigidly in position by the ring D that fits into the
concave face / of the star wheel.
As the wheel B continues to turn, the ring D holds
the star wheel in position so that it cannot move until
the pin C completes another revolution, and enters the
next slot of the star wheel. In this way the star wheel
makes one quarter of a revolution for every complete
revolution of the pin wheel B, or one revolution for four
of the wheel B. As will be seen from the figure, the
starting of the movement is slow, as the pin enters the
slot in a direction nearly parallel to the groove. As the
pin approaches the center line of the wheels, the speed
of the star wheel is increased rapidly but smoothly as
the effective radius of the pin increases at the expense of
that of the star wheel.
From this point on, the rapidity of movement gradu-
ally decreases until the pin finally leaves the slot in a
direction parallel to the edges. At this point, of course,
the star comes to a stop, and the ring comes into contact
with the concave face, holding it firmly in position. The
shaft R connects with the sprocket wheels, and the shaft
228
MOTOGRAPHY
Vol. IX, No. 7
E with the operating crank. The opening G in the re-
taining ring is directly below the pin C.
By employing two pins instead of one, the star wheel
may be made to turn one half revolution instead of one
quarter per revolution of the pin wheel, as the two
pins will engage in the slots twice as often as the single
Fig. 13,
-The Claw Type of Intermittent Motion, Used Principally on Mo-
tion Picture Cameras.
pin. The addition of the second pin necessitates no
further changes in the gear except that a second open-
ing G must be supplied under that pin. The ratio be-
tween the periods of rest and motion in the star wheel
depends entirely upon the relation of the diameters of
the two wheels.
The claw mechanism, while seldom used in projector
construction, is used extensively in the cameras used for
taking moving pictures. In the claw motion, a finger
works directly on the film perforations instead of act-
ing through a sprocket wheel. The "claw," driven by a
suitable crank or cam, moves forward, engages with "a set
of perforations in the film, and then moves down, carry-
ing the film with it through a distance equal to the height
of the picture. At the end of the stroke, the claws dis-
engage from the film and return to the starting point
ready to pull down the next section of film.
A typical example of this type of feed mechanism
is shown by Fig. 13, in which F is the film, A and A1 the
claws, E the connecting rod and C the crank. When the
claws are in the position shown, they are in engagement
with the perforations in the film F. As the crank continues
to turn in the direction of the arrow, the claw points are
carried down by the rods E and pulling the film
with them in the direction of the arrow R. At the bot-
tom of the stroke, the crank pin moves to the left and
the claws to the right, pulling them out of the perfora-
tions and free from the film. The claws remain a short
distance from the film until the crank again reaches the
top of the stroke and moves to the right, moving the
claws again into contact with the film perforations.
The claw rods are prevented from moving with the
crank in a horizontal direction by means of the radius
rod B which extends from a stationary portion of the
machine. The radius rod is pivoted at both ends, permit-
ting the claw rods to oscillate about the joints.
(To be continued.)
Releases Diplomatic Feature
In "The Spy's Defeat," released on March 31, the
Essanay Film Manufacturing Company offers exhibitors
a two reel subject dealing with the intrigue of a Russian
spy to obtain plans of a German fortification. The story
is well told and leads up to a dramatic climax at the end
of the second reel. It was produced under the direction
of Harry M. Webster and the leading roles are taken by
Francis X. Bushman and Miss Ruth Stonehouse. Briefly
the story is as follows : Paul Heinrich, a young lieutenant
and secretary to the German minister of war, is in love
with Fredericka, the German minister's daughter. The
lovers at the embassy ball encounter Count Plentoff, a
Russian Spy, and Olga, his assistant, who have come in
in search of the fortification plans. Plentoff hypnotizes
Fredericka and bids her bring to him the plans. She is
seen by Heinrich and when the latter attempts to over-
power the Russian and regain the papers he is tripped
up by Olga, and the Russians make their escape. It is
later, discovered, however, that they are to meet General
Petrovsky, of the Russian war department, at a lonely
roadhouse and deliver to him the plans. Heinrich arrives
at the roadhouse in time to overpower the Russians and
finally recovers the document. In the meantime the
German minister has discovered his loss and is bordering
on despair when Heinrich returns triumphant. The
minister, relieved and delighted, pins decorations of sev-
eral high orders on Heinrich's breast and permits the
betrothal of Heinrich and Fredericka.
S. S. Hutchinson of American Film Mfct. Company and Stewart Edward
White, famous author.
April 5, 1913
MOTOGRAPHY
229
Sans Grease Paint and "Wig
By Mabel Condon
Gilbert M. Anderson.
I WENT out to the
Essanay studio to
see somebody else
and instead, I saw G.
M. Anderson. I didn't
even know he had a
desk out there, but he
has, in the Spoor and
Anderson private of-
fice that is so very
private and so far re-
moved from the pub-
licity room that it is
quite a trip to the
sanctum sanctorum,
and takes you through
all the other offices,
and just about when
you decide you're on
the wrong trail and
guess you'll go back
where you started
from, if you think
you can remember the
way back, you take another forward step and you're there.
At least I was, and the man who rose to shake hands
and say, "How'do; won't you sit down?" was Mr.
Anderson.
So I sat down at the half of the double desk that was
Mr. Spoor's and put my muff and hand-bag and gloves
and veil-pin on top of a file of papers that meant thou-
sands of dollars worth of contracts (maybe), while Mr.
Anderson lit the short fat black cigar he had been hold-
ing and, having lit it, made no attempt to smoke it, so
in about five minutes it was out again.
Meanwhile, I assured Mr. Anderson that anybody
would know him anywhere from his pictures, and he
said he was aware of the unfortunate fact and added
that too much popularity is an unhappy thing, as there
are times when it is rather embarrassing to be "Broncho-
Billied," to-wit, when one is walking down San Fran-
cisco's very nicest promenade with a friend and some
very normal boys tag in one's wake with the insistent re-
quest, "Let's see y' pull y're gun, Broncho Billy!"
The cigar was re-lighted and again allowed to extin-
guish itself while the smokeless smoker aired some views,
distinctively his own, on the subject of pictures, their
makers and patrons.
His first bomb-shell was "The public is quite satis-
fied with pictures as they are" but I administered mental
absolution and voted him three cheers — mental also —
when he added "and the motion picture industry is not
in its infancy. I'm tired of hearing that it is; aren't you?
"The public is quick in forming its likes and dis-
likes" commented Mr. Anderson, reaching for the match-
box, "It doesn't take long for an actor to spring into
favor, if he appeals to the public in his first appearance.
Take Augustus Carney in the role of 'Alkali Ike," for
instance. Now, just give a rough guess how many 'Alkali
Ike' pictures have been made?"
"Forty-seven," I guessed; it was, indeed, a rough
one.
"Twelve," triumphantly announced Mr. Anderson.
"But from the popularity they have gained, anybody not
in a position to know, would think them many more."
"What gave you the inspiration for an 'Alkali Ike'
series?" I asked in the pause which followed Mr. Ander-
son's answering the desk telephone, and his wait for
somebody at the Sherman House to get on the wire.
"The series was unpremeditated, entirely," he re-
plied at me and, into the transmittor — "well, that's what
I am doing, waiting!"
"You see, I think up all my own scenarios and I
just happened to hit on the 'Alkali' name for the title
of one story and it took so well that he tried another, and
after that—"
Then the person at the Sherman House end of the
wire got real busy and so did Mr. Anderson for about
a minute, and I was left to a scrutiny of the millionaire
picture man whose thick, brown hair waves exactly as it
does on the picture screen, and whose laugh is just as
hearty as picture patrons imagine it to be. I had just
decided that his brown, fuzzy suit and accordian knit
tie with the diamond stick-pin in it, were" quite becoming
when the wearer banged up the receiver, struck a match,
and applied it to his ever-lasting cigar and resumed :
"So that's how the 'Alkali' pictures started."
"And what about the 'Broncho Billy' series?" I in-
quired of the man who made B. B. famous.
"Started the same way, by accident. The first one
was 'Broncho Billy's Christmas Dinner,' more than a year
ago and the second one didn't suggest itself for about
two months. The people liked them so they've been com-
ing ever since. When I go back to work, I intend to
make some three reel Bronchos — am kind of planning the
idea now. I never write out my scenarios," he an-
nounced, "I just get an idea, think it out and produce
the scenes around it just whenever they occur to me.
"I don't know how the other producers do it,
whether they all use written copies of their story or not,
but that's my way; I get results and I like it. Another
thing; I never tell my cast the story of the scenario in
which they are acting. It may be the last scene or the mid-
dle scene they are playing ; they don't know. I figure that
their acting is not going to be affected by their not know-
ing, and it saves a lot of time. I don't think a man would
make love any differently if he knew that in the next
scene somebody was going to try to win his girl from
him, or that his mine was going to be blown up or his
horses stolen ; do you ?"
I admitted that I didn't but thought it would be nice
to know just the same, and Mr. Anderson said that's
the way Brinsley Shaw, his heavy man, feels about it.
He "gets sore as the deuce" during the production, not
knowing what's coming next, but when it's all finished he
declares it's an all-right way.
"Many producers depend on acting to make their
stories successful. I don't, I depend on producing. There
are three things I deem essential to the success of the
players as players; they are personality, mentality and
emotion, sympathy being the most effective emotion dis-
played.
"It takes a stronger personality to make a success in
pictures, than on the legitimate stage. That is all the
actor has to depend on to get his role 'over', his person-
ality.
"That Costello fellow and Arthur Johnson are, to
230
MOTOGRAPHY
Vol. IX, No. 7
my way of thinking, the best in their line. Brinsley
Shaw, I believe to be the best heavy man in pictures
and Mary Pickford puts more personality into her work
than anyone I ever saw in films. Miriam Nesbit and
Vivian Prescott are also favorites of mine.
"There is nobody in comedy, however, who can come
up to Costello in drama; I see a great opening for a
comedian in pictures."
And then I asked a question I wished afterward I
hadn't asked. It was about Mr. Anderson's bungalow,
where I had pictured him spending thoughtful evenings
beside a log fire, when the weather made log fires desir-
able, which fire I imagined being shared by a sleek,
lanky hound, or maybe a collie, stretched out beside the
Anderson morris-chair, as per art-store pictures recom-
mended for the home library, where a steam radiator
takes the place of a log fire and you'd find your lease
cancelled if a hound or a collie was ever known to invade
your flat.
Anyhow, the bungalow question was put, and was
promptly laughed to death. I explained the why of its
short and humble existence, and Mr. Anderson laughed
some more at the thought of his living away "from
everything," as he put it, and explained that he "likes
the white lights" too well.
So there he is this minute, I guess, "alone in a
crowd" as he says he likes to be, with the lights and
people giving him thought for new scenarios and the
people who flock to picture shows imagining their
"Broncho" hero sleeping the sleep of the just, on some
lone prairie with a nice soft saddle for a pillow and his
famous spotted horse standing around doing picket duty,
or some such pathetic scene.
I gathered my things up, excepting my veil-pin
which slid into the waste-paper basket — and was ready
to go, when Mr. Spoor came in and wanted to know if
Mr. Anderson wasn't going down-town pretty soon and
Mr. Anderson said he was, and invited me to make the
loop trip in the Spoor- Anderson auto.
But I had to see the somebody else I had originally
gone to the studio to see, so slipped away and left the
gentlemen to make their choice of the three wooley over-
coats, a derby, a cap and a crusher, to wear on their
windy trip through Evanston, and as they started, Mr.
Anderson lit a cigar.
Film Has Strong Climax
Whose life should be dearer to a father — that of his
wife or that of his child— is the question raised by the
film "For His Child's Sake," the Lubin release of April
8th. In the climax of this picture the wife is impris-
oned in a steel trap in a lonely forest, while the child
is locked in a closet of a burning cabin, and the husband
and father has to choose between saving the one or the
other. Shall it be the wife or the baby? The story leads
steadily up to the climax and doubtless the audience will
be all on edge when the decision is finally made.
The story is by Shannon Fife and was produced by
L. B. Carlton. The three leads in the production are
Jack Standing, Isabelle Lamon and Doc Travers.
Scene from Lubin's "Women of the Desert.'
April 5, 1913
MOTOGRAPHY
231
Current Educational Releases
Life in Somaliland (East Africa). — Eclipse. An
interesting glimpse into the life of Somaliland, showing
the village of Audigle, the native soldiers, the market
place, some thrilling war dances and many entrancing
scenes along the Nebi river.
The Crab and Lobster Industry. — Eclispse. An
instructive, as well as extremely interesting subject,
showing how the crabs and lobsters are captured in the
great nets, weighed, placed in large tanks to boil, and
after a final washing are ready for the market.
to the hive, fill the cells, feed the queen and young bees
and, in short, provide a living for the "family." The
drones are entirely useless as "they toil not, neither do
they spin," but, like "father," "sit around all day." When
food is getting scarce the "workers" turn on these useless
members and sting them to death and drag them out of
the hive.
The picture also shows enlarged views of the wings,
mouth, eyes, sting, etc.
Bees and Honey. — Edison. In this picture we see
these tireless little workers from many different angles.
We see the nectar gathered from the flowers, the method
of carrying it to the hives, storing it in the numberless
cells of the comb, sealing the cells, and finally how the fin-
ished product is removed from the comb and strained
into jars ready for the table to delight the palate of the
most fastidious epicure.
We see the methods of the Queen Bee in laying and
hatching the eggs — about three thousand per day.
In every colony or hive there are two classes of bees,
besides the "queen," "workers" and "drones." The work-
ers are just what is implied by the name. They gather the
honey and pollen from the flowers and blossoms, carry it
The Royal Visit to Ireland. — Kinemacolor. A
visit to Ireland early in July was included in Their Ma-
jesties' Coronation Tour of the British Isles. The royal
party included her majesty the Queen, the Prince of
Wales and Princess Mary. The principal events during
the tour was the reception at Kingstown and the royal
visits to Maynooth College and Leopardstown races.
Tobacco Culture in Cuba. — Kinemacolor. An
educational course in tobacco growing in the region
wherein grow the finest of the popular weeds.
The Story of the Orange. — Kinemacolor. Scenes
showing the budding of navel orange slips on to seedling
stock, the wrapping of seedling plants to protect them
from rabbits ; a cultivator in a grape fruit grove, f ertiliz-
"The Wardrobe Lady," April 8th release of Essanay.
232
MOTOGRAPHY
Vol. IX, No. 7
ing the soil of a grove, and views of a twenty-year-old
navel grove. Close views of fruit and blossoms on the
same branch, the picking of fruit from four-year-old
Valencias, and interesting scenes showing how the fruit
is sorted, graded, wrapped and packed.
Tobogganing in Switzerland. ■ — Kinemacolor.
This is an exhilarating picture of the sport of toboggan-
ing, as practiced on the mountain slopes in Switzerland.
The toboggans dash past the camera at high speed, being
kept to the track by the banks of snow which line the
course.
Crabs and Lobsters. — Kinemacolor. Crabs and
lobsters, their different characteristics, their natural mode
of living and the method of catching them.
The Dytiscus. — Eclair. The Dytiscus is a species
of the water beetle and they are abundant in stagnant
waters.
The Lizards. — Eclair. This picture shows many
species, from the common American lizard to the mon-
strous six-footed lizard known as the Geckos. Other
specimens which are shown are the poisonous Mexican
lizard, the European asp, which is commonly thought to
be a snake, but which is really a lizard without legs, and
specimens from Algeria, Australia, the Sahara and other
far distant parts of the world. One of the most unusal
features ever shown on the screen is contained in this
subject
lizard.
It is a most exciting battle between a rat and a
How Plaster is Obtained. — Pathe Play. Gypsum,
the substance from which the plaster is obtained, is dy-
namited from an immense quarry and then it is trans-
ported to the kilns. Three days are required for calci-
nation, after which it is more easily powdered. The grind-
ing process is an antique one, but interesting, a five-ton
mill stone being used. The powdered plaster passes
through a fine sieve and is then packed and shipped.
The Geysers of New Zealand. — Kinemacolor.
Photographs of New Zealand geysers in full action are
contained in this subject, including the famous geysers
of Wakerewa in South Island and Papakura in North
Island. The New Zealand geysers rival the famous
Hot-water Springs of Yellowstone Park. It is said that
a burn inflicted by the burning water will never heal.
President Wilson Reviewing the Troops. — Kin-
emacolor. The president and party are seen taking
their places in the presidential box. Then comes the
celebrated "Black Horse Troop" of the Culver Military
Academy, — escort of honor to Vice-President Marshall.
The West Point Cadets, the pets of every inaugural.
The U. S. Marine Band, with red-lined capes thrown
back and brass instruments glistening in the sun; the
Annapolis Midshipmen, in marching regalia, and the U.
S. Regulars,- — horse, foot and artillery, depicted in cor-
rect colors in every detail of kit and accoutrement.
Inauguration of President Wilson. — Kinema-
color. Beginning with the start of the President-elect
for the Capitol, escorted by the dashing Essex Troop of
New Jersey, Kinemacolor shows a splendid panorama
of the thronged Plaza in front of the U. S. Capitol, to-
gether with a vertical view of the historic building and
its brilliant decorations, — from the Goddess of Liberty
on top, down to the Inauguration stand at the base of
the East steps.
The full ceremony of taking the oath at the hands
of the Chief Justice of the U. S. Supreme Court in the
presence of the Congress and high officials of govern-
ment, is shown; together with President Wilson deliv-
ering his inaugural address, and being congratulated by
ex-President Taft. Afterwards the two are shown at
close view, riding together in the state carriage back to
the White House, — while Secretary of State William J.
Bryan, following in a taxicab, and other famous states-
men, are pictured true to life and color. "Old Glory"
is reproduced in all its gorgeous hues, gleaming in the
brilliant sunlight against the gray white walls of the
Capitol or under the clear blue sky.
Beautiful Butterflys. — K inemacolor. Rare
specimens from tropic climes are revolved before the
camera, and afterwards small sections of their wings are
highly magnified, showing the arrangement of the irri-
descent flakes of color. Some of these insects have the
imitative faculty, for instance, the Kalloma Imachus,
whose wings look exactly like dead leaves when viewed
from above, although they are beautifully colored on the
under side.
The Chateau of Chambord. — Kinemacolor. A
visit to the favorite residence of Francis I, King of
France. The camera follows the balcony around the
entire super-structure of the building, permitting close
observation of the most remarkable single instance of
the beauties of Renaissance architecture in existence.
Suffragette Parade in Washington. — Kinema-
color. At the opening Pennsylvania avenue is shown,
nearly blocked by a motley mob of sight-seers whom the
police try in vain to keep back, and through which the
advance guard of the Amazon army edges a way.
Native Carnival Procession, Ceylon. — Kinema-
color. This curious and interesting scene was witnessed
on the occasion of the election of a Cingalese leader to
an important position in local affairs. The film is of
special interest on account of the picture it gives of the
costumes and appearance of the Cingalese.
Life in India. — Eclair. Beautiful views are shown
of the harbor of Colombo on the rivers of Ceylon. The
divers who fill the little boats in the harbor are one of
the most itneresting sights in this far-away country. It
is in these rivers and harbors that some of the most
valuable pearls of the world are found.
The Cossacks of the Ural Country. — Eclair. Pic-
tures of those wonderful horsemen, the Cossacks, who
live in the southern part of Russia. These men form an
important division of the Russian army and their skill
as horsemen is known over the entire world. Some of
their wonderful and unusual tricks of horsemanship are
shown in this picture.
Seltagraph, New Film Company
Frederick R. Eldredge and Pliny W. Home, son of
"Smiling Bill' Home who owns Home's Big Show there,
have organized the Seltagraph Film Company at Los
Angeles. The title is taken from the initials of the fol-
lowing branches that will be covered by the new com-
pany : Scenic, Educational, Local, Topical and Adver-
April 5, 1913
MOTOGRAPHY
233
A DiamoncUS Potpourri
Interesting Items from Selig's
THE coming few weeks are to be big ones for exhi-
bitors featuring Selig releases, for two specials
are to be released within a comparatively short
period, in addition to the regular program of one reel
subjects.
On April 5th a two reel story entitled "A Change
in Administration," dealing with the political patronage
evil, is released, and should prove a most timely subject,
following as it does so closely upon the inauguration of
President Wilson. On April 14th another of the popular
Scene from
"A Wise Old Elephant." Copyrighted 1913, Selig Polyscope
Company.
Selig animal features will be seen. The title of this latest
thriller is "A Wise Old Elephant" and features "Tod-
dles," the famous Selig elephant, who enacts the leading
role. Strongly supporting "Toddles" in this feature are
Miss Kathlyn Williams and Hobart Bosworth. Miss
Williams, it will be remembered, played in the first animal
picture produced, while Mr.- Bosworth makes his debut
with the animals in this film. It is seldom that the public
has a chance to see these two popular Selig leads in the
same film and they doubtless will much appreciate this
opportunity.
The story of "A Change of Administration" briefly
tells how a new and dishonest clerk in the war depart-
ment steals some valuable state secrets and sells them
to a supposed spy of the Mexican government, only to
learn, when it is too late, that the "spy" is the daughter
of the Mexican ambassador and engaged to the young
man who formerly held the clerkship, now vested in the
dishonest employee of the government. Needless to say
the treachery of the new clerk is exposed, and the former
employee regains his position despite the fact that there
has been a change in administration.
The story is by Gilson Willets and was produced
under the direction of Hardee Kirkland, while the fol-
lowing cast capably enact the principal roles :
Warren, chief clerk of War Department Charles Clary
Mexican Ambassador Harry J. Lonsdale
Inez, daughter of Mexican Ambassador Adrienne Kroell
Lester, incoming chief clerk of War Department
William Stowell
John Marshall, Secretary of War LaFayette McKee
Wife of Mexican Ambassador Rose Evans
James Wiley, an old attendant of the War Department. . . .
T. J. Commerford
Several of the stage settings are worth special men-
tion, particularly the ones showing the Inaugural Ball.
In "A Wise Old Elephant" one finds the role of Cupid
being enacted by "Toddles" a huge pachyderm who acts
as protector, nursemaid, guardian, matchmaker, messen-
ger and peacemaker on a plantation in the Transvalle.
Kathlyn Williams enacts the role of "Zara," the daugh-
ter of Col. Haskins, a wealthy planter. Her father has
betrothed her to Lieutenant Driscoll, whom she detests,
while she has given her whole heart to Robert Harding,
a neighboring planter. Refusing to be civil to the Lieu-
tenant when he calls, Zara goes off to meet her sweet-
heart and is followed by Driscoll. When he attempts to
seize and kiss her "Toddles" drive him back with his
upraised trunk. When the father attempts to force Zara
into a hurried wedding she eludes him and sends a note
by Toddles to Harding, arranging to elope with him that
evening. The lovers reach a minister in time to be mar-
ried before Driscoll can interfere, but when they return
to ask forgiveness, Col. Haskins forbids them his home.
Later, both he and Driscoll take to drink and their
days are one long round of dissipation. The months pass
and a little son comes to Zara and Harding, but still the
father is obstinate and will not forgive his daughter for
thwarting his plans. Driscoll arranges to have the baby
kidnapped, but Toddles again interferes and seizing Dris-
coll in his trunk drags him far into the jungle. The wise
old elephant then, himself, kidnaps the baby and care-
fully carries it to Col. Haskins and begs, with almost
Scene from "A Wise Old Elephant." Copyrighted 1913, Selig Polyscope
Company.
human intelligence, that he effect a reconcilliation with
his daughter. The closing scenes of the film show Zara's
fright when she discovers the baby has disappeared and
then her joy and delight when Toddles returns not alone
with the baby, but also pulling her father gently along.
The acting of "Toddles," particularly in the second
reel of the film, is wonderful, and should give him a place
in the foremost rank of the "stars" of the silent drama.
The cast is as follows :
Zara Haskins Kathlvn Williams
234
MOTOGRAPHY
Vol. IX, No. 7
Lieut. Driscoll Hobart Bosworth
Robert Harding Herbert Rawlinson
Col. Haskins Al. Filson
In addition to the two feature productions the
usual single reel subjects will be released, among which
are found the following:
"Vengeance is Mine" on April 7th, "Robert Hale's
Ambition" on April 8th, "The Shotgun Man and the
Stage Driver" on April 9th, "Tommy's Atonement" and
"The Tombs of the Ming Emperors" on April 10th,
"With Love's Eyes" on April 11th.
orate productions and roles well suited to her ability.
For the present, at least, it is understood she will be con-
nected with the Chicago studio company.
May Buckley Joins Selig Forces
Announcement is made that Miss May Buckley, one
of the foremost leading women of the modern stage
and recently the star of "The Unwritten Law" company
on the legitimate stage, has been engaged to play leads
in Selig photoplays. Miss Buckley is well known to
picture fans all over the country through her splendid
work in Lubin dramas and she will be warmly welcomed
again upon the screen. On the legitimate stage Miss
Buckley played under the management of such men as
David Belasco, Charles Frohman, the Lieblers and Henry
W. Savage, supporting such stars as John Drew, E. M.
Holland, Edwin Arden, Cecil de Mille and James O'Neill,
and so brings a vast store of experience to her picture
work. The Selig people, are authority for the statement
that Miss Buckley will shortly appear in a series of elab-
S. S. Hutchinson Bound for Honolulu
S. S. Hutchinson, president of the American Film
Manufacturing Company, accompanied by R. D. Arm-
strong, one of the American's best camera men, has just
produced 2,000 feet of remarkable negatives of the
rebuilt San Francisco.
There are panoramic views of the city from Twin
Peaks and the Fairmont hotel that are most unusual.
The Sunday crowds in Golden Gate Park and at the
Cliff House are lively, and such bits as feeding the sea
gulls and life at the fishing wharf are most unique. Life
in the business district was well done and the photogra-
phy is unusually clear.
Mr. Hutchinson, with Mrs. Hutchinson and R. D.
Armstrong, are now enroute for Honolulu where they
will make some further scenics of life in the Islands.
The elaborate plan devised by Thomas A. Edison to
conduct the education of children on a motion-picture
basis, is to be tried out in several of the public schools
of Wichita, Kan. Arrangements to this end are already
under way and in two new school buildings, now being
planned, provision is made for auditoriums equipped
with motion-picture machines.
Cines "The Queen of Spades," copyrighted 1913, by George Kleine.
April 5, 1913
MOTOGRAPHY
235
Motography's Gallery of Picture Players
JOHN BUNNY, while not responsible for the "bunny
hug," was the originator of the "Bunny smile," the
"Bunny laugh" and the numberless funny-Bunny poses
and postures, each little trick of which gets a laugh all -its
own. Mirth and Bun-
ny go hand in hand
and behind them trails
the motion - picture
public, quite content
that the big laughs of
life should come
to them through their
fat Bunny friend.
They are interested,
very; but that same
fat friend is almost
more interested, for
his big object in life
is to keep people
laughing, once he gets
them started, and to
this end and aim he
does all things and
does them well. His
work, to him, is ser-
ious work ; for each
Bunny smile there
John Bunny. must be a reason and
there must be good team work to make all the reasons
apparent. That is why Bunny likes to play with Flora
Finch, she works in harmony with him and, besides, Vita-
graph fans like the Bunny-Finch combination.
A DELE DE GARDE'S twelve years of life have
brought her to a point of achievement far beyond
that of most little girls of that age. For Miss Adele is
an actress with the Vitagraph company and is more than
just a good one. She's
a very good one. In
fact, she's one of the
best child players in
the picture industry.
From nine until three-
thirty o'clock on five
days of the week,
however, Miss Adele
is just a school-girl ;
she skips the rope at
recess time, hurries
home at noon, eats
her lunch, "yoo-hoos"
for her chum on her
way back and is at
her desk again before
the second bell. But
at three-thirty, when
Adele and the rest of
the sixth-graders have
chorused "Good-
night, teacher," and
Adele de Garde. marched away with
left-right precision
and broken rank just without the door, Miss Adele be-
comes a child apart from the others. But when she enters
into the work awaiting her, the result is that the Adele
de Garde pictures are always good.
MARY CHARLESON, of the western Vitagraph
company, thinks she ought to be tall and sinewy and
graceful. In her dreams she is ; other times she is just
Mary Charleson, and that means being tiny and athletic,
and piquant and
charming, and more
graceful than any tall
girl Mary knows. De-
cidedly, Mary should
not worry about not
being tall. The stretch-
ing, walking, running,
climbing, swimming,
riding, rowing and
bowling exercises she.
takes, while they do
not add to her height,
do add to her ability
and the truth of the
statement, that "Mary
Charleson can do
'most anything." She
makes a fascinating
senorita, a typical
Indian maid, an ideal
western "gal," a popu-
lar society girl, and it
is as these Characters Mary Charleson.
she is best known to screen admirers. Besides that, she
plays boy roles and becomes a rags-and-tatters urchin
or a perfectly respectable young man, with equal ease.
The people like Mary just as she is.
Y^ '
■k'
1
&•«. jtiff'Ti
fm
Ik
^^^^v^ jl
«k
"^Ph
WILLIAM J. SHEA is rounding out his fifth year
with the Vitagraph Company of America, the rec-
ord of years to which he adds this last five being one of
accomplishment in the histrionic art as practiced on the
American stage. Mr.
Shea's talent for act-
ing is inherent, his
mother having been
Jane Tate, a promi-
nent actress in the
Edinborough theater,
Scotland. It was in
Dumfries, Scotland,
that Mr. Shea was
born but America
called to the Sheas
and they came when
William J. was a
mere tyke. In his
younger years Wil-
liam decided to be a
civil engineer, the oc-
cupation of his father,
who was in the Ma-
rine Corps of the
British army, but
when be finished
school he declared the
stage to be his vocation. At the age of eighteen he was a
member of the stock company in Albany, N. Y., and later
played with Edwin Booth, Joseph Jefferson, Lawrence
Barrett, Clara Morris, Mrs. Fiske, Maggie Mitchell and
others, Shakespearean repertoire and then the pictures.
236
MOTOGRAPHY
Vol. IX, No. 7
Edmonton Theater, Edmonton, Alberta. Front Designed by Decorators' Supply Co.
That Photoplayers' Pennant
Their organization having been completed, their
motto originated, their club anthem composed and their
ball given, there remained but one more detail to make the
Photoplayers' Club of Los Angeles a real honest-to-
goodness club — the selection of a pennant. And now
that too is a reality.
The pennant which arrived at the office of Motog-
raphy this week, due to the kindness of a western
friend, is twenty-nine and one-half inches long, propor-
tionately wide, and bright red in color. It bears on the
red background a scene showing several Indians pur-
suing "the helpless heroine" down a canyon, while at
the left of the scene we behold a camera man grinding
calmly away as he films the scene. In white letters,
some two inches in height, one reads the caption "The
Photoplayers." Taken as a whole the pennant is sure
to attract much attention and will certainly serve to
identify the Los Angeles club members wherever they
display it.
A. W. Thomas, formerly associate editor of the
Photoplay Magazine and in charge of the scenario de-
partment, is now head of the Photoplay Clearing House,
established by the Motion Picture Story Magazine of
Brooklyn, New York.
April 5, 1913
MOTOGRAPHY
237
On the Outside Looking In
By the Goat Man
WHO let the jinx out of the box this last time?
That's the question that stares me in the face
when I have my cat naps every morning. When
I was last in Manhattan, I told you that Pat Powers
was the busiest man alive with the biggest film stunt
that had ever been pried loose. While I was running
around trying to grasp a portion of the Universal scheme,
I took some observations that found expression in these
pages. I went on record, in my own way, of saying
some complimentary things for the Universal folks. I
could see with one eye poulticed shut, that there were
tremendous economic opportunities to turn out the whole
program in a single plant — or possibly two plants, one
for interior and one for outdoor pictures. At that time
P. A. Powers, as vice-president of the Universal, was
filling five or six offices and doing the work of as many
men. Carl Laemmle was in Europe; W. H. Swanson
and David Horsley were in the vicinity of Los Angeles
and R. H. Cochrane was still silent. I have had my say
about silent folks and I haven't space to repeat. Watter-
son R. Rothacker seems to know all about Cochrane and
he tells me that Cochrane has the shrinking violet shrunk
to a frazzle ; that his middle name is modesty — the initial
H being silent as in porridge. At any rate, Cochrane is
now openly identified with the Universal, which fact is
becoming evident in a quiet and unassuming, though
positive way.
But the jinx got out, just the same, as you will
please note by referring to the advertising pages in this
issue. They show, with a bang, that P. A. Powers has
his Irish up and that the Universal crowd is slightly
fussed as of this date. It is with fear and trembling
that I venture into this maelstrom. I'm still outside, as
you may have discovered long since, and outsiders can
only surmise. As guessing offers me the greatest ex-
cuse for continuing as the Goat of the film industry, I'll
take a shot at the present dilemma.
* * *
There is to be a meeting in New York, at a time
when these feeble sputterings will be tied up in Uncle
Sam's mail bags. Independent exchange men from all
points in the United States will convene at the seat of
the present disturbance and settle it. I have watched
the game too long to be mistaken. When the exchange-
men travel long distances to confer in the big events, all
the rumpus subsides. In times past, it has taken more
than one meeting, but in this particular case, I'm sure
that Thursday, March 27 will end the matter. We are
all agreed that there are too few films that incorporate
'In Another's Nest," April 17. Copyrighted 1913, American Film Mfct. Co.
238
MOTOGRAPHY
Vol. IX, No. 7
the necessary qualifications to help the exhibitor. There
must be some elimination or some improvement, or both.
It is this puzzle which is annoying the exchangemen and
they are going to have a hand in the adjustment. All
the laudation of individual brands will go by the board.
The merit films will be accepted with wide-open arms.
* * *
I am digressing. The jinx is on the rampage and
I am having trouble in locating the fellow who let it out.
Director Oscar Eagle in his office, Selig's Chicago studio.
I believe, that Patrick Powers conceived the Universal
and the plan to make a better program for independent
exhibitors. He had little trouble in convincing others
that the plan offered salvation for a certain coterie of
makers. The Universal was formed. It made progress
under a staggering handicap. The men who steered the
concern should have full credit. No other commercial
proposition would weather such a storm. No greater
liability account ever faced a smaller physical assets
figure and survived. Men behind the guns were display-
ing no alarm. Creditors were legion, but they were
buffeted about and soft-soaped and coddled into conces-
sions of more time. Time was the only factor that
threatened. Eventually the thing bore fruit. Those who
had been hungry through the long siege were eager to
be fed. They wanted theirs. They wanted to pyramid
when the time wasn't right. The boys that had been
away from town came rushing back. Some who had
fought the hard fight were sent away. Aubrey Kennedy
changed jobs with William Swanson; Laemmle's health
permitted his return and he drew a horseshoe of roses — ■
some of Engle's dope, no doubt.
* * *
It was here that the jinx got loose. The hard work
had borne fruit. The band comprising Laemmle,
Powers, Swanson, Horsley, Engle, Dintenfass and their
right-hand aids, had full reason to congratulate them-
selves and receive the congratulations of film men gen-
erally. They had fought a hard fight. The jinx got loose
because some of these men would not bury the personal
equation. I won't say who they were, but I could put
my finger on them if they were handy. I only know
that Charles Henkel started the trouble and that Powers
pulled out and started more trouble. It didn't take long
to adjust the Henkel matter and settle with Powers on
the first count. The Universal had been abused, no
doubt, but it had buoyed along till it wasn't much trouble
to scare up six figures on a certified check.
Hardly anybody knows William Henry Swanson,
but everybody knows Bill Swanson. When you call
him William, you are apt to think of Swanson's Swamp
Root, or something like that. So when Bill came back
from the coast, he started after the jinx. Bill has been
numbered with the lost, strayed or stolen on many previ-
ous film occasions. He is the guy who put the ba in
back. He's the '"dead one" who survives without the
pulmotor. Bill is the high-chested, deluxe shock-absorber
for Carl Laemmle's luck. Laemmle and Cochrane and
Swanson and Horsley and Engle seem to be the throne
men of the present Universal. I am trying to hold
them up for features for future release. They are in-
teresting in more ways than one, but are particularly to
be commended for dragging the Universal brands from
comparative obscurity to the spot-light. I am regretting
that Motography issues but once in two weeks. If I
could defer writing till after March 27th, there would
be much more to tell. It will be exciting to see the
winner catch and choke the jinx on that memorable
date. # * *
So much for the current controversy. There are
doings in other circles. A recent attempt at a meeting
of the General Film Company was postponed, because
Mr. Berst was in Europe; Mr. Dyer in Florida; Mr.
Long in Utah and Mr. Selig in California. In the
meantime, the Kinetograph Company is starting more
trouble in New Orleans. My hunch that Kennedy and
Waters are doing business exclusively for Kennedy and
Waters remains unchanged. The Kinetograph Company
is out for what it can get and proposes to get all it can.
While it hasn't proven a serious menace to General thus
far, there is no telling where it will end. It will take
a whale of a lot of money to rival General Film Com-
pany, or arrive at a point where the real competition will
show on ledgers. That the General realizes this may be
taken for granted, because the members of that concern
Romaine Fielding, Lubin director and leading man.
dilly-dally in remote places when regular meetings are
called. If the licensed exhibitors are wise, and nobody
dares say they're not, they will stick where they are until
something infinitely better is offered.
* * *
With apologies to the several makers of projecting
machines, not long ago I heard one man say to another,
"Let's go see the jumping pictures." Will somebody please
start a Jumping Film Company?
Apiiil 5, 1913
MOTOGRAPHY
239
'Robert Hale's Ambition," April 8. Copyrighted 1913, Selig Polyscope Co.
Ramo actually means something, but I've forgotten.
It is Mohammedan for — oh, you'll have to ask C. Lang
Cobb. * # *
There are sixteen men and ten women shown and
named on a sheet sent out by the Biograph — their actors.
Think of it ! After four years of precendent, the Bio-
graph talent are to realize that the public is watching
them as individuals instead of mere hirelings.
* * *
Offering a single film on the open market is no
sign that we have an open market.
* * *
Joe Hopp and his bunch of braves are in New
York demanding quality films at a quality price. Joe
says he's sick of the quantity stuff and he talks like a run-
away horse when you mention the subject.
* * *
Honest, now — if you owned Quo Vadis, what would
you do with it?
* * *
Simone signs himself general manager of America's
oldest independent makers of motion pictures, which isn't
bad for a beginning.
Lead me to the exhibitor who will show the "Star
of Bethlehem," for example, and follow it with a yellow
boy singing "Everybody Snap Your Fingers With Me."
That's usually the kind of fellow who makes the loud
noise at the booking window and yells : "Rotten !"
* * *
I have been receiving an abundance of literature
asking me to pick out a temporary lodging place in the
New Grand Central Palace, New York, for a few days
in the early part of July. I am told in big red letters
that it is to be the First Exposition of the motion picture
art or something to that general effect. Subordinated in
this literature, is reference, sometimes, that the third
annual convention of the Motion Picture Exhibitors
League of America will be held in conjunction with the
First Exposition, etc. You get me, don't you? In plain
talk, the New York crowd is horning the League and
as the only member of the honorary list I protest. The
attention of M. A. Neff and his corps of efficient officers
is thus publicly called to a misappropriation of the
League's prerogative. The League's Third Annual
Convention should take precedence in all the literature.
It should be the top line — the screamer. None of us
crank turners care a tinker's darn for that First exposi-
tion bunk, but we do have something to say about the
League's affairs.
* * *
One of the penalties of being an outsider is stay-
ing away from the pictures. Now, I dearly love the pic-
ture show, but to comply with the ethics of remaining a
layman, I must pass up the entertainments. But even at
that, I take a sneak, now and then, and look 'em over.
With this casual violation of rules, I have been con-
cluding for the several months just past, that were I a
manufacturer of films, I'd stick to the regular, commer-
cial thousand-foot reel. After all, it is the thing exhib-
itors rely upon. I have been with them on many occa-
sions when they were having a booking look and I al-
240
MOTOGRAPHY
Vol. IX, No. 7
ways see them grab off the good full reels. Danger lies
in the split reel. One end of it may meet with full ap-
proval, while the other end goes dead. The exhibitor
doesn't like to carry that bad portion. The thousand-
foot reel is the bread and butter of the business. Fea-
tures are disturbers of the legitimate five-and-ten-cent
thaters — unless they are thousand-foot features without
that dignified appelation. I don't get this tendency to
make two and three-thousand foot "masterpieces" to be
played at a bonus. If I find the answer, I'll be quite
sure to print it. * # *
Note to the editor: If you can crowd this item
into the last form, tell 'em that the Kleine show, Wednes-
Design originated by Essanay Film Mfct. Co. to illustrate "Alkali" Ike's
Home Coming.
day afternoon was holding 'em out and the weather
was bad. Somebody was throwing beans ; Dick Boehler
played the piano; Abe Balaban sang; somebody discov-
ered "September Morn" in a Biograph scene ; Sid Smith
spoke a piece and a lot of the old wheel horses were
there including Big Bill Sweeney and the new chairman
of the executive committee of Chicago's M. P. League,
let me see (business of deep thought), oh, yes, Chris
Whelan.
all the noise, and wireless, being a public curiosity, natur-
ally attracted the attention of all who passed by.
The people would devote a little time to the appa-
ratus, and then the attractive posters of a sinking ship
sending the "S. O. S." call, or the like, would have their
eyes. And finally many were investing a nickel to see
the show.
Solax Has Comedy Release
In "The Bachelor's Housekeeper" the Solax com-
pany has a sparkling comedy for its release of April 2.
The story of the film follows : Three young bachelors,
dissatisfied with club life, decide to take an apartment
and keep house. They find a suitable place and after
a tew days' trial alone, they find the services of an ex-
perienced housekeeper absolutely necessary. They in-
sert an advertisement in a daily paper. It is answered
by Ethel Jennings, a young, attractive girl of twenty-two,
whose family fortune is on the decline. Against the op-
position of her family she applies in person for the posi-
tion. The three young men are immediately attracted
to. her and engage her at a much larger salary than the
position is worth. She begins her duties at once and
finds herself surrounded by three ardent admirers. They
even complicate her duties by insisting on helping her,
showering her with gifts and vie with one another for
first place in her affections. They neglect their business,
come home at odd hours, and forget everything in their
mad race for the heart and hand of the attractive little
housekeeper. At the end of one short month each one
determines to learn his fate. In turn each proposes to
her and two are shocked and disconsolate over her ac-
ceptance of the young lawyer, Harry. With his arm
about her waist he takes her out of the apartment and to
her home, to await the wedding day. The two remain-
ing bachelors, disappointed and thoroughly unhappy over
the outcome, prepare a second "Want Ad" for the paper
which reads: "Wanted- — A housekeeper, must be short,
fat and over 65. Address 127 this office."
New Publicity Stunt
One motion-picture manager has put wireless teleg-
raphy to use as a moving-picture advertising medium,
according to the last issue of Popular Electricity. He
had a wireless amateur having a one kilowatt trans-
former display his apparatus in front of the picture par-
lor. A small antenna was suspended in the lobby with
wires leading from it to both the sending and receiving
apparatus. The sending apparatus was mounted on top
of the ticket booth, and the receiving apparatus on a
table beside the booth.
On the night of the great "wireless show" the ama-
teur operator took a seat at the table, with the receiving
headgear on, and operated a telegraph key, which con-
trolled the noisy spark.
The crowd passing by on either side of the street
was attracted by the noise of the flamy, crashing spark.
The spark was mounted in a very conspicuous place on
top of the ticket booth, in full view of all, and could be
clearly seen from the opposite side of the street.
A sign just above the operator's head, "Wireless
Telegraph Station," readily explained the meaning of
Film May Save His Job
The Gaumont Company will be responsible, possibly,
for retaining the present chief of police in office in Wash-
ington. The chief has been under investigation charged
with having permitted the suffragettes, who paraded just
prior to the inauguration, to be mobbed by the thou-
sands of people who clogged Pennsylvania avenue. When
the district investigating committee undertook to sift
the charges, they were taken to a nearby theater and
shown the Gaumont film depicting "The Hike to Wash-
ington." These pictures showed a congested condition
of the street, but indicated that the police chief had
done his full duty.
A Toothache Film
The film "Toothache" is being shown to a large
number of interested spectators throughout the states.
While the film teaches the moral "Go thou to the dentist,
thou needful one," it does it in a way truly entertaining,
the moral being sugar-coated with an interesting story
of the Jones family. Before starting on its travels, the
film was shown to the members of the Chicago Dental
Society in the projection room of the Kleine Optical
Company, during the society's recent convention.
"Pa, what are fortunes of war?"
"The moving-picture rights, my boy." — Detroit Free
Press.
April 5, 1913
MOTOGRAPHY
241
The Motion Picture Exhibitors* League
of American
General Headquarters
703 Euclid Ave., Cleveland, Ohio
OFFICERS OP NATIONAL ASSOCIATION.
President, M. A. Neff, i.ock Box 15, Cincinnati, 0.; Secretary. C. M. Chrlstenson. 703 Euclid Ave., Cleveland, 0.; Treasurer, J. J. Rieder, Jackson. Mich.: Vice-Presidents,
W. A. Pettis, Conneaut, O. ; Wm. J. Sweeney, Chicago. 111.; Ferd J. Herrington, Pittsburgh. Pa.; B. L. Converse, Owassa, Mich.; F. J. Bembusch, ShelbyviUe, Ind. ; E. W.
Waugh, Huntington, W. Va. ; Orene Parker, Covington, Ky. ; Geo. H. Wiley. Kansas City. Mo. ; Chas. Rothschild, San Francisco, Cal. ; Sidney Asher, New York, N. T. ; Fulton
Brylawskl, Washington, D. C. ; L. F. Elumenthal, Jersey City, N. J. ; H. C. Farley, Montgomery, Ala. ; A. D. Saenger, Shreveport, La. ; Thos. A. Brown, Iowa City, la. ;
W. H. Wasserman, Nashville, Tenn. ; T. P. Finnegan, Dallas, Tex.; Carl Gregg, Tulsa, Okla. ; Paul LeMarquard, Winnipeg, Can.: E. F. Tarbell, Tampa, Fla. ; Geo. Osbom,
St. Paul, Minn. ; C. H. Phillips, Milwaukee, Wis. ; Geo. F. Washburn, Boston, Mass. ; Glenn D. Hurst, Reno. Nev. ; E. Wayne Martin. Hutchinson. Kan. ; J. E. Schlank,
Omaha, Neb. ; Julius Meyers, Charleston. S. C. : S. A. Arnold. Mena. Ark. ; Hiram Abrams. Portland, Me. ; O. T. Curtis, Pueblo, Colo. ; Fred Abbley, Gulfport, Miss. ;
P. S. McMahon. New Britain. Conn. ; S. T. Merchant. Providence, R. I. ; A. B. Campbell. Sedro Wooley, Wash.
Conventions Well Attended
Everything pointed on March 25th to the largest
kind of an attendance at the New Orleans convention
of the motion picture exhibitors' league, which opened
on the following day. For several weeks previous the
office of the national president at Cincinnati had been
flooded with letters from exhibitors scattered throughout
Louisiana and Mississippi, all seeking full information
regarding the gathering at New Orleans, on the 26th,
and at Gulfport on the 28th of March, and expressing
their hope to be present at one or the other of the con-
ventions. The fact that the president attends both conven-
tions doubtless led to more interest and a larger attend-
ance than might otherwise have been possible.
New Offices for Chicago Local
Chicago local of the Motion Picture Exhibitors
League of America which has been rather inactive since
the national convention, held last summer, shows new
signs of life and activity. At a meeting held recently in
Schiller Hall, Garrick Theater building, attended by
some one hundred and twenty-five owners of motion
picture shows, many important matters were discussed,
several new committees appointed and vacancies caused
by removals, resignations, etc., were filled. Suitable
offices in the Masonic Temple have been obtained and
decorators and painters are now busy preparing the
new headquarters for early occupancy. The present
officers of the organization are Julius Alcock, Edna
Scene taken at Selig studio during recent visit of members of the Showmen's League of America. The president of the League, Col. W. F.
Cody, is seen seated in the palatial new clubrooms which the League expects to erect in Chicago, while about him are grouped officers of the
organization.
242
MOTOGRAPHY
Vol. IX, No. 7
Theater, president; C. A. Anderson, Anderson Theater,
vice-president; William J. Sweeny, Standard Theater,
treasurer; Sidney J. Smith, Kedzie Annex, secretary;
and C. C. Whelan, Washington Theater, chairman execu-
tive committee. Many reforms, changes and improve-
ments for the betterment of the motion picture industry
are planned, among which will be the demand of amend-
ments to city ordinances requiring fireproof "re-winds"
and film boxes to be approved by the city electrician.
Annual Passes Were Issued
A meeting of Cincinnati Local No. 2 was held in
President Neff's office in the Mercantile Library build-
ing, Cincinnati, on March 18. Matters of importance
were discussed and business transacted. New passes
have been issued to about two hundred city officials and
friends of the motion picture exhibitors of Cincinnati.
Each pass is issued to the individual named and extends
the privilege for the holder of the pass to bring one with
him. The pass is good at fifty-five picture theaters in
Cincinnati ; those who are fortunate enough to receive
one feel very much complimented, as the pass is con-
sidered of great value. In other words, a pass signed
by the president and secretary of Local No. 2 is accepted
by every member of the league. Officers present at the
meeting were President A. C. Dingelstedt, First Vice-
President G. W. Hill, Second Vice-President Charles
Sternberger, Secretary H. Heimerdinger, Treasurer Otto
Luedeking. Fred A. Botts was also present.
Neff Busy 'With Lawmakers
On Saturday, March 15, W. R. Wilson, state treas-
urer of Ohio, telephoned to President Neff that a bill
had been introduced by John F. Kramer of Mansfield,
Ohio, to close all picture shows on Sunday. This bill
is known as House Bill No. 591. Mr. Neff arrived in
Columbus at 10:30 Sunday morning and immediately
communicated with the legislative committee. There is
said to be no chance of House Bill No. 591 passing;
the. wheels of justice have been placed in motion and the
people will be heard from. It is just such bills as these
that continually annoy the motion picture exhibitors and
agitate and exasperate the public.
League Notes
The recently organized Arkansas branch of the Mo-
tion Picture Exhibitors' League of America, which had
its organization at Little Rock, has the following officers
on its roster :
S. A. Arnold of Mena, president; O. A. Bondy,
Little Rock; H. S. White, England; Hoyt Kirkpatrick,
Fort Smith, vice-presidents; D. A. Hutchinson, Lonoke,
secretary ; E. H. Butler, Russellville, treasurer ; J. W.
Lippincott, Little Rock; E. H. Billingsley, Helena; W. G.
Mitchell, Altus; C. C. Williams, Stuttgart, and F. E.
Wright, Gurdon, members of Board of Directors.
Arrangements are being made by the members of the
Moving Picture Operators' Organization at Baltimore,
Md., for a smoker. A definite date for the event has
not yet been selected, but President G. Kingston Howard
has appointed a special committee to make preparations.
Many exnibitors will probably be invited from Wash-
ington, and it looks at present as though it will develop
into an intercity moving-picture gathering. An effort
is to be made to have the smoker attended by about 500
persons interested in motophotography. Several speak-
ers will be preset to talk on phases of the business that
are now arousing interest in all parts of the country.
The Oklahoma State branch of the Motion Picture
League of America had its recent organization at Okla-
homa City. The officers of the branch are: National
vice-president, Carl Gregg, Tulsa ; president, R. W. Wirt,
Enid; first vice-president, J. Stienson, McAlester; sec-
ond vice-president, O. McLean ; secretary, R. De Bueler,
Oklahoma City; treasurer, William Smith, Tulsa; direct-
ors, W. D. Brophy, S. H. Jones, H. T. Gardiner, Leroy
Bickle and A. R. Zimmer. G. H. Wiley, of Kansas
City, national deputy organizer, aided in the organiza-
tion.
An educational campaign, including a series of in-
structive articles in the newspapers, was determined on
at a recent meeting of the Birmingham Motion Picture
League. The educational campaign will be conducted
with the idea of inducing the people to accept Sunday
moving pictures. It was suggested by one of the mem-
bers that if Sunday pictures were allowed that pictures
conforming to the Sunday school lesson of that day would
be used, as many of these are constantly being put out
by the film houses.
Florida State Branch No. 23 of the Motion Picture
Exhibitors' League of America met in convention at
Tampa, Florida, on March 11, 1913, and perfected a
permanent organization, by electing the following of-
ficers : E. O. Griffith, president ; J. S. Matthews, first
vice-president; A. H. Labelle. secretary; F. E. Tarbell,
national vice-president; R. E. Baum, chairman, board
of directors.
Western Studio Nears Completion
The grading and foundation work having been com-
pleted, the American's property at Santa Barbara is be-
ginning to assume shape with the erection of the first big
building of the new studio. This is the administration
building and is surrounded by two giant Mission towers.
Over 8,000 cubic yards of earth were removed in the ac-
tual leveling of the property, a figure that will give some
conception of the size of the new structure.
Scene from Gaumont's, "The Imposter.
April 5, 1913
MOTOGRAPHY
243
"Broncho Billy's Reason." Essanay's Release of April 12th.
Photoplays from Essanay's
Some Coming Releases
THE banner month of the new year for the Essanay
Film Manufacturing Company seems to be April,
with several comedies, some high class dramas and
a number of western features with G. M. Anderson and
Augustus Carney. With the first sign of spring, while
the poets are raving about the robin and the lover, the
Essanay Company is turning out romances written
probably by the "used-to-be" poet — it's much more
profitable.
The first comedy-romance booked for the month of
April is "The Will-Be Weds," which is certainly apropos.
Following is a synopsis : If you ever tried to elope you
will understand what a peculiarly hard thing it is to do.
Jack Collins tried in every way possible to elude his
much-heated and over-excited prospective father-in-law,
to marry Helen, his fiancee. William Ball and his wife,
close friends of the young couple, try to assist them in
every way possible. They engage a taxi-cab, take Jack
and Helen to the minister's home to be married. They
are informed when they arrive that the minister is not
at home. Helen's father, suspicious of what is about to
happen, follows the eloping couple in an automobile
and arrives at the minister's home, just as the supposed
minister is saying the last words of the ceremony, for
Ball, realizing that Helen's father would probably follow
them, bribes the butler in the minister's home to don the
minister's garb, and pretend to have performed the cer-
emony. Helen's father enters the living room of the min-
ister's home, where, upon seeing the young couple in
each other's arms, with the supposed minister standing
by, takes matters as they are, and gives them his blessing.
The party returns home, and when Helen's father leaves
the room, they telephone for a minister. The minister
arrives and Helen's father informs him that he is too
late, that the young couple has been married. Jack sug-
gests taking Helen on a honeymoon trip to St. Louis
and Helen's father, receieving a telegram requesting him
to come to St. Louis immediately on business, informs
the young couple that they are to travel with him as his
guests. A taxi-cab is called. On the way to the railroad
station the party are arrested for speeding. Helen's
father is allowed to go for bail with the bailiff. During
his absence Helen and Jack implore the judge to marry
them, which he does. When Helen's father returns, the
young couple embrace him lovingly and tell him that
they are ready to continue their journey. This produc-
tion is booked for release Thursday, April 3.
A strong dramatic piece is "The Price of Gold,"
booked for release Wednesday, April 2, whose plot runs
as follows : Lois Roberts had given love and gold con-
244
MOTOGRAPHY
Vol. IX, No. 7
"A Wolf Among Lambs."
siderable thought. She refused to marry a poor but
honest man in order to wed another of a different cal-
iber, but with plenty of gold. Lois had lived almost all
of her young life in want, so she chose to live in lux-
ury and splendor with a man she could not love. Her
sweetheart of old gave her up, unwillingly, and went
back to his work with a broken heart. The empty life
that Lois lead, her late hours at the theaters and cab-
arets, finally drove her, tired, disgusted and downhearted,
to the country where she visited her sister, married to a
man in moderate circumstances, blessed with two loving
children, where she entered Heaven, only to be cast out
again into her living purgatory. Miss Dorothy Phillips
plays the part of Lois and Frank Dayton, as her husband,
gives the part an air of supremacy. E. H. Calvert, as
Lois' former sweetheart, demonstrates his acting ability.
The stage settings of "A Wolf Among Lambs," re-
leased Friday, April 4, are good. According to the
story Don Fernando, smitten with Giulia, a Spanish
dancer, persuades the young and innocent girl to run
away with him. Valeska, the sister, finds a note on the
table the following morning, telling her that Giulia has
gone, never to return. Months later, however, Giulia
returns to her home, having been deserted by her un-
faithful lover and enters the convent. The sister meets
Don Fernando some time later and he tries to influence
the girl to marry him. Don Fernando's life is saved by
Sister Valencia who intereferes just as Valeska is about
to stab the villain. Valeska is thrown into a dungeon by
Fernando but the pretty Spanish girl does not stay in
her prison long, for Sister Valencia, discovering Va-
leska's whereabouts, gets her out in a clever way. Va-
leska then enters the convent, where her sister is over-
joyed at the happy meeting — and ending. Don Fernando
repents of his wrong doing and prays on his knees, at
the door of the holy convent, for forgiveness. Dolores
Cassinelli plays Giulia in a true to life manner. Ruth
Stonehouse as Valeska is excellent, while Allen Holuber
plays his role well.
"Broncho Billy's Way," released Saturday, April 5,
is another of the famous Broncho Billy features. Every
minute of it is full of action. Some one has said that
when a woman's heart turns to stone then is the time to
watch her, for the possibilities are that you will lose her.
This was Broncho Billy's experience anyhow. Although
he had been warned that a Mexican was trying to steal
his wife away from him, he trusted her implicitly. The
time arrived, however, when the Mexican tried to elope
with Broncho's wife. Unexpectedly Broncho Billy re-
turned to his home and discovered that the Mexican was
hiding in the clothes cioset. To give him a scare Broncho
Billy fired. a few shots into the closet, above the head of
the villain and then, though it hurt beyond expression, or-
dered the Mexican on his horse, placed the weeping
form of his wife beside him, and ordered them away,
never to return again. G. M. Anderson as Broncho
Billy puts a punch into the part and Evelyn Selbie, as
the wife, is clever. Brinsley Shaw, as the Mexican,
gives a splendid performance.
Announcement is made by the Essanay Film Man-
ufacturing Company that it is going to try and
give the hungry exhibitors and greedy public one "Alkali
Ike" picture every week. Augustus Carney returned to
Niles, Cal., to do nothing else but turn his comedy into
these western features. The first picture in the "Alkali
Ike" series to be produced following Mr. Carney's re-
turn to the West is "Alkali Ike's Homecoming." The
date will be announced shortly.
American Films Land Rush
In "The Homestead Race" the American release of
April 10, a vivid picture is given of the rush to a land
agent's office. The story in brief follows :
Ben Halliday came to the Big N ranch for rest. He
soon fell in love with charming Carrie Wilkins, daughter
of the ranch owner. She showed him a letter from Jim
Wells, the distant land agent, telling her that she could
obtain an excellent homestead if she hurried on at once
and filed on it.
Ralph Cunningham overheard the conversation and,
later, a gust of wind swept the letter out the open window
to him. He picked it up, saw that he had sufficient
money to file himself and rushed for the barn to get a
horse. Meanwhile, the letter was missed and the empty
stable gave a reason.
And then Ben Halliday took a hand. He found
another horse and a mighty chase ensued. Over hill and
dale the pair galloped, until, overtaken, Ralph got off his
horse, held Ben at the point of his gun, took Ben's horse
and made away. But all luck had not deserted the ap-
parent loser. Stopping a passing automobile, he climbed
in and again overtook his enemy. Both arrived at prac-
tically the same time at Wells' office. Ben, a fraction of
an instant ahead, leaped in and bolted the door. After
the necessary papers had been made out, Wells gave him
his gun. Ben crept around to the front of the house and
got the drop on Ralph, who stood, revolver in hand, con-
fronting the door.
April 5, 1913
MOTOGRAPHY
245
"The Queen of Spades
A Cines-Kleine Feature
it
UPON the date of April 7 George Kleine will release
a remarkable two-reel feature film entitled "The
Queen of Spades." A strong and well conceived
story enacted amid the most attractive stage-settings and
out-door scenes, offers a film that is sure to arouse in-
terest among exhibitors and the motion-picture public in
general. Miss Marie Hesperia takes the leading part in
capable fashion. Her splendid acting together with her
beauty and charming personality have never been shown
to better advantage and as we see her in this picture
we cannot help but feel that she is living over again part
of her own existence.
The story starts in the home of Mr. and Mrs. Nor-
ris, a wealthy young couple who have been living happily
together with their little daughter until the husband is
ensnared in the clutches of the gambling mania from
which only the most dire results can be expected. In
spite of Mrs. Norris' earnest appeals, her husband re-
fuses to give up cards and the races, and after squander-
ing all they possess in the world, suddenly disappears,
leaving the unfortunate woman to support herself and
her little daughter.
Thrown upon her own resources, she is finally com-
pelled by necessity to accept a proposition from un-
scrupulous money sharks to take charge of a fashionable
gambling house. Her education and refinement have
fitted her to become a most efficient manager, and in
five years' time she fully realizes her employer's ambi-
tions. The most fashionable people in the town find in
her their natural leader and are easily held under her
sway.
One day, however, her heart stands still, when she
receives a letter from her daughter, Dorothy, who is at-
tending boarding school, stating that she has passed
her final examinations, and is waiting to be taken home.
Mrs. Norris pleads with her employers to relinquish
her from the infamous contract, but without avail. Dor-
othy is brought to live at her mother's apartment, but is
scrupulously kept in ignorance of her mother's position.
One evening a brilliant entertainment is given, and
the unsuspecting girl is radiantly happy amidst it all,
when, suddenly, she overhears a loud dispute among sev-
eral of the guests engaged in a game of cards in an ad-
joining room, and the true character of the establishment
is revealed. In a flood of tears she rushes to her room,
and later, when her mother comes to comfort her, Dor-
Cines "The Queen of Spades," copyrighted 1913, by George Kleine.
246
MOTOGRAPHY
Vol. IX, No. 7
othy explains that she now understands why her fiance,
the son of a high official, has determined to break off
their engagement because of the latter's ambiguous posi-
tion.
Mrs. Norris is in deep despair. Her daughter's
happiness is paramount ; it must be preserved at any cost,
and without delay. Accompanied by Dorothy, she pays
Cines "The Queen of Spades," copyrighted 1913, by George Kleine.
a visit to the young man and asks him if he will with-
draw his objections if she agrees to go away forever.
He finally consents and, with a last sad farewell, the
heartbroken mother leaves them clasped in each others'
arms.
The program of regular releases for next week in-
cludes a powerful drama and two corking good comedies.
"He Wouldn't Give Up" is the Tuesday Cines. As the
title suggests, it tells of a young fellow who is persistence
personified in his love-making and his various escapades
are certain to keep the audience in continued laughter.
For the Wednesday Eclipse, "The Fruit of Sus-
picion" is a powerful drama well conceived and capably
handled by producer and players. The film vividly de-
- I*- W
ttt^^^BBMflHHfc.
*~Wk-
Cines' "The Queen of Spades." Copyrighted 1913 by George Kleine.
picts what serious results may follow an act which is
perfectly innocent in itself but have a suspicious aspect.
William Graves, a suspicious husband, happens to ob-
serve his wife receive a note from his friend George
Moore, and later, without listening to explanations,
angrily banishes her from the home. Fifteen years pass
and Graves lives alone with his daughter, Marjorie. One
day he receives a letter from his wife, living in a distant
country, who at the point of death again protests her
innocence. Graves, however, is not convinced and the
terrible doubt still tortures him.
His resentment is intensified when he learns that his
daughter is engaged to Fred Moore, the son of the man
who caused all of the trouble. When the young fellow
asks for his consent, Graves sternly refuses and even
forbids him the house. Fred then explains the situation
to his father, who immediately pays a visit to the Graves'
home and explains the whole matter, stating that fifteen
years ago he merely called to give Mrs. Graves some old
love-letters to be secretly returned to Graves' sister.
Convinced now of his wife's innocence, he gives his
consent to the marriage, but cannot be consoled in his
grief over the great injustice to his wife.
Later, while the broken-hearted man is sitting in his
half-darkened library, Marjorie, dressed in her mother's
wedding gown, enters the room. The father believes
he sees a vision of his departed wife and with a cry of
horror, falls upon the floor, lifeless.
A comedy, "Faint Heart Ne'er Won Fair Lady" is
booked for the Saturday Cines.
Another Scoop for Kinemacolor
Kinemacolor is coming to the front as a pictorial
news reporter. After taking some snap-shots at the St.
Patrick's Day parade, the Kinemacolor Company was
given the exclusive privilege of photographing the eighth
anniversary celebration of the New York Hippodrome.
The army of people employed in "Under Many Flags"
paraded Broadway and Fifth avenue in automobiles,
with the "Kilties," the clown band and the plunging
horses as special features. Kinemacolor caught them all
in natural colors — including Carroll Fleming, Arthur
Voogtlin, Marcelline and Sol Manheimer, and showed
this topical film the following evening in all the New
York theaters having the Kinemacolor service. If this
keeps on Kinemacolor will become a sort of "colored
supplement" to the pictorial news service of the country.
Here's Where the Plots Come From
Lots of folks have wondered where all the plots for
all those photoplays produced by the 'steen or more com-
panies of the Universal Film Manufacturing Company
in their huge western plant, come from. The answer
is now at hand. A western publication devoted to the
vaudeville and dramatic field, but running a few pages
devoted to the silent drama and those who play it, di-
vulges the secret thusly :
James Dayton, of the Universal, has established a
record for turning out scenarios. The addition of sev-
eral new directors has occasioned a great demand for
scripts and the scenario department has been working
overtime. During the past twenty-six weeks Dayton
has written 107,000 feet of scenario copy; and at one
time he turned out an average of 1,000 feet a day for
fourteen days.
Scenarios Not "Wanted by Gaumont
It will be of interest to many photoplay writers to
know that the Gaumont Company do not purchase sce-
narios. Announcements of this fact have been made
before, but many new recruits to the army of scenario
writers seem still unacquainted with the fact. The easi-
est way for these scenario writers to make money is. to
not waste stamps in sending their product to Flushing.
April 5, 1913
MOTOGRAPHY
247
Of Interest to the Trade
That Popular Ticket Box
The cut below fully illustrates the steel or wood
ticket box manufactured by the H. R. Langslow Com-
pany of Rochester, N. Y., which was fully described in
a recent issue of this publication. These boxes are
leased or rented to the exhibitor on an easy payment
plan, thereby greatly reducing the initial expense, and
the house managers are showing their appreciation by
a flood of orders. The careful finish, substantial char-
acter, and tasty designs of these ticket boxes are sure
to add much to the attractiveness of all theaters in which
they are installed.
Kinetograph Busy in New Orleans
New Orleans is to witness a fight between two mo-
tion-picture distributing agencies. The Kinetograph
Company, a recent combination, organized by some of
the licensed producers, has entered the field there, and
will wage war on the General Film Company, the old
distributing agency.' The Kinetograph Company has
opened offices at 941 Gravier street, with Nat. I. Ehrlich,
of New Orleans, as its branch manager. Special Rep-
resentative Hennessey, formerly head of the General
Film Company branch there, is in New Orleans to put
the new concern on its feet. The producers whose pic-
ture creations the Kinetograph will handle are the same
as those whose goods the General Film Company handles
in New Orleans and there is said to be a merry competi-
tive war between the two agencies in sight. The fight
already has been started in Atlanta, Montgomery and
cities in the East.
Pathe Pictures Indians On Tented Roof
On the roof of New York's newest hotel, the Mc-
Alpin, twenty-four stories above the hum of busy events
of Greeley Square, are camped twelve Indians of the
Blackfoot tribe. They are from the reservation in Glacier
National park and have been the main attraction at the
travel show, held at the Grand Central Palace. One of
the number, "Long Time Sleep" is eighty years old and
his trip to New York is the first he has ever taken off
the reservation.
Up in their tent city, they eat, sleep, promenade,
smoke their long pipes and receive a chosen few callers.
Among the first to present compliments to Chief John
White Calf and his little band, was a Pathe camera man.
"Picture taken?" and the chief replied "heap much
pleased." So it is that the Patheplay trade-mark adorns
a most novel and interesting series of views of the Black-
foot people in their roof-garden quarters.
Kansas To Tax Films
Every motion picture film which comes into Kansas
after April 1 will be taxed $2, says the Wichita Beacon.
The Safety moving picture censor bill was signed by the
governor a few weeks ago. After April 1, every film
will be inspected by a state censor and taxed. Both the
reel and a description of the plot portrayed in the film
must be sent to the state superintendent of public instruc-
tion who will supervise the censoring.
As many as 30,000 films are shown annually in
Wichita. This will turn $60,000 into the state coffers.
Wichita moving picture men believe, however, that the
picture exchanges will pay the tax or a part of it. They
do not believe the picture show price in Wichita will go
over 10 cents. The bill may knock out the five cent show.
Each film will be taxed only once in the state.
Cobb Made Sales Manager
C. Lang Cobb Jr., who has just returned to New York
from an extended trip, that took him as far west as
Denver, in behalf of Ramo films, has just been appointed
sales, publicity and advertising manager of the Ramo
Film Company and will have full charge of those three
important departments of the organization. Mr. Cobb
was the only manufacturer's representative present at
the three day conference of exchange men in St. Louis
which terminated in the formation of the Independent
Exchange Company.
Makes Film of Magazine Story
"Her Big Story" is the title of a two reel subject
which the American Film Manufacturing Company has
just completed at its Western studio. This story was
purchased from the Street & Smith Publishing Company
and will be released by the American on or close to the
date of its appearance in the Popular Magazine. This
general plan will be followed by the "Flying A" forces
in similar cases.
248
MOTOGRAPHY
Vol. IX, No. 7
Service Department Established
We show herewith a cut of the latest product of the
Enterprise Optical Manufacturing Company, the 1913
Model Motor Driven Chicago Approved Motiograph ma-
chine which, while in general appearance similar to the
Motiograph of previous years, takes a great step for-
ward in improvements, and is one of the most compact,
from one of the Motiograph representatives, each of
whom will bear a letter of introduction, and will, in every
instance, use his best endeavors to adjust the Motiograph
machines free of any cost to the owner.
1913 Motiograph.
durable and attractive looking machines now on the
market. The Motiograph company has also had ap-
proved for use, a fully enclosed type of rewind, (as illus-
trated) mounted on metal covered board, with self clos-
ing magazine doors and high speed release gear crank
handle.
We are advised the company is instituting a service
department, a move considered by many very radical, yet
one sure to bring the results looked for, which has been
tried and proven in the automobile industry, with the
typewriter makers, sewing machine companies, and
others who cater to a widely scattered and miscellaneous
class of users.
This service department, which the makers of the
Motiograph propose to install is, in a few words, the put-
The Re
ting out of a force of competent inspectors and demon-
strators, who will combine the work of demonstrating
the latest model Motiograph motor driven machine, with
the inspection of all models of the Motiograph machine
now in use. We mean by this, inspecting in the booth of
the owner of a machine, and as soon as a force of com-
petent men is secured, trained in the factory and equipped
for the road, you may expect a visit at almost any time
Another Edison Railroad Drama
Another of the popular Edison railroad dramas will
be released on March 29th, the story dealing with a
narrowly averted wreck. The plot of "Between Orton
Junction and Fallonville" is briefly as follows:
Edward Burke and Jim Mercer are suitors for the
hand of Edna Merrill. She likes Edward because he is
breezy and full of life and the night he proposes she
accepts him on the spot. Jim, on the other hand, is slow,
old-fashioned and pokey, just a station agent, the kind
who will be at the same job all his life. Ed is an engi-
neer on the same line, young and ambitious; the kind
of a fellow who appeals to Edna.
This story really begins when Ed Burke starts from
the roundhouse on his daily run with local fifty-one.
He reaches the station where Jim is agent and passes
through. Then Jim hears the ticker calling frantically.
It is from Orton Junction. The agent there frantically
appeals to him for help. He has allowed a special freight
to pass, having forgotten the orders to hold her up and
give number fifty-one the right of way.
Jim is terror-stricken. He flashes to Orton Junc-
tion that number fifty-one left his station, Fallonville,
just four minutes before and that he can do nothing.
Back flashes the Orton Junction agent, "Freight and No.
51 will meet at Smith's Crossing. For God's sake do
something."
It isn't his fault if Burke is killed. He hasn't made
the mistake. It would give him a chance to win the
girl. Then he realizes all that the girl means to Edward.
He sees in his mind's eye the trains coming together,
the frightful crash, the mutilated bodies and the accusing
finger of Edna. Yes, he can and will do something. Rush-
ing like a madman to a grocery store in the village he tel-
ephones to Edna, telling her of the impending collision
and to ride her horse, Roxy, like the wind to Smith's
Crossing and stop the first train she sees coming.
Now the great race for life is on. The trains are
seen approaching- — Edna is seen galloping, nearer and
nearer. Will she be in time ? Now she reaches the track
and placing her horse across it, waves her hand frantic-
ally to the on-rusing train. It stops within four feet of
her and she turns and riding on, stops the other.
Burke's surprise when he runs forward and finds
who has saved him is a thing to see in the picture. They
all return to Fallonville and Jim, a real hero, is thanked
by his rival. He takes Edna's hand and Edward's and
tells them that he did it for her.
Edna Flugrath appears in the role of the girl, Bige-
low Cooper plays "Jim Mercer" and Augustus Phillips
the part of "Ed Burke."
Old Soldiers" Home Has Picture Program
A motion picture show each evening is now a regular
feature of the daily program at the State Soldiers' and
Sailors' Home in Quincy, 111. It is believed the plan
will tend to keep the veterans from visiting the city,
where the temptation for indulgence in liquor is too
strong for many of them. Three reels of pictures are
run daily, and the members of the institution are ad-
mitted free of charge. The scheme was originated by
Colonel Anderson, the superintendent. Pictures of bat-
tles and current events will be features.
April 5, 1913
MOTOGRAPHY
249
"The Will-Be Weds." April 1, Essanay.
Exhibitor to Fight Censorship
The day following his arrest for showing an uncen-
sored moving picture, Ben Michaels, proprietor of the
Silver Palace theater, San Francisco, threatened to start
a petition for the removal of the members of the board
of censorship. He asserts the public is averse to having
the pictures passed upon, asserts the San Francisco Call.
Call.
Michaels was arrested for showing a film entitled
"Marquis, the Venetian Tribune." When Corporal Pe-
shon took possession of it, Michaels mounted the plat-
form of his theater and addressed the patrons, asking
them if they wished censored pictures. The police lodged
a charge of disturbing the peace against him for making
the speech.
' I claim that all acts of the censorship board are
illegal," said Michaels. "I am willing to abide by some
of the decisions, but some of the members of the board
never had experience in this line and I question their
right to rule. This picture was a historical reel."
Company to Make and Show Films
Incorporation papers have been drawn for a new con-
cern capitalized at $2,000,000 and known as the United
Theaters and Film Company of America, which will soon
enter the moving-picture field. At the present time the
only name connected with this firm which has been made
public is that of Taylor & Company, the bankers, of 40
Exchange place, New York City.
Mr. E. B. Chatfield Taylor of that firm, in explana-
tion of the policy of the new concern, said that it will
manufacture films, produce high-class dramas, own, oper-
ate, build and lease theaters. Dramatic hits will be
filmed.
The backers of the new concern are said to be finan-
cial men, bankers and theater managers, and some mo-
tion-picture players hold stock.
Mr. Taylor further said that the new concern will
take over an established film manufacturing company.
Newman Equips Empress Theater
The Newman Manufacturing Company, of Cincin-
nati, Ohio, and 101 Fourth avenue, New York City, re-
ports that it has just furnished the two Chicago the-
aters controlled by the Sullivan and Considine Company,
the new Empress on Halsted street, and the Empress on
Cottage Grove avenue, with brass frames and rail work.
Mr. Lincoln, general manager of the Sullivan & Con-
sidine Company, called by long distance 'phone request-
ing one of the Newman boys to go to Chicago immediate-
ly and take his order, which represented quite a tidy sum.
The Newman Company has just issued a new catalogue
showing brass frames and easels, german silver frames
and oxidized frames, brass rail work and brass work of
every description, which can be had upon request.
R. B. Mitchell, superintendent of the Emmanuel
Episcopal church Sunday school at Savannah, Ga., re-
cently arranged for an entertainment on Sunday after-
noon at a local theater where moving pictures of scenes
from the Bible were displayed. The invitation was gen-
eral and more than a thousand children attended.
"Broncho Billy's Way." April 5, Essanay.
250
MOTOGRAPHY
Vol. IX, No. 7
"A Prisoner of Cabanas," March 31. Copyright 1913, Selig Polyscope Co.
Censorship Bill Asked for Minneapolis
Some months ago members of the Women's Welfare
league and the Grade Teachers' association decided that
a more strict censorship should be made of the motion-
picture films which are being shown to the children in
Minneapolis and a joint committee was appointed from
these two organizations to work for a board of censor-
ship. It was decided to draft a bill asking the legisla-
ture to establish a self-supporting recreation board, this
board to censor all moving-picture films coming into the
state.
Such a bill has been introduced into the senate by
Hon. George P. Wilson of Minneapolis. It has been re-
ferred to the committee on general legislation. Hon.
W. I. Nolan will father the bill in the house.
"For an act entitled, 'An act to provide for the reg-
ulation and licensing of theaters, motion-picture theaters,
films, machines and operators thereof, advertisers and
advertisements thereof, respectively; regulating the con-
duct of such entertainments, and creating the State Rec-
reation Board, prescribing its duties and powers; and
creating a fund for carrying out the provisions of this
act, and prescribing the punishment for violations of
the same.' "
Licenses required : To motion-picture theaters only
if the application therefor be accompanied by certificates
of the proper police, fire, building and health officers
that the safety of the public has been safeguarded as re-
quired by law.
To motion pictures, advertisements, descriptions
and representations of the same only if they be submitted
to the State Recreation Board at the time the license is
applied for and after examination by the authority of the
board it shall be found that the same, respectively, is
not immoral, indecent, or obscene; does not depict crime,
torture, horror or the like, the scenes of the same, the
methods and habits of criminals, immoral characters or
the like, or suggest the same, or any of them, respectively.
Protection of health : Motion-picture theaters shall
be kept clean, free from dust, and shall be so ventilated
that fresh, invitiated air shall be supplied at the rate of
at least 500 cubic feet per hour for each person.
Admission of certain persons prohibited : Crim-
inals, prostitutes or other disorderly, immoral or crim-
inal persons shall not be knowingly admitted to any
motion-picture theater. No child under 16 years of age
shall be admitted after the hour of 9 o'clock p. m., un-
less accompanied by parent or guardian.
No disorderly conduct or dispensation of beverages.
Certain advertising shall be prohibited.
No motion-picture theater shall be operated or con-
ducted within 500 feet of any school building.
Proper regulations for the prevention of fire.
Violators of the provisions of this act shall be guilty
a misdemeanor.
Punishment and revocation of licenses.
of
In the urban district of Rio de Janeiro alone there
are 37 cinematograph shows with room for 12,983. Thus,
if all full, they receive in an hour $3,000 to $3,400.
April 5, 1913
MOTOGRAPHY
251
To Show Motion Pictures by Telegraph
Moving-talking pictures — and now motion pictures
by telegraph wire.
Professor C. Francis Jenkins, the inventor of this
latest marvel, was honored by one of America's leading
scientific societies, the Franklin Institute of Pennsyl-
vania, with a gold medal for having perfected the Phan-
toscope and being the first one to project motion pictures
on the screen, life size and larger. Professor Jenkins
has also been honored by receiving the French decoration
of the cross for his research work and his scientific in-
ventions.
The Franklin Institute ■ conferred the Ellison gold
medal on Professor Jenkins for his production of the
Phantoscope and for perfecting the apparatus for pro-
jecting upon a screen a series of photographs of moving
objects taken in rapid succession. From this invention
has grown the moving picture machine and talking pic-
ture machine. Professor Jenkins has now elaborated on
them both by producing the telephotoscope. By this won-
derful invention, Professor Jenkins claims, it is possible
to reproduce things enacted in one city upon a screen
in the theater of other cities through telegraphic con-
nection.
In operating the telephotoscope a camera is placed
near the scene being enacted. The camera is connected
by wire with a large copper plate that is chemically
treated and connected with a very high power battery or
dynamo. The plate and wires are connected with the
moving picture camera especially constructed with a
shutter, and the handle of the camera is turned in the
same way as by takers of motion pictures. The image is
received on specially prepared glass and transferred
through the back to the copper plate, this being in con-
tact and perfectly in accord with the screen fitted at the
other end of the wire. Whether at a distance of one,
ten or one hundred miles, the scene is reproduced on
this plate and transferred to the specially prepared glass
connected with the battery and baths for developing and
projecting on the screen by a specially constructed ma-
chine for that purpose.
Pictures Popular in Turkey
Consul General George Horton, of Smyrna, Turkey,
has prepared the following statement reviewing the pres-
et-! c status of the moving picture business in that city.
"Beginning with one such theater seven years ago,
there are now five important cinematograph establish-
ments on the quay (which, toward evening, is the general
rendezous of the inhabitants of Smyrna). In these five
theaters new films are shown; none will put on a film
already shown by his neighbors, and as the programme
is changed at least twice a week, about 13,000 yards of
films are required.
"Combined these five establishments seat over 4,000
people. The interior decorations of the theaters are good,
arid the auditoriums are well ventilated. A considerable
sum is being spent by their managers on street and news-
paper advertising, programmes, etc. Second-hand films
'Suspended Sentence," April 14. Copyrighted 1913, American Film Mfg. Co.
252
MOTOGRAPHY
Vol. IX, No. 7
A Lucky Mistake," April 2. Copyright 1913, Selig Polyscope Co.
are handled by all other establishments in Smyrna and
suburbs to the extent of about 40,000 yards weekly.
"There are fourteen other moving picture theaters
in the Smyrna district, as follows : Mytilene, 2 ; Aidin,
2; Adramyti, 1; Samos, 2; Aivali, 1; Manissa, 1; Nazli,
1; Sokia, 2; Mersina, 1; Adana, 1. They use about
40,000 yards of films a week.
"French films are said to be the most popular, al-
though other makes find favor also. Dramas, military
scenes and reviews are the subjects most frequently
shown."
Screen Message Prevents Runaway
As two young men from the suburbs of Macon, Ga.,
were enjoying the show at the Lyric theater in Macon
one recent night, they, with others in the audience, sud-
denly saw flashed across the screen these words :
"Horse hitched to buggy in front of theater tan-
gled in lines; owner see Policeman Gibson."
The two young men sprang from their seats, rushed
out and reached their rig as the horse was about to over-
turn the buggy and had already broken up a part of the
harness and gotten out of the bridle. The situation was
taken in and trouble prevented. As soon as the horse
had been soothed and the harness repaired, the young
men returned to the theater to see the remainder of the
show.
Manager Harry P. Diggs had seen the trouble across
the street and the thought of putting the screen into prac-
tical use flashed through his mind.
Milwaukee Man Invents Talking Picture
J. B. Ollinger, owner of the American theater, has
invented an apparatus for producing talking pictures.
Mr. Ollinger has spent years experimenting along this
line, and, after endless disappointments and failures, has
seen his ideal through to a successful conclusion.
These talking pictures were shown at the American
theater. Selections from grand opera, including Carmen,
Faust and Aida, were successfully reproduced as well
as comedy, such as "The Whistling Coon." A few
selections from the musical comedy, "The Mikado," fol-
lowed, after which Othello and some of the other Shakes-
pearian tragedies were shown. A native Russian dance,
accompanied by all the usual vocal effects of the per-
formers, was shown in which they kept perfect time
with the music.
Pictures Teach Railroad Employees Safety
Moving pictures are becoming a popular medium of
instruction in the railroad field. Isaiah Hale, safety com-
missioner of the Santa Fe, has prepared a number of
reels which he is using in lectures over the system in
connection with the safety movement. This is in line with
the system inaugurated several weeks ago by the Illinois
Central. Mr. Hale is now making a tour of the Santa
Fe system from Chicago to the Pacific coast and to the
Gulf of Mexico, delivering illustrated lectures. The
Rock Island has just completed a series of films which
are to be used in the same movement.
April 5, 1913
MOTOGRAPHY
253
To Examine Carbons
A moving picture operator rigged up an attachment
through which he could examine the carbons that pro-
duce the light for projecting, says W. F. Polland of
Corvallis, Oregon, in Popular Mechanics. The device
consists of a small tube which has a stop, A, fitted in it
at B, a lens, taken from an old police headlight, placed
at C, and a ruby glass at D. The tube was inserted in
the lamp house as shown at E. The carbons could thus
be readily examined without injuring the eye.
A fully equipped moving picture machine and slide
lantern has been given to the Faribault public schools by
Alson Blodget, Jr., the mayor of Faribault, Minn., and a
member of the board of school directors.
Six thousand feet of cinematograph films depicting
scenes of every-day life in South Australia have been sent
by the government of that state to the agent-general in
London. These films will shortly be available for use in
cinematograph theaters in England.
No Picture Shows for Vassar Girls
The faculty of Vassar College has decided that mo-
tion pictures are not necessary to the higher education,
and posted notices in the halls and on the press boards
calling upon the students to aid in upholding the dignity
of the college.
The notice follows :
"Vassar College students will aid the faculty in up-
holding the dignity of the institution by refraining from
attending vaudeville and moving-picture exhibitions in
Poughkeepsie for the remainder of the term. Infrac-
tion of the rule will not be tolerated."
The pictures have been drawing about 300 Vassar
students. The young women were rapidly learning the
names of most of the picture heroes, and were said to'
have reacted some of the scenes when they returned to
the dormitories. This, the faculty decided, was not only
undignified, but it took time from studies.
Disease Symptoms to be Recorded
Dr. T. H. Weisenburg, neurologist to the Philadel-
phia General Hospital, in the journal of the American
Medical Association, says that nervous diseases lend them-
selves especially well to motion photography, because the
symptoms are mainly characteristic movements, such as
gaits, tremors, convulsions or spasms. Even where these
are not present, Dr. Weisenburg shows the patient's con-
dition in his pictures by marking on their bodies with
colored chalk or with charcoal to indicate where dis-
turbances of sensation occur, such as loss of feeling or
of the temperature sense.
As a matter of fact, moving picture illustrations are
already employed by public health bureaus in different
states, notably in Louisiana, where the head of that de-
partment employed motion picture photography to show
the menace of such diseases as smallpox, typhoid fever,
etc.
In no branch of medicine, with the possible excep-
tion of neurology, can motion photographs be of much
value as in basteriology. For some years photographs
have been in existence showing the movement, growth
and characteristics of different types of bacili.
This leads Dr.. Weisenburg to say a word of the
use of motion pictures in medical teaching. To his mind
no new development in recent years is of so much value
as this. In Dr. Wcisenburg's course in nervous diseases
to medical students he now regularly employs these pic-
tures. If, for example, he wishes to discuss epilepsy, he
first lectures on the disease and then shows the reel which
contains the different types. How many medical students
or physicians are there, he asks, who have seen typical
convulsions and different forms of epileptic spasm, such
as may be shown by these pictures? He goes on:
"It is also possible to use motion photography to
illustrate a scientific article. It occurred to Dr. C. K.
Mills and myself that it might be interesting to study
emotional expression on one side. Then we photo-
graphed patients who had either involuntary laughing or
crying. * * * The results were surprisingly striking.
In short, Dr. Weisenburg says in the moving pic-
ture there is a permanent record of symptoms which may
"The Price of Gold." Essanay, April 2.
be sent from place to place and reproduced at will, no
matter how rare the case. Not only so, but the pictures
furnish a means of diagnosis, especially in the case of
certain epileptic spasms where the actual movements are
very swift, but may be slowed up for recognition on the
picture by lessening the speed of the film. He ends by
stating :
"As a matter of fact, I have become so impressed
254
MOTOGRAPHY
Vol. IX, No. 7
with the value of enlarged reproductions of signs and
symptoms that I am now in the habit of having all the
rare diseases and some of the commoner signs and symp-
toms photographed."
China Enjoys Silent Dramas
Consul General F. D. Cheshire writing on moving
picture shows in China says:
"There are three cinematograph shows at present in
the city of Canton. These shows cater to the Chinese
taste, and the films come principally from France and
Germany, although a few have been manufactured in the
United States and Great Britain. The former two coun-
tries, however, monopolize this business, such as it is,
which in the main is not very extensive. The films are
rented to exhibitors for a short time from a firm here
who imports them direct from Europe. There is a small
cinematograph show in the foreign settlement, usually
once a week, for foreigners who choose to patronize it.
To a firm who desires to enter this business it must be
borne in mind that it must cater entirely to the Chinese,
for it would not pay to undertake to cater, to the for-
eigners here, on account of the limited population.
"To give an idea of the prices at the three establish-
ments in the Chinese city it may be stated that all the
shows are open generally from 6 p. m. to midnight. Two
of the establishments have two performances and the
prices of admission are : Box seat, 30 cents ; first-class
seat, 20 cents ; second-class seat, 10 cents ; third-class seat,
5 cents. In one of the other establishments prices are
the same, with the exception of the box seat, which is
25 cents.
"In one of the other shows there are three perform-
ances given, and the prices are : Box seat for 6 persons
or a family, $1.50; box seat, 25 cents; first-class seat,
20 cents; second-class seat, 10 cents; third-class seat, 5
cents. These prices are all in Canton currency, $1 of
which is worth about 50 cents in United States currency."
Motion Pictures to Clear Church Debt
A plan to show motion pictures to pay off part of
the $50,000 debt of St. Mark's M. E. Church, Flatbush,
has caused trouble in the Epworth League there. Rev.
Dr. D. D. Dorchester, pastor, with others, opposed the
scheme ; he said from the pulpit, however, that the board
had approved.
Recently efforts were made to clear the debt. In a
short time $40,000 was pledged. The rest looked hard
to get.
Then Milton Harrison, president of the league, put
it down for $1,000. He was asked how he was going to
raise it. Then he revealed this inspiration:
"Open a moving picture show in a tent at the rear
of the church and charge five and ten cents admission."
The plan gathered popularity till it ran against a
stone wall of opposition from older members of the
league. These shocked persons hastened to explain the
rigid Methodist-Episcopal rules concerning all forms of
amusement. They soon had many supporters.
Warms arguments followed. The picture idea won.
"Tommy's Atonement," April 10. Copyright 1913, Selig Polyscope Co.
April 5, 1913
MOTOGRAPHY
255
Brevities of the Business
PERSONAL NOTES.
Announcement is made by the Enterprise Optical Manufac-
turing Company of Chicago that Mr. Barnard M. Corbett, for a
number of years demonstrating
salesman for Thomas A. Edison,
Inc., has signed on as a traveling
demonstrating salesman for the
Motiograph and will share the
eastern territory with Mr. Fred A.
Clark, who has been selling Mo-
nographs for the past two and
one-half years. Both Mr. Clark
and Mr. Corbett will make their
headquarters at 30 East Twenty-
third street, New York City. Mr.
Corbett needs no introduction to
the trade, being a member of the
I. A. T. S. E. of Boston local,
also a member of the Winthrop
Lodge No. 1078 of the Elks and
numbers his friends in the picture
game by scores. He himself has
been in the field for a great many
years, having worked up to his
present position from that of op-
erator in various New England
theaters. Before entering the em-
ploy of the Enterprise Optical
Manufacturing Company Mr. Corbett is said to have received a
most flattering offer from an eastern film concern, but, for rea-
sons of his own, preferred to take up the sale of the Motiograph
machine. Owing to his wide acquaintance in the eastern terri-
tory and his immense popularity wherever he is known there is
no question of his phenomenal success in his new position.
John Cumpson, the motion picture comedian, is dead. Sun-
day, March 16, was the date of his demise, which occurred
at the home of his sister in New
York City. For months Mr.
Cumpson had been unable to as-
sume roles before the camera on
account of general poor health,
then pneumonia developed and
was his final illness. As the
creator of the "Jones" character
in Biograph films, Mr. Crumpspn
did his first big work in the pic-
ture world. For more than two
years he made for considerable
of the popularity of American
Biograph pictures, and then left
and joined the Edison players.
With them he scored perhaps his
biggest success in the comedy
character of "Bumptious," who
inspired a trail of laughs the
length of the screen world. The
Imp compan3' was next to secure
the comedian, and it was in the
Imp studios that his last work
was filmed. That was last fall.
The man who knew how to make
people laugh was tired out and wanted to rest. At the kome of
his sister he found surcease for his weary mind and body, and
on March 16 the end came. His loss is mourned by untold num-
bers of film lovers and players.
Lewis E. Neukom, for many years one of the most com-
petent operators in Chicago, has been in the employ of the
Motiograph company as Chicago inspector for the past three
years.
T. F. Montgomery, one of the best-known motion picture
exhibitors in the South, who owns a chain of about ten theaters,
is now out of the Atlantic field. He has sold the lease of his
theater, the Montgomery, which is probably the finest in the
South, for $76,000 to S. A. Lynch, better known as "Diamond'''
Lynch, of Asheville, N. C, a well-known real estate and mov-
ing picture manager, who has also been prominent in past years
in the baseball and football world. For the past four years
Mr. Lynch has been in the moving picture business with head-
quarters at Asheville, but he also operates theaters in Richmond,
Columbia and Dayton. Mr. Lynch will operate both the Mont-
gomery and the pool and billiard halls above.
William D. Burroughs, a New York operator of several
years' experience, and from a point of age, the dean of the
Motiograph men, is now attached to the Pacific coast office of the
Mitiograph company, and has been doing some excellent work
along the Pacific slope.
John McAuley, another Chicago boy, who is an expert me-
chanic, and has had many years of experience in the operating-
room, has been in the service of the Motiograph company for
several months, and is now attached to the Eastern office.
William S. Davis, who formerly directed Universal films
'way out in California, was called into New York by Ramo
films. Davis' first production will be "Love and Gold."
Harry Goldberg, A. S. Abies and M. F. Beier figure in a
three-cornered move in the Sedez Film Company's offices.
Goldberg goes to Detroit from New York, Abies leaves De-
troit for the Indianapolis branch, and Beier migrates to the
official suite in New York.
Marion Leonard and the others of the Monopol Film Com-
pany are New York-bound from Hollywood, Cal. A studio is
in process of preparation for the Monopolites in New York,
and the spring days are to be busy ones for the members of
this company. "Carmen" was the last story filmed in California,
with Miss Leonard in the lead.
Miss Jerry Gill has gone to New York from the Jackson-
ville, Fla., Majestic company, to play leads in that company's
productions in the East. Her place in the Jacksonville company
is being filled by Miss Laura Lyman.
R. A. Roebuck, president of the Enterprise Optical Manu-
facturing Company, spends most of his time at the company's
factory. He is enthusiastic over the success of the 1913 Motio-
graph, and is already planning for future improvements.
Sidney B. Blakely, a Chicagoan, recently left his position as
chief operator of the Kedzie Amusement Company, to become
a traveling inspector and demonstrator for the Motiograph com-
pany.
John A. Kloman, another Chicago man, who has had many-
years of experience in some of the best theaters in Chicago, has
been attached to the staff of the Motiograph company's in-
spectors.
Pauline Curley is newly affiliated with the Ramo people,
and moves with them to their new quarters up town. She
formerly was a Reliance player.
Etienne Arnaud and H. O. Lund, directors; John Van Den
Brock and R. Guissart, camera men, and the following players.
Barbara Tennant, Helen Marten, Eileen Hume, J. W. Johnson,
Fred Truesdell and Guy Hedland, comprise the company of
directors, camera men and players of the Eclair company, who
have gone to Florida to make pictures with a background of
tropical scenery.
Fred A. Clark, of Boston, who has been with the Enter-
prise Optical Company for the past two or three years, is now
in "charge of the New York office as Eastern manager.
Lawrence Trimble, director; Tom Powers, leading man, and
James Morrison, juvenile, have tendered their resignations to the
Vitagraph company. Jean, the Vitigraph dog, will probably
decide to go with her master, Mr. Trimble. There is a general
impression that this trio of gentlemen will be associated with
Miss Florence Turner in the making of her feature produc-
tions in England this coming spring and summer.
Gertrude Robinson has signed as leading woman in Victor
films, and will be under the direction of James Kirkwood, a re-
cent addition to the producing staff of that company. Besides
Miss Robinson, Mr. Kirkwood has acquired a number of other
well-known players to make for the further popularity of Victor
films.
Dick La Reno is playing heavies with the Edison company
at Long Beach. He is known as "Big Dick," is an old-time
heavy and character man, and left the Universal to join the
Edison people.
Jack O'Brien, who scored in Universal offerings as scenario
writer, actor, assistant director and then director, has branched
out in the sole interest of O'Brien, and with a capable cast, has
begun the production of Western dramas.
M. G. Watkins has entered upon his duties as special trav-
eling representative for the Allardt Feature Film Company, his
first trip taking him through Indiana. Mr. Watkins was former-
ly general manager of the Du Brock Feature Film Company.
The Allardt company is a new one, and has Daniel W. McKin-
ney as its manager.
Joseph Hopp is much improved in health after his two
256
MOTOGRAPHY
Vol. IX, No. 7
weeks' rest in the South, where he went on the advice of his
physician.
D. Muntuk, of the M. and F. Feature Film Company, lo-
cated at 157 Washington street, Chicago, has secured the Illinois
state rights to the New York Film Company's production, "The
Miracle." He made a special trip to New York to buy the rights
for his company.
Wray Physioc is making preparations for two and three-
reel productions soon to be released by Ramo Films.
J. V. Ritchey is again back at his desk in the Reliance
studio, after a week spent in Chicago and Louisville on busi-
ness.
Jack Noble, whose name stands for Ryno interests, had his
arm broken recently, when his car kicked while he was cranking.
"Coming events cast their shadows before," is the firm belief of
Jack. A few minutes previous to this accident he had paid a
speeding fine, and was hastening to leave the vicinity of the
court house when the machine became prematurely active, and
now Jack is carrying his arm in a sling.
Eustace Hale Ball has connected with the Historical Film
Company in the capacity of general manager. Releases by this
company will be announced in the very near future.
Flo La Badie is winning new honors as a cowgirl in the
Thanhouser's west-for-the-winter company. In the March 21
release, "Won at the Rodeo," Miss Flo demonstrates her ability
as a daring rider. William Russell is also featured in this re-
lease.
J. Hunt, who was formerly listed under the Vitagraph ban-
ner, has left New York for the California branch of the New
York Motion Picture Company.
Mabel Normand, the beautiful and vivacious leading lady
of the well-known Keystone Film Company, is a girl of versa-
tility and many accomplishments. Miss Normand, before en-
tering the pictures, was recognized as one of the world's famous
women swimmers. She has several medals and silver cups, pre-
sented to her for her prowess in the water. She is an excellent
and daring high diver, and has been made several tempting offers
to appear in vaudeville in a swimming specialty. Miss Normand
is also an accomplished horse-woman.
Thomas A. Edison has, according to a dispatch from St.
Petersburg, accepted an invitation to visit Russia. He will be
the guest, of the Grand Duke Alexander Michaelovitch.
ROLL OF THE STATES.
ALABAMA.
The Alamo, a motion picture show on Broad street, Birming-
ham, narrowly escaped destruction recently when the ceiling
above a stove caught fire. The damage was slight.
The Gadsden Amusement Company has filed articles of in-
corporation in the office of Cyrus B. Brown, secretary of state.
The capital stock of the new company is $15,000. The firm will
erect a new moving picture theater in Gadsden.
ARIZONA.
On or about the first of April is the time named for the con-
version of the store room formerly occupied by the Standarrd
Furniture Company, on West Washington street, Phoenix, into a
moving picture theater. The proprietor of the new venture
will be J. B. Delaney and the promoter promises to install one
of the best shows of its kind in the West.
ARKANSAS.
Frank Berry, of Altus, Okla., has purchased the large Den-
ton airdome building from E. N. Moorman, and is having the
building refurnished throughout. April 1 is announced as the
opening date.
CALIFORNIA.
A photoplay theater has been opened at El Legunda by
Alfred Fielder, formerly of Anaheim. A record crowd witnessed
the opening show. Mr. Fielder aims to show only the best of
pictures and make the show one of the best in this section.
George E. Lubin is completing plans for a brick theater to
be erected on East First, between Cummings and Chicago
streets, Los Angeles, for M.. Minkus.
The new Mission Theater, to be erected on the site of the
playhouse of that name, at Santa Barbara, will be one of the
finest on the Coast, according to the plans of Miss Mildred
Lacy, the proprietor and owner of the property. Cost, $8,000.
William Paige will be manager.
COLORADO.
E. D. Smith, well known in Sterling, where he has devoted
about five years to the motion picture business, has closed ne-
gotiations for the purchase of the Princess Theater from F. C
Sponsler, and has taken charge of the house. Mr. Smith was
formerly owner of the Sterling Theater, selling to the present
management last June. Mr. Sponsler intends going to Denver,
where he will shortly take a position with a railway company.
ILLINOIS.
Evanston Motion Picture Company, Evanston; capital, $15,-
000. Incorporators — John Bodkin, Abraham Simansky, John
Keane.
George Kleine Film Company, Chicago-; $10,000; motion
picture machines; William L. Carlin, M. J. Dyniewicz, John E.
A. Verhoeven.
Papers of incorporation were issued by the secretary of
state recently to the Central Motion Picture Company, incor-
porators of the new concern are W. H. Ogle, I. C. Davidson and
Herbert Woods, all of Springfield. The company is incor-
porated for $1,000, and it was organized for the purpose of
buying up moving picture theaters all over the state of Illinois
and operating them as a syndicate. Options have already been
secured on a number of nouses, including one or two in the
city of Chicago.
Workmen have begun the construction in Joliet of one of the
finest and most modern moving picture theaters in the country.
It will be erected at 108 and 110 North Chicago street, and will
be called the Princess. The cost of the building will probably
exceed $40,000. One of the features will be an $8,000 pipe
organ. According to the plans the work will be completed by
the latter part of June. A 25-year lease of the site was re-
cently made.
There is to be a new picture show started in Sydney at
an early date, Dahl and Epperson having received their new
Edison kinetoscope from Chicago. It is an electric machine of
the latest pattern, and the pictures produced will be as good
as can be found in the large cities.
F. M. Edgett, of Earlville, has rented the Thompson hall
and will open a moving picture show in a short time. He has
been running a show at Earlville for over a year, and is nego-
tiating for a room at Somonauk for the same purpose. A per-
mit to run one month was granted by the village board, the
license fee being $4.
The Family theater at the north end of Princeton has again
been reopened, and will continue to run pictures every night.
The new firm's name is Greenstreet 8t Brock, and they come
from Kewanee.
INDIANA.
A permit has been issued for the erection of a $10,000 motion
picture theater on the South Side of Indianapolis.
Michigan City will have a fine motion picture theater in the
near future.
Frank J. Sailor has purchased the picture show from C. T.
Freeland, which the latter has operated at Fremont for the past
year.
IOWA.
R. W. Scudder, of Burlington, has purchased the moving
picture business of Chet Williams at Mediapolis. He will re-
model the room and fit it up in first-class shape.
G. C. Dilsaver is planning to start a moving picture show
in the store now occupied by L. J. Ede & Sons at Garden Grove,
about the latter part of April or May 1. The chances are that
a good show will pay very well here. Mr. Ede has not decided
what he will do, there being no vacant room for him to move
into.
The Coliseum committee has started the Saturday night
moving pictures again. Arrangements have been made with a
Des Moines film exchange for some special pictures that are
good. There will also be good music.
Menlo is up to date, for it now has a moving picture show.
It is over the J. H. Mclntyre store.
The town of Griswold has a new opera house in the course
of construction, the seating capacity of which will be 700. The
auditorium will be 50x70 feet in size at one end, of which
there will be a 20x50 foot stage, and the house will be used
for picture show entertainments except when engaged for otb^r
purposes.
Harry Mann has acquired the Bentley theater at Fairfield
by leasing the motion picture machine and the furniture. He
expects to put on three shows weekly.
Operations have been started at Fort Madison in the razing
of the ruins of the Princess theater in the west end, destroyed
by fire two weeks ago. The building will be replaced with a
modern and up-to-date photo-play house.
Pleasantville is to have a moving picture theater. P. B.
Owens, a man experienced in the business, has leased the large
room below Hotel Thornburgh, generally known as the Brown
store building, for the purpose of showing pictures.
Powers brothers of Kellogg have leased the opera house at
Maxwell for a year and will run a moving picture show. They
are installing their own electric light plant and will soon have
it in operation.
April 5, 1913
MOTOGRAPHY
257
The Armory and Gem theaters at Carroll were consolidated
and will be conducted by Anderson & Fischer at the Gem
building. This gives Carroll only one electric theater.
Mr. Brown and son are preparing to erect a permanent build-
ing at Neola for a motion picture theater.
A. T. Prescott, who has conducted the motion picture theater
on Franklin street, Waterloo, for the past twelve months, has
sold his equipment to Cihula brothers of Cedar Rapids.
Thomas J. Walsh, president of the Walsh company, says a
new theater will be erected at the corner of Third and Ripley
streets, Davenport.
The Orpheum, a pretty new vaudeville and moving picture
play house, has been opened at Marshalltown.
North end residents of Des Moines are soon to have an-
other motion picture theater on the corner of Twenty-fourth
and Jackson. Workmen are busy remodeling the building
formerly occupied by the John Gortmaker grocery. The entire
front of the building has been taken out and a new entrance
is being built on about the same plan as the others about the
KANSAS.
Bert Ohlfest of Topeka has purchased three moving picture
theaters in Topeka, Junction City and Holton and will act in
the capacity of manager for all of them. Air. Ohlfest formerly
conducted a grocery in Rossville, but lost his stock in a fire
some months ago.
KENTUCKY.
The M. Switow Amusement Company, of New Albany.
has filed articles of incorporation. The incorporators of the
company, which has a capital stock of $100,000, are Michael
Switow, Simon Switow and David Beard. Moving picture and
vaudeville theaters in New Albany, Jeffersonville and Louisville
will be under control of the company, and the erection of a new
amusement house in New Albany is planned.
LOUISIANA.
H. Fitchenberg and others will secure a permit for the altera-
tion of the building at the corner of Canal and Dauphine streets,
New Orleans, so that it can be used for a picture show.
MICHIGAN.
The city of Ishpeming may go into the show business. The
Ishpeming theater may soon be sold and the city council is con-
sidering the advisability of renting it.
Petitions which are being circulated asking that the Sun-
day opening question be submitted to a vote have been signed
by about 3,000 people. It is expected that they will be _ pre-
sented to the council at its next meeting. Kalamazoo is at
present a closed town, but moving picture theater owners are at-
tempting to have the ordinance which forbids the opening of
theaters on Sundav repealed through a vote of the people.
Chief of Police Davis, of Bay City, has appointed Mrs.
T. L. Handy chairman of a board of censors to inspect films
shown in local moving picture theaters. Mrs. Handy appointed
the other members of the board.
R. V. Chase of Grand Rapids wants an ordinance passed
which will provide for an examination of all moving picture
machine operators before they are allowed to operate in the city.
Harry Goseline, who has been singing at the Bijou theater
in Saginaw, will open a new moving picture theater in the Hayden
Grocery building and same will be remodeled.
MINNESOTA.
Sauk Rapids had its first picture show opened during Easter
week.
Cold weather has delayed the opening of the picture theater
which the Lake Amusement Company is erecting on Lake street
near Blaisdell avenue. Minneapolis. J. P. Agnew, a member of
the company, said they hoped to open the house by April 1.
The company, which owns the Lake theater, three doors west
of the new site, is to spend $20,000 on the building. The Ameri-
can Realty Company is doing the work. The same company is
roprietor of the Cort theater, 808 East Lake street.
MISSOURI.
Harold Metcalf has purchased a half interest in W. G.
Brown's moving picture theater at Carrollton.
A. S. Mitchell has installed a modern and expensive new
picture machine in his Broadway theater at Palmyra, which
greatly improves the service. It is understood he will put in a
raised floor and otherwise improve the place.
NEBRASKA.
Charles Gammon has bought the moving picture show of
George Baird at Central City, and is now operating the same.
C. E. Grants, of Genoa, has bought out the moving picture
show at Franklin.
NEW JERSEY.
Frank Grad has completed plans for a motion picture theater
ithat H. Rosenthal will erect at Newark on Norfolk street and
South Orange avenue at a cost of $12,000.
Messrs. John Bella and N. Brandi will erect a picture house
at Morris and Chestnut avenues, Chambersburg.
A fire destroyed the Sutton moving picture theater at Collins-
wood.
NEW YORK.
Plans have been filed for the erection of a two-story fire-
proof theater for Felix Isman on the west side of Seventh
avenue, 39.9 feet north of Forty-first street, New York, to be
known as the Seventh avenue moving picture theater, with a
frontage of 60 feet and a depth of 90 feet. The house will have a
seating capacity of 969 and will cost $35,000. William H. Hoff-
man is the architect.
Thompson & Tyler of Rochester opened their motion picture
theater at 73 Main street, Batavia, recently, and the proceeds of
the first show went toward the benefit of the Batavia hospital.
Machat Feature Co., Boston, moving pictures ; capital, $50,-
000. Incorporators, M. L. Machat, A. Shapiro, M. L. Machat.
The American syndicate will erect a big motion picture
film factory at Fort Erie. S. G. Sherry, of the Family theater;
George Dean, of Buffalo; W. J. Mahoney, of Rochester, and
others are interested.
Ecclesia Entertainment Lyceum, Inc., Manhattan. Motion
picture business ; capital, $25,000. Incorporators — A. B. Mac-
Namara, S. F. Frank, J. C. Jackson, New York City.
Thomas F. McLaughlin leased for T. E. and M. F. Mc-
Guinness for ten years the plot 93.9x100. south side of Seventy-
sixth street, between First and Second avenues, New York, to
the East End Amusement Company. A moving picture theater
will be erected. The rental will be $2,500 a year.
Negotiations for the purchase of the Central Church of
Christ in Syracuse by a New York syndicate, which proposes
to convert the building into a moving picture house, are prac-
tically complete. The $40,000 which it is understood the trustees
of the church desire for their property, would constitute the
major part of the outlay, as improvements aggregating $10,000
would convert the property into one of the finest houses in the
city.
Articles of incorporation have been issued for the North
Dakota Amusement Company, of Williston. The articles state
that the business of the company will be "theatrical moving
pictures, talking pictures and general road attractions and
amusements." The principal place of business will be Williston.
and the incorporators are William C, James W. and Mary R.
McGuiness. The capital stock is $50,000.
The old Odd Fellows' hall, of Rugby, is being converted into
a theater.
OHIO.
The Central Amusement Company. Cleveland. $10,000, mov-
ing pictures. R. Inglis, H. A. Hauxhurst, W. C. Saeger and
others, incorporators.
A. J. Lane of London has purchased the Princess Theater,
a moving picture show at Delphos, from O. G. Hackedorn.
The LTniversal Amusement Company. Cleveland, motion pic-
ture theaters; capital stock $7,000; B. J. Sawyer, A. E. Bernsteen,
Irene Nungesser, S. Cohen and W. R. Winn.
Motion pictures of the models who posed at Cleveland's
recent fashion show will be taken south on the trip of 100
members of the Chamber of Commerce manufacturers'' and
wholesale merchants' board will take and show in Nashville.
Louisville, Birmingham and other cities that will be visited
George C. Kolb, who expects to build a motion-picture house
on a part of Sanker's Garden, on Montgomery avenue, in Nor-
wood, a suburb of Cincinnati, received title to the property from
Henry C. Sanker.
Chaplain Watts has made arrangements to purchase a mov-
ing picture machine for the entertainment of the garrison at
Fort Thomas, Ky. The machine will probably be installed in the
post gymnasium.
The Broadway Exhibition Company, Cincinnati, moving
picture and vaudeville theater; $15,000. Sanford A. Readley,
Senora Kline, E. V. O'Dowd, Franklin T. Cahill. C. Ouert.
J. Stearn is building a moving picture theater on the prop-
erty in the rear of 59 to 67 South High street, Columbus.
The old Manner residence in Coshocton is being razed and
will be supplanted by a modern theater on the corner of Main
and Sixth streets.
Property in the rear of 59 South High street, Columbus,
has been leased by James Ross and John McCaferty to Max
Stearn, and he will build a moving picture theater on the prem-
ises.
The Rex Film Renovating Company, Columbus. $10,000; by
Richard D. Hanish, Frank W. Krehbiel and A. A. Krehbiel.
The Jewel Photoplay Company, Hamilton ; operating thea-
ters, showing motion pictures, etc.; $20,000; John H. Broomhall,
Mary T. Broomhall, G. C. Morey, H. H. Haines and A. E.
Wobenstahl.
258
MOTOGRAPHY
Vol. IX, No. 7
The Lagonda Amusement Company, Springfield, moving-
picture theaters; $10,000. John W. Teach, Charles Rosenblock,
Alice Teach, A. W. Schulman and George W. Tehan.
John Oelschlager has taken a lease on property of the Henry
Burkhardt Packing Company of Dayton, on the north side of
Fourth street just west of Jefferson. It is a three-story brick
structure and will be remodeled and fitted for a picture play-
house. The place was leased to Mr. Oelschlager for a term of
six years at $2,400 a year.
Prentice Berryman and Wilbur Foster have opened a moving
picture show in the Berryman building on South Broadway
Spencerville. It will be called the Grand.
The West End, Toledo, is to have another beautiful and
commodious moving picture theater, the Laurel, at the corner
of Detroit and Delaware avenues. Papers were signed whereby
the Empress Amusement Company, which operates the Empress
theater down town, will operate the new house.
The American Feature Film Company, with Nelson F.
Evans as manager, has opened a place of business in the old
Gates flats on Erie street, Toledo. This company operates en-
tirely with feature films, all imported, and in co-operation with
similar houses in London and San Francisco.
PENNSYLVANIA.
John McKenna & Son are estimating on plans for a moving-
picture theater, to be built at 2926 Richmond street, Philadelphia,
for William E. Butler, Esq.
Stearns & Castor, architects, have completed plans for a
moving-picture theater to be built in Berwyn.
John McKenna & Son are taking estimates on plans for
moving-picture theaters at Ninth and Morris streets and at
Fifth street and Olney avenue, Philadelphia, the latter for Frank
Hess.
At a motion-picture show in Minersville fire broke out in
the operating booth, creating a great deal of excitement. Law-
rence Barker, the operator, was the only one hurt. He was
badly burned about the hands and face.
The National Motion Picture Company, Philadelphia; capital
stock $200,000 ; to acquire the good will, lease, etc., and to conduct
a chain of motion-picture theaters. Incorporators, M. Leon
Kearns, James Kearns, Michael Conway, Philadelphia.
A motion-picture theater, 36x120 feet, is to be constructed at
2011-13 Frankford avenue, Philadelphia, for J. J. Goodstein,
after designs by Samuel Morrison.
A syndicate composed of William West, Dr. George H.
Kolber and others have purchased at a cost of $15,000 a lot 55x160
feet, at 1142, 1144 and 1146 Passyunk avenue, Philadelphia. They
will erect a moving-picture theater to cost approximately $50,000.
Weil and Sattler purchased the factory at 1650 North Sixth
street, Philadelphia, as a site for a moving-picture theater.
Clarence P. Wynne has purchased from William Levis, Inc.,
the three-story store and dwelling, 2775 Kensington avenue,
Philadelphia, lot 18x80 feet, together with the properties 2768-
70-72-74-76 Ruth street, in the rear, lot 77x112 feet. The
ground will be used as the site for a moving picture theater
to cost $25,000, and with a seating capacity of 1,500 persons.
The property formerly owned by J. B. Martin & Co., on
West King and Prince streets, Lancaster, will be transformed
into a moving picture theater. Solon R. Wonders, former man-
ager of the Family theater, will be manager.
The Eureka Amusement Company will erect a moving pic-
ture theater at 3941 Market street, Philadelphia. Cost, $25,000
Gaffney & Co. are taking sub-bids on moving picture thea-
ters to be built at Nineteenth and Norris streets and at 2926
Richmond street, and on plans for remodeling the premises 243
North Thirteenth street, Philadelphia.
W. I. Hippie has taken out a permit for a moving picture
house in Reading. It will be located at 108 Olev street, and
will cost $12,000.
Hugh O'Donnell, Inc., Philadelphia ; $30,000 ; _ educational
courses by motion pictures ; F. R. Hansell, Philadelphia.
The new motion picture theater being built for Greenberg
Brothers at 311-313 Market street, York City, will be ready
for occupancy in April. Isaac Greenberg, part owner, will be
the manager of the local amusement place. The theater, in-
cluding both realty and improvements, will aggregate an ex-
penditure of $50,000.
late Meta Connor Wood mansion at corner Broad and Thompson
streets,_ Philadelphia. The lessee promises a style of theater and
entertainment in vogue at the Carnegie Lyceum in New York,
and at the Alhambra in Cleveland, but which is said to be new
to this city. Designed in the Spanish mission style, of white
glazed terra cotta, the building will have a frontage of 25 feet
on Broad street, extending 160 feet on Thompson street, where
it will overlook Ontario Park. It will be in operation about
June 1.
Charles Sisson of Penn Yan is trying to encourage the
project of erecting an opera house in Sayre. He is at present
manager of three opera houses and desires to build a new theater.
/' SOUTH CAROLINA.
Messrs. Robert Hanks and C. C. Wilson have rented the
opera house of Mr. W. K. Stringer at Belton, and will put in
a new and up-to-date motion picture show." They have pur-
chased a new outfit and will be placed upon a circuit which
supplies the large theaters in the cities.
TENNESSEE.
A motion picture theater to be called the "Dixie Theater"
will be installed within a short time, owned and operated by
McKnight & Craig and Boyd Brothers, at Lewisburg. An
electric piano and the seats have been ordered, and an architect
secured to remodel- the interior.
W. E. Scales of Shelbyville has opened his new theater at
Lebanon. This makes the second moving-picture and vaudeville
house for Lebanon. The other one, "The New Lyric," is owned
by E. E. Adams and is leased by L. B. Long, formerly of
Cookeville.
TEXAS.
J. E. Whiteselle has let the contract to Berry & Metcalf
to build a brick theater building at Houston to cost $6,000. The
building will be used as a picture show and theater exclusively
for negroes.
P. W. McKittrick is remodeling the Johnson block on the
west side of the public square at Timpson, to be used as a pic-
ture show and opera house.
The contract has been awarded for the erection of a new
theater at Amarillo. C. D. Anding is to have the new building
in charge.
The Rex moving-picture theater at Wharton has been pur-
chased by P. A. Preddie.
The Moving Picture Film Company has located at Austin.
The company consists of twelve actors and actresses headed by
Miss Martha Russell. It is the only moving-picture company in
Texas.
WASHINGTON.
Colville is to have a picture show theater in the Fair store
building. W. S. and P. E. Newport, of Spokane, will be the
proprietors.
John Seifert, manager of the Circuit theater, will erect a
motion-picture theater at Tacoma to cost $45,000, on site of the
present Circuit theater, at 916 Pacific avenue.
WISCONSIN.
La Crosse has another moving-picture house. William and
F. M. Rehfuss of La Crosse have opened a picture house in the
building at 225 Main street, recently vacated by I. G. Loomis,
who will retire. The new theater will be known as "The Star."
During the last two weeks it was entirely remodeled.
The million dollar theater, hotel and office building to be
erected by the Saxe brothers at the northeast corner of the alley
on Third street between Grand avenue and Wells street, Mil-
waukee, will be fourteen stories high. The site is 100 by 150
feet and includes the Princess theater, a motion-picture house
owned by the Saxe brothers, and the corner building occupied
by Charles Polachek & Bros. Co. It is announced that the theater
will be of the latest Hippodrome style, seating at least 3,500
people and built along the plan of the famous St. Louis theater
of that name. It will be a "big time" house.
Manager H. E. Hansen, of the Palace Theater Company,
will erect a new theater at Antigo.
Plans are being considered for the erection of a new opera
house at Baraboo. Al Ringling will erect the building.
L. R. Pinkowski has purchased the Cozy theater at Mari-
nette, and has opened it with a fine program of motion pictures.
Mr. Pinkowski expects to secure only the very best motion pic-
ture films, which he will present to his patrons at the old Cozy
price — 5 cents.
Harvey Hansen, of Antigo, son of P. J. Hansen, of Rhine-
lander, has announced that he will build a motion picture and
vaudeville theater in Antigo in the spring with a seating capacity
of 1,000. The building will consist of two stories and basement,
and will be fireproof.
The ownership of Nugent's theater changed recently when
John M. Scheer, of Appleton, purchased the half interest of
Earl Nugent. The other half interest is owned by Will Nugent.
The business will be conducted on the same progressive lines as
in the past.
WYOMING.
A new firm composed of Tiverton T. Tynan and G. W. Lum-
bard, doing business under the name of Tynan, Lumbard & Co.,
has leased the Cozy theater on South Main street, at Sheridan,
and has opened on a three-reel daily change basis.
M. H. Todd is the new manager of the Lyric theater in
Cheyenne, having arrived from Colorado Springs, where he
had been employed in a similar capacity.
April 5, 1913
MOTOGRAPHY
259
Complete Record of Current Films
Fi?mt £ifl he listed Is lone In advance of their release dates as possible. Film manufacturers are requested to send us their bulletins as early as possible.
Rea^ble care isu£i! and the ^ publishers cannot be responsible ?for errors. Synopses of current films are not printed in Motography as they may be
obtained of the manufacturers.
LICENSED
DRAMA.
Date.
3-18
3-19
3-19
3-19
3-19
3-19
3-19
3-20
2-20
2-20
2-20
3-21
3-21
3-21
3-21
3-21
3-21
3-22
3-22
3-22
3-22
3-22
3-22
3-22
3-24
3-24
3-24
3-24
3-24
3-24
3-25
3-25
3-26
3-26
3-26
3-26
3-27
3-27
3-27
3-28
3-28
3-28
3-28
3-28
3-29
3-29
3-29
3-29
3-29
3-28
3-31
3-31
3-31
3-31
3-31
4-1
4-1
4-1
4-1
4-1
4-2
4-2
4-2
4-2
4-2
4-2
4-3
4-3
4-3
4-3
4-4
4-4
4-4
4-4
4-4
4-5
4-5
4-5
4-5
4-5
4-5
3-17
3-18
3-18
3-18
3-18
3-18
3-19
3-19
Title
The Birthday
An Innocent
Prisoners of
Maker. Length.
Gift Vitagraph
Offender Eclipse
- War Kalem
The Escape Pathe
The Sheriff of Yavapai County • • • • Selig
The Strength of Men Vitagraph
The House in Suburbia Vitagraph
Near the Earth Biograph
Honor Thy Mother Melies
Deedee's Blind Master Patheplay
The Ex-Convict • ■ Sehg
The Dean's Daughters Edison
The Pathway of Years Essanay
The Answered Prayer Kalem
The Dancer's Redemption Sehg
Friend John Lu b in
Tamandra, the Gypsy Lubin
The Risen Soul of Jim Grant Edison
Broncho Billy's Sister Essanay
A Motorcar Romance Cines
When They Were Kids Patheplay
The Honor System Kalem
Fate Biograph
The Battle of Bloody Ford Kalem
A Welcome Intruder Biograph
The Attack at Rocky Pass Kalem
A Moonshiner's Wife Lubin
Pauline Cushman, the Federal Spy Selig
The Old Clerk Selig
Brother Bill Vitagraph
Bread on the Waters Edison
The Scales of Justice Seh_
The Life Timer Selig
The Gate She Left Open Pathe
The Moonshiner's Last Stand Pathe
The Face at the Window Kalem
Memories of His Youth Lubin
Hinemoa Melies
The Sheriff's Reward Patheplay
A Way to the Underworld (ninth story of "What Hap-
pened to Marv") Edison
The Hero-Coward Essanay
The Gift of the Storm Lubin
Sally in Our Alley Selig
The Modern Prodigal Vitagraph
The Sheriff's Baby Biograph
Between Orton Junction and Fallonville Edison
The Wartime Siren Kalem
Heroes One and All Lubin
In the Land of the Cactus Lubin
The Two Brothers Vitagraph
The Elder Brother Edison
The American Princess Kalem
Women of the Desert Lubin
A Prisoner of Cabanas Selig
The Spy's Defeat Essanay
With the Eves of the Blind Edison
The Sheriff's Son Essanay
The Exposure of the Land Swindlers Kalem
Margarita and the Mission Funds Selig
Checkmated _ Vitagraph
The Fruit of Suspicion Eclipse
The Price of Gold Essanay
The Engineer's Daughter Patheplay
Nobility Pathe
The Sacrifice Kalem
Alixe, or The Test of Friendship Vitagraph
The Hero of Little Italy Biograph
A False Friend Lubin
The Stolen Tribute to the King Melies
Arabia, the Equine Detective Selig
The Inventor's Sketch Edison
A Wolf Among Lambs Essanay
The Burden Bearer Lubin
The Hoyden's Awakening. Selig
The Golden Horde or Buried Alive. Vitagraph
The Perfidy of Mary Biograph
Master and Man Edison
Broncho Billy's Way Essanay
A Mississippi Tragedy Kalem
A Change of Administration Selig
The Broken Idyll Patheplay
COMEDY.
Love Before Ten Selig
Their Country Relation Cines
Who's Champion Now Cines
The Housekeeper of Circle C Essanay
Turn Him Out Selig
According to Advice Vitagraph
Mother's Lazy Boy Edison
Finnegan Essanay
500
1,000
1,000
1,000
1,000
2,000
1,000
999
1,000
1,000
1,000
1,000
1,000
500
1,000
1,000
2,000
1,000
1,000
800
1,000
1,000
1,038
2,000
1,000
1,000
2,000
1,000
1,000
g 1,000
2,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
2,000
1,000
1,000
■1.000
2,000
1,000
1,000
1,000
1,000
1,000
2,000
1,000
1,000
3,000
1,000
1,000
1,000
1,000
2,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
2,000
1,000
1,000
1,000
2,000
1,000
400
600
1,000
1,000
1,000
Date
3-20
3-20
3-20
3-20
3-21
3-21
3-22
3-22
3-24
3-24
3-25
3-25
3-25
3-25
3-25
3-26
3-26
3-26
3-26
3-27
3-27
3-27
3-27
3-27
3-28
3-28
3-29
3-29
3-31
3-31
3-31
4-1
4-1
4-1
4-2
4-2
4-3
4-3
4-3
4-4
4-4
4-4
4-5
4-5
4-5
4-5
3-21
3-21
3-21
3-22
3-26
3-28
3-28
3-29
4-1
4-1
4-3
4-4
4-5
Jim,
Mr.
Title Maker Length
The Tale of a Clock Essanay 1,000
the Burglar Lubin
Jinks Buys a Dress ....Lubin
The Wonderful Statue Vitagraph
Rastus Loses His Elephant Patheplay
A Matter of Matrimony Vitagraph
Pete, the Artist ■ • • Lubin
Beldina, the Slavey Vitagraph
The Long and Short of it Edison
Tea and Toast Edison
He Needed the Money Cines
The Sheriff's Honeymoon Essanay
The Fixer Lubin
Such an Appetite Lubin
Dick, the Dead Shot Vitagraph
He Saw the Point Eclipse
The Unprofitable Boarder Edison
The Scratch .Essanay
Love Laughs at Locksmiths Vitagraph
The Old Gray Mare Biograph
All Hail to the King Biograph
The Trail of the Itching Palm Essanay
The Food-Chopper War Selig
Getting Up a Practice Vitagraph
The "Fired" Cook Kalem
The Cat and the Bonnet Kalem
Spirits of Youth Cines
The Hardup Family's Bluff Patheplay
Edwin Masouerades Biograph
Their One Good Suit Biograph
Bedelia Becomes a Lady Vitagraph
He Wouldn't Give Up Cines
Shipping a Clock Lubin
The Fake Soldiers Lubin
The Duke's Dilemma Edison
A Luckv Mistake Selig
The Will-Be Weds Essanay
There She Goes Patheplay
The Midget's Romance Vitagraph
Fatty's Deception Kalem
Whiffles Tries Moving Picture Acting Patheplay
Let 'em Quarrel • Vitagraph
Faint Heart N'er Won Fair Lady Cines
His Widow Lubin
Collecting the Bill Lubin
He Answered the Ad Vitagraph
EDUCATIONAL.
The Death Head Moth Patheplay
The Celery Industry in Florida Kalem
Mine_ Rescue at American Red Cross Society Vitagraph
Life in Somaliland, East Africa Cines
The Crab and Lobster Industry Eclipse
Crabs and Lobsters. ._. Patheplay
The Tobacco Culture in Cuba Patheplay
Teny o Mari Vitagraph
How Plaster is Obtained Patheplay
The Moros Patheplay
Our Coast Defenders Vitagraph
New York's Public Markets Kalem
Modern Progress in Somaliland, East Africa Cines
SCENIC.
3-26 Fjords and Waterfalls of Norway Eclipse
3-26 Shanghai, China Selig
3-26 In Old Quebec Vitagraph
3-27 Chateau of Chambord Patheplay
3-28 Scenes in Japan Vitagraph
3-29 Glimpses of Naples and Vicinity Cines
4-2 Cairo, Egypt and its Environs Patheplay
4-2 Chinese Temple ...._. Selig
4-3 The River Wanganui Melies
4-4 An Excursion to the Grande, Chartreus, France. .Patheplay
JUVENILE.
3-25 The Babes in the Woods Patheplay
TOPICAL.
3-24
3-31
Pathe's
Pathe's
Weekly,
Weekly,
No.
No.
13 Patheplay
14 Patheplay
1,000
1,000
1,000
1,000
400
600
1,000
1,000
350
1,000
1,000
1,000
1,000
1,000
550
1,000
1,000
1,000
1,000
1,000
500
1,000
200
350
500
300
450
DAILY LICENSED RELEASES
Biograph, Edison, Kalem, Lubin, Pathe, Selig, Vita-
Edison, Essanay, Cines-Kleine, Lubin, Pathe, Selig,
Kalem, Eclipse-Kleine, Pathe,
Lubin, Melies, Pathe, Selig,
Vita-
MONDAY:
graph.
TUESDAY:
Vitagraph.
WEDNESDAY: Edison, Essanay,
Selig, Vitagraph.
THURSDAY: Biograph, Essanay,
Vitagraph.
FRIDAY: Edison, Essanay, Kalem, Lubin, Pathe, Selig,
graph.
SATURDAY : Edison, Essanay, Cines-Kleine, Kalem, Lubin,
Pathe, Vitagraph.
260
MOTOGRAPHY
Vol. IX, No. 7
INDEPENDENT
DRAMA.
Date Title Maker Length
3-16 An Empty Box Rex
3-17 Kathleen Mavourneen -Imp 3,000
3-17 Her Dreams of Yesterday Excelsior
3-17 When a Woman Won't American 1,000
3-18 The Battle of Bull Run ...Bison 3,000
3-18 The City Fellow Majestic
3-18 The Sovereign Soul Gaumont
3-18 The Butterfly Gaumont
3-19 Her Friend the Bad Man ^stor
3-19 For Better or for Worse ^-Eclair 2,000
3-19 The Judge's Vindication Reliance 2,000
3-19 The Pride of the South Broncho 3,000
3-20 Was She to Blame? .....Rex
3-20 Branded By His Brother's Crime Frontier
3-20 The Lesson American
3-20 Till Death Do Us Part Pilot 2,000
3-21 Roses of Remembrance Nestor
3-21 The Younger Sister Victor
3-21 The Way of the Transgressor Solax
3-22 The Lineman and the Reformer Mecca
3-22 An Eastern Flower American
3-22 The Return of Thunder Cloud's Spirit Bison 2,000
3-23 The Peacemaker Rex
3-24 Damages in Full Imp
3-24 The Legends of the Everglade Excelsior
3-24 The Sea Waif Ryno
3-25 The Light in the Window 101 Bison 2,000
3-25 The Lure of the Lorelei Gaumont
3-26 Forcing the Issue Nestor
3-26 A Night of AnguisTi Eclair 2,000
3-26 The Iconoclast Broncho 3,000
3-26 The Grip of Jealousy Ramo
3-27 The Great Ganton Mvstery Rex 2,000
3-27 The Tenderfoot's Turn Frontier
3-27 Lonesome Joe American 1 ,000
3-27 When Lincoln Was President Pilot
3-28 The Mining Expert's Ordeal Nestor
3-28 The Calling of Louis Mona Powers 2,000
3-28 Texas Kellv at Bay Kay Bee
3-28 The Man 'Eater Lux 1,000
3-28 The Climax Solax
3-29 The Half-Breed Parson Bison 2,000
3-29 The Criminals Mecca
3-29 The Half- Wit Reliance
3-30 A Well Meant Deception Majestic
3-31 Cupid in Uniform Imp
3-31 The Romance of a Fisher Boy Excelsior
3-31 The Renegade's Heart American 1,000
3-31 Classmates Ryno
4-1 A House Divided. 101 Bison 3,000
4-1 A Study in Sociology Majestic
4-1 The Quality of Kindness Gaumont
4-2 The Widow's Folly Nestor
4-2 The Superior Law Eclair 3,000
4-2 The Tudge's Vindication Reliance 2,000
4-3 The Bishop's Candlesticks Imp 2,000
4-3 The Bandit's Redemption Frontier
4-3 In the Battle's Smoke Pilot
4-4 A Providential Tragedy Nestor
4-4 A Letter to Mother Victor
4-4 With Lee in Virginia Kay Bee 2,000
4-4 The Ogres Solax
4-5 Taps 101 Bison 2,000
4-5 By the Curate's Aid Mecca
4-5 The Mute Witness American 1 ,000
4-5 The Penalty ■ Reliance
COMEDY.
Date
3-23
3-23
3-24
3-24
3-24
3-24
3-24
3-24
3-24
3-25
3-25
3-26
3-26
3-26
3-27
3-27
3-27
3-27
3-28
3-29
3-29
3-29
3-29
3-30
3-30
3-30
3-30
3-31
3-31
3-31
3-31
3-31
4-1
4-2
4-2
4-2
4-3
4-3
4-3
4-3
4-3
4-3
4-4
4-4
4-4
4-5
4-5
EDUCATIONAL.
3-20 Cossacks in the Ural Country Mutual
3-20 Vichy and its Waters Gaumont
3-23 The Dytiscus Eclair
3-25 Sea Anemones Gaumont
3-27 When Lincoln Was President Pilot
4-1 Lyndhoven Farm, Virginia Gem
4-1 By Waters Beautiful Gaumont
4-2 Rapid Transit in New York Ramo
4-3 Winter Sports in Norway Mutual
4-3 Exotic Fish Gaumont
SCENIC.
3-22 The Port of Copenhagen Great Northern
3-27 On the Roads of Ceylon Mutual
4-5 Under Southern Skies Great Northern
TOPICAL.
3-20 Mutual Weekly, No. 12 Mutual
3-26 The Animated Weekly, No. 55 Universal
3-26 Gaumont's Weekly, No. 55 Gaumont
3-27 Mutual Weekly, No. 13 Mutual
4-2 Animated Weekly, No. 56 Universal
4-2 Gaumont's Weekly, No. 56 Gaumont
4-3 Mutual Weekly, No. 14 Mutual
1,000
Title Maker Length
Busim ss Must Not Interfere Eclair
The. \ rrong Miss Wright Majestic
Their Combination Suit Nestor
Dad's Stenographer Nestor
An Interrupted Suicide Champion
A Trim and a Shave .Champion
Cupid Never Ages American
Jenny's Pearls Keystone
The Chief's Predicament Keystone
Billy's Mistaken Overcoat Gem
The Prima Donna's Cat Majestic
Having Their Pictures Taken Powers
His Day of Freedom lieliance
Burstup Homes Murder Case Solax
To Reno and Back Imp
Willie ai ! the Old Suitor Mutual
The Am; iur Sleuth Gaumont
Hypnotiz i g I'annah Gaumont
That B05 f r jin Missouri Victor
Calamity Anne's Beauty American
Innocent Dad Imp
Nervous Leo Imp
Fred as a Soldier Great Northern
Her New Chauffeur Rex
The Drummer's Note Book Crystal
It's a Bear Crystal
Married in Haste Eclair
Superstitious Mary Nestor
Mum's the Word Nestor
A Knotty Knot Champion
Her New Beau Keystone
On His Wedding Day Keystone
Billy's Double Gem
Do It Now Powers
The Last Old Lady Ramo
The Bachelor's Housekeeper Solax
Fiddler Pete Rex
Matches American
The Land Salesman Keystone
Hide and Seek Keystone
Willy and the Faithful Servant Mutual
Marriage by the Wholesale Gaumont
Bachelor Bill's Birthday Present Powers
Too Polite Lux
More Than She Bargained For Lux
Binks, the Terrible Turk Imp
A Skipper's Story Great Northern
1,000
711
1,000
475
508
559
410
3-17 The Village Choir Nestor
3-17 The Honeymoon Lodging Champion
3-18 Billy Wins Gem
3-19 The Downfall of Uriah Snoop Powers
3-19 In the Wrong Flat Solax
3-20 The Satchel Game Imp
3-20 The Suitor and the Monkey Mutual
3-20 Simple Simon Suffers Sorely. Gaumont
3-21 By the Curate's Aid Powers
3-21 Miss Simpson's Jewels Lux
3-21 Pat Wishes to Economize Lux
3-22 Saved By Parcel's Post Imp
3-22 Leo's Love Letter Imp.
3-22 The Grafters Reliance
3-22 The New Film Actor Great Northern
3-23 Lovers Three Crystal
3-23 His Twin Brother Crystal
DAILY "MUTUAL" RELEASES
(Independent.)
MONDAY: American, Keystone, Excelsior.
TUESDAY: Majestic, Thanhouser.
WEDNESDAY: Broncho, Mutual Weekly, Reliance.
THURSDAY: American, Mutual, Keystone.
FRIDAY: Kay-Bee, Thanhouser.
SATURDAY: American, Reliance,
SUNDAY: Majestic, Thanhouser.
555
400
DAILY
'FILM SUPPLY'
(Independent)
RELEASES
MONDAY: Ryno.
TUESDAY: Gaumont.
WEDNESDAY: Solax, Gaumont Weekly, Ramo.
THURSDAY: Ammex, Gaumont, Pilot.
FRIDAY: Solax, Lux.
SATURDAY: Great Northern, Gaumont.
DAILY UNIVERSAL RELEASES
(Independent.)
MONDAY: Champion, Imp, Nestor.
TUESDAY: Bison, Gem.
WEDNESDAY: Animated Weekly, Eclair, Nestor, Powers.
THURSDAY: Imp, Rex, Frontier.
FRIDAY: Nestor, Powers, Victor.
SATURDAY: Imp, Bison, Mecca.
SUNDAY: Crystal, Eclair, Rex.
VOL. IX
APRIL 19, 1913.
No. 8
EXPLOITING
Published Bi-Weekly by Electricity Magazine Corporation, Monadnock Building, Chicago
MAY BUCKLEY
SELIG
GEORGE KLEINE'S
CINES ana ECLIPSE
Coming Cines-Kleine Feature
Multiple Reel Releases
A Fugitive At Bay
Copyright, 1913, by George Kleine
RELEASED MAY 16, 1913
(Two Reels)
A very pathetic and thrilling story of life
among mountaineers. It deals with a poor man's
love for a handsome girl of noble birth and his
human sacrifices can only bring sympathy and
compassion from a deeply interested audience.
HIS SWEETHEART'S WARNING
The Miser's Millions
Copyright, 1913, by George Kleine
RELEASED MAY 23, 1913
(Three Reels)
An exciting story of a despicable old miser
and his money-chamber, the secret of which is not
learned by his heirs for years after his death.
Being novel and unique in its many features it
holds one's close attention until the end.
THE CAUTIOUS OLD MISER
SPECIAL HERALDS, ONE, THREE, AND SIX-SHEET POSTERS
Cines
April 22, 1913
A HEART OF STEEL
(A powerful and emotional drama)
Eclipse
April 23, 1913
A FOUR-FOOTED DETECTIVE
(A wonderful exhibition of a dog)
Cines
April 26, 1913
FORGOTTEN
Views in Liege, Belgium
Drama
FOR POSTERS— Order from your Exchange, or from the ARMSTRONG LITHOGRAPH COMPANY, Cleveland, Ohio
Send as your name to be
placed npon our mailing
list for advance advertising
matter.
GEORGE KLEINE
166 N. State St.
CHICAGO, ILL.
April 19, 1913
MOTOGRAPHY
EASTMAN
motion picture
film— the acknowl-
edged standard the
world over.
Manufactured by
EASTMAN KODAK CO.,
ROCHESTER, N. Y.
ANNOUNCEMENT.
The Fireproof Film
Company is prepared to
accept orders and make
contracts for motion
picture film guaranteed
to be superior to the
best on the market.
Manufactured by
FIREPROOF FILM COMPANY
ROCHESTER, N. Y.
Ornamental
Theatres
PLASTER RELIEF DECORATIONS
Theatres Designed Everywhere
Write for Illustrated Theatre Catalog. Send us
Sizes of Theatre for Special Designs
THE DECORATORS SUPPLY CO.
2549]Archer Avenue, CHICAGO, ILL.
RAMO FILMS
THE NEW FILM OF QUALITY
Exchangemen !
A Complete Set of
Ten Beautiful Lobby
Photographs, 8x10,
Illustrating RAMO
FILMS Will Be Sent
Gratis with Each
Print — Together
with Posters and
Artistic Printing
Matter for the Ex-
hibitor.
Will This Benefit
Your Releases?
Copyright 1913 Wray Physioc
Studios 102 W. 101st St. NEW YORK CITY
When corresponding mention MOTOGRAPHY.
Above — Gilbert M. Anderson and Brinsley Shaw in Essanay's release "Broncho Billy and the Rustler's Child." Below — Evelyn Selbie, Margaret
Joslyn and Augustus Carney in ''Alkali Ike's Mother-in-law."
FTR
WITH WHICH IS INCORPORATED THE NICKELODEON
CHICAGO, APRIL 19, 1913
PUBLISHED BI-WEEKLY BY
ELECTRICITY MAGAZINE CORPORATION
MONADNOCK BUILDING, CHICAGO
Telephones: Harrison 3014 — Automatic 61028
Ed. J. Mock and Paul H. Woodruff. Editors
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Mabel Condon, Associate Editor
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Entered as second-class matter at the postoffice at Chicago, Illinois, under
act of March 3, 1879.
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This publication is free and independent of all business or house con-
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CHICAGO, APRIL 19, 1913
TABLE OF CONTENTS
Scenes from coming Essanay Releases Frontispiece
Editorial 261-262
These Long Features 261
Another Step Forward 262
The Jenkins Phantascope and Camera. By John B. Rathbun 263-265
Universal Secures Two Celebrated Players 265
Pathe Players in a Real Wreck 266
Sans Grease Paint and Wig. By Mabel Condon 267-268
Animated Fashion Plates 269-270
On the Outside Looking In. By the Goat Man 271-273
Motion Picture Making and Exhibiting. By John B. Rathbun. .275-278
Motography's Gallery of Picture Players 279
Solax Featuring Children's Play 280
A Diamond-S Potpourri 281-282
Filming the Dayton Flood 283-284
The Motion Picture Exhibitors' League of America 285-286
Mississippi Exhibitors Meet 285
Louisiana Joins League 285
Who's Who in the Film Game 287
Current Educational Releases 289-290'
Of Interest to the Trade 291-294
Brevities of the Business 295-296
Complete Record of Current Films 297-258
THESE LONG FEATURES.
A COUPLE of years ago, or maybe three, a "feature"
was merely an exceptionally good one-reel drama, or
at least one that the publicity agent chose to regard as
exceptional. Of course the natural development of this
system was the ultimate designation of every reel as a
feature, as the press agents, under brisk competition,
became more and more profuse in adjectives. Thus the
term lost force and became, in motion picture parlance,
little more than a synonym for the word "subject."
Then some of the independently organized film com-
panies began making and importing special two, three,
four and even five thousand foot film stories, which were
mostly distributed to buyers of territorial licenses — the
"state rights" system. These multiple reel subjects imme-
diately adopted the name of "features" for their exclu-
sive use. Today the word "feature" is seldom used in
connection with a single reel.
The demand for features longer than the prevailing
length of picture theater programs seems to have been
created after the supply. There has been evident no
great clamor for them on the part of the exhibitor. He,
indeed, often displays a strong repugnance to radical
change, and commonly refuses to increase his admission
price even when circumstances would seem to call for
such action. The maker or distributor of these long
features believes the exhibitor should make a special
show of them, charging an admission higher than usual
because the features are more attractive than the usual
program. The exhibitor, on the other hand, thinks it
injudicious to charge, say, ten cents on certain days,
when he has built up his reputation with a five cent
house.
There is room here, evidently, for a difference of
opinion. In consequence, the feature dealer must find
his market among theaters making a specialty of such
features, and among enterprising gentlemen who secure
the use of opera houses and stock theaters for dark
nights.
A canvass of representative exhibitors brings out
the information that most of them prefer strong one-reel
dramas. A few express a fondness for good two-reel
subjects. Features larger than two reels seem to get few
votes. Yet, on the other hand, there have been made,
and are being made, multiple reel subjects of extra-
ordinary footage, as viewed from present standards,
whose action could not be compressed into conventional
lengths. Furthermore, the value of some of these feat-
ures is even greater than their longitude. "Quo Vadis"
in eight reels, and "Les Miserables" in twelve, are two
examples of extreme length. The former has already
been shown privately, and those who saw it claim that
to shorten it in any respect would be sacrilege.
It is manifestly absurd to limit deliberately the
magnificent possibilities of the photoplay by prescribing
a duration of twenty minutes, or even sixty minutes.
The only reasonable limitation is the capacity of the
audience for enjoyment. Three hours would seem to
be the extreme duration in this country — a full even-
262
MOTOGRAPHY
Vol. IX, No. 8
Statement of the ownership, management, etc., of MOTOG-
RAPHY, published bi-weekly, at Chicago, 111., required by
the Act of August 24, 1912.
Note — This statement is to be made in duplicate, both copies
to be delivered by the publisher to the postmaster, who will send
one copy to the Third Assistant Postmaster General (Division of
Classification), Washington D. C, and retain the other in the
files of the post office.
NAMli OF POST-OFFICE ADDRESS
Editor, Paul H. Woodruff 7025 Yale Ave., Chicago, 111.
Managing Editor and Business Manager, Ed J. Mock,
6549 Harvard Ave., Chicago, 111.
Publisher, Electricity Magazine Corporation,
1457-1460 Monadnock Bldg., Chicago, 111.
Owners: (If a corporation, give names and addresses of stock-
holders holding 1 per cent or more of total amount of stock).
Ed T. Mock - - 6549 Harvard Ave., Chicago, 111.
B. C. Sammons, .... Blue Island, 111.
John Crocker, ..... Maroa, 111.
Known bondholders, mortgagees, and other security holders,
holding 1 per cent or more of total amount of bonds, mortgages,
or other securties :
There are no bonds, mortgages or other securities outstand-
ing against MOTOGRAPHY.
ED J. MOCK, Business Manager.
Sworn to and subscribed before me this thirty-first day of
March, 1913.
(Seal) Leona J. Ekstrom.
My commission expires Aug. 17, 1914.
ing. We have not yet learned to devote three-day periods
to theatrical entertainment, as do the Chinese. So twelve
thousand feet of motion pictures is probably our maxi-
mum. But it is easily conceivable that some stories
would require that amount of film, and' would be
worth it.
It has often been suggested that the exhibitor whose
program length is limited, arbitrarily or not, run long
features serially, taking several days to each. This sys-
tem has, in fact, been tried to a limited extent. But it
is not logical. We endure the printed serial because we
can control it. We can save its installments until we
have them all before reading, or we can read them one
at a time when it suits our convenience. But a serial
theater performance demands our attention at its con-
venience. Once having started it, we must bind our-
selves to certain future days and hours, whether we
will or no. And that is distasteful to the average pleas-
ure seeker. What should be a joy becomes a burden,
because it is more or less compulsory.
The motion picture play must be shown in one "per-
formance," and so must be limited to the reasonable
length of one performance. This length, however, has
not yet been exceeded. The fact that a photoplay a
whole evening long does not suit the present form of
exhibition is a commercial argument against the feature ;
but it is not an ethical argument. The long feature is
a necessary and inevitable step of progress. It solves
the problem of producing really important photoplays.
And the next step will be the extra wide film and the
forty-foot-wide screen, accommodating a legitimate
stageful of players. That, too, will be contrary to ac-
cepted practice, and will encounter much protest. But
it is bound to come.
Today the long feature does not fit the small the-
ater, and the small theater does not fit the long feature.
That is a pity; but it will not stop the production of
features. Whether they will ever get together, or how
both will be taken care of by the evolution of the in-
dustry, is for the future to decide — not us.
the pictures prove themselves capable of even more won-
derful things.
When one of the foreign manufacturers combined
the X-rays with a motion picture camera and obtained
pictures of things which are hidden from the human eye,
because of the intervening matter, the world gasped with
surprise, but now Pathe Freres have released a film
which combines ultra-rapid camera work with motion
picture making and shows us, (through projecting pic-
tures at the rate of 16 per second), which were taken at
the rate of 1,200 pictures per second, things which the
eye sees yet does not see — things which happen too fast
for the eye alone to record.
In "The Analysis of Motion," the first one of the
ultra-rapid motion pictures which the Pathe people have
released, and which was seen on the screen the past
week, one beholds a bullet leaving the barrel of a rifle,
watches its trajectory through the air and see it finally
strike and destroy a clay pipe target. While spellbound
in wonderment by witnessing for the first time things
which no human being has ever beheld before, one
vaguely begins to understand what a vast field the Pathe
accomplishment opens up. When one can actually see
bullets being fired from highpower rifles and witness their
flight through the air, by means of motion pictures, it
is not hard to believe that still more wonderful things
will be shown us by the same means in the near future.
Truly this is an age of miracles — and the end is not yet.
ANOTHER STEP FORWARD.
Almost every day discloses some new marvel in
motion pictures and we think the limit has finally been
reached, but, on the day or during the week following,
THE INTERNATIONAL EXHIBITION.
The March 20 issue of the Bioscope, published in
London, England, gives some interesting facts with re-
gard to the displays of American film manufacturers and
firms whose brands are well known in the United States,
shown at the International Kinematograph Exhibition
which was held a+ the Olympia in London March 22 to
29.
The Essanay Film Manufacturing Company will
utilize a striking advertisement device, which no visitor
can miss seeing. This will be a captive balloon, 30 feet
in diameter, and having a capacity of 30,000 cubic feet.
It will take seven men to get it down every morning, and
will float in the centre of the hall. There will be a special
gas generating plant to fill it, and it will have to be replen-
ished daily. The firm will exhibit stock posters, from
double-crown to six-sheet, and a selection of its adver-
tising matter. It will also have five poster hoardings
12 feet by 16 feet. Pathe Freres have two theaters speci-
ally erected, one for the display of colored films, and
possibly the firm's weekly release of films, also a series of
educational subjects, in the other theater. A display of
machinery will also be on exhibition, showing the film
from the perforation to the finished article, and project-
ed upon the screen. There will be demonstrations on the
camera, and the coloring process by means of stencils.
Messrs. Pathe's hiring department will also be represent-
ed. The Natural Color Kinematograph Company, the
proprietor of the world famous "Kinemacolor," is ex-
hibiting its "Kinemacolor" projectors, also the "Sim-
plex" and "Kineto" machines, general accessories, films
of Swiss scenery, military, floral and general studies, to-
gether with posters, general publicity matter, etc., etc. At
this exhibition the Eclair Company intends to show the
whole series of Zigomar films, together with the Eclair
Journal and some new colored films. There will be on
show also some of the firm's publicity matter, posters,
photographs, etc., and Funnicus, Jane and Lofty, the
Eclair comedians, will appear each day personally in
sketches at 3 o'clock.
April 19, 1913
MOTOGRAPHY
263
The Jenkins "Phantascope" and Camera
By John B. Rathbun
THE little home projector recently developed and put
on the market by C. Francis Jenkins is one of the
most ingenious and complete of this class of ma-
chines that we have seen. Unlike the majority of the small
projectors, which are really nothing but toys, this ma-
chine is as capable and gives as good results as many of
the projectors costing many times the price asked. As
it uses standard film, the owner of this machine has an
unlimited range of subjects at his command, for any
film shown at the theaters may be projected without al-
teration in the film or in the machine. The screen image
which is about 8x10 feet is surprisingly clear and de-
void of flicker, and in the small rooms of residences
where it is intended to be used, the audience will have
no difficulty in seeing the minutest details of the picture.
While this machine operates on the same general
principles as the larger projectors, many modifications
have been made in the details to adapt it to the use of
the amateur showman. The ingenuity with which these
modifications have been made is well worth the attention
of anyone interested in the development of the motion
Fig. 1. The Jenkins Phantascope.
picture, and for this reason we will devote a little space
to a description of the mechanical assembly, having been
permitted to view the machine through the courtesy of
Mr. John F. Byrnes, secretary and general manager of
the International Industrial and Educational Film Com-
pany, who will presently announce through Motography
plans for marketing this product to the trade.
As in the standard projector, the machine is di-
vided into two principal groups, the lamp house and
the motion head. Owing to the arrangement of the film
shifting mechanism, the projection of the image is at
right angles to the optical center of the condenser lens
instead of being in the usual straight line. This right
angle turn in the beam of light is made through a 45
degree glass prism placed between the film gate and
the objective lens, the objective being 90 degrees from
the general center line. A two blade disc shutter is
placed between the condenser and the gate, instead of
in the usual position in front of the lens. This position
of the shutter of course reduces the duration of the
light on the film and is a great help in cutting down
the gate temperature.
Between four and five amperes are used in the
lamp, this value being determined principally by the
requirements of the city ordinances regulating the cur-
rent in lighting circuits. Very little heat is developed
by this small current and there is absolutely no danger
of fire should the machine be stopped with the light
shining on it. When the hand is held in the rays from
the condenser, the heat is almost imperceptible, and after
several minutes of continuous exposure with the film
still in the gate, the temperature was found to be little
if any above the temperature of the room. This prop-
erty of the machine makes it specially applicable to school
^H
^^V1
HP
•*/ *sfl
P^^^ ™^l
1
Ifr £^N
I
2
-^ i
1
Fig.
Arranged for Slides.
and lecture work as the film may be stopped and held
at any point indefinitely for examination by the students.
By alternately running and stopping the machine it is
possible to gain much information in regard to the loco-
motion of birds and animals, that would be impossible
with projectors drawing heavier currents.
The lamp house is unique in having the lamp and
rheostat combined in a single unit. The resistance wire
is wound around a hollow cylinder and is placed inside
of the casing. Small ventilation holes in the casing
keep the temperature at a reasonable degree. A small
wooden case in the front of the lamp house unit con-
tains two A]/2 inch condenser lenses, which may be easily
removed by undoing a catch on the side of the casing.
A swivel under the lamp house allows it to be turned
at right angles to its normal position and parallel to
the main projection lens. When in the latter position
an independent lens is mounted on a rod that extends
from the front of the house, and the machine is ready
to project standard size lantern slides. This change
is very easily made without the use of tools, and is a
decided advantage in school work where drawings or
still photographs must be projected.
Two carbons that pass through insulated bushings
and into the lamp house constitute the "lamp." They
are inclined with one another at an angle of about 120
264
MOTOGRAPHY
Vol. IX, No. 8
degrees and may be easily slid in and out of the holes
by the operator in adjusting his arc. In starting the
lamp, the operator grasps the carbons directly, brings
them together inside of the lamp and then separates them
gradually until he obtains the proper length of arc. The
carbons used are not much larger in diameter than a lead
pencil but are quite effective with the small amount of
current used. The lamp is connected to any chandelier or
Diagram of the Phantascope.
wall socket by means of an ordinary extension plug and
flexible cord. As the rheostat forms one piece with the
lamp house, there are no other connections than those' to
the lamp socket.
Perhaps the most original and remarkable feature is
the film shifting mechanism which is by far the most
simple arrangement that we have seen. This consists
of a cam actuated claw, a single sprocket, and a pair of
gears, all of which are contained in the motion head cas-
ing. The claws, which are formed out of steel wire,
act directly on the perforations in the edge of the film
through slots in the gate.
Two cams that form a part of the shutter disc
give two separate motions to the claws, one in a verti-
cal direction for pulling the film through the gate, and
the other in a horizontal path that inserts and removes
the claws from the perforations in the film. The action
of these parts is clearly shown by the perspective view,
Fig. 3, in which A is the disc shutter, I is the gate, F
is the claw, B is the disengaging cam, and C is the cam
acting on the roller D that gives the vertical movement
to the claw. The feed loop L and the takeup loop M
are maintained by the sprocket P that receives both
strands of the film on either side of its circumference.
As the shutter revolves, the irregularities on the face
of the cam C causes the rod H in the guides E to move
up and down, carrying with it the claw F. At the top
of the vertical stroke, the wave in the channel of the
cam B moves the rod G and the claw F inwardly, and
in contact with the perforations. This cam now holds
the claw in the perforations until the cam C brings the
film to the lower part of the stroke, at which point
the cam B releases the claw from the film. The sprocket
P, driven directly by the operating crank, revolves con-
tinuously, supplying just enough film to maintain the
loop. The guide rollers 0 and R keep the film in con-
tact with the teeth of the sprocket. The film is drawn
from the feed reel S and is rewound on the takeup reel
T. A pulley mounted on the sprocket shaft drives the
takeup reel through a spirally wound metal belt.
The threading of the film is very easily accom-
plished by lifting the spring supported guide rollers Q
and R, and then opening the film gate I along a cen-
tral parting line. After these parts are lifted out of
their normal position, it is a simple matter to insert
the film in the openings, place the perforations on the
sprocket teeth, and snap the rollers and gate into the
closed position. A knurled thumb nut on the top of
the casing moves the gate and lens up and dov/n so
that the picture may be brought into frame while in
operation.
Light from the condenser lens O passes through
the aperature J, through the film, and is then reflected
at right angles to its course by the prism K which is lo-
cated directly behind the gate. From K, the light passes
from the prism and through the projecting lens U. The
shutter A which is located between the gate and con-
denser serves three purposes, first to interrupt the light
while the film is being moved in the gate, second to
move the film feed mechanism, and third as a flywheel
to smooth out the pulsations due to hand cranking. Two
vanes are used in the shutter, which are very narrow
in comparison with those used on the average projector
and therefore very efficient in regard to the illumination
of the picture. The narrowness of the blades is made
possible by the rapidity with which the claw action pulls
the film through the gate.
By moving a catch that brings the feed reel into
connection with the driving gear, the film may be re-
Fig. 4. The Camera.
wound without disturbing either the reels or any of the
adjustments. Both reels are supported by a bracket
at the rear of the motion head casing in such a way
that their contents are instantly accessible.
THE JENKINS MOTION PICTURE CAMERA.
The Jenkins camera is an extremely light and com-
pact piece of apparatus designed principally for amateurs
who desire a reliable machine at a moderate price. It
weighs but fourteen pounds and is only a little larger
than a 5x7 still picture camera carrying case. The film
holders have a capacity of two hundred feet of standard
film, and are arranged so that they may be easily removed
or reloaded in broad daylight.
An imported anastigmat lens having an aperture of
April 19, 1913
MOTOGRAPHY
265
f/3.5 is installed on the front board so that it is nearly
flush with the surface thus avoiding the usual danger of
breakage in carrying the instrument in a crowd. The
lens is racked in and out for focusing by an annular
sleeve surrounding the lens tube, a device that permits
of more accurate adjustment than the ordinary rack and
pinion. Immediately inside of the focusing disc is a dial
that controls the diaphragm, the manipulation of this
member being similar to that on a still camera. The
negatives produced by this lens show remarkably good
definition and sharpness in the details.
Practically the same form of claw film shifting
mechanism is used in the camera as in the Jenkins pro-
jector, the two cams that actuate the claw being mounted
on the disc shutter. The takeup and feed loop are main-
tained as before by a single sprocket placed directly in
front of the gate. The fact that the film holders are
placed side by side instead of over one another necessi-
tates a peculiar arrangement of the film guide rollers,
for in this case it is necessary to turn the strand of film
through two planes from the feed reel to the takeup.
The film passes from the feed reel to the front of the
box, over a taper roller and through an angle of 45
degrees to a second roller directly in front of the reels.
From the second roller, which is also tapered, the film is
again passed through 45 degrees and is then led to the
sprocket. As the takeup reel and sprocket are in a
direct line, no more turns are necessary after passing the
sprocket. This construction is clearly shown in the fig-
ure.
All of the rollers that bear on the sprocket are
hinged at their inner ends so that they may be lifted up
and out of the way when the machine is being threaded.
Threading is very easily accomplished for all of the
mechanism is accessible through the side of the box when
the door is opened. Large screws passing through the
rear end of the box hold the film containers in place,
only a few turns being necessary to remove the con-
tents. A spirally wrapped metal belt passes over a pul-
ley on the crank shaft and to a keyed shaft that en-
gages with the spindle of the takeup reej. The keyed
ends of the latter shaft permit the instant removal of
the reel without disturbing any of the adjustments. The
arrangement of the reels has much to do with the light-
ness and compact form of the camera, the side by side
position of the reels cutting down the height by half that
necessary with the usual construction where the boxes
are stacked over one another.
All of the wood parts of the camera are of highly
finished mahogany which, together with the nickel plated
trimmings, presents a most attractive appearance.
THE JENKINS DEVELOPING REEL.
The developing reel, which is possibly one of the
most unique of the Jenkins moving picture specialties, is
meeting great favor with the film manufacturers because
of its simplicity and positive action. It avoids entirely
all of the difficulties experienced with the old form of
solid pin reels without the introduction of any additional
complication. Winding the film on this reel is as simple
a matter as winding on a flanged spool for the operator
does not have to be forever on the alert in dodging the
pins as he circles around the reel.
Four brass crossarms are provided on which a num-
ber of pivoted pins are mounted, the pins being normallv
below the top edge of the crossarms. In starting the
winding process, the end of the film is looped around
one of the inner pins, the remaining pins being down
and out of the way. After one complete revolution.
and when all of the inner pins are up in vertical posi-
tion, the action of the pins is automatic, each pin coming
up in turn to meet the film as the reel is revolved about
its axis. This action is caused by an extension at the
foot of one pin engaging with the extension of the pin
lying next to it which raises the upper portion of the
pin through about half of its travel. The pressure of
Fig. 5. The Developing Reel.
the film on the face of the pin raises it to the fullest ex-
tent.
When the film is unwound, the pins drop back to
their former positions automatically, as soon as the ten-
sion of the film is removed. There is absolutely no
danger of scratching the emulsion face with the pins as
is often the case with the old style of reel. When not
in use, the four arms can be dismantled and the whole
frame folded up in a very small space.
Universal Secures Two Celebrated Players
When "Pelleas and Melisande" is produced by the
Universal forces exhibitors will see some notable play-
ers on the screen. The leads in this Maurice Maeterlinck
drama will be taken by Constance Crawley and Arthur
Maude, two celebrated stars who have just been secured
by the Universal company, and in the near future these
same players will enact Oscar Wilde's "Florentine
Tragedy." This last piece they hold the exclusive rights
to for the United States, and recently enacted on the
Los Angeles Orpheum stage for the first time in Amer-
ica, it being the only classical play ever played on the
Orpheum stage, with the exception of those put on by
Madame Sarah Bernhardt. Miss Crawley is regarded
as one of the foremost actresses in America today, rank-
ing especially high as a tragedienne. She was for several
years with Beerbohn Tree, and toured the principal cities
of Africa with William Haviland. She is also a cousin
of Lord Kitchener, and was the only actress permitted
to enter Pretoria toward the end of the Boer war. Upon
her return to England she was engaged by Charles
Frohman to play "Everyman" in Ben Greet's Chicago
production. Mr. Maude learned his art with Henry
Irving and spent some seven years with Martin Harvey.
Some of his greatest successes have been in the roles of
Hamlet, Macbeth. Petrucio, Benedict and Mavolio.
Comparatively recently Miss Crawley and Mr. Maude
played "A Midsummer Night's Dream" at the Berkeley
Greek theater before an audience that numbered more
than 10,000 persons, an experience they will never for-
266
MOTOGRAPHY
Vol. IX. No. 8
Pathe Players in a Real 'Wreck
Leo D. Wharton, director of the Pathe comedies
has just returned from Saranac Lake, N. Y., where he
has been busy for the past month with a large company
executing several "Winter" scenarios. He relates a
thrilling incident that took place on the journey home-
ward. Early Sunday morning, comfortably sleeping on
the Montreal Express, the Patheites were tumbled out
on the floor to the tune of a grinding, shrieking noise.
The train bumped its way over five hundred feet of
roadbed before coming to a stop. Mrs. Wharton, who is
recovering from a recent illness, claimed the first atten-
tion of the Pathe players, and principally of Mr. Whar-
ton. A roll-call showed no one to have suffered any ill-
effects from the shaking tip, and the Pathe players con-
gratulated themselves upon their narrow escape. While
trainmen and a wrecking crew set about repairing a
broken rail, a railroad claim agent boarded the train.
Having observed Mr. Wharton's careful attention to his
wife, the official immediately made overtures looking
toward the settlement of any possible claim against the
railroad. A sharp glance from Wharton to his better
half reminded her that she was injured, and together
they signed a release for $200. Miss Elizabeth Emerick,
a member of the Pathe stock, seeing this proceeding, im-
mediately fainted. A pain in the vicinity of her heart
was given as the cause. The railroad claim agent be-
came panic-stricken at so serious a matter, and in order
to forestall a suit he tendered Miss Emerick a check for
$75. Her heart promptly returned to normal, and she
felt somewhat better. The news spread like wildfire and
there was a rush among the Patheites to discover some
effect which they could attribute to the wreck of the
express. Gondolfi, the camera expert, was so scared, in
reality, that he looked as if he was about to close his ac-
count with the world. With tears in his eyes the rail-
road official begged him to accept a check and sign a
release before he really died. William A. Williams,
Charles Arling and several others succeeded in collect-
ing damages. But tucked away in her bunk, little Gwen-
doline Pates slept through it all.
Selig Players Assist Chicago Press Club
Several well-known and talented members of the
Chicago studio stock of the Selig Polyscope Company
have consented to aid in the production and performance
of the second annual high-jinks or frolic of the Chicago
Press Club, which will be held in the Auditorium thea-
ter on the afternoon and evening of April 26. The
"Scoop," as the show is known, is an annual event among
the social and literary circles of Chicago, and is pro-
duced along original lines. Oscar Eagle, chief producer
of the Selig Chicago studios, will direct the production,
and it's artistic success is assured, as Mr. Eagle has had
vast experience in affairs of this nature. Charles France,
the Selig comedy producer, will portray the character of
ex-President Taft in the burlesque afterpiece. Julius
Frankenburg will play the part of "The Common Peo-
ple,"adapted from Opper's famous cartoons. Palmer
Bowman will handle the role of Governor Hadley and
George L. Cox will impersonate Roosevelt.
'Arabia Takes The Health Cure," April 25. Copyrighted by Selig Polyscope Co.
April 19, 1913
MOTOGRAPHY
267
Sans Grease Paint and Wig
By Mabel Condon
May P.ueklev.
QUITE the most
distinguished
woman play-
ing motion picture
leads in Chicago is
Miss May Buckley.
She is out at the Se-
lig studio, where Di-
rector Oscar Eagle
keeps her busy every
minute of the time
from 8:15 a. m. to 6
and 6 :30 and even la-
ter than that, some-
times. But she doesn't
mind how busy she is
kept just so she has
an occasional Satur-
day afternoon free in
which to shop, and
then she always has
all of Sunday in
which to rest, so is
quite satisfied.
She asked me to take dinner with her at her hotel,
the La Salle, because the Selig studio is such a busy
place and she is such a busy person that she was sure
a dinner-talk, far away from such things as dressing-
rooms and grease-pots, would be much nicer than just
a studio talk. She didn't say so, but I knew she dis-
liked so much as a mention of the word "interview,"
and the dinner-talk was as much unlike what that un-
popular word means, as it possibly could be.
And, while we're on the subject of that word, won't
someone think up a perfectly good substitute for it?
Though we had never met before, Miss Buckley and
I managed to find each other in the south waiting-room
and, as we took a going-down elevator for the dining-
room, Miss Buckley informed me that we would be at
the table with the Bennetts, that Mrs. Bennett is the
dearest woman and Miss Helen —
But I knew who Miss Helen was, having heard her
talk several times at the Press Club, and besides, every-
body knows that she is a newspaper woman and a per-
fectly sane suffragette.
"We eat here, in the St. German room to get away
from the music," said Miss Buckley, and the Dearest
Woman supplemented, from behind her menu card, "Yes,
the only music we hear is the tinkle of a spoon, when
it falls." And then, as though to oblige, a spoon slipped
off a nearby table onto the brick floor and a series of
musical tinkles resulted.
"I did want to stop in at that picture show on Madi-
son street, but I knew I wouldn't have time," Miss Buck-
ley said. "You know," she laughed, "I'm a regular
'fan' and go to a picture show every chance I get."
"You must let us know when and where we may see
your pictures," requested the Dearest Woman. "I'd
dearly love to see you in pictures."
"Yes, I'll let you know," promised Miss Buckley.
"There'll be ever so many, because I've played in a big
number during the month I've been out at Selig's. And
Monday I'm to begin a two-reel ; 'Hearts and Masks'
by Harold McGrath. I'll like that because there's sure
to he so much to it and I do like to play in big things."
Speaking of "big things" brought 'round the sub-
ject of Mrs. Pankhurst and her three years' prison sen-
tence and Miss Buckley and Miss Bennett exchanged a
series of opinions, views and predictions on the subject
while the Dearest Woman sat back and listened and I
had a most enjoyable time doing the same thing and
watching Miss Buckley.
For she is the personification of energy and a most
interesting conversationalist. Her voice is soft and ab-
solutely guiltless of the pronunciation of an "r," and her
eyes are gray-blue, the kind with a snap to them. She
has a wonderfully clear, colorful skin and small white
teeth ; her hair is as black as black can be, and her tail-
ored slenderness makes her look tall, though she isn't
tall, really. Her vivacity, though, is what one notices
most about Miss Buckley. She has a trick of accom-
panying every sentiment with an odd little gesture that
makes one wonder wherever she got them all.
She is one of the best emotional actresses on the
stage and her work of years has tended to make her
success wide-known. "The Unwritten Law" was the
play in which she had the lead in Chicago and New
York this winter, closing in the latter place two days
before she began her work at the Selig studio. She has
been on the stage since she was six years old, her first
appearance being in San Francisco, her home town,
where Belasco saw her in the Chinese play, "The First
Born" and sent her to London as Lucy Tsing of that
play.
The attention of Charles Frohman and George Ed-
wards, London managers, was attracted to the little
western girl and they both made her offers, Frohman's
being "A Marriage of Convenience," in which she played
and later in Edwards' "San Toy," which entertained
London for more than a year.
Then she came to New York in Frohman's "Hearts
and Trumps" in which she took honors with Amelia
Bingham, E. M. Holland, Edwin Arden, Cecil de Mille
and Jessie Busby and then scored with James O'Neill in
"The Manxman." Her portrayal of the role of Michael
in "The Shepherd King" brought her, from David Be-
lasco, the praise : "I am very proud of the little girl I
brought from San Francisco. As Michael, you seemed
to me as though you had stepped out of the Bible."
It was about a year ago that Miss Buckley's in-
terest in motion pictures led her to the Lubin studio
where every week of the six months she spent there
were eager, interesting ones. Then followed weeks. of
rehearsal in "The Unwritten Law" and its winter produc-
tion, but the night of her last performance found her
trunks packed and Miss Buckley speeding Chicago-ward
to again enter the interesting realm of pictures.
"I don't think I'd ever tire of picture work if I
weren't stationed just at one place all the time," de-
clared the picture lady when the fate of Mrs. Pankhurst
had been disposed of by her and Miss Bennett, and the
waiter had removed the covers from silver platters and
had disappeared. "But I do like variety and the sensa-
tion of new places and new work. I'd just love it if
Mr. Selig would send me on a picture tour : I can't
imagine anything nicer.
"But that's my nature. I hate to think of saying
good-bye to my friends and going away, but the min-
268
MOTOGRAPHY
Vol. IX, No. 8
ute I'm started and feel the motion of the train, I'm all
excitement about the place and work I'm going to. I
love to fit myself into new parts ; I guess that's why I
like pictures so well, they offer such a variety of roles.
"And the publicity they give you ! I never knew
anything like them for making a person known to so
many. When I was playing in Cleveland, recently, the
picture houses there were showing me at the same time,
and the idea of seeing the original of the pictures brought
the box-office the biggest business it had ever done. I
enjoyed the sensation of being pointed out as the 'picture
lady' and when I went into a department store for a yard
of ribbon to have the little shop-girl say, 'I saw you in
the pictures last night, Miss Buckley.' And I'd smile and
ask, 'Did you like me?' and invariably she'd reply, 'O
yes ! And is that man who made love to you, really
awfully nice?' And I'd assure her he was a very nice
young man and she'd say she thought he must be, be-
cause he made love to me so beautifully and I seemed to
really be in love with him! And I'd leave her wonder-
ing if I really was."
"But what about that statement over your name, to
the effect that you did not like picture work?" I wanted
to know, because the memory of that article, printed in
a Cleveland paper, some time ago, had been haunting me
ever since I knew Miss Buckley was again in pictures.
"Oh, did you see that?" and there was subdued hor-
ror in Miss Buckley's voice. "I was hoping nobody
would see it because it was all such an awful mistake. A
newspaper man in Cleveland wrote that. He was every-
where I went, wanting an interview, but I was too busy
to give him the time and told him so. Still he hovered.
If I left by the front entrance to avoid him at the rear,
there he was in the lobby with his hat in his hand and
a never-tiring smile. Finally, he proposed writing some-
thing himself and having me sign it and I agreed. Well,
when the article was presented for my signature, I was
just leaving for the theater and I signed without even
reading it. But when it was published and I read that
I disliked picture work, I regretted that I hadn't read
it and told that newspaper man what an awful, awful
thing he had done. You're the first one, though, who
ever mentioned it to me and I had hoped it escaped
notice. I wouldn't want the public to think I meant a
thing like that, especially as I'm all interest in pictures !"
She seemed so truly sorry that I regretted the men-
tion of the disturbing article but she became the happy
Miss Buckley again on Miss Bennett's announcement
that she had seen "The Yellow Jacket" that afternoon,
from a twenty-five cent seat, and agreed with Miss Buck-
ley as to the superfluity of the third act.
"That's something I'd love to do," Miss Buckley
wished, "see a play from the gallery."
"I always — mother dear, kindly propell the salt
this way — I always sit in the gallery on matinee day.
I know every gallery in the down-town theaters." And
Miss Buckley's answer was a sigh of envy.
"Dear me ! We're closing the dining-room again
tonight," declared the Dearest Woman as she hastily
made ready to go and the waiter played favorites with
an extra sprinkling of attar of roses in our finger-bowls
while Miss Buckley and Miss Bennett prepared to settle
their respective bills.
"A Cubist picture of a girl living at a hotel," re-
marked Miss Buckley as she glanced over hers, and then
we left the quaint little room, said good-bye to the
Dearest Woman and her daughter, as we left the eleva-
tor at the first floor, and Miss Buckley accompanied me
to the La Salle street entrance.
"I'm going to take a little vacation pretty soon,"
she announced, "but I'll be back at Selig's in August.
My dear, let me button your coat at the top — I'm afraid
it's turned dreadfully cold outdoors ! And come to see
me when I come back. Yes, do ! Good-bye !"
And when I got outside I unbuttoned my coat at
the top and thought what an awfully nice hostess Miss
Buckley makes.
Woods Now an Imp Director
Mr. Frank E. Woods, who has for seven months
been producing comedies with the Kinemacolor Com-
pany, has joined the Imp Company of the Universal
forces, and will from now on work from the Holly-
wood studios. Mr. Woods was very well known as the
editor of the Dramatic Mirror, which magazine he was
associated with for seven years in various capacities.
It was Mr. Woods who first created the moving picture
department in the Mirror. He has done a great deal of
writing under the title of "Spectator," and he is largely
known in the moving picture world by that pen name.
He has been a prolific writer of scenarios in his time,
and wrote the first serious picture drama that was ever
produced in America. This was for Mr. Griffith, of the
Biograph. He also wrote the series of "Jones" come-
dies, which first introduced Florence Lawrence and John
Cumpson to the moving picture public, and in which they
really made their reputations.
Scene from "Carmen," coming Thanhouser release for late May.
April 19, 1913
MOTOGRAPHY
269
Animated Fashion Plates
Posed by Kinemacolor
ON the top of a New York skyscraper, overlooking
Longacre Square (which may further be de-
scribed as "the Mecca of film men, modistes,
models, and motion picture players" — although exact
identification is deemed inadvisable, lest it become too
popular a resort and detract from the business of the
r- -^^M
wft V
■» H^iL
^bs^^K]
^m t|
Bhi'
In a Beauty Shop, Showing New Styles of Hairdressing.
theaters in the district) there is an aerial studio where
the dreams of the dressmakers come true, temporarily
at least, and are photographed in natural colors on living
models, for the edification and emulation of fashionable
women all over the country. Here the Easter Parade
was rehearsed in sections and at intervals long before
that sartorial saint's day, for the designers of Milady's
spring raiment, from bonnets to shoes — and all the in-
termediary articles of her attire — are anxious to have
their finest products photographed by the Kinemacolor
process, which brings out not only the cut and colors,
even to the most delicate shades, but also the sheen and
texture of the garments. Then, for once anyway, they
are worn by models especially selected to do justice to the
gowns, and bring out their best points in action and light.
This fad started abroad, when moving pictures of
the fashion parades in some of the Paris ateliers proved
so popular when shown on the screens in this country that
the Kinemacolor Company, through its allies in London
and Paris, started a regular fashion film service. Then
the American modistes and big manufacturers became
•emulous of like distinction in the public eye. and since
the fashion films from abroad could not come fast enough
to fill the demand, the Mecca studio was started, and
has been working every sunny day this year.
At this altitude on a windy day it is sometimes
more like life at sea than in a studio, for when it comes
to setting scenery and managing draperies in the brisk-
breezes that sweep Manhattan from all points of the
compass, it requires some seamanship as well as photo-
graphic ability. First, the chief officer, Mr. Samuels,
has to take the altitude of the sun, the drift of the wind,
and compute chances of rain or fog.
Then, if the signs are auspicious, the "crew" is
ordered "aloft" and soon as the "top hamper" of the
craft — heretofore set only with electric advertising signs,
breaks out with all sorts of set "sails" in the shape of
scenery — which frequently has to be clewed up and made
fast to the iron framework of the high signs to keep it
from blowing away. Rugs and draperies are hung and
weighted so that the wind will not pull them loose,
although it sometimes makes them wave ; so if occasion-
ally you should see a fashion picture in which the cur-
tains will not behave, and the little curl, which is accus-
tomed to hang right in the center of the good little
model's forehead, cuts up in a manner which might be
described as "cute" rather than "horrid," you'll know
that it was a windy day when that film was taken.
Meanwhile the models, — whose telephone addresses
and measurements are kept on file, have been summoned
and turned over to the costumers and tiring women in
the dressing room, which bears on its door a large brass
plate labeled "Directors." Presently from these sacred
precincts issue the most highly ornate, not to say
handsomest board of "directors" which any corporation
in the wealthy city of New York — outside of musical
comedy — can boast of. These "directoires," as they
might more appropriately be dubbed, trail long trained
ball gowns or elaborate evening wraps down a velvet
carpeted hallway to a private elevator which leads to
the roof.
There the stage director, Gilbert Clayton — who has
filled similar positions with the Frank Daniels and many
other operatic companies — takes charge of the produc-
tion, every scene of which is carefully rehearsed before
the camera is uncapped. Sometimes the wordless plot
depicts a reception, at which the arriving guests give their
wraps to correctly costumed flunkeys in the hall, and
sweep into the "drawing room" to greet their hostess
and indulge in smiles, handshakes and soundless repartee,
At the Milliner's, Showing Shapes and Colors of Trimmed Hats.
excepting that contributed by Mr. Clayton as he stands
on the side lines "coaching" the players. But he is out
of the camera's range, as are also the imaginary roof
and missing walls of the elaborately furnished apartment,
so unless you learned how the trick was done you migh<;
easily imagine that you were getting a view of a real
270
MOTOGRAPHY
Vol. IX, No. 8
society function a little farther up Broadway or over on
Fifth avenue. Again, it might be a scene from a society
comedy, but the costumes form the plot.
When it is desired to give a close view of a costume,
head-dress or article whose delicate embroidery or fine-
ness of coloring or texture invites intimate inspection —
theater having this service, of course ; since cards of
admission to the aerial studio are almost as hard to-
obtain as those to a still higher place.
Taking Fashion Films. Director Gilbert Clayton and Louis H. Miller,
Camera Man.
on the part of the ladies, of course — the camera is moved
close to the model, who is posed upon a revolving throne,
so that a picture of the "tout ensemble" may be taken
without changing the position of the model or draperies.
Here's where the "property man," who rejoices in the
real musical comedy name of Johnny Wise, comes into
action; for it is his duty, safely out of range of the
camera, to turn a crank which slowly revolves the plat-
form on which the model stands. No, the "crank" is not
Mr. Clayton, who stands at the edge of the black velvet
screen, for in spite of his saturnine expression and com-
manding gesture, he is saying in dulcet tones, "Now
smile, dearie"- — and all the models agree that he is the
most even-tempered and pleasant stage director they
ever posed for — or with. And this is saying a good deal
on a roof studio in the Winter time, when the sun is
about as torrid as a calcium light, and the wind is blowing
small-calibre guns. Quick action is necessary and there
is small time for patience with stupidity, unless the film
is to. finish like the "good ship Hesperus" with the fateful
lines : "But the stage-manager spake never a word, for a
frozen corse was he."
The other crank on the opposite side of the scene
is that of the Kinemacolor camera, which is turned by
Louis Harold Miller, an expert operator from London,
where he learned the gentle art of photographing by the
foot at the feet of Mr. Mackenzie, who was the first
camera-man to take pictures by the Urban process in
this country. For while Mr. Urban is an American, he
achieved his invention of the first natural color motion
picture process in England, and most of the technical
experts with the American corporation had their train-
ing in the London factories. However, they cheerfully
admit that America furnishes the best dramatic sub-
jects— and also the handsomest models for the popular
fashion pictures. If you don't believe this, go see some
of them, on the moving picture screen of the nearest
Gaumont "Talkers" Nearly Ready
According to a cablegram received by Variety, a
vaudeville journal, preparations are well under way
abroad to supply American theaters with the Gaumont
talking pictures. The cable, which was dated London,
March 26, read as follows : The promoters of the new
Gaumont moving-talking pictures have engaged a number
of American acts, now on this side, to sing and act be-
fore the cameras. They were encouraged to undertake
this enterprise by the active demand for the American
rights which have been cabled, frorn the States. The best
of the offers will be accepted, but nothing has been defi-
nitely decided upon as yet.
Leaves Stage to Act in Films
Motion pictures have lured one more actor of note-
away from the legitimate field, according to an itenjs
published in a' recent issue of the Dramatic Mirror.
Dustin Farnum is the actor in question and he is evidently
to operate his own plant, manufacturing the films in
which he is to appear. The story in the Mirror reads
as follows: Dustin Farnum, in an interview at Richmond,
Va., last week, said: "My contract with A. H. Woods
expired March 22. The tour closes here. I will be
bound by no more contracts. My last performance on
any stage will be here Saturday night. I contemplate
the launching of a motion-picture film manufacturing
business. I have a country place near San Diego, Cal.r
and I shall go there and establish my plant."
Scene from "Robinson Crusoe," Rex.
April 19, 1913
MOTOGRAPHY
271
On the Outside Looking In
By the Goat Man
WE ARE to be the judge and jury both. If the
pace is maintained, we may have to call in an
arbitration board. Today we have so much
choice that the poster clearing house has taken to the
woods. We have the General Film Company, the Mu-
tual Film Corporation, the Universal Film Manufactur-
ing Company, Kinemacolor Company, Kinetograph Com-
pany, Independent Exchange Company, forty-eight va-
rieties of features, the echo of the Film Supply Company
of America, No. 2, and Pat Casey's threat. I guess we
can run our show all right if we don't get lost in the
haze. And to think that with all this staring us in the
face, the market is still tight. Maybe an outsider will
be brave enough to attempt an explanation. Here's my
disguise, horns and whiskers and all ; who wants 'em ?
* * *
Only a little while ago I went crazy over a five parts
and eight thousand footer. Now Kurt Waldemar Linn
is ready to spring his'n with four parts and twelve thou-
sand feet. Zowie !
* * #
I can see plainly enough that I must take my Pyrene
and go to New York. I've done fairly well to be so far
away from the scene of trouble and I thought I was set-
ting things afire when I rammed through fourteen extra
editions in a year, but to keep the pace, we'll have to do a
daily and run Sunday supplements. They tried to burn
up the Screen Club ; General Film sues Kalem ; Brad-
enburgh sues Lubin ; the tranquillity of the Film Supply
has been upset — Powers moved in, I believe, but of
course, it wasn't that ; Raver has gone back to Itala
and turns a tiger loose ; Agnes Egan Cobb is doing trag-
edy— why, there's something in the air all the time. An
aviation meet on Chicago's lake front isn't a patch by
comparison. I see that Charlie Hite will abandon the
Coney Island plants of Majestic and Reliance and take
those brands up to New Rochelle, merely to keep his big
new studio from lagging. To keep up with little old
New York's activities we need a daily.
* # #
Following out a recent precedent, the Mutual ex-
change managers got acquainted in Chicago. After all,
they like to meet at a convenient center.
* * *
I'm told I cannot sing a song — the things I say or
do are wrong. At guessing, I'm a holy fright and that
Scene from "The Power of the Cross," Lubin release.
272
MOTOGRAPHY
Vol. IX, No. 8
my dope is never right. I slid along for quite a while
and seldom missed more than a mile, but now I'm sadly
on the blink without a single thought to think. I said,
Scene from "The House Divided," Bison-101.
the bunch, like Aiken's pup, would settle down or cough
it up ; but from the East, where I must look, they're busy
with the pruning hook. I thought they'd fix it in a day.
They did; but in a funny way. The boys blew in and
then blew out — there was no fuss — they didn't shout —
they left Frank Bailey, he of Butte, alone to act, but
not to shoot. When he agrees they all agree — a simple
plan as you will see. Joe Hopp is back, all spick and
trim- — I've had to get the news from him. He doesn't
rip around or rant and yet he says he'll not recant. He
wants the films that have the punch before and after
every lunch. He says the world is full of junk and he
is tired shooting bunk. If this affair is brought to tow,
(and you and I are bound to know), there's hope ahead
for Powers' crew and certainly for Laemmle, too. I'm
glad to know the fighting's past, at least the kind of
fights that last. I may not hit it all the time, but now
and then I like a lime !
Do you remember that old, old story of the hermit,
who cast out the famished and half-frozen traveler be-
cause he blew on his hands to warm them and on his
broth to cool it? The hermit wouldn't stand for the
guy who could blow hot and cold with the same breath.
I wish I were a hermit. I stand for the fellows who tell
me I'm coming along and who give their advertising to
my contemporaries! If I were a hermit, I'd cast them
out. I have some strange experiences. It has been my
contention that Motograpiiy is the hardest publication
to deliver to the subscriber that ever was. I have urged
the theater owner who subscribes to let me send Motog-
raphy to his residence address. Many of them have dis-
covered a sure way of getting the book by following
this suggestion. Occasionally the manufacturers of films
ask theater owners to tell what they read. It is an ex-
pensive plan. Better ask "Who receives your mail?"
In every sample copy of Motography that I send out I
include a subscription blank. This blank never is sent
except in a copy of the magazine. I get many of these
blanks returned with the notation "I never saw your
paper — send me a sample." Who got the paper? Dolly,
who takes in the nickles at the window, she got it !
^ % %
I like talking shop because you like it. You fall
down over bundles of a certain film publication and
you have your own troubles finding this one. You won-
der why, but you know why. The only way I can get
copies of my own paper is to lock 'em up in the vault. I
started out in the beginning to retain ten sets of each
volume. By having my own name on a single set and
keeping that set at home under lock and key, I've suc-
ceeded in holding one. The rest are gone. Motography
is the most sought after publication I ever saw and I've
been grinding at this game since I was a kid.
* * *
There can be but one conclusion — this is the intel-
ligent record of film progress. Barring this department,
it is the one place to find presentment of all activities
worth while. The bonafide exhibitor should have access
to some things in this record that do not appear — the
announcements of manufacturing organizations, for ex-
ample. I would like to tell you more about the pictures
of certain brands that you and I like, but I can't do it
and pay the printer. Nor will I attempt to get that in-
formation for you unless I can treat fairly. Mr. Exhib-
itor Man, you can help a lot if you will. I would like
to show you what sort of a magazine I could make if all
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Scene from "Carmen," coming Thanhouser release.
the manufacturers and selling organizations would look
beyond the Hudson. As it stands, we are doing fairly
well, but when we all get together, it will be far better.
^ ^ ^
Carl Ray breezed into the Goat sanctum on his re-
turn from Los Angeles to Muskegon. Carl has chosen-
the two most beautiful spots in the world for his homes.
April 19, 1913
MOTOGRAPHY
273
Muskegon for summer and Los Angeles for winter. He
brought me Billy Home's blessing. I'm glad I have
subscribers of this sort. There are some publicity men
in this business who are sound asleep.
proof. I am told that Pat Powers moving in caused the
explosion. Blache himself caused another, far more
serious, when he touched off thirty pounds of powder
* *
I'm glad Hector Streyckmans found a wife. _ He^s
been fussing around with movable type — the printer's
kind — for a long time and he doesn't know the differ-
ence between a worn slug and bold face. He also throws
the sting in his letters to me, because he's in training.
Now I never crossed swords with "Streyck" in my life;
never did him an intentional injury and haven't any
grievance. My whole object has been to boost everybody
who will give me half an opportunity.
* *
Here's a line for Bert Adler.
* * *
I shall never feel quite right until the exhibitor
learns the prime requisite of his end of the game. He
yells his fool head off for quality and when he gets what
he wants he has never been known to resist the tempta-
tion of speeding them. When I meet an exhibitor face
to face who will consider his audience first, rather than
the bunch he is holding out. I'll have something to pin
on his lapel — an insignia to show he's the exception to
the rule. My patience goes out the door and my eyes
seek a brick. What can be so harmful as speeding the
pictures? Is it possible the exhibitor doesn't know that
he is killing his own and everybody else's chance when
he hurries them through? This is a condition that lies
wholly with the exhibitor. The film manufacturer has
no fool-proof device to prevent speeding. The projec-
tion machine might be made to prevent doing it, but
you couldn't sell such a mill. Boys, it's hard up to you —
you will have to learn to serve the man inside first. The
fellow outside will stand it but the audience won't.
Herbert Blache, Harry Raver and Ingvald Oes have
formed the Exclusive Supply Company which will doubt-
less succeed the Film Supply Company. I am sorry to
The Vitagraphers at Kama Yuo, Japan, Reading from left to right:
Stephen Smith, Mgr., Maurice Costello, Director-Actor, Harry Keepers,
Camera-Man, W. V. Ranous, Director-Actor, Mrs. W. V. Ranous, Miss
Georgia Maurice, Gene Mullin, Scenario-writer, James Young, Director-
Actor, Clara Kimball Young. Front row: Dolores and Helen Costello.
see Film Supply go by the board, for it has been a loyal
factor in my schemes, and it was an ideal place to hang
out. Doc McKinney and George McGee are offered as
Scene from "Until Death," Rex.
to lend realism to a coming release. Blache will recover,
but he was badly burned.
^ ^ ^
Floods and high wind have had a fling at the film
business. Disaster, such as has been visited upon Ne-
braska and Ohio, affords diversification with which enter-
tainment cannot compete. It will be weeks and weeks
before the old going will tally normal on the register.
Iowa Exhibitors to Meet
The Iowa Motion Picture Exhibitors' League will
hold a convention at Des Moines, Tuesday and Wednes-
day, May 13th and 14th. Headquarters will be at the
Auditorium, where exhibits of various manufacturers
will be shown. Exhibitors and manufacturers are re-
quested to communicate with Fred W. Young, secretary,
420 Clapp building, regarding any arrangements they
wish to make relative to the convention and space for ex-
hibits.
To Help Flood Sufferers
Phil Gleichman of the Mutual Exchange, Detroit,
announced Friday, March 28, that any exhibitor wish-
ing to donate his gross receipts to the Ohio flood sufferers
could have his program free of charge on that day.
274
MOTOGRAPHY
Vol. IX, No. 8
"The Woodman's Daughter," April 14. Copyrighted 1913, Selig Polyscop e Co.
Director Hale Joins Universal Staff
The Universal's latest director, Mr. Albert W. Hale,
has started work on comedies to be released under the
Powers brand. Mr. Hale has had many years' experi-
ence in producing and directing plays and spectacles,
both in this country and in France. Before coming to
America Mr. Hale produced spectacular ballets and pan-
tomines in Paris and other French cities. He came over
here to produce "The Crusade of Jerusalem" for the
Ringling brothers, and produced and directed for some
of the big Broadway productions, including "Madame
Modiste" for Fritzi Scheff, and "The Vanderbilt Cup"
for Elsie Janis. Mr. Hale produced or directed for Pathe
Freres in Europe, and in New York for three years, and
was with the Vitagraph for nine months ; also with the
Thanhouser Company, and he left the Famous Players,
after producing J. K. Hackett's success, "The Prisoner
of Zenda," to join the Universal in Los Angeles.
remark that he was breaking his contract quite against
his will. Nevertheless, the American company obtained
some good pictures of the famous explorer.
American Gets Capt. Roald Amundsen
Captain Roald Amundsen, the anarctic explorer,
scheduled to speak in Santa Barbara, California last week,
encountered a rather troublesome floe on a tempestuous
sea of embarrassment when the American's camera
man, under direction of Wallace Kerrigan, insisted on
"shooting" him. The Captain was being driven about the
town. At the southern end of the town a minature south
pole had been erected, where the Captain was expected
to speak. After getting fairly under way, the Captain
noticed that he was being photographed and stopped to
Some Censorship This
The first moving picture censorship under the 1913
law in Kansas was made yesterday, says the Topeka
Capital of March 30. The Morgan Film company, of
Kansas City, Missouri, presented to W. D. Ross, state
superintendent of public instruction, the descriptions of
forty-eight films, with the fee of $96, and asked that the
films be censored. Mr. Ross looked over the descrip-
tions of two of the films and approved them, and then
quit, announcing that he didn't have time to work on the
others at present, and in fact refusing to do anything with
them. The film company then took the films to the appeal
board, consisting of the governor, attorney general and
secretary of state. This board approved the remaining
films. The law provides that the moving picture compan-
ies must submit descriptions of each film they wish to
show in Kansas. The superintendent of public instruc-
tion may approve or disapprove the pictures from this de-
scription. If he disapproves, the picture cannot be shown
in the state. If he suspects some picture of being sacri-
ligious, obscene, indecent, immoral or tending to corrupt
the morals, he may withhold his approval and order the
picture shown on a screen to determine whether or not
he will admit it. The state gets a fee of $2 for each film
censored. A clerk is provided for this work if Mr. Ross
cared to ask the governor for the additional help needed
to handle the business. The law went into effect April 1.
April 19. 1913
MOTOGRAPHY
275
Motion Picture Making and Exhibiting
By John B. Rathbun
T
CHAPTER I. (CONTINUED).
THE FILM GATE.
HE principal function of the film gate is to steady
and flatten the film so that it will not move edge-
wise in the gate during the period of projection, or
cause distortion of the image through the curling of the
him. It also acts as a check to the momentum of the film
so that it will not "follow" nor buckle when the film and
reels are brought suddenly to rest. The opening or aper-
ture in the gate is slightly smaller than the picture on the
film, and prevents the light from escaping around the
edges of the picture.
In effect, the gate is a form of friction brake that
acts directly on the film, the frictional drag acting against
the pull of the feed sprocket so that the film is kept
taut and straight at all times whether moving or station-
ary. To prevent sidewise motion, or to prevent the film
from assuming a diagonal position in front of the aper-
ture, the plate is provided with two side rails which act
as guides, the distance between the rails being just
enough to clear the width of the film and no more.
Friction is produced by the action of springs that press
a plate on the back of the film, forcing the front face
against the main gate platen. The tension on the film
may be varied to compensate for the wear on the surfaces
by increasing or decreasing the spring tension.
When the shutter and film shift mechanism are not
operating in the proper relation to the gate, so that the
picture is not exactly in the center when the shutter
opens, the picture is said to be "out of frame." When
this condition exists, the top of the picture no longer
coincides with the top of the illuminated area on the
screen, with the result that parts of two adjacent pictures
are thrown on the screen simultaneously. To avoid
Fig. 14. — A Reel of Film Ready for Projection.
stopping the machine for readjustment, all commercial
machines are provided with devices by which the proper
relation may be re-established by the operator while
turning the crank. This operation is known as "framing
UP-"
Framing the picture may be accomplished by four
different methods, all of which depend upon changing
the relative positions of the gate, lens and film sprocket.
Moving the lens and gate up or down will bring the pic-
ture in frame, advancing or retarding the film shaft with
the lens and gate stationary will give the same result.
Increasing or decreasing the amount of slack in the film
loop will change the relation of the film and film gate,
and is therefore effective in framing the picture.
No matter what system is used, the control lever
that frames the picture is invariably capable of a film
displacement equal to the height of one picture, or even
more. When the operator looks at the screen and dis-
covers that the picture is out of frame, a slight movement
of the framing lever in one direction or the other will
raise or lower the picture in the gate to the correct posi-
tion.
THE SAFETY SHUTTER.
The light concentrating effect of the condenser lens
produces a very high temperature in the film gate, much
higher than the ignition temperature of the celluloid film,
and for this reason the film must be kept moving rapidly
in order to prevent the light rays from setting it on fire.
Fig. IS.— A Belt-driven Take-up Reel. The Reel is Driven by the Belt (3)
that Passes Over the Pulley (4). The Friction Adjustment is
Made by the Thumb Screw (6).
Should the film stop for even a few seconds in the gate,
it will burst into flames. Any accident or neglect that
will cause the film to stop or slow up, such as film break-
age, or failure to turn the machine at the correct speed,
might cause fire unless some device is provided that will
automatically cut off the light from the condenser as soon
as the trouble occurs.
A device of this nature, known as a "safety shutter,"
is provided in some form on all projectors, although in
the majority of cases it is effective only in cutting off the
light when the machine slows down beyond a certain
point. A trustworthy safety shutter acting automatically
when the film stops, and not merely when the machine
stops, seems not to have been developed up to the pres-
ent time. The many conflicting conditions that must be
met with such a device makes the design of a fool-proof
safety shutter a difficult proposition, and from the fail-
ures recorded it would seem that the only solution of the
problem is non-inflammable film.
In practically all projectors, the safety shutter con-
sists of a metal gate placed between the condenser and
the film. A centrifugal type of governor driven by the
motion of the operating crank is connected to the slid-
ing gate in such a way that any decrease in the crank-
ing speed slides the gate between the film and light. The
governor consists of a vertical spindle on which are
pivoted two small balls, or weights. When the spindle is
revolved, the weights tend to assume a horizontal posi-
tion, and in swinging up from the vertical plane, they
276
MOTOGRAPHY
Vol. IX. No. 8
move a rod that acts on the safety shutter. A spring
that acts on the revolving weights places a limit on the
allowable shutter travel for any given speed, hence the
rise of the weights is roughly proportional to the speed
of the crank and spindle.
To reduce the danger of having flame spread back
into the feed reel, it is customary to enclose all of the
film, except that immediately in front of the lens, in a
fire-proof metal casing. A metallic tube, placed around
the film issuing from the reels, smothers the flame before
it travels more than an inch, with the result that only a
few pictures are burned in the vicinity of the aperture.
This, however, does not prevent possible interruption of
the show, nor does it insure complete protection against
the loss of the reel of film, for it is possible for the opera-
tor to neglect closing the access doors of the magazine.
FEED AND TAKE-UP REELS.
The reels upon which the film is wound are invari-
ably encased in metal shields called "magazines," which
are directly attached to the motion head. Circular doors
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Fig. 16. — View in the Operating Booth of a Motion Picture Theater, With
the Projector in the Foreground. At the Rear, One of the
Operators is Rewinding a Film.
located in the sides of the magazine allow the operator
to insert and remove the reels of film. A spindle is pro-
vided on which the reel turns freely as the film is wound
and unwound by the action of the feeding mechanism.
The feed reel is simply a spool having two metal
flanges about ten inches in diameter, and a core that is
provided with a spring clip for holding the end of the
film. Fig. 14, shows a reel of film ready for mounting
in the projector.
The take-up reel is the same as the feed, except that
is is mechanically driven through a belt by the operating
crank instead of by the pull of the intermittent feed
mechanism. As the take-up reel receives the film from
the feed reel, the roll of film becomes larger and larger
in diameter, and therefore revolves more slowly than
the feed reel from which the film is unwound. To com-
pensate for this difference in speed, it is necessary to
have the take-up reel slip in regard to the feed reel to pre-
vent excessive strain on the delicate film. This is ac-
complished in some machines by means of friction discs
attached to the reel drive adjusted so that it is possible
to apply only enough power to turn the reel, and not
enough to snap the film. In other machines the tension
of the belt is adjusted so that it will slip when too much
pull is exerted on the film. Since all friction devices
wear in time and cause trouble by getting out of adjust-
ment it would seem that a differential gear, such as used
on spinning machinery, could be applied with advantage
to the projector. The action of the differential insures
constant tension on the strand at all times, and is not
influenced by wear.
REWINDING THE FILM.
After the film has been projected, and is completely
wound on the take-up reel, it is necessary to rewind it
on the feed reel so that the pictures will again go through
the projector in the proper order. If the film were fed
into the machine directly from the take-up reel the pic-
tures would appear reversed upon the screen. Rewind-
ing may either be accomplished directly on the projector,
or by a separate rewinding machine which is generally
driven by a motor. In many states a rewinding ma-
chine is necessary because of the laws that prohibit re-
winding in the operating booth.
When the film is to be rewound on the projector,
the operating crank is arranged so that the speed of re-
wind is much greater than the ordinary projecting speed.
This makes it possible to rewind a film in two minutes
that took twenty to project. The rewind speed may be
obtained either by shifting a lever on the machine, or
by transferring the crank to an independent rewind shaft.
MOTOR DRIVE FOR PROJECTORS.
Motor driven projectors have many advantages but
are prohibited in practically all of the larger cities as the
use of the motor makes it possible for the operator to
leave the machine when in operation. If the motor
should stop, or the film break during his absence the
chances for a disastrous fire would be greatly increased
over the ordinary method of operation. Practically the
only remedy for this condition would be a spring con-
trolled switch that would cut out the light as soon as the
operator removed his hand from the machine, making it
impossible for him to leave the booth with the machine
running. As it is difficult to construct a switch so that
it cannot be tied or braced in the running position by the
operator, the use of the motor has so far been con-
demned. Some progress in designing automatic stops
for motor driven projectors has been made, however.
THE SCREEN.
The screen acts simply as a reflector, the function
of which is to reflect every image thrown on it by the
projector back into the eyes of the audience. With a
screen having a high reflecting value, it is possible to se-
cure bright pictures with a small amount of current in
the lamp, which naturally gives a low operating cost.
In the attempt to cut down the current consumption of
the lamp, and to increase the brilliancy of the screen
image, many manufacturers have conducted experiments
with different materials such as aluminum, aluminum
bronze, and mirrors with ground surfaces for use in
building screens. The aluminum has been used both in
the metallic form, and in the form of bronze paint which
has been applied either on the plaster of the wall or on
muslin screens. The mirror screens, while having a high
first cost, have proved very efficient.
The selection of a proper screen material is of great
importance to the theater owner, both in regard to operat-
ing economy, and to the attractiveness of the show. With
the usual rates for illuminating current, a mirror screen
or aluminum screen will soon pay the difference in first
cost over the common muslin or plaster surface. The
relative values of the different surfaces are given in the
April 19, 1913
MOTOG^APHY
277
following table, and are expressed in the percentages
of reflection that they give in regard to a surface giv-
ing total of 100 per cent reflection.
Value in
Material. Per Cent.
Polished silver 92— .93
Mirror, silvered on back 82 — .38
Plaster walls, white 35 — .40
Aluminum, frosted 60 — .65
To prevent the distortion of the image, the screen
should always be placed perpendicular to the optical cen-
ter of the projector. If the screen is tilted out of this
position on a horizontal axis, the vertical distances will
be shortened with a constant horizontal length. If
turned to the right or left, the vertical lengths will re-
main the same, but the horizontal will be reduced. The
distortion will be the grt test at the farther edge of the
screen as the distance included between the angle of
two adjacent rays is greater at the greater distance. The
screen should be given a backward inclination when the
projector is pointed down at the screen from a balcony
or other elevated position so that the screen is perpen-
dicular to the optical center of the projector.
CHAPTER II. MAKING THE PICTURE.
IN a general way, the process of taking and finishing
motion pictures is the same as that followed by the
amateur photographer in taking and finishing snap shot
pictures. In both cases a "negative" film is obtained by
exposing a sensitized strip in a camera which is after-
wards developed and printed. This negative is then used
in obtaining a "positive"' print by allowing light to pass
through the image on the negative and onto the posi-
tive sensitized film. This reproduces the image but in a
reversed form, all of the light portions of the negative
being dark on the positive, and vice-versa. Instead of
using paper for the positive print as in Kodak photo-
graphy, the motion picture manufacturer makes his on
a celluloid strip that is similar to the negative film. The
light of the projector passes through the transparent posi-
tive print and traces the image on the screen.
The principal difference between the snap shot and
motion picture camera lies in the shutter action and the
film feeding mechanism, the action of these parts being
practically continuous in the motion picture camera. Ex-
ternally the latter type of machine resembles a large
box camera that has a crank, a film measuring dial, and
focusing aperture in addition to the equipment of the
hand camera. An exceptionally fast lens is required,
the usual lens being an anastigmat with a working aper-
ture of f/3.5 to f/3.0, while lenses of f/2.0 are not un-
common. All of the cameras are provided with adjust-
able diaphragms similar to those used with view cameras.
The focal length of the lens ranges from 2 to 4 inches.
The usual focal length, about three inches, gives an angle
of view of about twenty degrees. A two-inch focal
length gives about thirty degrees. When more field is
required in the foreground than is given by the three-
inch lens, a lens of shorter focal length is substituted.
Two independent mechanisms, the shutter and the
film feeding device, are actuated by the crank in such a
manner that the film is fed forward for a new exposure
with the shutter closed, and is held stationary while the
exposure is being made, the film progressing through the
camera by a series of jerks. At each movement the film is
fed forward through a distance equal to the height of one
picture (%-inch). As the camera operator continues to
crank the machine, the shutter and film movements are
repeated over and over again so that a number of pic-
tures are made in a row down the center of the film.
These miniature photographs are placed so close that the
top of one coincides with the bottom edge of the picture
lying next to it.
To insure accurate spacing, the film in some cases
is positively driven through a sprocket wheel that en-
gages with a series of perforations in the edges of the
film. In this way a fixed relation is maintained between
the shutter and the pictures so that each picture will be
in the proper place in the projector on the opening of the
shutter. In other cameras the toothed sprocket wheel is
supplanted by a reciprocating hooked rod or claw, the
points of which engage with the perforations in the edges
of the film. In either case the result is the same. The
claw points engage with the perforations at the upper
end of their stroke, and as the crank revolves they are
jerked down suddenly, pulling the film with them through
a distance equal to the height of the picture. At the
lower end of the stroke a special motion disengages the
Fig. 17. Motion Picture Camera and Operator Ready For Action.
claws from the perforations and they at once begin then-
upward travel without moving the film. The claw type
of intermittent mechanism as shown in Fig. 13 in Chapter
1, is better adapted to the camera than the projector, for
in the camera the period of film rest is shorter and the
wear due to the claw movement is practically negligible
as the film passes through the camera but once.
A revolving shutter of the vane or sector type is
generally used which is gear connected with the operat-
ing crank. This shutter is simply a circular sheet metal
disk with a "V" or sector shaped opening cut in it for
the admission of light to the film. As it revolves, this
opening comes opposite to the lens intermittentlv and in
fixed relation to the film movement.
The disc shutter is used in nearly all cameras, and is
very similar to that used in the projector except for the
proportions of the vanes or blades. It is generally placed
between the lens and the film. The openings in the shut-
278
MOTOGRAPHY
Vol. IX, No. 8
ter are usually adjustable by the use of two discs, or rather
half discs, that are mounted on the shutter shaft. When
the two halves are exactly over one another the shutter
is said to be "half open" as the opening constitutes one
half of the total area of the shutter. By sliding one disc
over the other, any intermediate proportion of opening
may be easily made. The usual exposure is about three-
eighths open. The exposure given with this opening i?
much longer than would be possible with an ordinary
snap shot camera in taking pictures of moving objects,
where the slow speed would cause blurring. The effect
of blurring in the case of the motion picture is practically
negligible, as the objects projected are continually chang-
ing on the screen, and as no two pictures lie on the same
place the "fuzzy" edge is not noticeable.
Two light-tight film reels are provided inside of the
camera for the exposed and unexposed film, the film un-
winding from one reel onto the other as it is jerked past
the lens. Both reels are accessible to the operator through
a door in the side of the camera, and are arranged so
that they may be removed or replaced in broad daylight.
The lens, which is mounted centrally in the front face of
the camera, is focused by moving it back and fourth in a
tube that surrounds the barrel, without the usual bellows
of the hand camera.
The loading of a motion picture camera is usually
no more difficult than threading the film through a pro-
jector or replacing a cartridge in a snap shot camera. The
negative film is supplied in two hundred foot lengths,
packed in a flat, round tin box thoroughly sealed against
the light. The film is then transferred to the camera film
holder by rewinding it around the core of the holder,
or by opening the sides and slipping the roll directly on
the core. When the film is in place the outer end is
slipped through the feed slot ready for threading through
the camera.
The film holders are usually light wooden boxes just
wide enough to clear the film and large enough to ac-
commodate two hundred feet of film. A spindle on which
the film is wound passes through the sides of the holder
in bearings ; the removal of the side door through which
the film is installed allows the spindle to be withdrawn
for the purpose of reloading. On the end of the spindle
is a slot or keyway that engages with the camera drive.
There is no focusing screen as in the ordinary camera,
for it is more convenient to focus the camera on the small
portion of the film that passes in front of the lens. The
image of the film is viewed through an opening in the
side of the camera box. The amount of film that is de-
stroyed by the process of focusing is very small and has
no injurious effect on the balance of the film as the reel?
are enclosed in light-tight cases. A dial that indicates
the number of feet of film that has passed through the
camera is placed on the side of the box so that the opera-
tor can tell exactly how much film is left in the magazine.
In addition to the regular operating crank, a "trick"
crank and reversing crank are sometimes provided. When
the trick crank is used, only one half of the pictures are
taken per second or sometimes only one picture at each
movement of the crank. The reversing crank is used in
taking pictures in which the objects appear to be running
backwards, or in which the actors appear in such feats
as jumping out of the water or over high walls. In the
latter class of pictures the actor really jumps down from
the wall or into the water, but as the motion of the film is
reversed in regard to the pictures taken in the previous
sections, the subjects move up instead of down.
In some studios, double film cameras are used that
carry double lenses and shutters acting in unison, mak-
ing it possible to take two films at one time. The general
make up of the double camera is the same as the single,
the only difference being in the size and interconnections
of the driving gear. The lenses are focused separately.
A motion picture camera weighs from 25 to 50
pounds, which with several reels of film and a heavy
tripod, makes out door picture taking no easy task,
especially in military scenes where much shifting about
is necessary. Taking a picture means more than merely
grinding a crank, and contrary to the general belief re-
quires more than ordinary photographic knowledge. In
taking studio pictures the operator must assist the direc-
tor in keeping the action between two sharply defined
boundary lines, must keep him informed as to the length
of the remaining film, and must keep accurate account
of every motion made during the run of the film. In a
way he is also an assistant stage manager.
In taking pictures from aeroplanes or dirigibles^ the
cameras have, in several instances, been driven by small
electric motors instead of by hand. This method was
necessary for the reason that the attention of the aviator
was, of necessity, concentrated on his controls.
v Great care must be- exercised by the camera man to
have the operating crank turn at a constant number of
revolutions per minute so that all of the pictures will be
equally exposed, and so that the pictures will have the
proper speed when projected on the screen. Pictures
that have been taken at a low speed cannot be properly
corrected on the screen. The speed of the crank must be
uniform throughout the revolution as well, to prevent a
jerky projection. Too vigorous cranking will sway the
machine from side to side causing a swaying picture on
the screen.
(To be continued.)
Pipe Nearly Spoiled It All
Director Otis Turner, while taking the Robinson
Crusoe film, had one of those "delightful moments"
which come to one now and again in a lifetime. There
was but little footage left and one chase scene to take —
several cannibals had to run through the picture chased
by the avenging Crusoe. One of the cannibals had a
moment of forgetfulness and charged through with an
extremely modern pipe in his mouth. Every one laughed
except the camera man and Mr. Turner, who turned and
asked how many feet he had left. He then complimented
the actor upon his stunt, and remarked that the humor
would have been more striking if they had been nearer
home and had some feet of film to rely upon. The
scene was retaken, and to the relief of the delinquent,
there was just enough and no more. It is little things
like this that can cost some hundreds of dollars, for if
this scene had not been taken the whole party would
have had to make an expensive journey and spend nearly
all day with high priced actors and actresses just for a
few feet of necessary film. As it was, the actor had a
lesson and got off lightly.
Hay's Home in "Jim Bludsoe" Pictures
The house of the late Secretary of State John
Hay, author of Pike County Ballads, will be the environ-
ment of some of the scenes of "Jim Bludsoe," a strong
and interesting photoplay which Director Otis Turner of
the Universal is to make from this most famous of the
"Ballads." The story of the pilot who held the steamer's
"nose ag'in the bank until the last galoot was ashore,"
perishing in the fire himself, should prove interesting.
Director Turner will take the pictures in the Sacramento
river country.
April 19, 1913
MOTOGRAPHY
279
Motography's Gallery of Picture Players
FORD STERLING got his start in life in La Crosse,
Wis. It was in the year 1880 and the exact date, not
that that matters much, though, for Ford forgets his
birthday when it comes around anyhow, was Novem-
ber 3. After Sterling
attained the dignity
of long trousers, La
Crosse ceased to at-
tract; the world was
waiting for his con-
quering hand and he
ran away, when he
was seventeen, with
the old Robeson cir-
cus. "Keno, the boy
clown," was the title
he enjoyed and relin-
quished after one
year, to play a small
part in "Tangled Rel-
atives" with George
Whittier. Stock, the
4 Mortons, The Rays,
Otis Skinner, Wil-
liam Gillette, bur-
lesque and vaudeville
all knew Sterling up
Ford sterling. to 1912, when he met
Mack Sennett and went with him to the Biograph com-
pany where he had his first film experience. He stayed
on until Mack Sennett stepped into the ranks of the Key-
stone company, then Sterling stepped also.
ANNA LITTLE'S best pose is that of an Indian mai-
den. So true is it, that the many admirers of this
Kay-Bee actress have found it difficult to believe that
she is a white girl not a red-skin. She has been able to
impersonate an In-
dian girl so perfectly
only because she de-
voted ever so much
time to rehearsing the
character and impro-
vised little make-up
touches herself, the
ones that make her
seem so truly the
character she imper-
sonates oftenest. Be-
fore she joined the
New York Motion
Picture Company,
Miss Little played for
several years on the
legitimate stage, her
biggest experience be-
ing in stock. Motion
pictures and their
scope appealed to her
and she was taken on
Anna Little. the try-out list of the
New York company assigned to the Kay-Bee division
and, after a first try-out, was declared a permanent
member. Leading lady, is the class in which they've
placed Miss Little and she's there on her own merit.
^4u V
1
V
^
i
MABEL NORMAND is all that the leading lady of a
busy motion picture company is supposed to be and
a good bit more. For besides being pretty and a real dec-
oration to whatever picture she plays in she is also ath-
letic and daring and
provides the specta-
tors of the silent
comedy many a thrill
in her performances.
As a swimmer, she
has scored her biggest
successes, this accom-
plishment being her
best beloved and best
performed. The Vit-
agraph company gave
Miss Normand her
initial lessons in the
art of picture acting
and her extensive
work there gave her-
self and others prom-
ise of great future
development. Then
she found her way to
the Biograph studio
where she climbed up
and Onward and Mabel Normand. ■
graduated from there to the position of leading lady with
the Keystone company. They like her, do the people,
and Miss Normand reciprocates by continuing to please,
for she likes being liked.
MACK SENNETT carried a spear the first time he
ever had the distinction of appearing on the the-
atrical stage, but from that humble beginning he has
evolved into the office of director for the Keystone com-
pany. Not only that,
but he is vice-presi-
dent of that concern,
and shares honors
with the other laugh-
producers of the com-
pany. Five years in
picture work is Mr.
Sennett's record, the
Biograph company
having benefited by
his experience as a
director and comedy
actor for the year and
one-h a 1 f • preceding
the Keystone found-
Delving into the
of Sennett for
fifteen years
which led up to his
picture work the
delver learns that the
funny Mack was en-
gaged in theatrical Mack Sennett.
work, appearing with Arnold Daly, Henrietta Crossman
in Shakespearian work, with De Wolfe Hopper in
"Wang," took a prominent part in "The Chinese Honey-
moon," and starred in farce comedv and vaudeville.
mg.
life
the
280
MOTOGRAPHY
Vol. IX, No. 8
Solax Featuring Children's Play
One of the most spectacular and stupendous pro-
ductions ever made at the Solax studio in Ft. Lee, N.
J., is the three-reel film entitled, "Dick Whittington and
His Cat," which has been adapted from the old English
legend. In this time of "children's plays" in the legiti-
mate theaters of the country the film manufacturer
undoubtedly chose well when he selected such a tale
for presentation on the screen.
The story of Whittington and his cat runs as follows :
Richard Whittington, according to the old English le-
gend, was a poor boy, whom everybody called Dick. In
the small town where he lived the people liked to talk
about London. None of them had ever been to the great
city, but they seemed to know all about the wonderful
things which were to be seen there. They said that all
the folks who lived in London were fine ladies and gen-
tlemen ; that nobody was ever hungry there and nobody
had to work ; and that the streets were paved with gold
Dick listened to these stories and wished that he could
go to that haven of contentment and happiness. One
day a traveling merchant passed Dick's home and when
he learned that the merchant was going to London, re-
sourceful Dick soon found a means of accompanying him.
It was a long walk for the lad, alongside of the mer-
chant's wagon. He was footsore, tired and hungry when
he reached the city of his dreams. Night was falling,
but he ran from street to street trying to find those that
were paved with gold. He thought that if he could only
find a bit of the pavement, he would have everything
he wanted. But in every street there was only dirt in-
stead of gold
The morning found Dick, faint and tired, asleep
on the doorstep of a fine house. He thought of his home
and he wished he was back in the little town where he
"Dick Whittington and His Cat," Solax.
was born. The cook, an ugly creature, came out of the
big dwelling and threatened to throw a panful of hot
dishwater at him if he didn't move on. Dick was about
to go, but just then the master of the house, Mr. Fitz-
warren, a wealthy merchant, came out, and when he saw
ragged Dick's appealing eyes, he was compassionate and
ordered the cook to give him a good dinner and find
him some light work in the kitchen. He would have been
happy in his new home if it had not been for the cross
cook, who would beat him oftener than give him some-
thing to eat. He had to make fires, carry out the ashes,
wash dishes, sweep the floor and bring in the wood.
Little Alice, the master's daughter, was his only friend,
and she saved him from many beatings and hungry
vigils in his lonely garret, which was overrun with rats.
With the cook tormenting him by day and the rats tor-
menting him by night, Dick had no respite until he se-
cured a cat. It was not long before his cat had driven
all the mice away, and then Dick could sleep soundly
every night. Mr. Fitzwarren, some time after, wanted
to give his servants a chance for good fortune, so he
called them into his library and asked if they had any-
thing they would like to send out in his trading ship
"Dick Whittington and His Cat," Solax.
bound for distant lands. Dick would have been over-
looked if little Alice hadn't sought him out and insisted
on his sending his cat to sea for trade. Mr. Fitzwarren
thought well of Alice's suggestion, and Dick gave up his
cat with tears in his eyes. After that the cook was worse
than before. She made fun of him for sending his cat
to sea. At last Dick could not stand her abuse any
longer, and so ran away. He went as far as a place
called Halloway, and there he sat down on a stone, which
to this day is called "Whittington's Stone." He soon
fell asleep, and in a dream heard the bells of Bow
Church, and they seemed to say to him, "Turn again,
Whittington, thrice Lord Mayor of London." Dick did
turn back, and was lucky enough to get into the kitchen
and set about his work before the cook came down-
stairs.
Mr. Fitzwarren's ship had a tempestuous voyage.
During a thunder and lightning storm the ship caught
fire and was destroyed in open sea. The survivors on a
raft reached a strange land, where the natives attacked
them and took them captives before the sultan. The
captain told the sultan of his misfortunes at sea and the
sultan and his queen were sympathetic and begged the
captain to stay. They gave a banquet to the survivors,
but they had hardly begun to eat when an army of rats
and mice rushed in and devoured everything before
anyone could hinder them. The captain wondered at
this, and asked why they didn't take means to be rid of
the pest. And the sultan replied that he would give half
his treasure if he could get rid of the rats. The captain
remembered Whittington's cat which, among other things,
had been saved from the wreck, and he told the king
about the creature. "Bring it to me," said the sultan,
"and if she will kill the rats I will load you with gold
and give you a ship to return to your country." And
so the bargain was made and the captain returned, and
after Mr. Fitzwarren heard the captain's story, he called
to his servants. "Go send Dick in and tell him of his
fame. Call him Mr. Whittington by name." Dick was
called from the kitchen and amidst great ceremony was
told of his fortune. At first he thought they were mock-
ing him and he cried, but soon Alice reassured him. He
gave nice presents to all, even the cross old cook.
In later years Dick married Alice and became a
great merchant was thrice lord mayor of London,
and was made a knight by King Henry V.
April 19, 1913
MOTOGRAPHY
281
A DiamoncUS Potpourri
Interesting Items from Selig's
THE releases of the Selig Polyscope Company for the
coming two weeks run all the way from heavy
drama to comedy of the lightest and most uproari-
ous sort. The release for Monday, April 14, "The
Woodsman's Daughter," is the story of two young city
men and a girl from the forest wilderness, who cannot
adapt herself to the city ways. True love returns to its
own. however, and the man from the city and the girl
from the forest leave the city and take up their abode
in the woods where the outside world is forgotten.
"God's Way" is the title of the release Tuesday,
April 15. It was adapted from an item of unique in-
terest that recently appeared in the newspapers of the
country. It tells the very human and pathetic story of
an aged ex-convict, who had been sentenced upon cir-
cumstantial evidence. After gaining his liberty he made
it a practice to buy all of the canaries he could find in
the bird stores. After paying for the expensive song-
sters he would take them outside and set them free.
When questioned regarding this unusual practice and
told that the birds would surely die out of their cages,
he replied : "Perhaps that is the way that God's creatures
ought to die — free." On the same reel with this picture
is one entitled "Hankow, China," another interesting edu-
cational travelogue in the current Selig series.
The first of a series of southern pictures produced
in the South recently by the Selig Polyscope Company
will be released on April 16 under the title of "Dixie-
land." The picture is a series of dissolves or mellow
memories of the grand old South in the days gone by.
These visions are prompted by sweet voiced darky min-
strels who sing of "Dixieland." The story as it unfolds,
tells of a proud old Southern family and their various
experiences during the Civil War period. "The Tie of
the Blood" is a remarkable social study of the fast pass-
ing Indian. The prologue takes place in a Cherokee vil-
lage during the visit from the friendly Osage tribe. A
marriage is arranged for at maturity between the son and
daughter of the two chiefs. The story proper follows
this couple through the future years and the varying in-
fluences of civilization. "Cured of Her Love" is the title
of the first half of an amusing split reel which will be re-
leased on April 18. It depicts the somewhat humorous
love affair of the daughter of the house and Pety, the
chauffeur, who is forced to don a dress suit in which to
plead his cause. The fit of the dress suit kills Pety's
chances. On the same reel is "That Mail Order Suit,"
a western comedy drama of laugh producing proportions.
On April 21, the Selig Company will release a split
reel of exceptional worth. The first half is a comedy
"Alas Poor Yorick," April 21. Copyrighted by Selig Polyscope Co.
282
MOTOGRAPHY
Vol. IX, No. 8
"Cured of Her Love," April 18. Copyrighted 1913, Selig Polyscope Co.
which was written and produced by Colin Campbell enti-
tled "Alas! Poor Yorick." The comedy is laid in the
grounds of a sanitarium. One harmless, but mentally
deranged patient imagines that he is the world's greatest
tragedian. He escapes from the grounds. The various
theater managers are notified to be on the lookout for
him. This results in numerous complications and many
innocent but boastful actors find themselves detained
without contracts. On the same reel is an interesting
travel subject entitled "Canton, China." "Seeds of Sil-
ver" is the title of a telling drama to be released on
April 22. When Ralph Arnold, a wealthy, young club
man, much sought after by social butterflies, marries
Dorothy, daughter of a farmer, he is financially ruined
by the human leaches who previously lived off of his
bounty. His false friend, Count del Braggio, is later
outwitted by the young couple who prove that Love is the
redeeming currency of the world. "Dollar Down, Dol-
lar Per Week" is the first half of a split reel comedy
which will be released on April 23. Two hall-room
boys from the country attempt to keep up an expensive
flat on the installment plan but their experience is a sad
one. "Love The Winner" is the other half of this in-
teresting reel. It is a comedy drama which shows how
Mable Cosgrove has her ideals of royal roues over-
thrown.
On the 24th the Selig people will release a drama of
Ghetto life in a great city. The picture is entitled "Love
in the Ghetto" and depicts the lower class of "the chosen
race" as they really are, and not as they are continually
cartooned for stage purposes. The second of the series
of Selig pictures, featuring "Arabia," the "human"
horse, will be released on April 25 under the title of
"Arabia Takes the Health Cure." It is a comedy stag-
ing and introduces many new equine accomplishments.
Film Player Owns Orange Groves
A. W. Filson, one of the character actors with the
Selig Pacific Coast forces, is a unique example of the
fascination which photoplay work holds for the best
class of stage people. Mr. Filson, who is fairly well ad-
vanced in years, is a man who doesn't have to work for
a living — not by a long way ! He just loves the picture
game, that's all. He owns one of the finest orange groves
in Southern California, holds control of four producing
oil wells, and has fattened his purse through deals in
fancy real estate. Mr. Filson left the stage, where lie
and his wife had been famous for years, to go into busi-
ness, and he was successful in a large way. But the
lure of moving pictures proved irresistable to him," and
he has yielded to the work heart and soul. The little
frost which hit California orange groves this winter
cost Filson about $10,000. But that paltry sum wasn't
enough to feaze him in the least. How many moving
picture actors could stand that pressure and still have
money to spend? Mr. Filson appears in the role of old
Colonel Haskins in Selig's latest animal feature. "A
Wise Old Elephant."
April 19, 1913
MOTOGRAPHY
283
Filming the Dayton Flood
Cameramen's Lively Experiences
DISREGARDING innumerable hardships, the total
absence of transportation facilities and the dan-
gers attendant upon the reign of martial law in
Dayton, Columbus and other Ohio flood cities, an
Essanay camera force of four men established a record
in reaching the scene of the disaster in the interest of
their company.
The Breadline Formed at National Cash Register Plant.
When the first news of the disaster reached Chicago,
Charles Kaufman of the Essanay camera staff left for
the scene on the official newspaper train. With an army
of fifty correspondents, special writers and press photog-
raphers, Kaufman was forced to leave the train near
Peru, Ind., the day following the flood, when the water
there reached an alarming stage. Kaufman was the only
motion picture man fortunate enough to catch the train,
and realized the importance of reaching
Dayton. Traveling overland in quick
jumps, by automobile, wagon, boat and
train, he finally reached Dayton, twenty-
eight hours after the news of the dis-
aster had reached the outside world.
Meanwhile an auxiliary force of
Essanay men had come on from Omaha,
Neb., where they had been "covering"
the tornado disaster there. Fred H.
Wagner, C. A. Luperti and G. T. Dillon
comprised the second division which left
Chicago twenty-four hours after Kauf-
man. All railroads had suspended their
service out of Chicago, and the only
train to be had was the first government
relief train, consisting of sixteen cars of
foodstuffs for the flood sufferers.
Riding cabooses by way of Fort
Wayne, Crestline and Columbus, the
auxiliary "crew" reached Dayton after
several washouts and minor rail acci-
dents. Thirty-six hours after the flood
had reached its maximum stage they
were at work gathering the cream of the material at
hand, covering every interesting feature to be photo-
graphed in the stricken city. Trouble with the militia-
men on guard in the flood district was experienced
more than once, and at one point the entire working
force was put under military guard.
Riding in boats through the worst flooded sections,
and wading in other places where the
thick, slimy mud was three and four feet
deep, climbing over and through wreck-
age, the entire Dayton situation was
covered by the Essanay force in twenty-
four hours. Kaufman had meanwhile
left for Chicago with the first batch of
negative.
Dayton was in the grip of the mili-
tary authorities and martial law was
supreme. All in the city were ordered
off the streets at six o'clock and "the
curfew" rang warning all that the streets
must be kept clear throughout the night.
Militiamen were under orders to shoot
any moving figure or persons carrying
baggage who refused to halt when com-
manded. After "cleaning up" in the Day-
ton district the Essanay force hurried
through the guarded streets after the
curfew bell had rung. Three times they
were halted by troopers, who suspected
them of being looters; once they failed
to hear a command to halt and a warn-
ing bullet whizzed past. Finally a cap-
tain who understood the necessity of rushing film to the
public took charge of the party and sent the picture
men under escort to the railroad station.
The delay experienced in changing the military
guard at each street corner and in making explanations
to every corporal for half a mile resulted in the camera-
men missing the last passenger train out of Dayton
that night. Two hours later a military freight train
Viewing the Wreckage.
284
MOTOGRAPHY
Vol. IX, No. 8
commandeered by the authorities was to leave and the
Essanay men finally succeeded in loading their parapher-
nalia and themselves into an empty coal car. The train
was bumped and jolted about the railroad yards for
several hours within gunshot of the militia camp.
A cigar manufacturer, trying to leave Dayton, hap-
Dealing Out Rations.
pened to crawl into the coal car also and the quartette
crouched in the coal dust on the floor of the car, afraid
to let their presence be known for fear
of being taken for escaping looters by
the soldiers in camp, close by the yards.
The men found themselves between two
fires when the railroad officials searched
the train for stowaways.
For two hours the men lay on their
cameras and tripods in the open car.
Occasionally the cigar man would raise
himself above the side of the car, only
to be pulled down by the picture men,
who feared a quick shot from the pa-
trolling guards or a command to get off,
which would be worse.
The train finally pulled out of Xenia,
Ohio, and for twenty miles the picture
men danced in the cold car to keep warm.
As each military camp was reached the
four stowaways popped down out of
the light and crouched in the coal dust.
At Xenia they were clambering over the
side of the car, when an electric flash
lamp in the hands of a negro railroad
detective exposed them. The detective
flourished a huge revolver and prepared
to make a reputation by capturing the four looters from
Dayton.
Explanations and a sight of the cameras finally con-
vinced him of his mistake and he allowed the party to
enter the town which was overrun with refugees from
the flood. All hotels were crowded but the proprietor of
one took pity on the coal-covered quartette and provided
tables in the sample room, where the first sleep in 48
hours was secured.
Early next morning the start for Columbus was
made, the force arriving in time to "get" the floods there.
The military situation was well in hand at Columbus and
little trouble with the militiamen was experienced. An
afternoon's hard work in mud, water and wreckage
yielded much material and the party left for Chicago,
Sunday night with the "pics" of the entire flood situa-
tion safely in their possession.
Arriving Monday morning the
negative passed through the develop-
ing process in time to release the
Essanay Flood Special Monday even-
ing for the biggest motion picture
"scoop" of the year.
The entire trip was made in three
days, over three thousand feet of
negative was secured, and the entire
flood district was covered by the
Essanay camera force. In the mean-
while it was almost impossible for the
newspapers of the country to get more
than the barest details and unreliable
rumors from their many correspond-
ents on the ground. The first authen-
tic stories of the disaster reached Chi-
cago simultaneously with the motion
pictures secured by the Essanay Film
Manufacturing Company. The pic-
tures give a complete idea of the scope
of the flood disaster in Dayton.
The Essanay camera men, how-
ever, who had gone through the most
strenuous stunt of their lives, declare
they wouldn't repeat the experience of those days for
twice the sum they received for their work.
rhose in Charge
center, a
of the Rescue Work. Gen'l Wood at left, Secretary of War Garrison,
nd John H. Patterson, President National Cash Register Co., at rig' t.
Photoplaywright Under Knife
Nell Shipman, author of many photoplays, is con-
valescent at the Pasadena Hospital, and expects to be
in harness once more by April 10. She underwent a
serious operation, which had been threatening for some
time, and her work during the last two months has been
conducted under high pressure, but ever keen to dra-
matic values and sharp contrasts, she insisted upon cele-
brating the first birthday of her little son before entering
the ambulance.
April 19, 1913
MOTOGRAPHY
285
The Motion Picture Exhibitors* League
of American
General Headquarters
703 Euclid Ave., Cleveland, Ohio
OFFICERS OF NATIONAL ASSOCIATION.
President. M. A. Neff, oock Box 15, Cincinnati, 0.: Secretary. C. M. Christenson. 703 Euclid Ave.. Cleveland, 0.; Treasurer. J. J. Rieder, Jackson. Mich.: Vice-Presidents.
W. A. Pettis, Conneaut, O. ; Wm. J. Sweeney, Chicago. 111.; Ferd J. Herrlngton, Pittsburgh, Pa.: B. L. Converse, Owassa, Mich.: F. J. Rembusch, Shelbyvllle, Ind. ; E. W.
Waugh, Huntington. W. Va. ; Orene Parker, Covington. Ky. ; Geo. H. Wiley. Kansas City. Mo. ; Chas. Rothschild, San Francisco, Cal. ; Sidney Asher. New York. N. Y. : Fulton
Brylawski, Washington, D. C. ; L. F. Blumenthal, Jersey City, N. J.: H. C. Farley, Montgomery, Ala.; A. D. Saenger, Shreveport, La.; Thos. A. Brown. Iowa City. la.:
W. H. Wasserman, Nashville, Tenn. ; T. P. Finnegan, Dallas, Tex.; Carl Gregg, Tulsa, Okla. ; Paul LeMarquard, Winnipeg, Can.: E. F. Tarbell, Tampa, Fla. ; Geo. Osbom.
St. Paul, Minn. ; C. H. Phillips. Milwaukee, Wis. ; Geo. F. Washburn, Boston. Mass. ; Glenn D. Hurst, Reno, Nev. ; E. Wayne Martin, Hutchinson, Kan. : J. E. Schlank,
Omaha, Neb. ; Julius Meyers. Charleston, S. C. : S. A. Arnold, Mena, Ark. ; Hiram Abrams, Portland. Me. ; 0. T. Curtis. Pueblo, Colo. ; Fred Abbley. Gulfport, Miss. :
P. S. McMahon, New Britain, Conn. ; S. Y. Merchant, Providence, R. I. ; A. B. Campbell. Sedro Wooley. Wash.
Mississippi Exhibitors Meet
On Thursday evening. March 27, President Neft" ar-
rived at Gulfport, Miss., where he was met by a commit-
tee of exhibitors headed by National Vice President Fred
Abbley, acting as chairman. Friday morning the con-
vention opened at the Great Southern hotel, President
Neff presiding. An open meeting was held in the fore-
noon and in the afternoon the organization was perfected
by the election of the following officers : Fred Abbley.
Gulfport, national vice president; Ff. H. Carleton, Jack-
son, state president ; B. A. Mulligan, Vicksburg, first vice
president; C. H. Howell, Okolona, second vice president;
R. Ff. Redus, West Point, secretary ; G. W. Wilkes,
Biloxi, treasurer; and S. L. Taylor, Pass Christian, ser-
geant at arms. This being the third organization that
President Neff had affected within the week, he left
Gulfport Friday night, March 28, a tired man, and by
a circuitous route arrived in his home, Cincinnati, on
Sundav afternoon, March 30.
Louisiana Joins League
Following the organization of Alabama President
Neff of the Motion Picture Exhibitors League of Amer-
ica proceeded to New Orleans where the state convention
of Louisiana exhibitors awaited his coming at the Grune-
wald hotel. The convention was to have been addressed
at 10 o'clock Wednesday morning, March 26, by the
national president but a delayed train made it impossible
for Mr. Neff to talk to the exhibitors before 12 :30. He
was met at the train by W. H. Gueringer of the Enter-
prise Theater, New Orleans, and Albert H. Kaufmann
of the Consolidated Film Company, also of New Orleans,
and escorted to the hotel where he addressed the conven-
tion at 2 P. M. inviting all delegates to become members
of the League. Temporary officers were appointed by
Mr. Neff and the gathering adjourned at 5 o'clock that
afternoon to meet again at 10 o'clock Thursday morning.
When the roll was called thirty-one exhibitors paid their
initiation fees and became members of the organization.
The officers elected were : John Depinet, New Orleans,
national vice president; A. G. Gugel, Gretna, state presi-
dent ; A. G. Shear, New Orleans, first vice president ; H.
C. Van Cott, /Alexandria, second vice president ; F. H.
Maybury, New Orleans, secretary ; Sidney Levy, New
Orleans, treasurer ; and J. W. Russ, New Orleans, ser-
geant at arms. Delegates elected are the following :
Abraham Seligman, W. H. Gueringer, Theo. Recknagel,
Albert Durning, Solomon Loeb, W. L. Jennings. Alter-
nates: F. R. Feiderich, Jr., A. W. Waisdorf, H. Freiden-
berg, V. C. Howard, S. L. Bourke. M. B. Gill. One of
the first acts of the New Orleans Exhibitors after join-
ing the League was to raise Ninety-Seven Dollars ($97.)
to be sent to the flood sufferers of Ohio and Indiana. On
Friday evening F. H. Maybury of New Orleans talked to
President Neff over the phone stating that the committee
had secured eight members on Friday and that every-
body had gone to work with a will and they expected
to have three hundred in the state of Louisiana within the
next ninety days.
Alabama Organized
An Alabama chapter of the Motion Picture Exhibi-
tors League of America was organized at the convention
held in Birmingham on March 24, which was attended
by more than seventy-five motion picture theater owners
from all portions of the state. The central figure of the
meeting was naturally M. A. Neff, of Cincinnati, presi-
dent of the League, who advanced some interesting and
vital facts as to the importance of the picture industry.
As a direct result of the conference and organiza-
tion of the Alabama exhibitors it is probable that Sun-
day moving pictures will soon be a realization in Birming-
ham. The opening of moving picture theaters on Sun-
day has been a very hotly agitated proposition in that city
for the past several months, and the opposition from
certain quarters, which evidently have never correctly
understood the real motive behind the movement, has
been so great that for the time being, at least, it was
abandoned.
The arrival of President Neff has reopened the ques-
tion, and after a conference between Mr. Neff, National
Vice President A. A. Wall of Birmingham and City Com-
missioners Culpepper Exum and A. O. Lane it was an-
nounced that a petition from the Birmingham motion pic-
ture men would be presented to the City Commissioners,
and that it was probable the Commission would grant the
request to open the moving picture theaters on Sunday
afternoons, as is done in other cities of the country of
Birmingham's size and many much smaller. Montgom-
ery and Mobile, two other Alabama cities much smaller in
population than Birmingham, have had Sunday moving
pictures for some time.
Mr. Neff and Mr. Wall were received by the two
Commissioners with great cordiality, and were assured
that everything that could be done for them in fairness
to all parties concerned would be done. The city officials
assured Mr. Neff of their hearty sympathy and intended
co-operation with the educational work the moving pic-
ture manufacturers and exhibitors of the country were
doing.
The convention met Monday morning in the ban-
quet hall of the Hotel Hillman at 10 o'clock and ended
that night after the Alabama exhibitors had been thor-
oughly organized by President Neff. During the sessions
286
MOTOGRAPHY
Vol. IX, No. 8
of the convention various film manufacturing companies
and motion pictures machine manufacturers had their ar-
ticles on exhibit for the assembled delegates.
The following officers were elected : E. H. Colley of
Birmingham, president ; T. S. Abernathy of Birmingham,
first vice president; R. B. Wilby of Selma, second vice
president; J. J. Wells of Anniston, secretary; J. A.
Snider of Bessemer, treasurer; A. A. Wall of Birming-
ham, national vice president, and H. M. Newsome of
Birmingham, C. A. Geiber and J. H. King of Mobile,
board of trustees. The next meeting of Alabama exhibi-
tors will be held in Birmingham in the first week in June.
Alabama is the thirtv-seventh state of the union to organ-
ize and become a part of the Motion Picture Exhibi-
tors' League of America.
Burt Bill Defeated
In Iowa the Burt bill, known in the House of Rep-
resentatives as No. 210, for an act to provide the regu-
lation of moving picture films and establishing a state
censor was defeated in the house.
The Iowa Motion Picture Exhibitors' League, with
the co-operation of the exchanges and its legal depart-
ment, was successful in its work. Great credit is due
Fred W. Young, secretary of the league, for his un-
tiring efforts the past three months watching the progress
of the bill through the various committees, and compiling
statistics showing that censorship was not needed in
Iowa. The censorship bill, which was defeated, was
very unfair in that it left the censoring of films to one
man with a salary of $2,500, and allowed $5,000 for
office expenses and assistants. This one man would have
been able to tell three million people what they could see
in the picture shows. A fee of $2 was to have been paid
for every reel censored. Had the manufacturers or film
exchanges paid this fee the exhibitor would have had to
pay it in the end, in extra film rental, as exchanges
would have had added expense by having to establish
offices in Iowa and having all films sent there for in-
spection.
Exposition's Success Assured
The Exposition of the Motion Picture Art to be
held in New York in connection with the third annual
convention of the Motion Picture Exhibitors' League of
America is creating more and more enthusiasm as the
time draws nearer and nearer for its opening. Manufac-
turers of articles pertaining to the motion picture busi-
ness have up to the present time never had an oppor-
tunity of demonstrating their products in a fitting manner,
and now, realizing the benefits to be derived from a
personal demonstration of their products to some 10,000
motion picture theater owners from all over the country,
they are so anxious to secure preferred space on the ex-
position floor that it seems likely that the new Grand
Central Palace, large as it is, will not accommodate them
all. Associated in an advisory capacity with the general
committee is Mr. Richard G. Hollaman, president of the
Eden Musee, who has had twenty-five years experience
in exposition work, having been chairman of the board
of directors of the Chicago World's Fair and is at the
present time vice president of the International Exposi-
tion Co.. and also general chairman of the board of direc-
tors of the Panama Canal Exposition. Mr. Hollaman is
taking great interest in the show and his advice will un-
questionably prove of much value to all concerned.
West Virginia Convention
The fourth annual West Virginia State Convention
of the Motion Picture Exhibitors League of America
is to be held at Wheeling, W. Va., on April 29 and 30.
1913, and to say that it will be a big success is probably
putting it very mildly. Clem Kerr, of Dayton, Ohio,
the organizer, together with L. R. Thomas, the state
secretary, have surrounded themselves with a coterie
of live-wire exhibitors from the Wheeling district, in-
cluding a great number of exhibitors from across the
Ohio river in Ohio. The beautiful new auditorium
which has just been opened to the public will be the
scene of the West Virginia convention.
Manufacturers of moving picture accessories will
make no mistake in having an exhibit at this conven-
West Virginia State Convention Committee. Lower row, from left to
right, U. P. Kemper, A. P. Brinkmeier, Clem Kerr, Chairman, Phillip
Kochert, W. H. Shull, financial secretary; Top row, left to right — L. R.
Thomas, state secretary, H. Friedman, M. A. Sybert, C. P. Thompson,
James Velas and A. C. Frohms.
tion, as Wheeling is so well located that it will command
the attendance of hundreds of exhibitors from a wide
area, and from a number of sister states. Many manu-
facturers have already contracted for exhibit space, but
owing to the immense size of the auditorium there will
be ample room for all exhibits.
The auditorium is so arranged that all visitors pass-
ing to and from the hall will see the exhibits. Many
important matters will be taken up at this convention
such as legislation governing taxes and licenses, a state
examination board for operators, and a state Sunday
opening law. A bill for a stricter censorship on pictures
will also be discsused.
It is extremely essential that all exhibitors in the
state attend this convention, as matters of vital impor-
tance will come up. An election of state officers and
the selecting of delegates to the national convention at
New York will take place.
Pennsylvania Exhibitors Hold Ball
The first annual ball of the Motion Picture Exhib-
itor's League of Pennsylvania was held in Philadelphia on
the evening of March 26 in the Turngemeinde Hall, and.
despite the handicap of a heavy downpour of rain, proved
to be a great success. More than 4,000 tickets to the
affair had been disposed of and a large delegation of film
stars attended from New York. Two separate floors in
the immense building were used for the dancing and the
affair presented one of the most brilliant scenes of the
season's social functions. Practically all of the con-
tingent from Lubinville were present, and there were
several reunions of the former Lubin stars who had
sought other studios.
A special dancing programme was provided with a
number of cabaret specialties and during an intermission
the film stars were led to the stage in front of the hall
and introduced.
April 19, 1913
MOTOGRAPHY
287
NVho's Who in the Film Game
OF COURSE you
know C. Lang Cobb,
Jr., or at least you
think you do. You can paste
him a jolt on that big back
of his and say "Hello, Cobb, How's the missus," and he'll
turn around and be glad its you and jolly you along with
a lot of serious and frivolous talk and you'll like him for
it. Then you will say "Good bye, Old Man, good luck,"
and be on your way. Of course you know C. Lang
Cobb, Jr.
But do you know him? He never told you that his
first name was Charles, did he? There are a lot of things
about Cobb you don't know. You don't know what year
gave him birth, for example.
He's as shy as a girl about
his birthday. On Monday,
August 25th, he will be all
dolled up in his best suit and
have some flowers on his
desk and lunch at his pet
restaurant and have dinner
downtown that night and be
more cheerful than on the
day before or the day after.
It will be his birthday, but
he won't be a minute older
than he looks and he hasn't
a wrinkle nor an ache. How
old is Cobb? Better figure
him out by past perform-
ances.
His father was Lieutenant
Charles L. Cobb, 16th Lou-
isiana Infantry, C. S. A.,
with full four years of serv-
ice. After the war, he was
professor of literature, St.
Paul's Academy, New Or-
leans, and later and until his
death, cashier of the Penn
National Bank, Philadelphia.
It was here that Cobb, Jr.,
was born. His mother was
a Van Riper. C. Lang got
his early schooling at the old
Girard College, Philadelphia,
but at fifteen he was on a
farm at $5 per month and
found. But $5 a month was small measure for such a
promising hulk and he tried grocery juggling and other
odds and ends for better pay. Cobb never was very deli-
cate. After trying out all the rustic lines he drifted into
the steel mills district and got a job with Charlie Schwab
and Will Corey and A. C. Dinkey. Cobb's dinner pail
was bigger than theirs in those clays, but they all carried
them. The Homestead strikes in 1892 terminated Cobb's
steel activities but he had had a lot of experience. He
was with the Edgar Thompson plant ; the Carnegie Steel
Company, as second helper, weigher, fireman, hot-blaster
and ladle boss in charge of the distribution of hot metals
from nine furnaces making manganese. What Cobb
doesn't know about steel isn't in the books. He was
Facts and Fancies About a Man
You Know or Ought to Know
Some Regular Husk, but no Kin to the
Corn Family.
with Speigle's foundry ; in
armor plate; in Bessemer
steel and all the parts of the
works — mixing, foundry,
rails, finishing, and ending
up with Homestead and its strike. He was as hard as
iron itself in those days but he didn't fight. Feel his arm
yet and decide whether he could !
Then he blew into New York and tackled draping —
not in a blacksmith shop, bending rods with his hands —
not that. Draping fluffy, sheer, curtains and things.
Think of Cobb doing that. But then, too, think of the
guy who didn't dare to turn him down when he asked
for that job. Why, Cobb would have eaten him alive!
What is more, he made good
at the draping business, but
he didn't agree with the con-
finement of inside work. He
then tackled books and got
away with that, traveling all
over the country.
When the Spanish- Ameri-
can war was declared he
hurried home to enlist. He
had had a soldier father and
you couldn't blame him. He
entered as a volunteer with
Company I, 201st N. Y., and
in 1899, when mustered out,
he was the senior non-com-
missioned officer.
Then he tried railroad-
ing. Back in the Carnegie
plant he had fired a donkey
engine and that gave him his
excuse. Cobb has tried
everything at least once. But
he didn't care for rail
traffic and he switched to
paper patterns. You re-
member he jumped from
steel to scrim once before
and got by? Well he fluked
on the paper patterns. A
man slips sometimes and the
paper pattern had too much
graft in it. Cobb believes in
whole loaves, but he has to
have his occasional bite.
He's human when you get through his hide. His blood
is red and he bleeds when he's stuck. He couldn't sell
paper patterns and he will tell you so if you doubt it here.
And then he got in on the tontine bond business
when the game was young. He set himself up in the
gas belt in Indiana and he topped the roll of honor list as
the crackerjack salesman. A man always has one weak
spot if you probe him hard enough. C. Lang Cobb's little
strong box holds a bundle of letters from business men
who told him what a wonder he was at the ten-year ton-
tine bond business. Cobb will read those letters to you if
you will let him, so be on your guard !
This is stringing out to beat the band. Cobb is some
regular husk, but no kin to the corn family. In 1895,.
288
MOTOGRAPHY
Vol. IX, No. 8
Ed Porter, then with Edison, wanted a giant for some
purpose and he hired C. Lang Cobb, Jr., to play in pic-
tures. That job ended in two days, but Cobb put in three
or four early years with Edison and Vitagraph and of
course that settled it. He was a film man. He has been
associated with the Penn Motion Picture Company, the
Associated Motion Picture Patents Company, the Con-
solidated Motion Picture Supply Company, the Reli-
ance Studios, and is at present the manager of sales and
publicity for the Directors Film Corporation.
C. Lang Cobb, Jr., was married February 5th, 1912.
His wife, Agnes Egan Cobb, is quite as popular in film
circles, if not entirely more so than "her old man," who
blushes when you ask him his age.
Ornano went through the Italian war with Tripoli —
which should be sufficient guarantee that they will get
as close as possible to the "firing line."
Kinemacolor After Jungle Films
With a complete technical staff and improved outfit
for developing films under all sorts of weather and
other conditions in the tropical wilderness, two Kinema-
color experts, Mr. Scott-Brown and Sig. Ornano, have
sailed from England for East Africa, on a big game hunt.
Roosevelt and Rainey have heretofore "bearded the lion
in his den," and brought back interesting motion pictures
of the kings of the jungle, but Kinemacolor proposes to
catch them in their actual colors, amidst their natural
surroundings, which this process reproduces in its most
delicate hues and shadings. Mr. Scott-Brown was with
the Greek army in the Balkan campaigns, while Sig.
First Colorgraph Film
The first American made picture produced under the
process controlled by the Colorgraph Company of Amer-
ica will shortly be ready for the market. It is entitled
"Conscience" and will be marketed by the Conscience
Film Company whose offices are located at 116 West
Thirty-first street, New York City. The Colorgraph
Company it will be recalled is the concern controlling the
invention of Arturo Hernandez-Mejia for producing
motion pictures in natural colors and numbers among its
officers such men as C. A. Willat of the New York Mo-
tion Picture Company, Henry C. Niese of H. C. Niese
& Co., bankers, and J. Parker Read Jr., of the Garden
of Allah Film Co. besides Mr. Hernandez-Mejia, the
inventor.
The film consists of five parts, a prelude and an
aftermath, and relates a story of temptation, resisted
through the intervention of an allegorical Presence repre-
senting Christ, though the audiences who witness the pic-
ture may decide for themselves whether the Presence,
who saves each character in the story at the very brink
of the moral precipice, is really Christ or only Conscience.
The picture is still in the process of making but it
is expected to be completed in time for release within the
next three or four weeks.
Scene from "Longing for a Mother," Lubin release April 15.
April 19, 1913
MOTOGRAPHY
289
"The Tie of the Blood," April 17. Copyrighted 1913, Selig Polyscope Co.
Current Educational Releases
The River Clyde at Lanark (Scotland). —
Patheplay. A beautiful river in beautiful Scotland,
beautifully colored.
The Analysis of Motion. — Patheplay. A new de-
velopment in cinematography. The camera, taking pic-
tures at the almost incredible speed of twelve hundred
per second, shows the trajectory of a bullet at a rate of
speed reduced so as to enable spectators to witness just
what takes place when the bullet leaves the gun, the
course it describes through the air, how it strikes (a
clay pipe in one experiment), and exactly what happens
when it strikes this target. This film has set the scien--
tists of Europe wondering at its possibilities, and even
though it is scientific, it keeps within the limits of every-
one's understanding by means of clear explanatory titles.
Steam. — Kinemacolor. Shows the development of
steam power from the period when James Watt dis-
covered its ability to lift the lid of a tea kettle — and
deduced therefrom the hoisting engine for use in the
English mine pits — to its culmination in the modern high-
speed locomotive. The chief incidents in the lives of
the inventor of the first steam engine, and George Ste-
phenson, who built the first locomotive, are woven into
the story — which includes the homely romances and
happy marriages of both these homespun geniuses.
Furthermore, the film shows a faithful model of the
original Watt engine in operation, and also a working
reproduction of Stephenson's queer looking locomotive.
The first trip of this historic engine is shown in the
story — even to the humorous detail of the man on horse-
back riding ahead of the train and waving a red flag to
warn the unsuspecting public off the track. In one of
the beautiful vision scenes Watt dreams of the moving
engine which is to come after his time, while Stephenson
in turn has a vision of the ultimate development of his
locomotive. In this concluding picture is shown one
of the largest and most powerful high-speed locomotives
ever built drawing a train of Pullman coaches at the rate
of a mile a minute, through the picturesque mountain
scenery of California.
Gala Day Parade, Yokohama, Japan. — Vita-
graph. This is a full and comprehensive view of the
business men's New Year's Day parade in Japan ; when
they take account of stock and start anew the efforts of
the year. Nothing like it is seen in any other country.
Ancient Greece. — This series of views includes a
picture of all the famous ruins and temples which have
made some of the most interesting history that the world
290
MOTOGRAPHY
Vol. IX, No. 8
has yet known. It is particularly interesting to anyone
who has read, or ever intends reading, the history of
the Roman Empire or any of the famous Greek literary
masterpieces.
Winter Sports at Bodele. — Patheplay. This film
deals with sports amid the snows in Austria where every
year there are assembled a number of expert ski jumpers.
Down a steep incline these men fly like the wind. They
reach the edge of the precipice, sail through the air and,
like eagles, drop down at such a speed that a great many
of them are unable to maintain their equilibrium and
finish the slide with their faces in the snow. The picture
is a series of tickling thrills.
Street Scenes, Yokohama, Japan. — Vitagraph.
The novel sights which these scenes portray, bring before
us the activity and business thrift of a nation which
has astonished the world, and shows us one of the lead-
ing thoroughfares of Japan during the busy hours of
the day.
A Trip on the Seine (France.)- — Patheplay. A
journey on the famously beautiful river that winds its
way through Paris and out to sea.
School of Gymnastics. — Patheplay. The French
soldiers herein show their prowess in the difficult and
thrilling art of military gymnastics. They scale high
walls with an ease and grace that is admirable, cross
from roof to roof by means of slack ropes and perform
many other maneuvers.
Our Coast Defenders. — Vitagraph. The forts
which line the coasts of the Atlantic and Pacific, protect-
ing the approaches from entrance to our harbors by
foreign enemies, are matters of interest which have much
to do with the safety of our country, and the peaceful
enjoyment thereof. The tactics and practice, in case of
the slightest emergency, of our coast defenders, are all
shown in the detailed maneuvers of this war-like demon-
stration.
The Sponge Industry in Cuba. — Patheplay. An
interesting study of all the phases of an unfamiliar
although thriving industry.
Our Feathered Friends. — Patheplay. The mother
instinct in animals is always an interesting study. The
same is true, but more particularly of birds because they
seem so frail and incapable of defending themselves. In
this film an insight into the life and habits of several
different families of birds provides both entertainment
and knowledge.
The Cuttlefish. — Patheplay. Although the cut-
tlefish may not be very well known, it furnishes material
for some very interesting study. This fish supplies the
cuttlefish bone which is given to birds and on which they
enjoy sharpening their bills.
Glimpses of the National Capital. — Patheplay.
First the camera gives us a view of the very beautiful
Potomac Falls. Then, in sequence, the Union Station,
the Marine Hospital, the House of Representatives office
building, the principal streets, the avenues, the War Col-
lege, the White House and the Capitol itself, and other
incidental views too numerous to mention but which
combine to enable spectators to know Washington as well
as if they had paid the city a visit in person. The
photography is up to the usual Pathe standard, which
means perfection.
Laying a Marine Cable. — -Vitagraph. The re-
cent laying of the telegraph cable under the sea calls to
mind the wonderful achievements of telegraphy and the
first laying of the Morse Atlantic cable from America
to Europe connecting the Western with the Eastern
hemisphere. The unwinding and laying of 3,000 miles
of cable under and across the Atlantic Ocean is a gigantic
and marvelous achievement ; almost incomprehensible,,
but all made quite clear in this reel of pictures.
Webb's Talking Pictures Shown
A most satisfactory exhibition of talking motion
pictures was held the evening of April 1, when Mr.
George R. Webb gave a private demonstration of his-
invention for showing such views in the New Amster-
dam Theater Roof, New York City. The theater was.
crowded with an audience invited by Klaw & Erlanger
to this special performance. A varied programme was
offered and the pictures proved to be an extraordinary
success. The problem of synchronization has been en-
tirely overcome and there was not the slightest error
in this direction during the entire evening, it is said.
This was true even though such difficult tests were made
as the playing of two xylophone solos. One of these was-
the "William Tell" Fantasie, but in spite of the elaborate
nature of the piece and the rapid movements of the
player, sound and motion were perfectly synchronized.
The device is called the Victory talking pictures, and Mr.
George R. Webb, former president of the Maryland
Telephone Company, and one of Baltimore's most promi-
nent citizens, is the inventor. The invention is a marvel
of simplicity. The sound is transmitted by means of
the same device which is used at the Grand Central
station to announce trains, and the various notes, etc.,
are obtained from a record made when the picture is-
taken. The whole thing may be operated by one man,
as the sound device is controlled entirely from the same-
booth in which the picture machine is located.
American Players Find Baby
Jack Kerrigan turned rescuer with a vengeance last
week, when a wee, two-year-old child wandered into the
American's studio at Santa Barbara, Calif. Jack Kerri-
gan acted as combined parent for over two hours, hurryr
ing up and down the streets until the frantic mother was
found. Jack's friends insist that the child, being of the
feminine gender, wandered in to see him, but Jack doesn't
believe this.
Miss 'Williams to Build Bungalow
Kathlyn Williams, who was recently married to
Robert Allen, of the Burbank theater, in Los Angeles,
last week purchased an extensive tract of residence
property in one of the suburbs near Los Angeles. It is
Miss Williams' intention to build a unique bungalow
upon this site which she and her husband can use for a
home while they are located in the Southern metropolis.
William Clifford, leading man of the "Bison-101"
pictures is the proud father of a handsome and healthy
baby boy. Baby Clifford made his debut in Universal
films when but four weeks old. — That's sroine some.
April 19, 1913
MOTOGRAPHY
291
Of Interest to the Trade
Exclusive Supply Company Formed
Herbert S. Blache, president of the Film Supply
Company of America, of 133 West Forty-fourth street;
Harry R. Raver, secretary and general manager of the
same concern, and Ingvoid C. Oes, a member of the
board of directors, met at Mr. Blache's home in Palisade,
N. J., Wednesday night, March 26, and formed the Ex-
clusive Supply Company, which, together with the Inde-
pendent Exchange Company, will shortly take as offices
the whole tenth floor of the new Candler building, at
222 West Forty-second street, New York City.
This means that the new firm will start with four
brands of film. Mr. Blache will supply Gaumont and
Solax; Mr. Oes, Great Northern, and Mr. Raver, Itala.
Incorporation papers were drawn up and sent to Albany.
Mr. Raver has written his resignation as secretary and
general manager of the Film Supply Company of Amer-
ica.
Streyckmans Is Married
H. J. Streyckmans of the Mutual Film Corporation
and editor of the Mutual Observer was married on Fri-
day, March 21 to Miss Delia Musselman of Stamford,
Conn. The best man was A. Kessel, Jr., president of
the New York Motion Picture Co., and Miss Mae Kenny,
assistant secretary, was bridesmaid. Following the wed-
ding a supper was served at Wallick's at which fourteen
guests were present. Music appropriate to the occasion
was rendered by the orchestra during the evening and
as the happy couple left they were showered with rice
and old shoes. The bride is but eighteen years of age
and was about to start for Chicago to visit a sister it i.i
understood when Mr. Streyckmans suggested an immedi-
ate wedding. Congratulations are extended by hosts of
friends in all parts of the country.
Stomach Shown at Work
Cinematograph pictures showing digestive organs of
the human system in operation are a striking feature of
the fourth International Congress of Physiotherapy,
which opened in Berlin on March 26. Some films reveal
the entire stomach in the performance of its vital func-
tion, expanding and contracting with the regularity of
machinery. The pictures, which were produced by Dr.
Rosenthal of Berlin, are the first taken full size at the
rate of twelve per second and then reduced to film size.
Nick Carter Films Legal
"Nick" Carter has a perfect right under the law to
solve the great $100,000 jewel mystery in motion-picture
films, according to an opinion handed down recently in
the United States Circuit Court of Appeals in the case of
Street & Smith, publishers, of New York City, against
the Atlas Manufacturing Company of St. Louis, manu-
facturer of motion-picture films, and Orlin T. Crawford,
its president, says the St. Louis Republic. Street & Smith
filed suit last July 12 in the United States District Court
against the Atlas Company, asking that the defendants be
restrained from exploiting a film containing the adven-
tures of "Nick" Carter, a fiction hero, in solving The
Great $100,000 Jewel Mystery. Street & Smith publish
a weekly containing the adventures of "Nick Carter." A
preliminary injunction was granted the publishers in the
United States Court, but the film company appealed. The
Court of Appeals held that because the complainants had
no copyright to the name and because the name "Nick"'
Carter was not the title of any one story, the Atlas Com-
pany had the right to dramatize any of the complainant's
stories under the same name. United States Circuit
Judges Hook and Smith and District Judge Van Valken-
burgh sat in the case. Judge Hook wrote a dissenting
opinion.
"Dual Personality" Stunt
The "dual personality" photographic effect in pic-
tures is not new, by a long shot, but Thanhouser is un-
doubtedly springing a novelty in its twice-in-the-same
scene stunt by the Thanhouser Kid, for the reason that
grown-ups have always performed such feats to date.
It is not on record that ever prior to the release of Friday.
April 11, of "The Changeling," has a child player had to
"repeat" herself, with the photographer's aid, in a mov-
ing picture film. The Kid, by the way, opens a tour
of Mutual theaters at Cleveland, Ohio next week. Asked
whether she, also, contemplated such a tour the Than-
houser Kidlet is reported to have replied : "I positively
decline to issue any statement whatsoever on this until
the proper time comes."
Mary Fuller in Odd Role
A decidedly unique reel of pictures and one in which
Mary Fuller appears in a most unusual role is the forth-
coming Edison release entitled "When The Right Man
Comes Along." Miss Fuller is responsible not alone for
the costumes, which are out of the ordinary but also for
the story which runs as follows :
Anyone seeing the handsome suite of offices on Wall
street would think the owner, J. Green, to be one of the
Napoleons on 'change but they would not think that this
same J. Green is a woman so thoroughly immersed in
the intricacies of the Bulls and Bears of the exchange
that all other considerations are forgotten.
Her people, happily married and scattered to the
four winds, write insistent but vain letters to her to aban-
don money grabbing and enjoy the felicity of normal mar-
Scene from "When the Right Man Comes Along."
292
MOTOGRAPHY
Vol. IX, No. S
ried life. These letters she treats with contemptuous
indifference. No man interests her until Arthur Royden
is brought directly under her notice.
During business hours she finds her mind straying
to him and when he enters her office one day the warm
Springtide of love fills her heart. He is all business,
cold and aloof, places a check in her hands for stock in-
vestment and leaves abruptly. She resolves to win him
but though their meetings at the club are frequent he re-
mains unchanged.
Spurned and lonely she returns to her apartment
"When the Right Man Comes Along."
late one night and after the expiration of many hours
and the consummation of many cigarettes and brandies
and sodas she solves the question. She is too mannish.
A phone message to a woman's outfitter, a change of
clothes and manners and Arthur Royden falls completely
under the feminine charms of J. Green, his Julia.
The cast is as follows :
Julia Green Mary Fuller
Mr. Royden, the right man Arthur Housman
The valet Richard Ridgely
The maid Bliss Milf ord
Film Players in Vaudeville
Through the courtesy of the Thanhouser Film Cor-
poration Marie Eline, the Thanhouser Kid, and her sister
Grace, who is playing juvenile leads, are playing a
limited vaudeville engagement. They opened at the
Alhambra Theater, Cleveland, Ohio, Monday, March 31.
A special act has been arranged with a reel of pictures
as the introduction. This is the first tour made by any
Mutual players.
New Salem Playhouse Opened
Mr. Bernard M. Corbett of the Enterprise Optical
Manufacturing Company of Chicago reports the sale
and installation of two of the latest improved 1913
model Motiographs in the new Federal Theater at Salem,
Mass., which opened its doors to the public for the first
time on Monday, March 24. This new house has a
seating capacity of sixteen hundred on the main floor.
The building is of brick and cement and is fireproof
throughout. Mr. John Keon is manager and proprietor,
and is well known as a pioneer of the moving picture
business throughout New England, and on the opening
night was the recipient of many beautiful floral pieces
among which was an eight-foot horseshoe from Salem
Lodge No. 8, B. P. O. Elks, of which Mr. Keon is a
charter member. Standing room only has been the
order since the opening.
Universal Plant Burns
Fire, starting from a lighted cigarette thrown into
a clump of dry underbrush, destroyed two wooden build-
ings which housed $16,000 worth of developed film, and
did damage to scenery and equipment estimated at $5,000
at the Hollywood, California, studios of the Universal
Film Manufacturing Company's west coast organization
on March 26. Five hundred actors, actresses, scene paint-
ers, cowboys, Indians and laborers formed a bucket bri-
gade from a hydrant half a block away, and fought the
flames for three hours before they had the fire under con-
trol. The entire group of studios and vaults where thou-
sands of dollars worth of films were kept, were threat-
ened when a high wind swept the sparks from the burn-
ing buildings over the thickly grouped structures. Wet
blanket were spread on the roofs of practically all of the
buildings in the vicinity, but despite this vigilance, several
small fires broke out. They were extinguished, however,
before any serious damage was done to other than the
buildings originally ignited.
Buildings burned at Universal Film Company's Pacific Coast studio.
A company of Boy Scouts, from Los Angeles, who
had been working under the direction of Milton J.
Fahrney, one of the directors, was the first to discover
the fire. A trench was dug around the studios, but the
high wind quickly swept the flames across the narrow
gulf of soil. As a result of the blaze fifteen reels of film
scheduled for early exhibition were destroyed, necessitat-
ing an expenditure of several thousands of dollars to re-
take the scenes. Many scenario scripts and records were
burned and Mr. Richard Willis, scenario editor of the
Universal, asks that carbon copies of all scripts in the
hands of the western office of the Universal on or before
March 26 be mailed him immediately. These carbon
copies will be given immediate consideration.
Arrangements have been made with Mr. C. Good-
man of London, England, to handle the sale of Ramo
film in England and the continent through Ruffell's Im-
perial Bioscope Syndicate, Limited, of 8 and 9 Long
Acre, London, W. S.
April 19, 1913
MOTOGRAPHY
293
Coming Essanay Pictures.
During the latter part of April the Essanay company
will release a stirring drama, two comedies, a scenic and
educational reel and a Western drama with G. M. An-
derson in the leading role. In "The Unburied Past."
booked for release on April 22, the old saying that "A man
never loves but once" is proved true in the case of Walter
Morris who was smitten with Margaret Phillips during
his boyhood days. Margaret married a man of wealth.
Jack Wright, the husband, soon tired of his treasure and
passed many hours with his so-called affinity. Years pass
and Walter Morris prospers. In his day dreams, he sees
his old love. The fast life that Jack led brought about
an untimely ending. Margaret, hearing that Walter was
an attorney, wrote to him, asking him to come to her as-
sistance and straighten out the estate of her late hus-
band. The old love that had been locked in the cell of
Walter's heart, awakens, and he proposes to her. She in-
forms him that the memory of her dear husband could
not be cast aside. In examining the papers left on
Wright's desk, Morris discovers a diary, which tells in
full the double life the former had been leading, Mar-
garet enters, sees Morris with the book and requests him
to tell her what it contains. He casts the diary into the
grate, where the fatal words that were meant for no-
body's eyes but Wright's, are burned to atoms and
Morris leaves Margaret under the impression that her
husband was all she had thought him to be.
"The Rival Salesmen" released April 23 is a comedy
drama with a unique theme. William Jones, salesman,
who had been traveling the same territory for twentv
years or more, tries to play a joke on a new drummer,
which ends by the newcomer turning the tables on him.
A fictitious note is handed Jones, stating that John Red-
mond of Reedville, was in the market for his fall order,
and to see him at once. Jones displays the note promiscu-
ously, which makes the new salesman jealous. Jones in-
forms Brown, the new recruit, that he may call on Red-
mond for the order, that he is not anxious to get it.
Frank Dayton, another drummer, was told the same
thing. Both men have a lively time in reaching their des-
tination. Brown wins out, however, when he rescues
John Redmond's wife and daughter from a runaway
horse. In gratitude Redmond gives Brown his order
and what might have been a clever joke developed into
Brown's earning a small sum in commission. E. H.
Calvert as Jones, demonstrates his acting ability and John
Steppling as Brown does creditable work. "The City of
Mexico" released April 24 is a beautiful scenic and edu-
cational feature. Mexico is indeed an appropriate sub-
ject at this time, for an educational and scenic feature.
In the few moments that this picture is exhibited on the
screen, the audience will see the peons, natives of Mexico,
scrambling for a few centavos, their adobe dwellings,
market places, the flower market, the beautiful La Viga
Canal, the historical LaNoche Triste (the mournful night
tree, under which Cortez wept over his defeat at the
hands of the Aztecs.) Further, we are taken by auto-
mobile through the different streets, are then shown the
bell tower cathedral, where we get a beautiful birdseye
view of the city, and are shown the national palace and
Plaza Mayor. Last, but not least, we are driven up
Paseo avenue, to the monument of Guatemozin, the last
Aztec emperor.
In "The Deacon's Dilemna" booked for release April
25. Deacon Jeremiah Green's two sons, Jeremiah, Jr.,
and Daniel, are the village cutups, and are always getting
into trouble and causing friction among the different
members of the family. Augustus Carney as Deacon
Green keeps his audience in a continual uproar, while the
boys help wonderfully in putting over this comedy. "Into
The North," a splendid two reel dramatic subject will be
booked soon. Exhibitors who are desirous of securing
this feature, should watch for its release date. "Alkali
Ike's Mother-in-law," another funny comedy with Augus-
tus Carney will be released early in May.
Screen Club Had Close Shave
Members of the Screen Club of New York City
were startled on Monday evening, March 31, by observ-
ing wisps of smoke drifting up through the floor of
their clubroom and smelling the odor of burning hair.
Investigation disclosed the fact that the hair store of
John & Co., located directly beneath the writing room
and library, was ablaze. Prompt action by the fire de-
partment prevented a heavy loss, however, and the
damage was confined to that particular portion of the
clubrooms. Bob Daly, Herbert Brenon and Frank
Tichenor are alleged to have done heroic work saving
furniture, pictures, etc., during the excitement. The
loss was fully covered by insurance.
Ramo Films Italian Life
In "Dangerous Sympathy" one of the latest releases
of the Ramo company a clever and touching little story
of life in the Italian quarter of New York is told. The
synopsis of the release furnished by the manufacturer
runs as follows : Pagano, a young physician, attends the
sick bed of Marie's mother, who lives with Marie and
Lugi, Marie's husband, in the Italian quarter of New
York. Marie's mother dies, and Pagano is affected by
Marie's sorrow, and in sympathy, extends her a flower
and promises to send her others. He also gives a dollar
to Nitas, Marie's baby sister. With this Marie obtains
food and so arouses Lugi's jealousy. A week later
Pagano remembers his promise as he is buying roses
for his fiancee. He sends a bouquet with a pleasant mes-
sage. The florist gets the cards mixed. The fiancee gets
the flowers with Marie's card and believes Pagano false.
Scene from "Dangerous Sympathy," Ramo release.
Lugi gets the bouquet for Marie and a card simply ad-
dressed "Dearest," and making an appointment. He
thinks that Marie is false and as the reverse of the card
gives Pagano's address, he set out to revenge his wrong.
294
MOTOGRAPHY
Vol. IX, No. o
Marie follows to prevent the crime, if possible. In the
meantime, Lugi enters the doctor's home on a false pre-
tense, feigning illness. As the doctor leaves the reception
room to fill a prescription for Lugi, Lugi takes advantage
of the moment and rushes for the doctor, who closes the
door, Lugi forces the door open and has the doctor at his
mercy, when Marie enters in time to save the doctor's
life. At this moment the doctor's fiancee comes in to
tax Pagano's falseness. Explanations follow wherein the
exchange of cards is made obvious.
Selig to Revive Hoyt Comedies
The service that saves for posterity works of pen,
paint or chisel that have inspired or entertained the pub-
lic of other days is worthy of commendation, and the
enterprise of W. N. Selig of the Selig Polyscope Com-
pany in undertaking to pictorially revive the farce-com-
edies of the late Charles H. Hoyt, is a matter of no slight
artistic interest. A generation ago Hoyt's farcial com-
binations, then viewed as a stage novelty, were the most
pert, trenchant and amusing writings of the stage for
they frequently drew the characters from real life, em-
phasizing them with the deftness of a cartoonist for the
high lights, without putting them out of drawing, and
always sustained the interest. The Hoytean method was
singularly simple, direct and daring in comedy diversion ;
was playful and original, and defied all the traditional
traits in playcraft. In his way he was the progenitor
of a new style of farce comedy that in his day and gen-
eration was as popular as the current comedy idol,
George M. Cohan, who has elaborated and intensified
simple farce comedy to make it the musical apothesis
of motion and gaiety.
The pretentious revival of Hoyt's famous comedy,
"A Midnight Bell," by the Selig Polyscope Company as
a special release, is both timely and interesting. In
order to produce the famous comedy of rural types under
the most favorable circumstances, an entire company of
players were sent up into a northern Wisconsin back-
woods village, where a picturesque mantle of snow added
much to the realism desired. The picture is in two reels
and will be released early in May it is stated.
Another Pathe Triumph
On April 11th the Pathe Freres release a film that
goes just a little beyond anything that has yet been seen
on the screen, when it comes to the marvelous and seem-
ingly limitless powers of the motion picture camera.
The picture is entitled "The Analysis of Motion" and
was taken by means of the ultra-rapid camera at the
rate of twelve hundred pictures per second. Projected
at the rate of sixteen pictures per second, as they are in
the film mentioned above, the naked eye can for the first
time view happenings which occur so quickly that they
cannot ordinarily be followed.
The film opens with a view of an ordinary glass or
rubber ball supported by a thin stream of water and we
see the ordinary things that the naked eye alone shows
us, when we gaze at the real ball suspended by the
column of water ; suddenly the pictures taken at the rate
of 1,200 per second are shown and the mysterious manner
in which the ball is sustained atop the stream of water is
revealed with intimate detail. We see clearly the gyro-
scopic motion of the ball, the drops of water scattering
and winding themselves about the sphere in such a way
as to prevent its falling.
But even more wonderful things follow. We see
a bullet fired from a rifle, watch its trajectory and see it
strike the ball, driving that object out of the picture, and
then we see the column of water regaining its normal flow
and position. As the rifle is fired we not only witness
the emergence of the bullet from the barrel of the
weapon, but also see the gases that are driven out of
the rifle. Target shooting at clay pipes is next shown
and again one is astonished to see the bullet sweep slowly
into the field of vision, watch it strike the pipe and then
to witness the slow crumbling of the clay as the bullet
shatters the structure of the pipe. The Pathe people
wish to go on record as the first concern to introduce the
innovation of ultra-rapid photography in motion pictures
and the licensed exhibitors certainly have cause to rejoice
over the fact that they are permitted to first show this
truly phenomenal series of pictures, for that it is the
most wonderful film yet made seems to be generally
admitted.
Crystal Actress Popular
A great reception was accorded Miss Pearl White,
the ever popular and famous star of Crystal films, upon
her personal appearance at the Majestic Theater, Dan-
bury, Conn., last Monday evening. Manager Meehan
of the Majestic shows Crystal films and his patrons are
well acquainted with Miss White's work, although Miss
White had never appeared personally before them. Mr.
Meehan thought that this would be a good opportunity
for his patrons to become better acquainted with their
favorite and he engaged her for last Monday evening.
A great crowd was on hand and she was made to feel
at home immediately by the enthusiastic way in which
she was received. Miss White gave a very interesting
talk on the pictures and her work in the films, and the
audience was so well pleased that the manager has
asked her to play a return date.
Selig Flood Pictures
On Tuesday, April 1st, the Selig Polyscope Com-
pany surprised the film world by releasing as a special,,
a complete thousand foot topical film entitled "The
Flood, Fire and Ruins at Dayton, Ohio." The film was
complete in every detail. Many scenes were tinted, pho-
tography was excellent in quality, and several explana-
tory announcements were included. Two color posters,
showing half-tone scenes of the disaster, accompanied
the film as it was shipped. While the flood was at its
height in Dayton, Thomas Persons, superintendent of the
Selig Chicago plant, and George Peters, a camera man,
entered the stricken city with their cameras, under spe-
cial permit of the authorities in charge. It had taken the
Selig operators forty-eight hours to make the trip from
Chicago to Dayton, their path beset by many unlooked
for hardships. Many of the scenes in the film were taken
under the most exasperating circumstances. Several
times it was necessary for the operators to stand waist
deep in the icy flood waters to secure such negatives as
they desired. Mr. Persons reached Chicago late Sunday
night, March 30, with the negative. The mammoth Chi-
cago plant of the Selig Company worked to its full ca-
pacity that night, and Monday several complete copies
were ready for distribution. In the meantime the pub-
licity department had subsidized a local lithographing
plant and Monday afternoon striking two-color posters-
were ready for distribution.
April 19, 1913
MOTOGRAPHY
295
Brevities of the Business
PERSONAL NOTES.
Joe Farnham and his enthusiasm over the word Briam,
which means British-American films, are preparing to take up
new quarters in the Candler Building at 222 West Forty-second
street, where he will have P. A. Powers and Harry Raver as
neighbors.
D. W. McKinney, for many years a well-known figure in
the film industry, is now affiliated with the Allardt Feature Films
Company, which is handling feature films in the states of Illinois,
Kentucky. Indiana and Wisconsin.
Irene Howley, who is in the making of the two-reel story,
"Held for Ransom," a Reliance release, has a splendid career as
an emotional actress, mapped out for her by Director Oscar
Apfel. She has been seen but little in film work but after the
release of "Held for Ransom" Mr. Apfel says she will be well
known.
Cecil Graham is again able to resume his duties as manager
of the Northern Ventures Company after an attack of typhoid
which he contracted by venturing too far in his tour of the
New England states.
Bert Adler has troubles peculiarly his own. This time the
excitement is due to somebody's affixing Bert's auto number
on somebody's car and then the somebody's getting himself
arrested for speeding and Bert being called upon to explain.
Mae Botti is the newest lady to play leads in the Reliance
film stories.
C. Lang Cobb. Jr.. likes to make things hot for himself
when he is far away enough from the heat to chuckle over it
all and give away the secret of the chuckle with the remark,
"Ramo should worry!" C. Lang doesn't laugh. He can't; he's
too fat. Hence the chuckle. But to return to the heat and its
cause. Isn't it enough to start most any kind of a conflagra-
tion when from New York C. Lang sends to some perfectly good
and howling boosters in Chi the greeting, "What's the matter- —
are you fellows dead over there?" Of course the "fellows"
immediately wire, "Not even sick," and to prove it give C. Lang —
and of course the mention of C. Lang means that of Ramo —
some extra notices and Constantine L. is again at peace with
the world — almost. For these are peace-defying days for the
Ramo concern which is arranging to move into its new studio
at 102 West One Hundred and First street, and C. Lang is
worrying for fear he will have to sit on his desk during the
moving process lest some of the sales contracts flutter out from
'neath the bulging top and get lost. Ah ! indeed is the lot of a
sales manager of a new and thriving film concern a hard one !
Turrib-b-b-b-ble, C. Lang. Our sympathy, but no flowers.
Miss Bessie Learn, the charming little ingenue who has
played so many delightful roles in Edison films, is to be married.
Her engagement to J. R. Prosser of New York City was
announced recently.
He didn't like the baggage car into which they put him.
or the baggagemaster whom they put in charge of him. When
the baggage master was called out of the car for a moment
the houn' ate that individual's lunch. Yes, ate it with relish —
every last bite of it ! And when the baggage chap had to step
out again the animal smoked the cigar he left behind him. Yes,
smoked it down to nigh the very last puff ! You never saw so
angry a baggagemaster — or so startled a one. He had never seen
such a divil of a dog — or have you ! So see "The Dog in the
Baggage Car," released by Thanhouser Sunday, April 13.
H. K. Somborn is sales manager of the Ryno Film Com-
pany, which has opened new offices at 140 West Forty-second
street.
Carl Ray, the motion-picture-house king of Muskegon,
Mich., was a visitor at Motographt's offices Friday of last week.
Fred D. Burns has cut away from the western Vitagraph
company and is now enrolled under the Kalem banner. Burns
has the distinction of being the champion trick and fancy roper
of the world.
Lucile Dexter, the clever vaudeville comedienne, has become
a member of the Edison company at Long Beach, Cal.
Jack Noble, a West Point man and director for the Ryno
Film Company, made a military picture at West Point recently,
where he took a company of Ryno players.
Herbert S. Blache, mustache-less and eyebrow-less, bandaged
as to face and right hand but otherwise intact, personifies the
result of a powder explosion. Mr. Blache's schedule, or powder-
keg fuse, one or the other, wasn't in good working order, hence
the accident when he stood over the balky fuse with a lighted
match. Now he is recuperating at his home in Palisade, the
main events of each day being the visits of the doctor.
Miss Olive Skinner will leave the Universal studio early in
May to join the Dick Ferris Stock company which will open the
Orpheum theater at Salt Lake City about that time.
Miss Constance Crawley and Arthur Maude have begun the
production of Maeterlinck's "Pelleas and Melisande," at the
Universal studio in California.
Adele Lane, who has to her credit leading roles in various
companies in the west, is now a member of the Selig Pacific
coast company.
J. Bruce McDaniel, general manager of the State Rights
Film Company, is installed in the company's new offices at 145
West Forty-fifth street. The Marion Leonard productions will
be handled from there.
Ned Finley, known well and far on Broadway, has joined
the Vitagraph players and will be prominent in a number of
their coming releases.
Max Schneider has advanced from the position of camera
man with the Kalem company to that of head camera man for
the Columbine Films in Denver, Colo.
Paul Scardon, after a year of active service with the Majestic
company, has sworn allegiance to the Reliance company.
Albert T. Ellis is the newly chosen publicity man for the
Historical Film Company.
ROLL OF THE STATES.
COLORADO.
A handsome new building just completed in South Denver
is a one-story structure erected on Mississippi street, between
South Pearl and South Pennsylvania streets, by Pyke Johnson
and B. M. Koenigsberg. The building cost approximately $4,000
and has been opened as a motion picture house.
DELAWARE.
Bids have been received for the erection of the proposed new
picture theatre at 836 Market street, Wilmington by Roscoe Cook
Tindall, the architect.
GEORGIA.
Cochran is soon to have a regular moving picture show.
The stand formerly occupied by William Shelton is being re-
modeled and nicely arranged for a moving picture theater.
IDAHO.
The Klondike moving picture house at Boise has been re-
opened by Emmettt Allison of Dillon, who is associated with
E. L. Wheat of that city. The theater will be known in the
future as the Grand.
ILLINOIS.
C. M. Larson and Louis Bornhoeft Jr., two East Moline
young men are giving Port Byron a moving picture theatre.
They opened up in the opera house and will operate the show
weekly for awhile and then may continue on a nightly basis. "
Architect George E. Morris is preparing plans for a five
cent theater building at Barrington for R. W. Gracie, of Crystal
Lake. The cost will be $10,000.
INDIANA.
Starland Amusement Company, Michigan City ; capital stock,
$15,000; to conduct picture shows; incorporators, Claud R.
Plough. Chicago ; Harriet S. Ohming and Herbert Levin, Michi-
gan City.
Frank Vester of La Fayette has purchased the interest of
Bert Jennings in the Indiana Theater at Marion.
IOWA.
Extensive improvements have been made at the Columbia
Theater at Columbia, one of the city's popular picture houses.
The management has recently reopened the house after being
closed several days. During this time the place underwent a
complete renovating and numerous noticeable changes were
made. Considerable expense has been undergone by the manage-
ment of the Columbia in an effort to place the playhouse on a
par with any picture theater in the state.
KANSAS.
Topeka will have a new moving picture house on Kansas
avenue. The building at the corner of Eighth and Kansas avenue
will be remodeled and devoted to what is claimed to be a high
class moving picture show. The new firm is known as the.
Empress Amusement Company and the officers and stockholders
are said to be eastern men.
LOUISIANA.
The ladies of the Epworth League of Franklin gave a moving
296
MOTOGRAPHY
Vol. IX. No. 8
picture entertainment at the Jewel Theater recently, which,
notwithstanding the inclement weather, was well attended and a
neat sum was realized.
The new Pearce theater, now under construction at New Or-
leans, is nearing completion. In less than six weeks the finest
picture theater in the south will be thrown open to the public.
Located at 610 Canal street, the new theater probably is one of
the most expensive of the United States. Josiah L. Pearce &
Sons will introduce another new feature of motion picture thea-
ters in the new pipe organ which is on its way to New Orleans,
and is thought to be the best of its kind in the south. The organ
was built at Hagerstown, Md., and it is said to have cost $25,000.
MASSACHUSETTS.
Superintendent George I. Clark of the Woburn schools of
Boston has recommended to the School Board that a moving
picture machine be purchased at a cost of $300 to enhance the
work of teaching history and geography to the children.
MICHIGAN.
Jack Root, known years ago as one of the best light heavy-
weights that ever graced the American prize ring, and popular
among a large circle of friends in Kalamazoo, is to head a
syndicate on the Pacific coast to conduct vaudeville and motion
picture houses. The concern is capitalized at $1,000,000 and
will buy and build theaters.
E. E. Salsbury, proprietor of the Casino Theater at Lapeer,
has closed the playhouse for the present, preparatory to re-
building and redecorating it. He intends putting in a new
front, new stage and new picture apparatus and making the
Casino up to date in every way.
MINNESOTA.
Hughes & Brown have sold the moving picture outfit to Lee
Perkins at Comfrey, finding that their other work demands more
of their time and energy than is left for them if they continue
the show.
Duluth will have a new moving picture theater, the Colonial,
to be erected at 321 Central avenue. Jacobson Brothers are the
contractors.
The American Amusement Company will erect a new
theater building at Mankato.
The Brunswick Amusement Company, a new moving picture
theater company at Duluth, filed articles of incorporation. Thos.
Furniss, A. P. Raja and others are stockholders.
MISSOURI.
A deal was closed whereby Ed Cazel of St. Joseph purchased
the interests of A. J. Murray in the Lyric picture theater at
Cameron and the proprietors are now Cazel & Cazel. Asso-
ciated with them will be B. L. Young, who is a good machine
man and has had considerable experience in the moving picture
business^-
The Monarch Amusement theater at 4819-21-23 Delmar ave-
nue, St. Louis, has been sold to Fred Block. It is a new two-
story structure on a lot 60x167 feet, fireproof and furnished
throughout with first class equipment.
The managers of the "Rag Tent" picture show have rented
the Litsch building on Barnard street, Hopkins, and are fixing it
up in nice shape for the picture show business, having decided
it would be more pleasant for them and their patrons than to
continue in the tent.
Two new model motion picture machines have been installed
at Bevier and the managers of the Rex promise the public a big
double program. Two operators will be employed and patrons
are assured that there will be no waits between reels, but a con-
tinuous performance.
NEW YORK.
Dick Nash will start soon upon the new airdome that will be
erected north of his present building at Palmyra. The structure
will be 90 feet long and 22 feet wide, with cement floor and
wood sides and roof. It will be extra well ventilated for sum-
mer so it can be closed against bad weather in the winter.
The Chew building, in Exchange street, Geneva, which was
for years occupied by the Thalman wholesale grocery house, was
recently purchased by the Thomas H. Sweeney & Sons real
estate agency and it is soon to be remodeled for use as a moving
picture house.
On the northwest corner of First avenue and Sixty-fourth
street, New York, is to be constructed a one-story moving picture
theater with stores for Jane Sands and Catherine S. Rose as
owners. It will have a frontage of 50.5 feet and a depth of 100
feet, and according to the estimate of the architect, Louis A.
Sheinart, will cost $10,000.
NORTH DAKOTA.
Four sets of films caught on fire in the picture theater at
Langdon recently. In an effort to switch off the current from
the machine the entire house, including the exits, was thrown
into darkness, and a great deal of confusion existed. The
operator's cage was closed and no damage was done to the
building.
OHIO.
When a moving picture show building collapsed while in
course of erection at 3550 Eastern avenue, Cincinnati, on
December 10, 1912, Squire N. Robinson, a hod carrier, was killed.
This week Robert L. Neal, as administrator of Robinson's estate,
filed suit in the Superior Court asking for $10,000 damages from
Carroll and Edwin Behymer, owners of the building, and Custer
Brothers, the contractors.
Moving pictures and dancing are now to be combined. The
Alco Club at Cleveland held a dance at the Tuxedo Club, at
which moving pictures were thrown on the walls while the
dancing went on. During the so-called "moonlight" dance, for
instance, moonlight scenes were shown.
Plans are now being prepared for rebuilding the Jewel
Theater near Western avenue, Toledo.
PENNSYLVANIA.
As the site for the erection of a moving picture' theater, a
portion of the old Tagg Maennerchor garden property at the
northeast corner Fairmount avenue and Franklin street, Phila-
delphia, was conveved by Benjamin L. Gordon to Rebecca Green-
stein for $18,750. "The lot purchased is 85x102 feet. The entire
parcel is assessed at $30,000.
Wilson & Wood, clothiers, will close out their business at
Indiana and put in a modern motion picture house.
SOUTH CAROLINA.
The Grand Theater in Columbia has been resold by the
Montgomery Amusement Company to S. A. Lynch of Asheville,
from whom the company purchased it about three years ago.
There will be no change in management or policy on account
of the transfer, according to a statement made by Manager
Edwards. Mr. Lynch purchased, along with the Grand Theater,
two other playhouses belonging to the Montgomery Amusement
Company in Dayton, Ohio, and Atlanta. He also owns theater
properties in Asheville, Raleigh and Portsmouth, Va. The
Montgomery Amusement Company will continue to operate the
Ideal Theater, its other moving picture theater in Columbia.
SOUTH DAKOTA.
M. Crowningshield. the Bridgewater moving picture man,
has rented the McKinnon store building at Canastota. and will
give a moving picture show two nights of each week.
TENNESSEE.
J. D. Nathan has applied for a permit to erect an airdome
on Bellevue boulevard, Memphis, almost opposite the Central
High School. It will be used for motion pictures and will be
similar in style to a number of such structures which have been
built during the past few years. The city board of education
has been asked if the proposed open air theater will be objection-
able to it on account of its proximity to the school, but will
make no objection provided Mr. Newton does not keep it open
except in the evening.
TEXAS.
A. Dittman has just completed the construction of a motion
picture theater and W. K. Sheppard is about to complete the
erection of a $7,000 building, also for a motion picture theater.
With the completion of the latter Brownsville will have four
moving picture theaters.
UTAH.
The J. J. Jackson residence on West Main street. Ameri-
can Fork, is being torn down to make room for a new theater
building.
WEST VIRGINIA.
The People's theater on Main street. Elm Grove, which for
the past four months has been conducted by James Stephana
again changed hands. Roy Hankey of Warwood is the pur-
chaser. Mr. Hankey has had considerable experience along this
line, having conducted a nickelodeon at McMechen and he will
run two machines instead of one.
WISCONSIN.
E. D. Perkins of Waukesha has purchased the Crystal the-
ater, a motion picture house at Burlington, and has reopened
it for business.
C- W. Rice of Stevens Point is now in possession of the
Unique theater at Marshfield, having purchased the same of J. H.
Thorn.
The Crystal Company, which has been operating a moving
picture theater in the Woodman Hall, Onalaska, has bought a
site formerly occupied by Thompson's general store and will
erect a picture playhouse.
F. T. Langholff began to tear down the old building in Atkm
son and will erect a new theater building.
Work on the new five-cent moving picture theater at Evans-
ville is progressing rapidly. The new front and ticket booth are
about completed and the work of laying the inclined floor is
practically finished.
April 19, 1913
MOTOGRAPHY
297
Complete Record of Current Films
Believing the classification of film pictures by the nature of their subjects to be of greater importance to the exhibitor than classification by maker,
Motography has adopted this style in listing current films. Exhibitors are urged to make use of this convenient tabulation in making up their programi.
Films will be listed i-s long in advance of their release dates as possible. Film manufacturers are requested to send us their bulletins as early as possible.
Reasonable care is used, and the publishers cannot be responsible for errors. Synopses of current films are not printed in Motography as they may be
obtained of the manufacturers. '■■•«-«
LICENSED
DRAMA.
Date. Title Maker. Length.
4-1 Checkmated Vitagraph 1,000
4-2 The Fruit of Suspicion Eclipse 1,000
4-2 The Price of Gold Essanay 1,000
4-2 The Engineer's Daughter Patheplav
4-2 Nobilitv Pathe 2,000
4-2 The Sacrifice Kalem 1,000
4-2 Alixe, or The Test of Friendship Vitagraph 1,000
4-3 The Hero of Little Italy Biograph
4-3 A False Friend Lubin 1,000
4-3 The Stolen Tribute to the King Melies
4-3 Arabia, the Equine Detective Selig 1,000
4-4 The Inventor's Sketch Edison 1,000
4-4 A Wolf Among Lambs ' Essanay 1,000
4-4 The Burden Bearer Lubin 1,000
4-4 The Hoyden's Awakening Selig 1,000
4-4 The Golden Horde or Buried Alive Vitagraph 2,000
4-5 The Perfidy of Mary Biograph
4-5 Master and Man Edison 1,000
4-5 Broncho Billy's Way Essanay 1,000
4-5 A Mississippi Tragedy Kalem 1 ,000
4-5 A Change of Administration Selig 2,000
4-5 The Broken Idyll Patheplay
4-7 The Stolen Bride Biograph
4-7 In the Grip of a Charlatan Kalem 1,000
4-7 The Evil One Lubin 1,000
4-7 Vengeance Is Mine' Selig 1,000
4-7 The Queen of Spades Cines 2,000
4-8 A Romance by the Sea Cines 650
4-8 Old Jim Edison 1,000
4-8 For His Child's Sake Lubin 1,000
4-8 Robert Hale's Ambition Selig 1,000
4-8 The Transition Vitagraph 1,000
4-9 The Sheriff's Wife Essanay 1,000
4-9 The Shotgun Man and the Stage Driver Selig 1,000
4-9 The Toll of Fear Lubin 2,000
4-9 The Pursuit of the Smugglers Kalem 1,000
4-9 Out of the Storm Vitagraph 1,000
4-10 God Is Love Patheplay
4-10 Tommy's Atonement Selig 1,000
4-11 The Little Mother Essanay 1,000
4-11 The Scimitar of the Prophet Kalem
4-11 The Split Nugget Lubin 1,000
4-11 With Love's Eves Selig 1,000
4-11 The Web Vitagraph 2,000
4-12 The Little Tease Biograph
4-12 The Man Who Wouldn't Marry Edison 1,000
4-12 Broncho Billy's Reason Essanay 1,000
4-12 The California Oil Crooks Kalem
4-12 The Happy Home Patheplay
4-12 In the Days of War Patheplav 2,000
4-12 Mystery of the Stolen Child Vitagraph 1,000
4-14 A Streak of Yellow Kalem 1 ,000
4-14 A Wise Old Elephant Selig 2,000
4-14 The Woodman's Daughter Selig 1,000
4-14 Mr. Mintern's Misadventures Vitagraph 1,000
4-15 Anita, the Orphan Cines
4-15 The Fire of Vengeance Patheplay
4-15 The Accusation of Broncho Billy Essanay 1,000
4-15 God's Way Selig 1,000
4-16 A Fugitive at Bay Cines 1,800
4-16 The Winner at the Sweepstakes Eclipse 1,000
4-16 Dixieland Selig 1,000
4-16 The Italian Bride Patheplay
4-16 A Plot for a Million Kalem 1 ,000
4-16 After the Honeymoon Vitagraph 1,000
4-17 A Frightful Blunder Biograph
4-17 The Unknown Essanay 1,000
4-17 The Right Road Lubin 1,000
4-17 The Tie of the Blood Selig 1,000
4-17 Sleuthing Vitagraph 1,000
4-18 The Man from the West Edison 1,000
4-18 The Crossing Policeman Essanay 1,000
4-18 The Power of the Cross Lubin 2,000
4-18 Playing with Fire Vitagraph 1,000
4-19 A Misunderstood Bov Biograph
4-19 For His Child's Sake Cines 1 ,000
4-19 The Twelfth Juror Edison 1,000
4-19 The Fire-Fighting Zouaves Kalem 1,000
4-19 A Florida Romance Lubin 1,000
4-19 The Pride of Innocence Patheplay
4-19 The Wrong Road to Happiness Patheplay 2,000
COMEDY.
4-1 He Wouldn't Give Up Cines 1,000
4-1 Shipping a Clock Lubin
4-1 The Fake Soldiers Lubin
4-2 The Duke's Dilemma Edison 1,000
4-2 A Lucky Mistake Selig
4-3 The Will-Be Weds Essanay 1,000
4-3 There She Goes Patheplav
4-3 The Midget's Romance Vitagraph
4-4 Fatty's Deception Kalem
Date Title Maker Length
4 Whiffles Tries Moving Picture Acting Patheplay
4 Let 'em Quarrel Vitagraph 1 ,000
5 Faint Heart N'er Won Fair Lady Cines 500
5 His Widow Lubin
5 Collecting the Bill ...Lubin
5 He Answered the Ad Vitagraph 1 ,000
7 A Shower of Slippers Edison 1 ,000
7 Bunny's Honeymoon Vitagraph 1,000
8 The Snapshot Patheplay
8 The Wardrobe Lady Essanay 1 ,000
9 An Up-to-date Aviator Eclipse 450
9 The Well Sick Man Edison 1,000
9 Too Much Parcel Post Patheplay
10 An "Uncle Tom's Cabin" Troupe Biograph
10 A Lesson to Mashers Biograph
10 Found Out Essanay 1,000
10 The Magic Shoes Lubin
10' Angel Cake and Axle Grease Lubin
10 Cutey and the Chorus Girls Vitagraph 1,000
11 Rule Thyself Edison 650
1 1 The Indestructible Mr. Jenks Kalem
1 1 Wanted, A Strong Hand Vitagraph
4-12 Keeping Tab on Sammy Cines S00
4 1 2 Pete Tries the Stage Lubin 1 ,000
4-14 A Horse on Bill Biograph 500
4-14 He Had a Gviess Coming Biograph 500
4-14 Mimmie, the Widow Lubin 40O
4-14 One on Romance Lubin 600
4-15 The New Pupil Edison 1,000
4-15 The Pawned Bracelet Lubin 1,000
4 15 The Fortune Vitagraph 1,000
4-16 Seven Years' Bad Luck Edison 1,000
4 16 The Capture Essanay 1,000
4-17 What is Sauce for the Goose Melies 684
4-18 The Bravest Girl in California Kalem
4-18 Baby's New Pin Lubin 400
4-18 Beating Mother to It Lubin 600
4 18 Cured of Her Love Selig
4-18 That Mail Order Suit Selig
4 19 Alkali Ike's Homecoming Essanay 1,000
4-19 Seeing Double Vitagraph
EDUCATIONAL.
4-1 How Plaster is Obtained Patheplay
4-1 The Moros Patheplay
4-3 Our Coast Defenders Vitagraph
4-4 New York's Public Markets Kalem
4-5 Modern Progress in Somaliland, East Africa Cines 500
4-9 Making Birch Brooms Eclipse 30O
4-10 The Maoris of New Zealand (Manners and Customs) .Melies 1,000
4-10 The Tombs of the Ming Emperors Selig
4-11 The Capture of a Wild Cat Edison 350
4-11 The Analysis of Motion Patheplay
4-11 The Locust Patheplay
4-11 Laying a Marine Cable Vitagraph
4-17 A Tahitian Fish Drive (Manners and Customs) ... .Melies 316
4-17 Glimpses of the National Capital Patheplay
4-17 The Sponge Industry in Cuba Patheplay
4-18 School of Gymnastics (Military) Patheplav
4-18 The Cuttlefish Patheplay
4-9 Jean and Her Family Vitagraph
SCENIC.
4-2 Cairo, Egypt and its Environs Patheplay
4-2 Chinese Temple Selig
4-3 The River Wanganui Melies
4-4 An Excursion to the Grande. Chartreus, France. .Patheplay
4-8 Scenes Along the Pescara River, Central Italy Cines 350
4-8 The River Clyde at Lanark, Scotland Patheplay
4-9 The Kentish Coast, England Eclipse 250
4-12 On the Nebi River, East Africa Cines 200
4-14 The Rocky Mountains in Winter Edison
4-15 The Ancient Towns of Gubbie, Umbria (Central Italy)..
Cines 400
4-15 Hankow, China Selig
TOPICAL.
4-7 Pathe's Weeklv, No. 15 Patheplav
4-14 Pathe's Weekly, No. 16 Patheplay
4-18 The Millionaires' Playground Kalem
DAILY LICENSED RELEASES
MONDAY: Biograph, Edison, Kalem, Lubin, Pathe, Selig, Vita-
graph.
TUESDAY: Edison, Essanay, Cines- Kleine, Lubin, Pathe, Selig,
Vitagraph.
WEDNESDAY: Edison, Essanay, Kalem, Eclipse-Kleine, Pathe,
Selig, Vitagraph.
THURSDAY : Biograph, Essanay, Lubin, Melies, Pathe, Selig,
Vitagraph.
FRIDAY: Edison, Essanay, Kalem, Lubin, Pathe, Selig, Vita-
Lubin,
graph.
ruF-
SATURDAY : Edison, Essanay, Cines-Kleine, Kalem,
Pathe, Vitagraph.
298
MOTOGRAPHY
Vol. IX, No. 8
INDEPENDENT
DRAMA.
Date Title Maker Length
3-28 Texas Kellv at Bay Kay Bee
3-28 The Man "Eater Lux 1,000
3-28 The Climax Solax
3-29 The Half-Breed Parson Bison 2,000
3-29 The Criminals Mecca
3-29 The Half- Wit Reliance
3-30 A Well Meant Deception Majestic
3-31 Cupid in Uniform Imp
3-31 The Romance of a Fisher Boy Excelsior
-3-31 The Renegade's Heart American 1,000
3-31 Classmates Ryno
4-1 A House Divided 101 Bison 3,000
4-1 A Study in Sociology Majestic
4-1 The Quality of Kindness Gaumont
4-2 The Widow's Folly Nestor
4-2 The Superior Law Eclair 3,000
4-2 The Judge's Vindication Reliance 2,000
4-3 The Bishop's Candlesticks.... Imp 2,000
4-3 The Bandit's Redemption ; Frontier
4-3 In the Battle's Smoke Pilot
4-4 A Providential Tragedy Nestor
4-4 A Letter to Mother Victor
4-4 With Lee in Virginia Kay Bee 2,000
4-4 The Ogres Solax
4-5 Taps 101 Bison 2,000
4-5 By the Curate's Aid Mecca
4-5 The Mute Witness American 1,000
4-5 The Penalty Reliance
4-6 The Half Orphans Majestic
4-6 Bobby's Baby Rex
4-6 The Wanderer Imp
4-7 Shanghaied Champion
4-7 The Outcast Ryno
4-7 Cupid Throws a Brick American
4-8 War 101 Bison 2,000'
4-8 The Night Riders Majestic
4-8 The Angel of Mercy Gaumont
4-9 Within the Limit of the Law Eclair 2,000
4-9 The Woman Who Knew Reliance
4-9 The Grey Sentinel Broncho 2,000
4-10 The Smuggler's Dog Pilot
4-10 Until Death Rex 2,000
4-10 As Fate Wills Frontier
4-10 The Homestead Race American 1,000
4-11 The Forgotten Letter Nestor
4-1 1 The Fear Powers
4-11 Two Lives Victor
4-11 On Fortune's Wheel Kay-Bee 2,000
4-11 Sacrificed to the Lions Lux
4-11 Off the Mainland Ryno
4-11 His Son-in-Law Solax
4-12 The Darling of the Regiment 101 Bison 2,000
4-12 The Burning Lariat Frontier
4-12 Woman's Honor American 1,000
4-12 The She- Wolf Reliance
4-14 Blood Will Tell Imp
4-14 The Moving Picture Girl Excelsior
.4-14 Suspended Sentence American
4-15 Bred in the Bone 101 Bison 2,000
4-15 Pedro's' Revenge Majestic
4-16 An Affray of Honor Nestor
4-16 The Lesson Powers
4-16 The Evil Genius Eclair 2,000
4-16 Held for Ransom Reliance 2,000
4-16 A Southern Cinderella Broncho 3,000
4-1 7 The Leader of His Flock Imp 2,000
4-17 A Friend of the Family Rex
4-17 In Another's Nest American
4-18 Paying ..for Silence Nestor
4-18 The Troubadour of the Ranch Powers
4-18 The Coward's Charm Victor
4-19 The Last Roll Call Bison 2,000
4-19 Why the Ranger Resigned Frontier
4-19 The Wavs of Fate American 1.000
4-19 The Good Within Reliance
COMEDY.
4-1 Billy's Double Gem
4-2 Do It Now Powers
4-2 The Last Old Lady Ramo
4-2 The Bachelor's Housekeeper Solax
4-3 Fiddler Pete Rex
4-3 Matches American 1,000
4-3 The Land Salesman Keystone
DAILY "MUTUAL" RELEASES
(Independent.)
MONDAY: American, Keystone, Excelsior.
TUESDAY: Majestic, Thanhouser.
WEDNESDAY: Broncho, Mutual Weekly, Reliance.
THURSDAY: American, Mutual, Keystone.
FRIDAY: Kay-Bee, Thanhouser.
SATURDAY: American, Reliance.
SUNDAY: Majestic, Thanhouser.
Date Title Maker Length
4-3 Hide and Seek Keystone
4-3 Willy and the Faithful Servant Mutual
4-3 Marriage by the Wholesale Gaumont
4-4 Bachelor Bill's Birthday Present Powers
4-4 Too Polite Lux 475
4-4 More Than She Bargained For Lux 508
4-5 Binks, the Terrible Turk Imp
4-5 A Skipper's Story Great Northern 559
3-30 It's a Bear Crystal
3-30 Married in Haste Eclair
3-31 Superstitious Mary Nestor
3-31 Mum's the Word Nestor
3-31 A Knotty Knot Champion
3-31 Her New Beau Keystone
3-31 On His Wedding Day Keystone
4-6 Almost a Winner Crystal
4-6 Pearl as a Clairvoyant Crystal
4-6 He Wants What He Wants When He Wants It... Eclair
4-7 The Maid and the Milkman Nestor
4-7 Temperamental Alice Excelsior '
4-7 Those Good Old Davs Keystone
4-8 Billy Gets Arrested Gem
4-9 How Fatty Got Even Nestor
4-9 The Elixir of Youth Powers
4-9 The Lady Doctor Solax
4-10 Aunt Kate's Mistake Imp
4-10 A Game of Poker Keystone
4-10 Father's Choice Keystone
4-10 Willie Prefers Liberty to Wealth Mutual
4-12 The Mysterious Card Imp
4-12 The Bewitched Rubber Shoes Great Northern
4-13 Billy's New Watch Majestic
4-14 A Night of the Garter Nestor
4-14 Dad's Surprise i Nestor
4-14 Lena's Flirtation Champion
4-14 A Life in the Balance Keystone
4-15 Billy Turns Burglar Gem
4-16 Some Doings at Lonesome Ranch Frontier
4-17 Murphy's I. O. U Keystone
4-17 A Dollar Did It Keystone
4-17 Willie and the Conjurer Mutual
4-19 Fixing the Fakirs Imp
EDUCATIONAL.
3-27 When Lincoln Was President Pilot
4-1 Lyndhoven Farm, Virginia Gem
4-1 By Waters Beautiful Gaumont
4-2 Rapid Transit in New York , Ramo
4-3 Winter Sports in Norway Mutual
4-3 Exotic Fish Gaumont
4-6 Crystallization Eclair
4-7 The Life Savers of Chicamacomico Chmapion
4-1 5 The Laplanders _ Gem
4-17 Village Customs in Ceylon, India (Manners and Customs)
Mutual
4-19 On An Alligator Farm. . . Imp
SCENIC.
3-27 On the Roads of Ceylon Mutual
4-5 Under Southern Skies Great Northern 410
4-7 River Rhine, Germany Nestor
4-10 The Golden Horn, Turkey Mutual
4-12 Spanish Towns Great Northern
TOPICAL.
4-2 Animated Weekly, No. 56 Universal
4-2 Gaumont's Weekly, No. 56 Gaumont
4-3 Mutual Weekly, No. 14 Mutual
4-9 Animated Weekly, No. 57 Universal
4-9 Mutual Weekly, No. 15 Mutual
4-9 Gaumont's Weekly, No. 57 Gaumont
4-16 Animated Weekly, No. 58 Universal
4-16 Mutual Weeklv, No. 16 Mutual
DAILY
'FILM SUPPLY" RELEASES
(Independent)
MONDAY: Ryno.
TUESDAY: Gaumont.
WEDNESDAY: Solax, Gaumont Weekly, Ramo.
THURSDAY: Ammex, Gaumont, Pilot.
FRIDAY: Solax, Lux.
SATURDAY: Great Northern, Gaumont.
DAILY UNIVERSAL RELEASES
(Independent.)
MONDAY: Champion, Imp, Nestor.
TUESDAY: Bison, Gem.
WEDNESDAY: Animated Weekly, Eclair, Nestor, Powers.
THURSDAY: Imp, Rex, Frontier.
FRIDAY: Nestor, Powerst Victor.
SATURDAY: Imp, Bison, Mecca.
SUNDAY: Crystal, Eclair, Rex.
VOL. IX
MAY 3, 1913,
No. 9
EXPLOITING
Published Bi- Weekly by Electricity Magazine Corporation, Monadnock Building, Chicago
VIVIAN RICH
AMERICAN
GEORGE KLEINE'S
CINES ana ECLIPSE
Coming Cines-Kleine Feature
Multiple Reel Release
THE BROKEN VOW
Copyright, 1913, by George Kleine
RELEASED MAY 2, 1913 (Two Reels)
An emotional drama evincing the power of money
over the sacredness of love. "As ye sow, so shall
ye reap," might have been its title. Anyway, that
is the thought this production conveys. The dual
character of Juliet, first that of a simple shepher-
dess in love with a poor cowboy and then the wife
of a wealthy cattleman, arouses your sentiments
from beginning to end.
THE SUCCESSFUL WOOING
THE JILTED LOVER
SPECIAL HERALDS, ONE, THREE, AND SIX-SHEET POSTERS
Ones
May 6, 1913
A MIXED AFFAIR
(Marrying for money, yet the right girl)
(One Reel)
Eclipse
May 7, 1913
THE DIVIDING WALL
(A comedy-drama of litigation)
(One Reel)
Eclipse
May 14, 1913
THE WILL OF FATE
(The sad mistake of a revengeful woman
(One Reel)
FOR POSTERS— Order from your Exchange, or from the ARMSTRONG LITHOGRAPH COMPANY, Cleveland, Ohio
Send us your name to be
placed upon our mailing
list for advance advertising
matter.
GEORGE KLEINE
166 N. State St.
CHICAGO, ILL.
May 3, 1913
MOTOGRAPHY
EASTMAN
motion picture
film— the acknowl-
edged standard the
world over.
Manufactured by
EASTMAN KODAK CO.,
ROCHESTER, N. Y.
ANNOUNCEMENT.
The Fireproof Film
Company is prepared to
accept orders and make
contracts for motion
picture film guaranteed
to be superior to the
best on the market.
Manufactured by
FIREPROOF FILM COMPANY
ROCHESTER, N. Y.
YOU WESTERNERS!
IF WE MADE YOU A CASH GIFT WE
COULD DO NO BETTER THAN OFFER-
ING IN STATE RIGHTS
THE DOOM OF
M GUNMEN I
NEW YORK
(In 4 Parts)
STRONG TITLE? YES!
SENSATIONAL?- SURE!
TIMELY? YOU BET!
BUT
WHAT DO YOU THINK OF THIS?
Mayor Gaynor of New York
District Attorney Chas. Whitman
Canon VV. S. Chase
Mr. Frank Moss
Supt. Walsh
They all appear in the picture
because they recognize it as the
greatest educational feature of the
day. Do you appreciate the combined
box office value of combined
SENSATION and EDUCATION?
THE LITHOGRAPHS (sheets, ones and threes) ; also
combine, in 4 colors, sensational and educational value.
Something brand new in paper.
NOW, YOU LIVE WIRERS— WIRE!
Ruby Feature Film Co.
14S West 45th Street
NEW YORK
If you saw it here tell the advertiser.
Scene from "Quo Vadis." Vinitius pleads with Nero for the life of Lygia. Eight-reel photodrama, copyrighted 1913, by George Kleine
WITH WHICH IS INCORPORATED THE NICKELODEON
CHICAGO, MAY 3, 1913
PUBLISHED BI-WEEKLY BY
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CHICAGO, MAY 3, 1913
CONTENTS.
"'Quo Yadis ?" Frontispiece
Editorial 299-300
Forcing Cut Prices 299
And Now the Promoter 300
American vs. English Films 300
A Unique Educational Film 301-302
Taking Those Tiger Pictures 302
On the Outside Looking In. By the Goat Man.... 303-306
Motography 's Gallery of Picture Players 307
"Just a Moment, Please" ' 308
Motion Picture Making and Exhibiting. By John B. ■Rathbun. .. 309-312
Popular Hoyt Comedy Revived 313-314
Current Educational Releases .315-316
Current Kleine Comment 317-318
Some Dog Story This , 318
Central West Photoplay wright's Dinner 318
Who's Who in the Film Game 319-320
The Motion Picture Exhibitors' League of America 321-324
Sans Grease Paint and Wig. By Mabel Condon 325-326
Photoplays from • Essanay's 327-328
Those Awful Cinematograph Faces. By Harry Farmer \...329-i30
Of Interest to the Trade 331-334
Brevities of the Business 335-336
Complete Record of Current Films 337-338
■ FORCING CUT PRICES.
CO-OPERATIVE buying, as a function of associa-
tions or leagues, always presents an attractive
aspect. There exists always a large group of inde-
pendent buyers who purchase their supplies from a
small group of competing sellers. The prices charged
by the sellers are regulated, in the case of patented ar-
ticles, by a definite minimum figure named by the holder
of the patent ; and in the case of unpatented articles, by
a commercial balance established between the pressure
of competition and the cost of doing business. ■ It is
possible for the group of buyers to associate formally
and appoint a committee of their members as a pur-
chasing agent. This agent then, representing the entire
purchasing power of the group, is in a position to shift
it from one seller to another at will. This power estab-
lishes a control by fear, resulting inevitably in bids for
the patronage of the purchaser. These bids, naturally,
take the form of cut prices — which is the result desired
by the purchasing group.
Under legitimate competitive conditions, cutting of
prices by a dealer brings him a certain increase of trade ;
it never brings him all the trade, and seldom enough to
offset the reduced profit. It is evident, for example, that
if an article whose sale price is one dollar carries a
dealer's profit of twenty cents, cutting the sale price
to ninety cents halves the profit and makes necessary
more than twice the- trade on account of the increased
expense of handling more customers.
Co-operative buying by an association, however, may
give all its trade to one dealer, leaving the other dealers
no alternative but to go out of business. It. needs no
argument to show that the one remaining and. favored
dealer would then monopolize the field, and might exer-
cise the power of monopoly to raise his prices even
above the former level, his merchandise being necessary
to the purchasers. The associated buyers, in retaliation
would be forced to start, or at least threaten to start,
a supply house of their own on a co-operative basis.
There is nothing new in the principle of co-opera-
tive supply houses. The system has been tried time and
again — and abandoned. A well organized supplv house,,
operated on a business basis, can always run at a
smaller expense than can a co-operative supply house.
The difference, in fact, is invariably enough to absorb all
of the anticipated gain.
It is no part of the work of a properly organized
association to sell itself goods. No combination of
buyers can rightfully usurp the functions of a seller or a
manufacturer.
It is not right for an association to use its power
to drive dealers out of a legitimate business. The principle
is well recognized that free competition always reduces
prices more equitably than any other method of regula-
tion. Where competition exists, therefore, co-operative
buying is unfair and demoralizing to both the quality
of goods handled and the method of handling them.
300
MOTOGRAPHY
Vol. IX, No. 9
Where monopoly exists, co-operative buying may be an
efficient and justifiable weapon.
Briefly, the association which uses its co-operative
purchasing power in forcing cut prices constitutes a
monopoly, as dangerous and immoral as a selling monop-
oly, and deserving of the same quality of regard and
treatment.
these promoters are apt to increase their activity unless
steps of some kind are taken to check their money-
making propensities, so the wise manufacturer will prob-
ably speedily seek a remedy for the ever busy grafter.
AND NOW THE PROMOTER.
EVER since the inception of the various moving-
picture "weeklies," giving views of important hap-
penings in all parts of the world, we have been intensely
interested in these animated news mediums and have read
many times of the difficulties under which the camera
men worked, but only within the last few days have we
learned of a new factor which is far too frequently
encountered by these camera reporters — the growing
power of the motion-picture concession grafter.
.From the house organ of one of the manufacturers
issuing a pictorial "weekly" we learn that it is now well
nigh impossible to film any great • convention, public
event or historical pageant, heralded many days in ad-
vance, without encountering this grafter ; and to en-
counter him costs money — lots of it.
This busy little promoter learns of some prominent
event, scheduled to occur on a certain date, and straight-
way hies himself to the official in charge of affairs, con-
vinces him that the motion picture rights should be a
gold mine to the film manufacturer and should incident-
ally net the official himself a neat little sum, and then
presents a contract whereby he (the promoter) is given
the exclusive privilege of filming the event. The official
in charge is, nine times out of ten, only too glad to sign
the contract, believing that in this way alone can he assure
the event being recorded in motion pictures, and happy
in the belief that he has done a fine day's business, not
alone for the affair soon to develop, but also for himself.
The contract having been signed, the promoter sits
calmly back to await the coming of the cameramen re-
porters— for his work is practically over and nothing
now remains but to collect. The film manufacturer who
has gone to the expense of employing his reporters, each
armed with a camera, and whose loss through unavoid-
able accident and faulty photography is high, under even
the most favorable conditions, is now compelled to settle
with the promoter before a foot of negative can be taken.
Refusal on the part of the manufacturer to "see" the pro-
moter often results in the police bodily ejecting the
faithful camera man ere the event really begins.
Meanwhile the motion-picture rights promoter,
without investing a cent, has officially declared himself in
on the profits and so persistent is he that in the majority
of cases he simply has to be considered.
As instances of how the scheme works we quote the
following from the Gaumont house organ referred to
above :
In New York some months ago a small labor parade was
held up in Fifth avenue upon the discovery that a motion
picture camera man was on the job. The motion picture rights
promoter learned whom the operator represented, stopped the
parade long enough to call up the studio and demand $1,000
for the privilege. The parade was only resumed when the manu-
facturer agreed to call his man off. More recently a Mexican
general sold the rights to photograph in motion pictures the in-
surgent army at Juarez, Mexico.
When President Wilson announced that he would visit his
old home town, Staunton, Virginia, a Baltimore promoter cor-
raled the motion picture rights and it was only by appealing to
Mr. Wilson personally that the motion picture people were able
to forestall the hold-up.
With the constantly enlarging field of the "weeklies"
AMERICAN VS. EN G LIS EI FILMS.
NEARLY everyone in the motion-picture industry,
from the largest manufacturer down to the humblest
exhibitor, is well aware of the huge exportation of
American-made films (particularly Western subjects),
but not all are aware that the English are beginning to
wake up to the fact that one can attend picture shows in
almost any part of Great Britain night after night with-
out seeing anything but American, Italian or French
made films.
In a recent issue of The Bioscope, published in
London, Harry Furniss, a writer whose pen deals weekly
with some topic of the film business, asks the question,
"Where are the English films ?" and then after a fashion
proceeds to answer his own query. The gist of his reply
may be given in the statement that he discovered Ameri-
can-made films to be superior to the English brand —
that American subjects are better adapted to the taste of
English audiences than are the subjects filmed by the
English studios, and that since the exchange men pur-
chase those pictures which they consider best from a box-
office standpoint, they display a preference for those of
American, Italian or French manufacture.
That this is clearly true seems to be plainly indicated
by the fact that a theater in Shopland attempted an "All-
British" week recently which fell terribly flat. The
patrons of the house very clearly indicated their prefer-
ence for "foreign" brands of film. If English picture
houses aim to show English films, therefore, it seems to
be clearly up to the English manufacturers to improve
their productions and when the time comes, if ever, that
the English films are better than the American brands,
then not only can the British theaters run English-made
films but American exhibitors will also be clamoring for
them. This time seems, however, to be far distant, for
by the time the English manufacturer has caught up to
his American competitor, that manufacturer has im-
proved the quality of his product to such an extent that
his releases are again far in advance of the best made
abroad.
However, it is understood that Mr. Furniss, who
has done some work in the Edison studios in this coun-
try, is now himself about to become a producer, and is
to be given free rein in an English studio, with English
actors and actresses, so that not only the English manu-
facturers whom he has been criticising in his Bioscope
articles, but also the American producers will be able to
judge what sort of a producer he is. Possibly the Eng-
lish films may be improved as a result — and, again, they
may not. Time alone will tell.
GREAT SCHOOL OF MORALS.
The moving picture theater is the greatest school of
morals and manners in the country today and is shaping
the destiny of the future generation, Charles Frederick
Weller, assistant secretary of the Playground and Rec-
reation Association of America, told the members of the
City club of Milwaukee recently.
"The chief bad influence is not so much in the pic-
tures themselves as in the cheap vaudeville which accom-
panies them and in poor management," he said. "These
theaters have a great power for doing either good or
evil."
May 3, 1913
MOTOGRAPHY
301
A Unique Educational Film
Produced By American
IN "Oil on Troubled Waters." the two-reel subject of
the American Film Manufacturing Company booked
for release on Monday, April 28, the public will be
given an educational and industrial film quite out of the
ordinary. The extensive oil fields at Summerland, Cali-
fornia, the only place in the world where oil is pumped
from the ocean's bed. will be fully shown and intimate
views given of every stage of the process.
The manufacturer has, however, cleverly woven a
storv about the industrial element of the picture so that
the average theater patron will never suspect that he has
been viewing a so-called "educational" release, even after
the final foot of film has been flashed on the screen, for
the drama is one of the best acted and most gripping
that the American people have put on the market.
Members of both the first and second American com-
panies take part in the two reel subject. Messrs. Kerrigan,
Periolat and Richardson and Miss Van Trump of the
first company and Miss Rich and Mr. Coxen of the second
company enact the leads. Incidentally it may here be
said that George Periolat undoubtedly does the greatest
work of his entire career in his characterization of Ben-
ton, the old miser, of the picture. The reviewer has seen
Periolat in some great roles in the past but never in any-
thing that excelled this latest creation.
The story begins with the call of an old miser.
Benton, upon his widowed sister and her charming daugh-
ter. Bernice. Having learned that Bernice is beloved by
Ralph Conway, a geologist, the miser makes known his
objection to the affair and demands that Bernice see no
more of the young man. A little later, a lawyer calls
upon the miser and makes over to him a legacy that has
been left to be equally divided between Benton and his
poor sister. Though he promptly advises his sister that
some property has been left them he carefully retains for
himself the most valuable tract and gives Bernice's moth-
er a supposedly worthless piece of land adjoining the
"Oil on Troubled Waters." American Film Manufacturing Company.
beach. Soon after the miser's sister passes away and
leave her portion of the legacy to her daughter. In her
last hours, however, she had requested that Bernice and
the young geologist be married immediately in order that
she might rest assured there was someone to care for
her daughter.
Bernice and her husband, following the funeral,
leave for Summerland, to make their home on the land'
so recently acquired, but are astonished to behold the
barren, desolate strip of beach which has been willed
"Oil on Troubled Waters." American Film Manufacturing Company.
them. The young wife returns in tears to the little hotel,
there to hide her disappointment, while the geologist sinks
down on the ground, thoroughly disgusted. The strong
odor of oil causes him to investigate its cause and a sip
of the water at his feet discloses the fact that it is thick
with oil. Gradually the full importance of his discovery
bursts upon him and he hastens to rejoin his wife with
the news that they are after all rich, for the discovery of
the oil makes their land immensely valuable.
Meanwhile old Benton gets into trouble with the rail-
road company over a trivial matter and in order to fight
it in the court he mortgages all his possessions. The
fight is hopeless and soon the news comes that his case
has been lost and that he is a bankrupt. Aged, dis-
heartened, and without a friend on earth he sets out afoot
to find his niece whom he has so abused in the past —
hoping that she may have pity on him and at least give
him shelter.
Bernice and her husband have in the meanwhile
been busy developing their property and we accompany
302
MOTOGRAPHY
Vol. IX, No. 9
them on a walk over the oil fields now under full develop-
ment. We see the twenty-five horsepower engine which
operates the entire series of oil wells by means of an
eccentric cam. Detailed views of the whole apparatus
are shown. A sub-title informs us that each barrel of
oil contains 40 per cent asphalt and the next view shows
the oil barrels being conveyed down a long pier to boats,
thus overcoming the high rates charged by the railroad
•for shipping the oil.
As Bernice and her husband return from their trip
over the oil fields they encounter the bent and weary
figure of Benton, who has reached Summerland. In-
quiry on the main street of the little city as to whether
or not such a man as Ralph Conway is know there brings
forth the reply — "Why he owns the town," so Benton
has gone forth to seek him. The Conways are greatly
surprised to behold him again, and at first extend any-
thing- but a cordial welcome, but after the old man has
"Oil on Troubled Waters." American Film Manufacturing Company.
sobbed out his story and told them that he has been left
without a dollar in the world the heart of Bernice is
touched and she invites him to make his home with
them. The closing scenes of the picture show' the Con-
ways happy in their home, which has been brightened by
the coming of a child, while Benton is completely trans-
formed by the kindness shown him and a spark of real
love is kindled in his gruff old heart as he fondles his
little grandson.
The cast is as follows :
Benton, an old miser George Periolat.
His sister Jessalyn Van Trump
Bernice, her daughter Vivian Rich
Ralph Conway, a geologist Warren Kerrigan
Benton's lawyer Jack Richardson
The railroad company's lawyer Ed. Coxen
Taking Those Tiger Pictures
When the Vitagraph Company decided to produce
a series of pictures introducing the wild and untamed
beasts of the forest, it found the problems confront-
ing it to be staggering. It was easy enough to get
the animals ; the trouble came in getting suitable actors
to work with them and to find a capable director to man-
age the productions. The director was found in the
person of Mr. Frederick Thomson, a nervous but ener-
getic man, who manages somehow or other to implant
his own enthusiasm in those working with him. The
success of "The Tiger Lily" and the other animal plays
is very largely due to his ceaseless efforts and the pains-
taking manner in which he tackles the difficulties before
him. for, of course, after he had elected to produce the
plays, it fell to him to solve the problems in connection
with them. First one and then another of the players
refused to work in the arena with the .tiger. Some con-
sented when the idea was first suggested to them, but on
acquaintance with Prince, hastily changed their mind.
At last Mrs. Swayne Gordon was found and has proven
herself ideal for the part. The only times when she felt
at all nervous were when there were a number of other
people around the arena in which the pictures were
being taken. On one occasion, when the tiger made a
sudden movement towards her, one of the onlookers
screamed, causing the tiger to make a quick turn in the
direction of the noise. Mrs. Swayne was at the moment
sitting by the tiger's side, stroking his neck and petting
him. In his quick turn Prince managed to hit her foot,
piercing the shoe with his claws and tearing the flesh of
the ankle. Mrs. Swayne was not aware of the extent
of her injury until she arrived at her home and found
her shoe clotted with blood.
So erratic and troublesome did Prince become in
the presence of strangers that it became necessary to
forbid all onlookers and ultimately to bar visitors from
the Vitagraph plant. This rule is likely to remain in
force for some time as the series of animal pictures is
by no means completed and it is an expensive matter to
have a scene interrupted by the passing of a visitor
through the yard. On only one occasion did Prince ever
attempt to use his teeth on his adopted mistress, and this
happened in front of the camera and will be seen on
the screen. Mrs. Swayne was lying by his side and strok-
ing him and half reclining upon him when he made a
sudden snap at her, catching her arm between his jaws.
His bite scarcely pierced the skin, so light was it, ap-
parently being only meant to warn the lady that she must
not take liberties in the way of leaning too hard upon
him. After it had become apparent that the tiger was
fairly safe when under the control of Mrs. Swayne.
other actors and actresses consented to approach him and
work" on the play, which moved along at a rapid rate."
It was necessary for Mr. Thomson at all times to keep
a sharp watch pn the players and to promptly check all
signs of nervousness, for nothing will flurry an animal
quicker than an excited person, and an excited tiger —
well — is undesirable. Some scenes had to be rehearsed
from ten to twenty times until the director was fully
satisfied that the work of both the animal and the players
was up to the mark. It was nerve-racking work, but the
results are said to fully compensate for all the trouble
and anxietv.
Kinemacolor Feature Films
An interesting announcement is made with refer-
ence to the' production of spectacular subjects on an
impressive scale in Kinemacolor in the near future. These
films will be based on the works of world-famous authors,
and since they will be extremely costly and at the same
time make a world-wide appeal to Kinemacolor audi-
ences the natural color companies of the world will
finance a subsidiary company to devote its undivided at-
tention to the production of feature subjects. Exhibit-
ing licensees will soon be able to include a feature film
with each weekly service. The country in which the
new company will conduct its operations is not yet set-
tled ; it is probable that it will have no regular home, but
will travel the world in search of appropriate settings.
There is no doubt that a scheme of this importance will
attract the greatest talent in production, acting and scen-
ario writing that the moving picture world contains.
May 3, 1913
MOTOGRAPHY
303
On the Outside Looking In
By the Goat Man
T( ) be just an ordinary goat — the tin-can, alley var-
iety— isn't much of a trick; but to go by prepaid
express in an upholstered crate is something of a
problem. To stick around your own little pen and view
things through the knot-holes-will go for a time, but the
practice is apt to develop cockeye. I have been chasing
the dust. Those who kicked up the most of it have had
the larger portion of my attention, but I find upon closer
inspection, they havn't been nearly so important as I had
thought. Maybe you get the drift. At any rate, in plain
language. I've traveled east again. I've been all over
and around Xew York and repeat. If you ever go to New
York it will surely be with a more fixed purpose than I
had. I simply realized that I was growing stale and that a
week in Manhattan would offer those trifling remedies
known to be of help for what ailed me. I covered a lot of
ground; saw a lot of people; let them do most of the
talking and feel sure that no one was hurt. If you
hitch up a little closer for the next few weeks you will
get something of the eastern situation from my point
of view, at least. I can't hope to get it all' out of my
'S)rstem in several installments. I'm slopping over, with
the stuff that was purred into my ears. I dared to ven-
ture everywhere that time permitted and was particularly
lucky in finding men I was anxious to see.
* * *
I left Chicago, Sunday, the thirteenth. Ordinarily
a jump to New York is uneventful, but when we left
Toledo it began to rain over that section of Ohio where
the people have web feet and it was pouring when we
reached Fremont. Fremont didn't cut much of a figure
in the flood reports, although two hundred families were
rendered homeless and two dozen residences were lost —
no trace — simply washed away. The whole country in
that vicinity looked like a drowned rat. The fields were
glazed and rippled with mud, showing the effect of high
water — and it was still raining. People in slickers and
raincoats were everywhere. They have learned how to
get along without umbrellas. At Clyde, nearly even-
house stood in water and the train moved slowly for
nearly a mile, feeling its way_ along the submerged steel.
There was no need to fake the Dayton or Columbus dis-
asters. I was on high ground, away from all the dangerj
The "water-level route-' rang true and we were safely
beyond the horror.clistrict. I simply mention this because
an effort was made in New York to do something for
the flood sufferers and while I know little about the
details. I'm sure that too little of the sum raised by
Scene from "Her Guardian," released May 8. Copyrighted 1913, by Selig Polyscope Co.
304
MOTOGRAPHY
Vol. IX. No. 9
a coterie of exhibitors ever got through to its alleged
destination. Because the affair was disguised in the
name of the Motion Picture Exhibitors League I would
respectfully point out that it wasn't officially sanctioned
by the national body. As a matter of truth, too many
sins are being committed in the name of the League,
Jennie Nelson, of Lubin Stock Company, is Married. Performance Took
Place April 5. William Chamberlin Playing the Opposite Role.
but I'll defer listing them at the moment. I have to be
temperate with my opinions of the New York M. P.
Branch till July — then I'll blow up. I know that I can't
have representation at the third annual league conven-
tion because the ante is too high. I know, too, that an
American exposition might interest me at sixty-nine
cents a foot and that an international affair at two dollars
a foot looses charm. Besides, an American show would
curtail European travel by men who might otherwise
never have gone there.
* * >K
If I drift along this line very far I'll have neglected
New York, but I found the League in very bad repute
down there. New York exhibitors have cost me a vast
amount of money. They will cost me more in the name
of the Motion Picture Exhibitors League than they did
before that mantle was thrown about them. The League
stands, ostensibly, to help the exhibitors. It does, in the
middle west, I'm certain. In New York it is a bad play-
thing. When the men high in its councils show ten reels
for ten cents, and six and seven reels for five cents, they
cast reflection upon all League members throughout the
country. These men should be impeached, rather than en-
couraged. They should be disfranchized — cast out. I'd
rather be the goat than be president if New York exhi-
bitors are not checked.
* * *
I think my work for the League requires no apology,
but here's where I start my butting in on some of its
misdeeds.
When I reached New York City it was still raining
and there was excitement in every camp except Casey's.
The regular monthly meeting of the General Film Com-
pany was scheduled. I thought J. A. Berst was in
Europe, but he wasn't. He left Mrs. Berst in a Paris
hospital and his presence in New York suggested to
my feeble mind that the regular monthly meeting at
200 Fifth avenue held more than passing significance. I
nearly ate up my imperial before I concluded that Mr.
Berst came back to say something to his associates that
would be more impressive than a mere cablegram. Men
do not rush away from a sick bed and journey across
the Atlantic unless there is something vitally important
at stake. We all know by now that the General Film
Company has relieved the Kinetograph Company of its
purpose by buying it out. While that in itself is a big
transaction, it would hardly require so much inconveni-
ence on the part of Mr. Berst. I would prefer to guess
that in taking over the Kinetograph, Mr. Kennedy
wanted his old post at the General Film Company. And
if this is a tolerably fair presumption, I'm thinking that
certain members of the General Film's directorate would
offer protest. My very excellent opinion of Mr. Berst
is responsible for my listing him with those members
who would prefer Mr. Dyer to Mr. Kennedy- At any
rate, I learned with great pleasure that Mr. Dyer suc-
ceeds himself and that General Film Company succeeds
to the Kinetograph fiasco. That will save me writing
a lot of personal letters to anxious subscribers who have
had hard trouble in understanding why Kinetograph ever
happened.
^c ^c ^
Anxious to see the game from every corner I
called at the Kinetograph Company's offices in the Ma-
sonic building. Mr. Waters was cordial. He showed
r i
5£SB
i -
m \ «B
Scene from Kinemacolor's "The Sand Man," Showing Remarkable Double
Exposure Camera Work. Note the "Astral Spirit" of the Student.
Beside His Own Sleeping Form.
me everything except the loving cup on his desk with
the big red ribbon on it. I saw that without his help.
And when I had finished the rounds with him I had
learned something. I knew for certain that Percival
Waters was every inch an exchange man if nothing else.
The Kinetograph exchange is a monument to the Kineto-
graph Company. It is truly the most completely modern
and efficient plant ever designed for such work. The
May 3. 1913
MOTOGRAPHY
305
day I saw it, it was sold to General Film Company —
all but the loving cup and the red ribbon inscribed "Good
Luck." Mr. Waters told me he was serving two hundred
and eleven customers that day and he seemed to have a
speaking acquaintance with all the boys who were being
served. Waters' score is in the first division.
* * *
In the Mutual camp there was the buzz that has
characterized that organization ever since it put in its
adding machines. The immediate activity involved re-
newing the Kay-Bee. Broncho and Keystone contracts.
Before I left town the deal was closed. I visited the
New York Motion Picture Company's offices where I
saw Charlie Bauman and Ad. and Chas Kessel. I wish
Charlie Bauman would buy a little go-devil of a gasoline
cart — a six with one seat — and run it up and down the
ocean roads. When I found him this time he had every
reason to smile, but he didn't Nobody owed him a
cent and he didn't owe anybody anything, but he was
as nervous as a groom and just as solemn. His company
is the onlv one I found that hadn't something up in the
air. I heard that "The Battle of Gettysburg," Brauman's
biggest film, was about to be shown privately at the fac-
tory, near Seventh and Nineteenth, and I raced down
there. Dr. Willat let me in and Streyckman's lectured.
It was worth the time and effort. I'm strong for these
splendid long lengths when they're good. "The Battle
- Back IN 1691 HE
USED TO RIDE
A CHARTER-, NAMED
CiXlt ,to DELWEP—
4r*ER4CANb. EVERYBODY
KS£VY TONY AND
' JLc
DixiE.
OMY <5UDEKUM
PRESIDENT OF
THE CRESCENT
AMUSEMENT
CO.
Cartoon in Nashville Tennessean.
of Gettysburg" is five reels — a stupendous, magnificent
and historically correct achievement. It is the kind of
competition in producing that will make the whole game
better. I will have more to say about the film.
^ ^ %
The Universal, as per usual, hardly knew where it
was at. I saw nearly all of the Universal — the sumptu-
ous, offices at 1600 Broadwav and then Carlton and I
paddled out in the rain to Bayonne to see the rest of it.
You may have forgotten that the Nestor plant was in
Bayonne. Well, it is still there — the original works —
and it is a regular beehive. When Dave Horsley put
the Nestor plant into the Universal the lettering was
changed on the door, but that was all. Bill Horsley,
Scene from Thanhpnser's "Rosie's Revenge."
Dave's brother, has been the cave-man for fair. Nobody
has been hearing anything about him. Bill does all the
work and raises geraniums and dahlias and other tender,
hothouse varieties, while Dave Horsley and Carl
Laemmle and Bill Swanson and Mark Dintenfass raise
other things. As nearly as I could make out, these fel-
lows are taking the hills at high speed. They won't shift
to low. I have been in bad with them for a long time.
I have to laugh in the open, as it were, while everybody
else laughs under cover. I saw the great and only Carl,
who told me he was going to Chicago the next day. He
didn't go at all — he merely had that to offer for polite-
ness. He is never so busy as he thinks he is. All this
song you have heard about Carl Laemmle's punch is
illusion. It is on the banners out front, but the show
doesn't come up to the heralds. I'll give you Carl's
autobiography some of these fine days without any of
Bob Cochrane's help. Nevertheless, I shook hands with
Carl — a timid little clutch and then he ducked. When
I invaded the sanctity of the oriental, mystic-maze, harem
theater. Cochrane was there, but he, too, escaped me.
When I called him by telephone, he was " in conference."
Oh, you fellow sinners, they do have conferences around
the Universal, believe me. Then there are pillow ses-
sions to beat the band ! You know Pat Powers isn't
there anymore — at least he wasn't the week I was in
town. Pat was just around the corner ! But I found
Bill Swanson to the left, down the hall and second door
from anywhere. Good Old Bill ! He was gloomy the
day I saw him, because it was a gloomy day. perhaps.
Gee, if it would do anybody any good — even me — I'd
tell just what ailed Bill, but I won't. Only this much,
next time I see him, he'll feel better! Dave Horsley was
at 1600 and he was also at Bayonne. In the latter place
I found him in his bed room, which had the distinction,
once upon a time, of carrying a $2,000,000 mortgage.
Dave is treasurer of the concern and they plastered his
slumber cellar with eonugh to hold him steady. Brother
Bill was outside planting astors — flowers, you chump,
not the members of that family. Ho, hum. they do
have a merrv time at the Universal.
306
MOTOGRAPHY
Vol. IX, No. 9
Pat Powers is over in the top of the Candler build-
ing watching the corner at 48th and the Way. He'll
slip in there some of these fine evenings and take in a
vacuum cleaner. No horse-shoe of roses for Universal's
new boss.
I am deferring a lot. You will have a better yarn
about the Horsley activities in Bayonne. And while I
think of it, Charlie Simone is right across the way and
Bill is figuring on extending his landscape to include
Simone's brand new factory which is mighty busy turn-
ing out good stuff— probably 150,000 feet a week.
Simone will be making Centaur's some day.
^ ^ H*
I dropped in to see Zukor, but I was told his office
hours were from 11 a. m. to 1 p. m. Good morning;
good night — he will never be a film man. I didn't go
back. It takes more than money to do it. Money and
time together helps. I have a little time and I foozle,
but my chance is as good as the guy's with nothing but
two hours a day and a bank account.
^ ^ %
And I went out to New Rochelle. I had to flag
Charlie Hite and we did the plant in ragtime. The joy
of it was the ride back to New York with Mrs. C. J.
and Little Marjorie. * * * .This is ctnly memoranda.
Put this down for sure dope : If Thanhouser has been
off prime, there has been a reason. There wasn't any
Thanhouser after the fire. I mean any place to make it.
You can't manufacture films in the street or in a garage
and expect top-notch stuff. You'll never know where
they have been making Thanhouser, but you'll all find
out pretty soon where they are to be made. I saw the
spot and the blue-prints and the evidence of an honest-
injun works to come. You wait a while and you'll get
your reward. Thanhouser is going to put New Rochelle
on the map to stay.
^ 5fc ^c
As I said at the start you can't cover my rambles in
a -single issue of Motography. More will follow. I
think I saw everybody but George A. Magie, A. E.
Smith, J. V. Ritchie and Bill Wright.
:fc ^c ^
I went to the Screen Club ball. Here is a confes-
sion : My knowledge of the language is too limited to
tell you what I saw. The Screen Club ball had me going
south-east from the moment I purchased a card to
admit me till I left — even before the grand march was
formed. I fell for the carnation and the ferns and
I ducked the wet goods emporium. Just once I offered
to drink with the machine men, but the guy with the
apron threw up his hands when I whispered mine. He
didn't have it in stock- — think of that! But the ball itself
was anything or everything you might care to call it.
The most beautiful of the women rubbed elbows with
the homliest. The men were dressed in the pink of
fashion or they were not — just as they pleased. The
Screen Club ball was the first opportunity the club has
had. to get theirs and they were overlooking nothing.
They had provided and they were unspairing with de-
tails. Between eighteen and twenty hundred guests were
there — there for the best time they could have. The
dance started at nine and the dignified and decent mixed
with those who take theirs in other ways. King Baggot
begged that the performers confine their movements to
the dance that mother used to do, but some of the guests
had forgotten that mother ever knew how to dance.
At that, nobody cared overmuch. The tango and the
turkey trot was right and proper if viewed through-
smoked glass.
^ ^ ^
The grand march formed at midnight with the
King and Mary Pickford leading. Bunny was right
behind and before I left nearly every one had joined the
ranks. The elite who remained in the balconies merci-
lessly poured sacks of confetti upon the heads of the
ranks below. Spools of paper ribbon were fired into-
the ball floor below and the good natured victims of this
bombardment were still good-natured and joyous whert
I made my exit. If you hear that there were ten thou-
sand present don't be alarmed. Proctor is unscrupulous-
and that was his honest count. He saw things double
ifter ten and at eleven he multiplied the result by three f
1 sincerely hope the Screen Club ball was a financial
success. The present quarters are inadequate, though
convenient, and the membership deserves a better place.
If one dance won't do it, let us have another.
As a result of my trip, I have concluded that there
should be a classification of theaters — say three groups
based upon seating, investment and clientele! There
should be a revision in the method of arriving at film
values. The subject at a price per subject, instead of a
price per foot. There is too much film in the market.
Too much chaos ; too many feature folks ; too many pro-
grams. And whereas I have a warm place in my heart
for the exhibitor, he is being over indulged. He isn't
the whole works. His organization isn't effective and
I doubt its feasability if followed along present lines.
The film business is primarily a manufacturers game.
I still believe in the program but there are but two really
worth while. You know the two. We are threatened
with five. Before we can settle down with -five, there
will be a really for sure open market and when the truth
is know only two factors want that — the exchange and
the publishers.
% % *K
To illustrate : This is the very largest baby in-
dustry that has no substantial foundation. It is straw
bottomed. There are no valid contracts. Contracts are
no part of the consideration. The exchange men are
essential. His clientele — the exhibitor — will break the
contract before night if he elects. The exchange men will
violate their arrangement at the drop of the hat if better
inducement is offered. When contracts mean more, the
program will have substance, but not till then. If there
ever was a time for Moses, this is the time.
Fielding Decidedly Busy
Romaine Fielding, star actor and director of the
Lubin stock company, at Nogales, Arizona, is making"
himself quite conspicuous and useful on the Mexican
border line. Fielding has been sworn in as a deputy
sheriff and has already made two or three important
arrests. Also, being a doctor, he has joined the Red
Cross society and given valuable aid to the wounded
soldiers. During the recent battle of Nogales between
the Constitutionalists and Federal forces, Fielding
worked hard on the field and took many interesting pic-
tures of the battle and scenes after the capitulation of
the Federals, who took refuge on the American side of
the town. Fielding is a Corsican by birth, a fearless
fighter and man of many qualities. Mr. Lubin is very
proud of his southern director and his company who are
doing excellent work in the Land of the Cactus.
May 3. 1913
MOTOGRAPHY
307
Motography's Gallery of Picture Players
ALEXANDER F. FRANK is playing character leads
with the Ranio Film Company and invites his friends
to drop in at most any popular picture house most any
old time, and see him. And his friends are glad to
oblige, for Mr. Frank
is a particular favor-
ite of many; besides,
he's an actor of inter-
national repute. It
was Mr. Frank who
played for two suc-
cessive years in Lon-
don with Charles
Warner in "Drink"
and it was Frank-
Crane who induced
Mr. Frank to come to
this country where he
was featured by Olga
Nethersole as "Jean"
in Sapho. "Don Jose"
in "Carmen" and
"Aubrey Tanqueray"
in The Second Mrs.
Tanqueray. Later,
Mr. Frank supported
James K. Hackett
Alex. f. Frank. . and Mrs. Leslie Car-
ter. Motion pictures were an entirely new venture with
Mr. Frank but he liked it and fitted from the Reliance
to the Yitagraph to the Biograph to the Gem companies,
and after that to the Ramo.
MILDRED GUION signed with the Ramo company
because she received a very special request from
that company to do so, which request came as a result of
Miss Guion's fine portrayal of a leading part in New
York's "Kismet" pro-
duction. Previous to
that, she had played
in Biograph films and
so the world of pan-
tonine was not a
new one to her when
she and her trunks
arrived at the Ramo
studio and embarked
on the gladsome task
of entertaining a film
world that is ever
clamoring for the new
and beautiful with
the smile for which
she is famous. Miss
Guion guessed she
would have a try at
pleasing that insistent
public and brought to
the work all the
vivacity and interest
Mildred Guion. that have been prime
factors in everything he has ever done. Excessive gestures
and facial contortions are crimes that can never be
charged against her for she dislikes them as much as do
the film spectators.
MARY ALDEN leads, and rightly so, in films which
bear the mystic Ramo brand. For Miss Alden has
many accomplishments to her credit and they range
from charm of intellect and person to ability to put that
same charm into the
work which is daily
making the n a m e
Ramo wider and more
favorably known.
This work is the re-
sult of a number of
successful years on
the stage during
which Miss Alden
played with Ethel
Barrymore, Madame
Simone, and in Eu-~
rope to the plaudits
of its play-loving pub-
lic. Then came her
debut in pictures with
the Pathe company,
where she remained
for several years mak-
ing each day's work
something to be proud
of, adding, mean-
while, tO her Store Of Mary Alden.
pantomimic accomplishment. Wray Physioc saw her in
"Ready Money" and "Within the Law," and so forcibly
did her acting impress him that he determined "to secure
her for Ramo pictures.
TACK HOPKINS went to college to study theology but
J found theatricals so much more to his' taste that
instead of ascending the pulpit, he enrolled with the
Boardwells stock company of Saginaw, Mich., where he
earned leading man
honors and, a little
later, accepted an of-
fer to play in pictures.
Mr. Hopkins consid-
ered his acceptance of
the offer quite a con-
descension on his part
but has since changed
his mind, as to that.
He has played about
five hundred leads
since his days with
the Boardwells stock,
and these roles com-
prise the portrayal of
straight, c h a r a cter,
heavy and juvenile
parts. Be it comedy
or tragedy, Jack Hop-
kins is equally versa-
tile and equally happy.
While he was with
Lubin, he starred in jack Hopkins.
"Love's Labor Lost," took the role of Paul in "Paul and
Virginia," and played with Nat Goodwin in "Oliver
Twist." Thence to the house of Ramo where he has made
history in the way of film leads.
308
MOTOGRAPHY
Vol. IX, No. 9
Universal Gives Big Lithograph Order
One of the largest contracts in the history of litho-
graphy, was entered into on Tuesday, April 8, between
the Universal Film Manufacturing Company and the
Morgan Lithograph Company of Cleveland, Ohio. The
deal was consummated by Mr. Worthy Butts, general
eastern manager of the Morgan Company. It provides
for the furnishing of all of the lithographic paper for
the Universal Film Manufacturing Company for a period
of two years from date of signing, with a minimum of
96,000 sheets a week. The contract specifies that the
posters be made according to Universal dictation, and
that the highest possible standard of quality be main-
tained. The placing of this order assures exhibitors at
least seven three-sheets each week, and six-sheets with
features, in addition to the usual number of one-sheets.
This will necessitate a large increase in their staff of
artists by the Morgan people, and they are making an
effort to secure the best poster artists in the business.
Issues Three Color Bulletin
The Lubin Manufacturing Company have issued a
beautiful three color process bulletin on their two reel
special "The Power of the Cross," released on April 18
and the exhibitor who makes good use of this poster in
front of his house is sure to attract business, for the
8^2x6 inch color plate, showing a scene from the film,
is a masterpiece of the engravers' art. The whole poster
displays advertising quality quite above the ordinary, and
is bright, snappy and attractive without being in any
sense gaudy. The Lubin people are to be congratulated
upon their enterprise and the exhibitors upon their good
fortune in having such business boosters to use.
"Watch Out for Imposter
Many young woman have called up the American
Film Manufacturing Company recently, asking for a
Mr. Hart who claims to be its manager. This party has
evidently left business cards giving such misinformation
in beauty parlors and other places where girls congre-
gate. The Chicago police are after this man who is
evidently attempting to entice pretty girls into Texas
where he claims the American is operating a company.
The American is of course in no way responsible for
anything this party may do and issues this warning in
the hope that it may prevent imposture.
To Run for Mayor
Exhibitors showing the Mutual program and Key-
stone films in particular will be surprised to read the
following story, published in the last issue of Variety, a
vaudeville journal, under a Los Angeles date line :
Fred Mace, the musical comedy comedian, now an active
member of the photo players colony here, has accepted the nomi-
nation and will enter the race for the Los Angeles mayorality.
Mace's move was first regarded as a huge local joke, but he has
shown such a dash of speed recently the local politicians are be-
ginning to take the thing seriously. Los Angeles has been pretty
"tight" for the past three years and the Mace platform argues in
favor of an open town. The people are apparently willing to sup-
port any candidate who will promise that. The primary election
takes place in June. It is expected that Mace will prove a hot
contender for the office of chief executive. Mr. Mace is presi-
dent of the Photoplayers' Club here.
Allan Dwan, in charge of the American Film Manu-
facturing Company's western studio is said to have pur-
chased a $6,000 roadster.
3«st A moment P?aa?
Throngs strolling down Sixty-third street, Chicago, one
evening recently were surprised to note a banner over an inde-
pendent theater reading :
THE MOVING PICTURE GIRL
IN ANOTHER'S NEST
A DOLLAR DID IT
Closer inspection revealed the fact that these were only the
names of recent Excelsior, American and Keystone films.
The licensed exhibitor who ran the Vitagraph and Patheplay
releases, "Seeing Double," "The Wrong Road to Happiness" on
the same evening, and advertised them heavily, also had the
neighborhood talking
Latest photo of Our Goat since returning from Nooycrk.
Please note hair on his horns. Ye gods, what might have hap-
pened had he lingered longer !
SCENARIOS THAT ANYONE CAN WRITE
Indiana Story:- — Wagon train attacked by Indians. Settler's daughter
stolen. Strawberry birthmark on her arm. Ten years pass, girl grown
up. Soldiers called upon to quell Indian uprising. Long chase scene.
Lieutenant grasps squaw's arm, sleeve torn, birthmark shows; he recognizes
childhood playmate. Back to the fort, wedding bells. "They lived happily
ever afterward."
"The Goat" contributes "pillow politics" to our vocabulary.
So it is as soft as that, is it? Well, well.
FILM UP AGAIN.
The Screen Club Ball is over and the national convention of
the Motion Picture Exhibitor's League of America is the next
big event scheduled for little old New York.
THE ENRAPTURED PRESS AGENT.
(from press sheet of d. m.)
"May — the most beautiful month of the year— with its new
blossomed flowers, its sparkling streams and enchanting song-
birds, brings forth new ambition — etc., etc."
OUR BURG.
R. F. Outcault and his dog "Tige" of New York were
visitors in our village last wk. R. F. is some handy with a
pencil and drew some nice pictures for the Essanay folks while
here.
Ed J. Mock, the prom cit and well known "Goat Man,"
took the cars last wk. for the effete East. During his absence
decorators have been busy in his ofis. It looks fine now, a
splendid job having been done.
Stan Twist, the pop. publicity puller of the Selig co. has
been suffering recently from toothache. He is expected to be
up and about again in a few days.
Quite a crowd of well known cits called on the mayor FrL
of last wk. They were also callers at the ofis of Maj. Funk-
houser, our new constable. A pleasant visit was enjoyed.
Although April first is long past, the echoes of that editorial
on "this person Leslie" by the esteemed, so to speak, M. P.
World may still be heard throughout the ranks of filmdom.
Cheer up, Mac, it might have been worse.
And still the talk of an "open market" goes merrily on.
Oh, very well — neither do we.
N. G. C.
May 3, 1913
MOTOGRAPHY
309
Motion Picture Making and Exhibiting
By John B. Rathbun
CHAPTER II. CONTINUED.
FILM AND FILM DIMENSIONS.
THE film stock on which the negative is taken is sim-
ilar in appearance to that used with snap shot cam-
eras, except that the emulsion is much faster and the
stock is of a more durable quality. It is iy$ inches wide
and approximately .006 inch in thickness, of which .005
inch is represented by the celluloid, and .001 inch by
the emulsion. The celluloid is manufactured in lengths
of 200 feet, the usual length of 1,000 feet being obtained
by cementing five of the strips together.
The pictures, which are one inch in width, extend
down the center of the strip, leaving two 3-16-inch mar-
gins which are occupied by the perforations. Each pic-
ture is three-quarter inch high, measured along the
length of the film, making 16 pictures per running foot.
As the film is fed through the projector at the rate of 16
pictures per second, its velocity is one foot per second.
At this rate a 1,000- foot film will last 1,000 seconds or
a little less than twenty minutes.
All makes of film have the same number of perfo-
rations or sprocket holes per running foot. The standard
Fig. 18. The interior mechanism of a motion picture camera. F is the
finder tube extending from the gate G to an opening in the back of
the camera at Z. C is the intermittent claw movement. S and R
are the feed and takeup sprockets that form the feed and takeup loops
A and B respectively. X and Y are the feed and takeup reels. M
is the access door.
punching is four holes per picture on each side of the
film, or 64 perforations per foot. Needless to say, the
spacing of the holes must be performed with the great-
est accuracy in order to have the pictures synchronize
with the shutter of the projector and fit the sprocket
teeth. Imperfectly spaced sprocket holes cause flicker-
ing and jumping and greatly increase the wear of the
film. An error of .001 inch in the spacing results in a
movement of nearly one-quarter inch on the screen.
The perforation, which is about one-eighth inch in
width and one-sixteenth inch high, is of an oblong shape,
the smaller ends being slightly rounded. This shape is
the result of many experiments conducted for the pur-
pose of discovering the form of perforation that would
1
1^1 ft
t
1
BB
1
1
E9 HBj
i^HI^H
jHHrir
!9^ht: - _
Fig. 19. Front view of a double lens camera, showing the disc shutter
and operating crank. The gate will be seen directly under the
shutter opening at the right.
show the least wear. Circular, triangular, and square
perforations were all tried and found wanting; the cir-
cular holes would wear to an oval, and the triangular
holes would tear out.
In the majority of cases, the films are perforated at
the studios after the crude, sensitized stock has been
received from the film manufacturer, and shortly before
the exposure is made. As the celluloid expands and
contracts continuously after its manufacture, because of
certain physical changes that take' place in its composi-
tion, it is best to perforate shortly before the exposure,
in order to prevent errors in the spacing from the warp-
ing of the film.
In printing the positive film from the negative, the
teeth of the sprockets in the printing machine pass
through both films, holding them in perfect register,
until the proper exposure has been given. This makes
the positive print a perfect duplicate of the negative in
every respect.
A perforating machine is simply a small automatic
punch press, that punches the eight holes opposite each
picture in a single operation, usually in a step by step
method. The film is fed by an intermittent mechanical
movement, very similar to the camera feed movement.
This step by step machine is more accurate, although
slower, than the rotary machine used by some manufac-
turers. The rotary press passes the film through con-
310
MOTOGRAPHY
Vol. IX, No. 9
tinuously revolving rollers at a rate five or six times
greater than the intermittent type.
MANUFACTURE OF CELLULOID FILM.
While celluloid successfully fills all of the require-
ments of a true photographic base in regard to tough-
ness, transparency, and flexibility, it is objectionable be-
cause of its inflammable nature. To overcome this
fault, many attempts have been made to substitute other
materials for celluloid, but up to the present time all the
Negative Film.
Positive Film.
Fig:- 20. ■ Showing the defference between a negative film and the positive-
print taken from it. It will be noted that the light and dark portions
of the negative are reversed on the positive. :
materials that have been suggested -have proved of little
value' owing to their brittleness. In several of the -pro-
posed compounds, the brittleness increases with the age
of the film, so that at the end of- a few months it is
impossible to unwrap the film from the reels without
breaking it.
Celluloid is a chemical combination of pyroxlin (gun
cotton) and gum camphor. The two constituents are
brought into intimate contact through some solvent, such
as alcohol. The addition of the camphor solution to the
fibrous gun cotton converts it into a transparent gelatin-.
ous mass entirely different in appearance from either
of the original components.
Gun cotton, the base of celluloid, is made by treat-
ing ordinary cotton with nitric and sulphuric acids in
nearly equal proportions. During the time the cotton
is immersed in the solution it undergoes a complete chem-
ical transformation, but without any apparent change in
its physical structure or appearance. When the process
is completed the cotton is taken out of the bath and is
thoroughly washed in cold water to remove the last traces
of the acid. Should any acid remain in the cotton it
would effect not only the sensitized emulsion that is ap-
plied but would also increase its inflammability. The
camphor used in the process is dissolved in just enough
alcohol to effect a complete solution of the gum. The
alcohol in itself acts simply as a medium for distrib-
uting the camphor through the mass of the cotton and
does not have any chemical effect in the reaction.
After the preparation of the camphor solution and
gun cotton, alternate layers of the cotton are placed in
a tank, each layer being thoroughly sprinkled with the
camphor solution. The contents of the tank soon com-
bine into a homogeneous mass and the resulting crude
celluloid drops to the bottom of the tank in transparent
lumps, having much the appearance of amber. Slight
variations in this process are made by different firms,
some of which comprise a mixture of gun cotton and
molten camphor and dissolve the mass in alcohol or
ether.
The celluloid is recovered by evaporating the solu-
tion, which leaves the celluloid as a solid mass in the
evaporating tank. The alcohol or ether vapor passes
into a condenser where it is condensed into its liquid
form for future use. This process is generally used
where the celluloid is used in moulded forms or in thick
pieces. When the lumps of crude celluloid have been
obtained they are worked between cold rollers for an
hour, so as to make the mass perfectly homogeneous.
They are. then further treated under hot rollers for the
same period of time. During the hot process, the cellu-
loid becomes attached to the rollers in the form of a
comparatively thick layer which is afterwards stripped
off and pressed into cakes about three-eighths inch thick.
A pile of the cakes are now placed in a hydraulic
press where they remain for twenty-four hours under
heavy pressure. At the end of this time the cakes are
removed, cut into plates and are placed in a dry chamber
for a period of Trom ten to fourteen days. The cellu-
loid stock is now .finished, ready for making the films.
A strip of celluloid of the required thickness for a
film ( .005 inch thick) is made from the block, about 22
inches wide and 200 feet in length. After a thorough
cleaning the strip is ready to receive the sensitized emul-
sion coat in the dark room, which, with the exception
Fig. 21. Interior view of the Eastman nitric acid plant, showing the
cast iron condensing receivers where the acid is formed.
of cutting and perforating, is the last step in the manu-
facture.
In the dark room the strip of celluloid passes under
a hopper tank filled with the liquid emulsion. At the
bottom of the hopper is a slot that extends across the
22-inch dimension of the film, and as the strip is driven
past the slot it receives an even and uniform coat of
May 3, 1913
MOTOGRAPHY
311
emulsion. After the emulsion has been thoroughly dried,
the film is split up into ribbons of the finished size (1^
inches wide). The process of pouring the emulsion upon
the film is very simple and effective in securing an even
coating.
Different emulsions are used for the positive and
negative films, the emulsion of the negative being much
Fig. 22. Centrifugal drying machines for removing all traces of moisture
from the cotton.
faster than that of the positive, as is the case with dry
plates and lantern slides.
DEVELOPMENT OF THE NEGATIVE.
After the picture has been taken, the camera man
delivers the film to the negative developing department,
where it is developed and fixed in a manner very sim-
ilar to that adopted in developing still pictures. Before
proceeding with the development of the entire film, when
the exposure and light conditions are unknown, a short
piece is cut off and developed independently, so that the
proper treatment may be determined without endangering
the entire reel.
In some plants the exposed film is wrapped spirally
around a light rectangular frame or rack, for conveni-
ence in handling, and is then dipped into a tank contain-
ing the developing solution. This arrangement enables
the' operator to agitate the film in the solution and ex-
amine it without danger of injury to' the delicate sensi-
tized surface. After the negative has been developed to
the required- density it is placed in the fixing bath of
sodium hyposulphite where it remains until all of the
active emulsion is reduced, and is no longer affected by
the light. "
Fixing having been completed, the film is thoroughly
washed in clean water to remove the last traces of hypo,
and is then given a final treatment in a dilute solution of
glycerine and water. A small percentage of the glycerine
remains with the film even after it has been dried, and
owing to the moisture absorbing properties of the glyc-
erine enough moisture is retained to keep the film in a
soft and pliable condition. When the glycerine has been
lost after a considerable service, by evaporation or other
cause, the film becomes brittle and must be given another
treatment in the glycerine bath.
The film is dried upon large revolving wooden
drums, usually driven by power. The motion of the
drums throws off any small drops of water that mav
adhere to the back of the film and keeps a constant stream,
of warm air moving over the emulsion side.
For convenience in developing long films they are
often wound around large drums similar to the drying
drums. After the film is wound on the drum it is sus-
pended over the developing tank in such a way that
lower edge of the drum and the film dips into the solu-
tion. The drum is now revolved until the negative is-
developed to the proper density, and then is transferred
to the fixing and washing baths.
In taking "topical" films or news items for the
"weeklies" different sections of the films are exposed
under different light conditions or on different days,,
with the result that some portions of the film are under
and others over exposed. This makes it impossible to
develop the film in a single length, for each exposure
on the film now requires separate treatment. For the
information of the developing department, the camera
man places a punch mark at the beginning and end of
each of the different exposures. When a film of this
nature is received, the developer immediately unrolls-
the film, cuts it apart at the punch marks, and
develops each part separately. After drying, the pieces
that relate to the same subject are sorted out and ce-
mented together so that they form a continuous strip.
The subtitles and leaders are inserted at the proper points
and the film is carefully examined for mechanical defects.
The completed negative is projected on the screen before
the heads of the various departments who decide what
is to be trimmed out of the picture to bring it within the
desired length. When these alterations have been made,
the film is given a second showing, and after further
criticism all weak and unnecessary parts are eliminated.
In making the titles and sub-titles a set of block let-
ters are generally used, the letters that form the words of
the title being arranged in the proper order on the top of
Fig. . 23. Scene in a typical developing room showing the developing
tanks.
a table. A series of pictures is then taken of the letters
by a motion picture camera pointed down toward the top
of the table. In the film the titles appear as a series of
small photographs, very similar to the small pictures.
When written messages are used for sub-titles, the
original is lettered on a large sheet by the draftsman. In
a few of the plants all of the sub-titles are lettered by
hand, but as this is a tedious process it is not as desir-
able as the block system. Titles in which the letters-
move across the screen and arrange themselves to forms
312
MOTOGRAPHY
Vol. IX, No. 9
a word are made by alternately moving a letter through a
short distance and taking a picture until all of the
letters are finally arranged in their positions.
PRINTING THE POSITIVE.
When the negative is finished, it is cut up into lengths
of 200 feet for use in printing the positives or projec-
tion films. As in making any positive photographic print,
the emulsion side of the negative is brought into direct
contact with the sensitized side of the positive film, and
is exposed to the light in such a way that the light passes
through the negative and on to the face of the positive.
The image outlined on the sensitized positive creates a
picture that is the reverse of that on the negative, that is,
all of the light portions of the negative are dark on the
finished positive, and vice versa. The positives are
printed on a much slower film than the negative, but one
that gives more contrast and better results in projection.
Artificial light is always used in printing as it is possible
to maintain an absolutely uniform illumination on the
film and is much easier to control than sunlight.
Because of the length of the film and for the reason
that the pictures on both the negative and positive must
Fig. 24. Joining the films after the development.
bear a constant relation to the sprocket holes, a special
form of printing machine is used instead of the usual
photographing printing frame. The machines contain-
ing the printing lamps are used in a dark room so that
the sensitized stock can be handled freely without danger
of being light struck. The operation of printing requires
great care and precision to have all of the pictures of the
same density. Uneven printing causes flicker on the
screen and an annoying increase and decrease in illum-
ination.
In general, the printing machines are divided into
two principal classes, the "step by step" machine, and the
continuous or "rotary" type, depending on the method by
which the film is fed into the machine.
In any case the machine must take the rolls of nega-
ative and positive film stock, press the emulsion sides
closely together, and feed them at a uniform speed past
the printing light. After printing, the two films separate,
the negative being wound on one reel and the positive
on another. Printing with a "step by step" machine is
similar in many ways to taking the pictures in the cam-
era, as the pictures are printed one at a time, the film be-
ing jerked ahead during the time that a shutter cuts off
the light.
The printing light is placed above an aperture in the
printing machine that is of the same size as the single
picture (34x1 inch). The intermittent mechanism feeds
the film past this "gate." A framing device is provided
so that the position of the film can be adjusted in regard
to the sprocket holes of the feed mechanism. A device
also shows adjustment of the rate of feed and regulates
the quantity of light, so that negatives of varying densi-
ties may be accommodated.
A "continuous" printing machine feeds the film from
the magazine to the take-up reel without the intermittent
motion of the machine just described, and consequently
is capable of printing more film in a given time. It is
not as accurate in the spacing or exposure of the pictures
as the intermittent machine, however, for when the two
films are drawn by a single sprocket, they are likely to
slip on one another.
The development of the positive is practically the
same as that of the negative, including the glycerine bath.
The only additional feature is the clearing bath which
clears the high lights and sharpens the detail. After
drying, the 200- foot pieces are spliced into 1,000-foot
lengths and are projected on the screen for further ex-
amination before shipping. Every plant is equipped with
a minature theater in which the films are shown to the
officials and players before being placed on the market.
When tinted or monochrome films are desired, they
are placed in the tinting tanks before drying.
TINTED FILMS.
"Tinted" or stained films are dyed over their entire
surface with a single color, and when projected give the
impression of being thrown on a colored screen. The
high lights or the light portions of the film is the only
part affected from the standpoint of the spectator for
the shadows appear black as in the usual black and white
picture. A red stain gives a realistic effect to a fire scene,
blue gives the impression of moonlight, and yellow adds
greatly to a sunlight view, especially when an open har-
vest field is shown. It is customary with many film
companies to tint the titles and sub-titles to reduce the
glare of the open lettering.
The color effect of a tinted picture is increased in
"monochrome" pictures by tinting only the dark parts
of the film with a single color dye. This type of pic-
ture is obtained by chemically treating the film with the
solution that converts the dark silver deposits into a col-
ored salt without affecting the light or transparent por-
tions. This is performed either with a special developing
solution or by an independent process after development,
the result being a red on white or blue on white image.
A marine view made by the monochrome process, show-
ing white caps on green water, is very realistic. Moon-
light scenes, with the shadows in blue and white high
lights, give beautiful results on the screen. Both the
tinted and monochrome films are inexpensive when com-
pared to the true colored pictures, and are much used,
but they are far from being as effective as the pictures
that show things in their natural colors.
When the pictures contain more than one color the
process of making them is much more complicated and
expensive, for then the colors must be applied individ-
ually by hand or by a complicated system of photography.
(To be continued.)
May 3, 1913
MOTOGRAPHY
313
Popular Hoyt Comedy Revived
"A Midnight Bell"
THE comedies of the late Charles Hoyt, in their gen-
eration, were as popular, probably, as are the com-
edies of George Ade or George Cohan today, and
the announcement therefore that the entire series of
Hoyt comedies had been secured by the Selig Polyscope
Company for film production was received with much
joy by the exhibitor. "A Midnight Bell," the first of the
Hoyt pieces to be produced, which is to be released on
May 5, proves that the Selig Company is going to make
the pictured versions of these good old standbys just
as entertaining as were the original stage productions,
in spite of the fact that many of the quips and whimsi-
calities of the characters will have to be lost to the pic-
ture audiences, owing to the silent nature of the screen
story. However, it may here be chronicled that if the
Selig producers continue to present the Hoyt works with
as capable- a company of character actors as are utilized
in the first of the series by far the greater part of the
laugh provoking comedy will "get over."
Real character actors are required for correctly
staging the Hoyt plays and in "A Midnight Bell" the
Selig people have certainly employed them. The exag-
gerated importance of Lemuel Tidd, the local justice of
the peace, the peculiar mannerisms of Lizzie Webber
and Nellie Brown, village spinsters, and the quiet and
impressive dignity of Squire Olcott, president of the
village bank, all are as faithfully recorded by the film
and will be as much enjoyed by the picture audiences of
today as were the same charcaters when seen on the
stage a generation ago. Such scenes as the church social,
the escape of Ned by coasting down the big hill on a
child's sled, and the belfry of the "meeting house" at the
"A Midnight Bell." Copyrighted 1913, by Selig Polyscope Company.
midnight hour with Deacon Tidd, imprisoned by the
bear trap he had set to catch the ghost, are far more
realistically produced in the pictures than was ever pos-
sible on the stage of a theater.
The story, which is in two reels, opens with a scene
in a winter-bound village nestling in the heart of the
Berkshires, and we see Nora Fairford, the village school
teacher, who lives with the widow Gray and her comely
daughter, Annie. John Bradbury, the young minister,
calls to escort Nora to the school house and they furnish
a topic for village gossip. Martin Tripp, a lubberly
country boy, Dot Bradbury and Lemuel Tidd are next
introduced. Meanwhile Stephen Larabee, the cashier of
"A Midnight Bell." Copyrighted 1913, by Selig Polyscope Company.
the bank, has just opened the door of the old fashioned
safe for business, when Squire Olcott, the president, and
his nephew, Ned, come in and take their official positions.
Ned borrows the key of the safe, but forgets to return
it. Annie Gray comes in and both young men are atten-
tive, but she favors Ned, to the discomforture of Lara-
bee. When she leaves the bank with Ned, the rival vows
to get even with him. The scene of the church social is
full of wholesome comedy, and character types give it
variety in detail. Annie and Ned are attractive person-
ages and Larabee is intensely jealous, and plans deep
revenge. He recalls that Ned neglected to return the
borrowed key of the safe, goes to the bank, throws the
combination of the safe and unlocks the inner door with
a duplicate key. He pockets packages of money, then
closes the door and restores things to original order. He
hides the money in the cushion of his pew at church.
When he starts to leave Martin Tripp stumbles along,
sees the door ajar, and walks into the building, but does
not see anyone, and goes on his way.
Martin declares next morning that a ghost had
opened the church door and borrows the banker's bear
trap with which to catch it — and declares he will bait
it with "hard cider." Larabee is at the bank early with
the expectation of "starting something" and he does.
He waits until he sees the Squire and Ned coming and
then gets busy with the combination and asks the latter
for the key to the inner door. At first Ned is surprised,
but searching his pockets, finds the key and gives it to
Larabee, who unlocks the door and shouts that the safe
has been robbed. He declares in self-protection, that he
must tell Lemuel Tidd, justice of the peace. He goes
out and returns with that worthy, while Squire Olcott
314
MOTOGRAPHY
Vol. IX, No. 9
and his nephew are talking it over. While the bank loot-
ing is still the topic, the constable gets a telegram from
Boston, stating that Ned is innocent and Squire Olcott
has been speculating. Thereupon Ned proclaims that he
is the guilty one and his uncle is innocent ; which again
gives the cards to Larrabee. The detective from Boston,
employed on the case, sure of Ned's innocence, advises
him to escape so that the trial may be delayed and the
real culprit apprehended. The escape of Ned by coast-
ing on a sled to the train is shown. Later he comes
back to the deserted church to sleep. The deacon comes
to oil the bell and gets caught in the bear trap. At this
moment Larabee, who has returned to the church, takes
the stolen funds from the cushion, and the awakened
Ned grapples with him in the half-light. The deacon
sees it all, but as he cannot free himself, rings the mid-
night bell and alarms the village. Larabee declares that
he found Ned with the money, but when Deacon Tidd
comes down with the bear trap on his foot he tells the
true story and takes Larabee off to jail, where he be-
longs, so that justice is meted out and several pretty
romances culminate satisfactorily.
The cast follows :
John Bradbury, the village minister. Palmer Bowman
Squire Olcott, president of the village bank..T. J. Commerford
Ned Olcott, his nephew Theo. Gamble
Steve Larabee, cashier of the village bank.. Carl Winterhoff
Lemuel Tidd, a deacon and justice of peace.. John Lancaster
Martin Tripp, an overgrown country boy Frank Weed
Napier Keene, a lawyer from Boston Grant Foreman
Nora Fairford, a village school teacher. . Edith De Valmaseda
Lizzie Webber, a village spinster Louise Kelly
Nellie Bowen, another village spinster Frances Bayless
Dot Bradbury, John's sister Darel Goodwin
The Widow Gray, a village character. ..... Lyllian Leighton
Annie Gray, her daughter Clara Dale
Hannah, the squire's maid Dorothy Goodwin
"Roses of Yesterday" is the poetic title of Selig's
release for Monday, April 28. The settings are pictur-
esque and the story has a decisive appeal to both old
and young. The salesmen along "automobile row" in
any big city are constantly on the lookout for a "rube
from the country." This idea and its possibilities have
been utilized in an exceptionally funny comedy entitled
"Hiram Buys an Auto," which is on a split reel with
"Chinese Scenes," an educational subject showing some
of the beauties of Chinese landscapes. This reel will be
released on April 29. "The Burglar Who Robbed Death"
will be released on April 30.
On May 1, the Selig Polyscope Company will release
an amusing comedy entitled "Absent-Minded Mr. Boob."
On the same reel is an educational subject entitled "Some
Chickens." This subject shows several phases of the
modern chicken industry.
Pictures having children for their central theme are
ever interesting, and especially so when one of those
children happens to be portrayed by "Baby" Lillian
Wade, as is the case in "Their Stepmother," released
on May 2. Following releases are "An Old Actor,"
released May 5 ; "A Welded Friendship," a romance of
the Alaskan gold fields, released on the 6th ; "Belle Boyd
— A Confederate Spy," another historical military play
with Winnef red Greenwood in the leading role ; "Her
Guardian," released on May 8, and "In the Days of
Witchcraft," a story of puritanical days in New Eng-
land, during the time when old Cotton Mather roared
out his teachings from the pulpit. This film is released
on May 9.
Celebrities Posed for Feature Film
One of the features being offered exhibitors of the
country at present is entitled "The Doom of the Gunmen
of New York," placed on the market by. the Ruby Fea-
ture Film Company of New York City, and such men as-
Mayor Gaynor of New York, District Attorney Whit-
man, Frank Moss and Canon Chase appear in the film.
While the feature is sensational enough to please ther
exhibitor who wishes to show something of that char-
acter, it is clean and commendable in every sense and
strongly educational. The plot and action of the story
are said to be a visualization of the actual experiences
of Leon J. Rubinstein, who for years lived in New York's
great Ghetto, where his careful study of conditions has
convinced him that the average boy who gives trouble
to the authorities of the large city is in the main a victim
of environment. The film is attracting a great deal of
attention on account of the prominent men who took part
in it and exclusive rights to the showing of the picture
are being eagerly sought.
Pauline Bush Back at 'Work
Pauline Bush, leading lady of the American Film
Manufacturing Company is again back at work after a
long and serious illness in a Santa Barbara hospital. Miss
Bush has been missed from "Flying A" pictures for
some time and her many admirers will hear of her re-
covery with genuine pleasure.
'Children of St. Anne." Majestic Release of May 6.
May 3, 1913
MOTOGRAPHY
315
Scene from "A Woman's Way." Essanay Release of May 9.
Current Educational Releases
Hidden Life in Sea Weeds. — Patheplay. A most
interesting study of various almost invisible creatures
that infest even the commonest seaweed is obtained by
means of a Planktonograph.
A Picturesque Journey in Western France. —
Eclipse. These pictures were taken on a trip from
Annecy to Chamonix. and comprise possibly the most
magnificent scenery to be found in France.
The Octopus. — Eclair. This time it is the octupus
which is shown, and as this animal has been so often
pictured in cartoons, where it is shown in this country
as representing some of the great trusts, this subject is
unusuallv interesting:.
German Cavalry Maneuvers. — Eclipse. Aided by
the excellent photography for which the producers of
these pictures are famed, the Crown Prince of Germany
reviewing and commanding his world-famous regiment
in all its cavalry maneuvers are shown.
Views in Liege, Belgium. — Cines. These views
are from the more important surroundings of the pic-
turesque little city of Liege! Among The sights shown
are the Hotel Curtis. St. Jacques Church, monuments of
Belgium's great men, and glimpses along the River
Meuse, including the famous Exposition Bridge.
Fire. — Eclair. This subject is both beatutiful and
instructive, since it shows the many forms of fire, from
the days when the ignorant savages first rubbed two
sticks together up to the blue blaze of an air torch.
The photography is exceptionally good and the ex-
periments shown are most interesting.
The Panama Canal Today. — Patheplay. The most
gigantic engineering project in the world's history is
almost completed. The Milaflores locks and the spill-
way are opened for the first time and in this film the
camera gives a comprehensive idea of the enormity of
the undertaking which will link the Atlantic and Pacific.
A timelv offering:.
Water Babies.- — Kinemacolor. A wonderfully real-
istic natural history subject, containing pictures of a num-
ber of wild beasts under conditions approaching those in
which they live in a wild state. There are seals. Hima-
layan and brown bears, enjoying a melon. The difference
in color of the coats of the bears is well shown, as hippo-
potamus, polar bears at play, three sea lions at play, and
Russian bears in frolicsome mood.
316
MOTOGRAPHY
Vol. IX, No. 9
The Golden Horn (Turkey).— Eclair. The Gold-
en Horn, a gulf of the Bosphorus, separates Constanti-
nople from Stamboul. Two bridges have been built over
it at a point where it is 1,350 feet wide and about 135
feet deep. The Golden Horn is about 8 miles long and
terminates at the valley of "Sweet Waters," from which
it flows into the river Ali Bey-Son, formerly known as
Cydans and Kiahat and Hans-Son.
Liquid Air. — Patheplay. In one of the experiments
in this film two eels are placed in a tank of liquid air.
When taken out they are frozen solid. One of them
when placed in water comes to life, but, with a hammer,
the other is easily broken into small pieces. This is done
to prove that liquid air merely suspends life for the time
being. Together with other experiments this demonstra-
tion has a message of interest to the masses who do not
number a knowledge of scientific matters among their
accomplishments.
The Cormorant. — Patheplay (Colored). A sea-bird,
pure and simple, and dwelling in the crevasses of steep
cliffs, the Cormorant's chief prey is fish. Consequently,
it is an expert angler and whenever a fish nears the sur-
face of the water, the Cormorant is waiting for it. The
Cormorant immerses its head and in the twinkling of
an eye the fish is captured. Fishermen use these birds
to help increase their daily catch. The men fasten a
strap on the neck of the Cormorant and the bird, after
catching the fish, is unable to swallow. When its neck
is full of fish the Cormorant returns to its master and
leaves the fish at his feet, then goes back for more.
Madras, Mysore and Goa. — Kinemacolor. Three
historic and important cities of Southern India are
visited in this attractive Kinemacolor subject. The film
opens with a view of the main street of Madras. The
most notable buildings of the city are shown including
the government house, the high court and the cathedral.
Bangalore is the next city visited. It is the chief town
of the state of Mysore, which is itself the third largest
state in all India. The final section contains some attrac-
tive pictures of Goa, the old-time capital of the Portu-
guese territory, and in the province of Bombay. Here
native methods of procuring salt are shown. The salt
beds are shown in the film, and -natives are gathering up
the precious mineral into bags. A group of native girls
forms an interesting conclusion to the subject.
Village Customs in Ceylon (India). — Eclair.
The Cingalese peasants are known to be the most civi-
lized people in India. The tillers of the soil, tradesmen
and artisans are very industrious people. While some
of them are waiting for the next crop others make palm
mats to cover the houses. In this most entertaining and
instructive subject we see typical blacksmiths shoeing
buffalos and other peasants preparing the crops for the
market.
The Cingalese peasant send their children to school
as soon as they can walk, and the attention they pay to
the teachers is wonderful. The older children are taught
gymnastics and dancing occupies a great part of their
time.
The Marble Industry at Carrara, Italy. — Kine-
macolor. Very complete views are given of art important
Italian industry, whose output is famous throughout the
world. In the opening scene, which shows one of the
quarries, the color of the rock formation of the district
is clearly indicated. Work is proceeding at the rock
face, and a compressed air boring machine is shown at
work. A method of conveying the marble on skids to
the cutters is next illustrated and a huge saw is cutting
marble blocks into slabs. A remarkable view shows 20
tons of marble in a solid block being moved on a lizza,
a wooden sledge which runs on steep slipways. The
blocks are conveyed to the mason's yard for trimming;
six oxen being harnessed to a roughly constructed
trolley. Other views show the marble being drawn by
oxen to the railway, and the passage of a laden train
over a viaduct.
The Bernese Oberland, Switzerland. — Kinema-
color. One of the most famous and beautiful districts
of Switzerland. The scenes in this film are infinitely
varied showing:
1. The Kursaal Interlaken. This is one of the finest
buildings of .its kind in Switzerland. A floral clock in
the beautiful gardens is photographed. 2. The Jung-
frau. At the foot of this imposing mountain haymakers
are at work and the scene is most artistic. 3. The Lau-
terbrunnen Valley and the Lauterbrunnen Falls. An
electric train passing. A distant view of the Jungfrau. 4.
Murren, a charming village situated on a terrace high
above the Lauterbrunnen Valley. It commands many
beautiful views. A lovely panorama is given of the
district, and also views of the picturesque streets of the
village. In the background is the Wetterhorn. A station
on the Grindelwald Railway. 5. Grindehvald, an ex-
cellent point for excursions, and a favorite winter and
summer resort. In the background is the Wetterhorn.
6. The Eiger Glacier. Two girls with alpenstocks on
the way to the Eiger Glacier.
Scene from "Turning of the Tide." Rex Release of May 1.
May 3, 1913
MOTOGRAPHY
\\7
Current Kleine Comment
The Art of Cines and Eclipse
ON April 23 was released by George Kleine one of
the most sensational motion picture films recently
viewed, entitled "The Miser's Millions." Its
weird and awesome plot, pertaining to an immense for-
tune which cannot be located and thereby leaving the
heirs destitute for years, is without a precedent. This
Jf M
Scene from "The Miser's Millions," Cines Release.
by George Kleine.
Copyrighted 1913,
and its many other novel features goes to make "The
Miser's Millions" what the Cines people meant it to be —
something different.
Portraying the despicable old miser, A. Mastripietri
did full justice to the character and aided by the rest of
the efficient cast, the acting is above criticism. So clev-
erly is the character of the miser drawn that each gesture,
smile and glance carries with it his every trait and depicts
his cunning, suspicion and greed. The most novel fea-
ture of this story is the vault in the cellar of a home, an
invention of Mr. Mastripietri's own genius. Access to
it is gained by a series of secret trap-doors operated by
electricity. No expense was spared and no detail was
too small to receive the best attention of the producers.
According to the story a rich old miser living alone
with Peter, his butler, derives no greater pleasure than
exacting every penny of interest from his tenants and
hoarding his money in a secret vault. This vault is in
the cellar of his house, and access to it is only gained
by a series of concealed trap-doors operated by electricity.
His miserly disposition is clearly shown when he refuses
to aid his only near relative, Mrs. Rice, a widow, who is
in almost destitute circumstances. One day, Peter is
surprised by his master while watching him in the treas-
ure chamber. In the fight that ensues, the miser is acci-
dentally killed, and Peter, having been turned over to the
police, is later sent to the penitentiary. The property of
the miser descends to Mrs. Rice and her daughter, Do-
rothy, but they cannot locate his money. Peter, now
serving time, confides his secret of the hidden money
to a fellow prisoner. The latter finally escapes when
being transferred to another building, and remembering
the story told him by Peter, starts out to find the house.
He gains entrance to the secret room, but tampers with
the wrong levers, and is suddenly seized by two steel
arms and held fast as in a vise, with no one to hear his
death cries.
Some years later, because of his good conduct
and the warden's gratitude for the rescuing of his child
in a fire, Peter obtains a pardon. He returns to his home
town, and finds the widow and daughter have mortgaged
everything to meet the demands of their creditors, and
are about to be put out. Dorothy is greatly beloved by
the mortgagee's son, but the stern father will not allow
his son to marry her. When she is informed of the secret
of the money chamber by the old butler, she, in turn,
tells her sweetheart. He hastens to impart the news to
his father, who, much like the miser in his love for
riches, goes in search of the money. He is successful in
gaining entrance to the cellar, where his startled eyes
behold the skeleton of the former ex-convict still in
the clutches of the steel arms. In his frantic efforts
to leave the gruesome place, he finds himself shut in.
However, his faint cries are heard. With the assistance
of Peter, the vault is again opened, and the father stag-
gers out. The vast hoard of gold is found to be intact,
and as a result of its finding, Dorothy is happily married.
On May 2 a two-reel subject entitled "The Broken
Vow" is released. It is a drama of human and social
interest, dealing with a controversy involving love and
money. It tells of a young girl's experience with those
alternatives, and at least in her case, her choice is shown
to be at fault. Therefore, it is also a story with a moral
and its subject might have been, "As ye sow, so shall ye
reap."
The three principal characters are pictured in a most
efficient manner and from the time the film is shown
on the screen, your sympathies and antipathies are awak-
ened. All the world loves a lover, and surely Tony was
Scene
from "The Broken Vow," Cines Release. Copyrighted, 1913, by
George Kleine.
one. The plot runs as follows : Although Juliet is only
a simple shepherdess, she is quite conscious of her
charms. Tony, a cattle-herder on the ranch of a wealthy
cattle king, is in love with her. While on his way to
town with a herd of cattle, he stops for a few moments
to see his sweeheart and presents her with a necklace,
318
MOTOGRAPHY
Vol. IX, No. 9
which they agree is a token of their betrothal. He tells
his employer of the joyous news of his engagement. The
favorite meeting place of the lovers is under a tree at
the edge of a cliff and on this sacred spot they swear their
eternal devotion. The home of the cattle king is a ren-
dezvous for fast society. While at one of these society
functions, the cattleman and his friends decide upon a
hunting trip, Tony to be their guide. During the hunt
Juliet is accidentally shot and is taken away by the
ranchman in his automobile, despite Tony's pleading.
Juliet's convalescence comes about several months
later and unconsciously she has captivated the rich ranch-
Scene from "The Miser's Millions," Cines Release. Copyrighted 1913,
by George Kleine.
man. Well and strong again she is ready to return home,
when the ranchman allures her by presenting her with
jewels and decorative ornaments. She is so enchanted
that her engagement to him is soon announced. Receiv-
ing no word from Juliet and filled with anxiety, Tony
makes an inquiry at the home of his employer, where he
finds Juliet already married. Broken-hearted and miser-
able, Tony decides to go far away and forget. Two years
pass, when Tony, being in the vicinity again, observes
the ranchman riding through the woods, and a diabolical
revenge is framed in Tony's mind. He jumps up and
drags the cattleman from his horse to the ground, and a
pitched battle between them ensues. The outcome is in
Tony's favor, who, after tying the ranchman to the tree
at his former courting place, sends for Juliet, and before
the eyes of her husband throws her and himself over
the cliff into eternitv.
Some Dog Story This
Spider, a wiry little Yorkshire terrier, the property
of Miss Carlotta Felice, a talented actress now posing in
the well-known Vitagraph photoplays has a particular
chum called Jim Kee, a fox-terrier belonging to a friend
of his mistress. Well, Spider and Jim took a walk the
other day, accompanied by their respective mistress and
master. Suddenly Miss Felice noticed that Spider was
missing and master immediately questioned a suspicious-
looking cab-driver and even called the policeman at the
corner. Neither of them could give any help and so the
disconsolate couple returned home. Miss Felice was al-
most prostrated with grief at the loss of her little pet,
and master was unable to comfort her. He turned to
Jim Kee, who still lingered on the premises, and said to
him, more in despair than in hope, "Jim, where is
Spider." Jim wagged his tail and looked wise. Then he
made for the door, plainly inviting his master to follow.
The dog led master and mistress up and down the streets,
keeping his nose to the ground. Then he made a sortie
on a saloon at the corner, dragging them in after him.
On inquiry, the proprietor denied having seen any dog
whatsover, as did also the hotel messenger boy, who was
seated on a chair near the door. Jim Kee, evidently did
not believe him, for he started jumping at him, showing
strong displeasure at his untoward conduct. Then a
growl was. heard proceeding from behind the boy. The
owner of the growl was Spider, who leaped into his over-
joyed mistress' arms and was taken home. As for Jim
Kee, he was amply recompensed by an extra mutton chop
with his supper, cooked by his adoring mistress.
Is the City Beauty Heartless?
The handsome city girl, with her city coquetry and
cunning, is usually shown in photoplays as a heart break-
er without heart. Now, in truth, is she? Thanhouser
would say no, if we are to go by the ending to its
"Widow's Stratagem" release of Friday, May 2. The
widow was" a city beauty who, on a vacation away from
town, captivated a young farmer — won him away from
his country sweetheart. Unknowingly, let it be said.
For the heart breaker never dreamt of her existence.
But the country girl knew about the city girl — indeed ! In
her grief she went to. the city girl. She told Miss Heart-
less her story. And the city girl immediately fooled the
•countryman into thinking she was coarse, unrefined and
not desirable, so that he quickly gave her up !
Whereupon his first love won him back with ease
and for all time, thanks to the city beauty's "heartless-
ness."
Central West Photoplaywrights' Dinner
With reservations coming in from all over the Central
West, and even from New York City, the Central West
playwrights' dinner, to be given at the Hotel Euclid,
Cleveland, Ohio, Saturday evening, June 28, promises
to be a gala affair. Among those planning to attend are
Editor Hopp Hadley, Majestic Film Co.; Mabel Hites
Justice, Essanay, Chicago ; A. W. Thomas, Photoplay
"Clearing House, New York City; Editor A. H. Saunders,
■Moving Picture Nezvs; William Lord Wright, photoplay-
wright editor, Moving Picture Nezvs; R. A. Stoddard,
editor Cleveland Leader; Giles R. Warren, New York;
E. W. Sargent, Moving Picture World and a large num-
ber of others. A number of picture stories written by
different photoplaywrights will be exhibited and summar-
ized by the authors who will be present. Reservations
can be made by writing Paul J. Byrnes, P. O. Box 275,
Cleveland, Ohio.
Harvey Carter Meets a Snake
Harvey Carter, the son of Lincoln J. Carter, Univer-
sal producer, has determined that he will get a little
advertising on his own account and he started in the
right way. While gathering leaves and putting them in
a sack at the Universal ranch recently, he picked up a
snake. He dropped it again, with discretion and dis-
patch— into the bag. The same bag was empited very
gingerly, and Harvey now collects leaves with the aid
of sticks and shovels.
May 3, 1913
MOTOGRAPHY
319
Who's Who in the Film Game
Facts and Fancies About a Man
You Know or Ought to Know
THAT man who can fol-
low his idea dispas-
sionately and relent-
lessly and arrive with it — the
same being glorified by the
chase, and the man himself still wholesome, radiant, void
of conceit — that man is superbly simple and simply superb.
Men are rare who can calmly look back to the beginning
and tell you all about it and not sing their praise the
while.
A few years ago an idea was born in St. Louis.
It was before the days when the film program became the
order. The mere idea of program was unheard of. It
meant much to its creator who felt that upon the program
depended the greatest suc-
cess of the manufacturers,
the exchangemen and the ex-
hibitors. But the idea would
require stacks and stacks of
money to develop, or else a
co-operative scheme then re-
garded hopeless.
The idea of the pro-
gram was practical and it
came from a man who had a
hand in film exchange man-
agement in Wisconsin and
Missouri. This man knew
from experience that the ex-
hibitor's problem was purely
a local issue. What would
obtain in one state or in one
city would be bad practice in
another state or another city.
The organization would re-
quire, a mastery of these
problems. It would involve
known brands of dependable
films and require honest ex-
change management — a well-
knit fabric. The idea was
disclosed on a pretext that its
inventor would be cared for.
And then he was double-
crossed. The inventor of
the film program was H. E.
Aitken. The lime they
slipped him reflected against
his Scotch-English lineage. An Unsuccessful Understudy.
You couldn't blame him at all for getting his dander up.
Mr. Aitkin isn't the kind who hunts the sympathetic
shoulder of a near friend and bewails his fate in a spasm
of tears. He smiles. He has smiled himself into three
sets of chins and is feeling for a fourth. He has pushed
his hair back for a new rush till nearly all he has left
is way up in the middle of his crown. It's a cute little
habit he has of making believe he's mad. When he got
the Indian sign, he played the Indian. He was down on
his hands and knees looking for moccasin prints on the
dry leaves and he put his ear close to the ground and lis-
tened and then he smiled. He also started quietly in
pursuit of his betrayers. Pretty soon they heard him
coming, faintly at first, like the gentle patter of a twilight
shower — then with the tin-
tinabulation of the tiniest
bells and then with a big
brass band and a bigger bass
drum.
It has been chronicled heretofore in these pages
that a body of red-blooded men from the West had in-
vaded the East and were getting on. Harry Aitkin was
one of these men. People began to hear of him in a noisy
way about the time the old Sales Company blew up.
When the Mutual Film Corporation was formed there
was a chilly blast from the northwest and it kept getting
more severe when the invasion of the crusaders squatted
in Wall street. Only one film man lived nearby, around
the corner. It was this one
man who had put the kibosh
on Aitkin and Aitkin wanted
to snug up close to get his
full measure. He dearly
loves a close view, but he has
no hobbies ! He was after
the man who had filched his
idea and had snapped his
fingers for thanks.
Harry Elvin Aitkin was
born in Waukesha, Wiscon-
sin, October 4, 1877. He
had unusual advantages as
a youth, because his parents
were in very comfortable
circumstances and they were
more than anxious to be-
stow every privilege upon
their young hopeful. The
public and high school ; pri-
vate lessons ; and Carroll
College all contributed to his
education and graduation.
Aitkin rose to his opportun-
ities and never shirked. He
didn't let anything get by on
the eighty-five per cent
makeshift. He fought for
the full hundred. Study
with him contributed the im-
mense second story of that
forward dome. The trend
of shaggy eyebrows may be
traced to the same source.
It put lustre in his blue eyes that holds true and the
whites of those same eyes are clear and sparkling.
Before Aitken became active in the film industry
he assisted in organizing the Federal Life Insurance
Company of Chicago. He was responsible for this con-
cern's wonderful business in his native state where he
represented it in the capacity of state agent. While he
did this, he also colonized his northern Wisconsin lands.
Killing two birds with one stone is child's play if you
understand it. Aitkin is an unsuccessful understudy.
He can listen well and make you believe you're leading
him around and O. K. your original plans, but he does
these things best when he listens to the stuff you've
crabbed from him ; leads without falter when you take
320
MOTOGRAPHY
Vol. IX, No. 9
him to the place he suggested a :d O. K.'s his O. K.
By these little artifices he natui illy succeeded to the
presidency of the Mutual Filn: Corporation — with a
single exception the most pow rful film distributing
organization in America.
Harry Aitken is a bachelor He lives at the Wal-
dorf-Astoria; doesn't play golf; lor is he a baseball bug
or a yachting fan. He uses ; .1 automobile because it
is a necessary business and social auxiliary to his busi-
ness and social activities. He has a charming personal-
ity, if you will pardon the stereotyped phrase; doesn't
let business interefere with his fun and finds his fun in
being amiable to his friends. He stands full six feet
and his clothes fit him well. He has all sorts of affilia-
tions interlocking with his present responsible post, but
some day when nobody is looking a suffraget will flit
across his path and declare that while she would dearly
love to be his, she would prefer to take him over when
he was ready.
Took Perilous Auto Trip
Requiring some real live snow scenes for the forth-
coming Universal feature "Uncle Tom's Cabin," Director
Otis Turner and his leading man Bob Leonard, each in
an auto, climed to the top of Mount Wilson, recently.
Bob, who was in the first car, admits that several times
his heart was in his mouth, as the road is not more than
eight feet wide for nine and a half miles, and the threat-
ening drop seems nearly as much. Bob has a nice gentle
nature and hates to frighten people ; so every now and
then Mr. Turner would find a note stuck up at some
point where it readily could be seen. The message ran :
"Keep a stout heart. Governor," "The climbing's good,"
"If we go down we will never know it," "We should
worry," and other cheerful little things like that. They
say that the resulting snow pictures are great.
Kinemacolor Increases Staff
Charles Marks, formerly manager of Richard Cade,
has joined the Kinemacolor staff as general booking
agent in charge of routing and booking the Panama Canal
and Balkan war shows. The recent flood in Cincinnati
compelled the removal of that show from the Olympic
theater and sent Mr. Marks hunting for houses on the
high grounds of the Ohio. However, as he made Dick
Carle a star in "The Tenderfoot" during pioneer days,
scouting through high water was nothing startling for
Mr. Marks.
Two New Leads for Selig
Two leading women, both well known in motion
pictures, have just joined the Selig Pacific Coast forces,
and henceforth will be seen only in "Diamond S" films.
They are Margaret Loveridge, who has appeared in sev-
eral Selig pictures during the past year, and Adele Lane,
a very popular actress, who has been playing leads in
Lubin films.
Miss Loveridge originally was connected with the
Biograph Company. During the illness of Miss Vedah
Bertram, Miss Loveridge was loaned to the Essanay
Company. Later she returned to the Biograph Company.
Miss Mae March, of the Biograph Company, is a sister
of Miss Loveridge.
They Were Only Taking Pictures
It is a common occurence to have people "butt in"
while a picture is being made and probably every direc-
tor has lost all chance of ever getting to heaven by reason
of his remarks upon these occasions. Julian Reed of the
Edison company, made up as a grouch, was recently
badly abusing Edna Hamel, who was weeping copiously.
A square jawed woman — probably just back from a suf-
fragette meeting — took one look at the performance and
sailing majestically across the street she proceeded to give
that "brutal ruffian" the tongue lashing of his life. When
the horrible truth finally was explained to her, she left
boiling with indignation, apparently believing that the
whole affair was a deliberate attempt to deceive her.
Elwood Horn Cheerful Baby Actor
A rara avis in motion picture acting, is a really cheer-
ful baby, who will go to the actors willingly, and will not
cry when the director would have him smile. There is
such a baby in the Nestor Company. His name is Elwood
Horn, and he is the seven-months-old son of "Whitey"
Horn. Baby Elwood is always dependable, and patrons
will recognize his smiling features in many recent re-
leases.
Beverly Bayne of Essanay Company as "Jane" in "Cousin Jane."
Suggestions for a Model Ordinance
The National Board of Censorship has just issued
a fifteen-page pamphlet entitled "Suggestions for a
Model Ordinance for Regulating Motion Picture The-
aters." The material used was gathered from the study
of methods of regulation prevalent both in this country
and abroad.
May 3, 1913
MOTOGRAPHY
321
The Motion Picture Exhibitors* League
of American
General Headquarters
703 Euclid Ave., Cleveland, Ohio
OFFICERS OP NATIONAL ASSOCIATION.
President, M. A. Neff. ^ock Box 15, Cincinnati, 0. : Secretary. C. M. ChriBtenson. 703 Euclid Ave., Cleveland, 0.; Treasurer, J. J. Rieder, Jackson. Mich.; Vlce-PresidenU,
W. A. Pettis, Conneaut, 0.: Wm. J. Sweeney, Chicago, HI,; Ferd J. Herrington, Pittsburgh, Pa.; B. L. Converse, Owassa, Mich.; F. J. Rembusch, Shelbyville, Ind. ; E. W.
'Waugh, Huntington. W. Va. ; Orene Parker, Covington, Ky. ; Geo. H. Wiley, Kansas City, Mo.; Chas. Rothschild, San Francisco, Cal. : Sidney Asher. New York, N. Y. : Fulton
Brylawski. Washington, D. C. ; L. F. Elumenthal, Jersey City, N. J.; H. C. Farley, Montgomery, Ala.; A. D. Saenger, Shreveport, La.; Thos. A. Brown. Iowa City, la.;
W. H. Wasserman, Nashville, Tenn. ; T. P. Finnegan, Dallas, Tex. ; Carl Gregg, Tulsa, Okla. ; Paul LeMarquard, Winnipeg, Can. ; E. F. Tarbell, Tampa, Fla. ; Geo. Osbom,
St. Paul, Minn. ; C. H. Phillips, Milwaukee. Wis. ; Geo. F. Washburn, Boston. Mass. ; Glenn D. Hurst, Reno. Nev. ; E. Wayne Martin, Hutchinson, Kan. ; J. E. Schlank,
Omaha, Neb.; Julius Meyers, Charleston. S. C. ; S. A. Arnold, Mena, Ark.; Hiram Abrams, Portland. Me.; O. T. Curtis. Pueblo, Colo.; Fred Abbley, Gulfport, MIsb. :
P. S. McMahon, New Britain, Conn.; S. Y. Merchant, Providence, R. I.; A. B. Campbell, Sedro Wooley. Wash.
AID FOR FLOOD VICTIMS
After visiting many places and personally con-
sulting with members of our league who have suf-
fered from the floods — some of them loosing not
only their entire theater but also their homes, — it
has been decided by the national executive commit-
tee, to ask your co-operation in raising funds to assist
the members of our league in re-establishing their
business. If they are given assistance at the earliest
possible date, it will not only encourage them but
it will make it possible for them to re-open their the-
aters. While there has been, I am informed, one
million six hundred thousand dollars contributed
to the flood sufferers up to date, it is, hozvever, only
a small amount to be compared with what has been
lost and if pro-rated to each sufferer, it zvoidd not
exceed one hundred dollars. This statement is made
to give the public an idea of the magnitude of this
great disaster. The societies who have charge of
the large fund to be distributed are handling it care-
fully, judiciously and effectively. The fund that
zve ask will be given directly to the members of our
league and a committee representing the press and
the members of our organisation will distribute the
money donated and the journals zvill print the name
of each contributor.
The committee to distribute the funds zvill be
announced in the next issue. The money should be
contributed at once owing to the fact that we must
act quickly to relieve our brother and help him to
re-establish his business. We do not expect to
build theaters for those zvho have lost but zve expect
to receive enough contributions to assist them in re-
opening their theaters, although it may be a year
or two before they zvill have their theaters entirely
paid for.
We call upon every member of our league to
give as liberally as they can. The reason this call
has been delayed is because it was the desire of the
national officers to first investigate and be sure
they were right before they went ahead, and now
that the investigation has been made and there is
a positiz'e need for contributions, zve appeal not
only to our members but everyone connected with
the motion picture industry to contribute as liberally
as possible. IV e assure all that every cent zvill be
accounted for and an itemised statement made
through the press to those zvho donated.
We have designated the Moving Picture News,
The Moving Picture World, the Bill Board and
Motography to accept contributions which zvill be
turned over to the proper committee appointed and
announced in the next issue.
We ask all contributors to make checks, or
money orders payable to J. J. Rieder, treasurer,
however zve request all contributions to be sent to
Motography.
(Signed) M. A. Neff, President,
]. ]. Rieder, Treasurer,
C. M. Christenson, Secretary.
G. H. Wiley,
L. F. Blumenthal.
Executiz'c Committee.
Flood Conditions Beggar Description
In another letter to Motography President Neff of
the Motion Picture Exhibitors League of America briefly
outlines the conditions as he found them in the flooded
districts of Ohio and Indiana. A portion of this letter
reads as follows : The human mind cannot describe the
horrors and devastation of the flood ; piles upon piles of
goods of every description in the streets ; push-carts
loaded with various articles, such as household goods,
jewelry, wearing apparel and drugs standing in the
streets ; piece by piece being washed to discover what
the article is ; men and boys selling shirts and other wear-
ing apparel on the street ; clerks with boots and overalls
on, disposing of articles to secure what little they can;
churches wide open ; rugs and carpets rolled up ; chairs
destroyed ; the first story of every building in town with
plate glass windows broken ; some of them nailed up
with boards ; people cleaning out their cellars, pumping
water; others shoveling mud out on the side-walks, the
mud then being thrown into the streets ; valuable goods
of all kinds soaked with water and covered with mud ;
houses fallen, being undermined by the flood ; great piles
of brick where the fire destroyed part of the town ; re-
fined, cultured, ladies in the aristocratic part of the town
322
MOTOGRAPHY
Vol. IX, No. 9
trying to clean up the debris and again establish their
homes, working side by side with men — ladies who never
knew what it meant to work before. In every direction'
you look, streets are literally lined with damaged goods
and mud ; the alleys blocked with everything and in every
condition. Our committee visited many picture theaters
and heard the stories of the narrow escapes of the suffer-
ers when the flood came; the water came in waves, each
wave being much deeper and higher than the first and
growing in ' intensity ; many had to run for their lives
and all they had left was the clothing they had on. With
the exception of one or two motion picture men in Day-
ton, all lost their pianos, chairs, rugs, decorations — in fact,
everything was destroyed but the building itself and in
many cases, the picture house itself was destroyed, leav-
ing them without a business and a home. I will simply
say that the trip just made through the flooded district
has left such a deep impression of sadness and sympathy
that it is almost impossible to write you as I would like.
I hope and trust that our exhibitors and friends will con-
tribute liberally enough to assist those who have gone
through such an awful siege of flood and fire.
Ohio Passes Censor Bill
The Legislature of the State of Ohio adjourned
Saturday, April 19, in all the Motion Picture Exhibitors
League defeated six obnoxious bills and passed the
Censor bill.
One of the bills defeated was the closing of motion
picture theaters in Ohio on Sunday. The Censor bill
as originally drawn by President Neff. was offered in
the House by Representative Snyder ; it was referred to
the House Judiciary Committee who reported it out
after several amendments -were made. While Mr. Neff
was in AA'ashington on Friday, April 11, the bill was
passed by the House, went to the Senate, was read and
referred to the Judiciary Committee of the Senate. After
being considered in the committee on Tuesday morning,
the bill was indefinately laid on the table, with the ex-
ception of. one. vote. Up to this time, Mr. Neff who drew
the original bill, could not possibly get a hearing before
the committees and the boast was being freely made
that all of the municipalities in the state of Ohio would
have easy sailing and would have municipal censor boards
in all the municipalities ; however it was soon discovered
that they reckoned incorrectly. Mr. Neff managed to
get a hearing before the Judiciary Committee of the
Senate on Tuesday night and. after an extended explana-
tion and a strong, earnest appeal to the senators in behalf
of the up-lift and. the progress of the motion picture
business, the Censor bill was re-amended which gave it
more of the appearance of the original bill and while it
was an absolute impossibility to get everything in the new
bill that was provided for in the old, the bill as a whole
was satisfactory, because it provides that Ohio can co-
operate with other states in forming a censor congress.
Through the influence and hard, earnest work of Presi-
dent Neff and the co-operation of Gov. James M. Cox,
the bill was reported by the Judiciary Committee of the
Senate at four thirty-five Wednesday p. m. The bill
had its first reading at four-fifty ; it was read the second
time at four fifty-five and was passed on the third read-
ing by the following vote ; Yeas, twenty-three ; nays,
three ; not voting, six.
The bill was immediately sent to the Legislature and
was called up Wednesday evening at eight-thirty and was
passed by a unanamous vote. This is a record for the
state of Ohio in passing a bill that was not considered
an emergency. The bill had been indefinitely tabled
Tuesday morning, voted out Tuesday night ; passed the
Senate Wednesday; concurred in Wednesday night and
is now up to the Governor for his signature, when it- will
become a law.
It has been discovered by close observation and at-
tendance in the legislative bodies of-Ohio, that the legisla-
tors are honest, active, conscientious and intelligent, but
their great lack of knowledge in regards to the motion
picture business in general is astonishing to those who
are familiar with the wants and requirements of the
business. Ohio motion picture exhibitors realize that
there must of necessity be some of their number elected
to represent them in both branches of the legislature and
in the various councils of the cities, by reason of the
fact that when questions are asked in regards to the
motion picture business in the legislature, not one person
is able to give the desired information or to make a cor-
rect statement or to refute a misapprehension. The
faots are, that- every state and city in the union should
have representatives in the legislative bodies, not for the
sole purpose of working in the interest of the motion pic-
ture business but for the purpose of intelligently and
forcibly explaining to the legislative bodies the facts per-
taining to the motion picture business, in' order that jus-
tice may prevail instead of vicious, unjust laws being
passed by legislators who know - comparatively nothing
about the business but if they were told the truth, would
be onlytoo pleased to assist the motion picture industry,
instead of passing arbitrary, unjust laws, which work
hard-ships and in many cases cause exhibitof-s to invest
money which is not beneficial "to any one, but only to
please the whim of some fanatic or. scheming, unfair
politician.
Wisconsin State Convention
The Wisconsin State branch of the- Motion Picture
■Exhibitors' League of America held its annual con.-
vention at the Plankinton Hotel, Milwaukee, Wis., April
8 and 9. The convention -was called to order by Presi-
dent C. H. Phillips of Milwaukee, promptly at 10 a. m.
Tuesday. The out-of-town members in attendance num-
bered about 150 and local members about 60. making a
total attendance of 210. From outside of the state were
William J. Sweeney, president of the Illinois League,
and C. M. Christenson, national secretarv, of Cleveland,
Ohio.
The following officers were elected : C. H. Phillips,
president,. Milwaukee ; B. K Fisher, secretary. Milwau-
kee; Thomas Saxe, treasurer. Milwaukee; M. Rise, first
vice-president, Milwaukee ; F. H. Smith, second vice-
president. Menominee; Joseph Rhode, third vice-presi-
dent. Kenosha ; W. H. McCenna, fourth vice-president,
Appleton ; Henry Goldman, fifth vice-president. Green
Bay ; Frank Bruemmer, sergeant-at-arms, Milwaukee.
Delegates elected to the national convention in New
York, July 7, were as follows : Gustav Frellson, Wau-
kesha ; Roy Cummings, Madison ; Frank Bruemmer, Mil-
waukee ; Harry Burford, La Crosse ; Harry Trinz, Mil-
waukee. Alternates: H. S. Klein, Milwaukee; M. B.
Hackett, Stevens Point; A. V. Johnson, Milwaukee;
lames Cochrane. Milwaukee; Albert Schoenleber. Mil-
waukee.
Green Bav was selected for next convention, to be
held June 26,' 1914. President C. H. Phillips in his
opening address welcomed the members on behalf of
the chief executive of the city and the citizens of Mil-
waukee. President William J- Sweeney, of the Illinois
May 3, 1913
MOTOGRAPHY
323
These Fierce Looking Gentlemen Are Not Kentucky "Night Riders" or Even a Gang of "White Caps," But Members of the Wisconsin
Exhibitors' League in Their Parade Uniforms.
League, spoke of the many wonderful accomplishments
of the League and the harmonious conditions existing in
Illinois through its efforts. C. M. Christenson, national
secretary, of Cleveland, Ohio, took up the subject of
organization. He had just received a telegram from
President Neff saying that Delaware, Rhode Island and
Maryland had just been admitted to the League, mak-
ing a total of 40 states now represented. He touched
upon the necessities of an organization of this kind for
business and the mutual protection of the motion picture
exhibitors of the country, and for- the entire industry
as well. He told them about adverse legislation that
had come up in most of the states in the union and how
well the various branches of the League had defended
themselves and had won in most every case at very little
cost to any individual. He pointed to what would have
been the result had the exhibitors not been organized,
declaring it would have been ruinous to some of the ex-
hibitors and that thousands of dollars would have been
lost.
The reformers of the country have awakened to the
fact the motion picture men have a powerful organiza-
tion, he said, and that they will protect themselves against
unjust laws and unfair treatment. The picture screen
is their weapon, when so used, and it is also the greatest
educator the world has ever known. He urged every
exhibitor in the state of Wisconsin to become a member
of the Exhibitors' League of America by making applica-
tion for membership to B. K. Fisher, secretary, Mozart
theater, Milwaukee. A telegram was read from Presi-
dent M. A. Neff, wishing the exhibitors of Wisconsin
a grand success and regretting that he was unable to
be with them.
President Phillips took up the State Censor Bill,
now pending in the legislature. A telegram was sent
asking Chairman Johnson, who has the bill in charge,
to hold same in abeyance until the exhibitors could be
heard from. The convention went on record as favor-
ing a State Censor Board if certain changes were made
in the proposed bill as now presented. The exhibitors
want the appointive power in the hands of the governor
and they ask for two motion picture men on the board ;
they also want a reduction of salaries paid to the mem-
bers of the board, also a reduction of cost on censoring
old films now in stock in film exchanges. President Phil-
lips, who is also counselor for the Motion Picture Exhib-
itors' League of Wisconsin, will appear before the legis-
lature to urge the changes in the bill.
The meeting adjourned at 2 p. m. The entertain-
ment committee had in waiting twenty automobiles and
all the visitors were given a joy ride through the beauti-
ful residence district and boulevards of the city. This
trip took about two hours, and only one stop was made —
at Henry Harpke's Tavern, and for about a half hour
the screen men ruled the Tavern, and sampled the prod-
uct which made Milwaukee famous. In another half
hour the Plankinton hotel was again reached and as early
as 2 a. m. the exhibitors, in cluster groups, were still
talking features.
On Wednesday the meeting was called to order by
President Phillips at 10 :30 a. m. By this time a good
many more exhibitors had arrived from up state. The
Milwaukee local made a report that on Monday. March
31, every motion picture theater had turned over to the
mayor the entire receipts on that night to be given to the
Ohio flood sufferers, amounting to $2,100.
Mr. C. M. Christenson, on behalf of the citizens of
Ohio, thanked the exhibitors of Milwaukee for their
kind and generous donation and said he would call Gov-
ernor Cox's attention to the kindness, assuring the exhib-
itors that the governor of Ohio would appreciate the
gift, also he was a staunch friend of the motion picture
exhibitors the country over.
The film service of the exhibitors was next dis-
cussed. Every exhibitor was satisfied with the treat-
ment they were receiving from the General, Mutual and
Universal film exchanges. However, they want the film
exchanges to give them protection against the large opera
houses and vaudeville theaters from using more reels
of film than the regular picture theaters are running.
324
MOTOGRAPHY
Vol. IX, No. 9
Sooner or later, they believe, a classification will have to
be made on theaters.
At 7 p. m. the members all donned their night robes
and goblin caps, and paraded the downtown streets, led
by a band of 20 pieces. After the parade all were ush-
ered to the Eagles' hall, where all kinds of games were
soon in full blast, with "stage money" being used. After
everybody was "broke" the grafters and game keepers
provided a Dutch spread. Everybody was introduced
to Pabst, Schlitz, Blatz and High Life and after speeches
and entertainment by Professor Martini, a sleight-of-hand
performer, three rattling good boxing bouts were pulled
off. and at 1 :30 a. m. everybody scooted for taxi cabs.
Cincinnati Notes
Cincinnati Local held a meeting in Parlor "G" at
the Sinton Hotel, Friday, April 18, at two p. m. to con-
sider a license bill. The council has practically agreed to
reduce the license of the motion picture exhibitors of
Cincinnati one-third. Two years ago the license was re-
duced one-half ; this gives an idea of the effective work
Local Branch No. 2 is doing in Cincinnati.
Two and not to exceed three reels of pictures in
Cincinnati is considered a full show. Cincinnati has
never run over three reels, except when some temporary
show was being given and now there is none of them
running over three reels.
Miss Flornce Turner and her manager, Lawrence
Trimble, called on Mr. Neff in his office in the Mercantile
Library building, Saturday, April 19. Mr. Neff accom-
panied them to the Sinton Hotel where a beautiful din-
ner was served. Sunday evening at the last show at
Music Hall, Miss Turner was presented with a large
bouquet of American Beauty roses by Cincinnati Local
Branch No. 2, of the Motion Picture Exhibitors League
of America. Every member wished her a safe, profitable
and pleasant journey to her home and business engage-
ment in England. The bouquet was presented by A. C.
Dingelstedt, President of Cincinnati Local. It was one
of the largest and most beautiful bouquets presented to
any actress in recent years in Cincinnati.
_ Motion picture headquarters has had several visitors
during the past week. Some of the prominent visitors
were : F. G. Rembusch of Indiana, national vice-presi-
dent ; Orb Parker of Kentucky ; Clem Kerr of Dayton ;
Max Stern of Columbus; Mr. Dittmeyer of Louisville;
J. H. Broomhall of Hamilton and several others.
Coming Conventions
West Virginia State Convention — At Wheeling,
April 29 and 30.
Mississippi State Convention — At Jackson, May 8.
Iowa State Convention — At the Auditorium, Des
Moines. May 13 and 14.
Delaware State Convention — At DuPont Hotel,
Wilmington, May 26.
Pennsylvania State Convention — At Philadelphia
May 27 and 28.
Kansas State Convention — At the National Hotel,
Topeka, June 2 and 3.
Maryland State Convention — At Baltimore, Tune 3
and 4.
Missouri State Convention — At Springfield, Tune 10
and 11.
Notes on League Doings
Pittsburg Local is getting ready to make a state
campaign to secure new members in order to assist in
making Philadelphia Convention a record breaker.
The State Convention at Wilmington, Delaware,
which is to be held Monday May 26 is progressing nicely
under the direction of National Vice President James
N, Ginns ; he has charge of the convention arrangements
and is a very busy man.
All arrangements have been completed for the Mary-
land Convention which is to be held on June 3 and 4 at
the Emerson Hotel. J. Howard Bennett, national Vice
President from the state of Maryland has charge of all
local matters pertaining to the big convention in Balti-
more. Maryland has been a little slow in coming into
the League but the rest of the states will probably find
that Maryland will have a membership and representa-
tion that will be hard to keep up with.
A big convention is to be' held on the 27 and 28 of
May at Philadelphia. The committees are working night
and day and are trying to eclipse any state convention
heretofore held. A meeting was held at the Continental
Hotel and the following committees wer elected : General
Arrangements Committee, E. A. Jeffries, Chairman ; M.
J. Walsh, First Vice President ; Chas. Segall, Second
Vice President; H. Hessar Walraven, Secretary; Geo.
H. Roth, Treasurer. Exhibit Committee, Walter
Stuemfig, Director of Exhibits ; John Greenbaum, as-
sistant Director ; Walter Jacobs, Press Agent. Entertain-
ment Committee, J. Weinrich, Chairman; A. R. Cav-
anaugh ; Assistant Chairman ; John Smith, Assistant
Chairman ; Clem Kerr. General Manager of Convention
Arrangements. Philadelphia exhibitors are enthusiastic
and the big preparations being made will bring a large
number to the convention.
Missouri League Notes
The third annual state convention of the Missouri
state branch of the Motion Picture Exhibitors' League
of America will be held at Springfield, Mo., on June 10
and 11. The entertainment end of the convention will
be in charge of Springfield Local, No. 2. There will be
a vast amount of important business transacted, includ-
ing the election of state officers and delegates and alter-
nates to the New York convention. President Wiley
looks forward to the largest attendance of any state con-
vention in the history of the state branch. Much credit
- due to President W. J. Flynn, of St. Louis Local.
No. 3, for the excellent manner in which he handled
the drastic laws which were introduced during the re-
cent state session of the legislature. Through the fine
work of Mr. Flynn there was no laws passed pertaining
to the moving picture industry. National Vice-President
G. H. Wiley is working hard perfecting arrangements
whereby the state branches of Arkansas, Oklahoma, Kan-
sas, Nebraska, Iowa and Missouri will mobilize special
cars from the different states in Chicago, and from there
to New York travel in one solid special train. They will
be accompanied by the Indian Band of Oklahoma, which
has been secured by the Oklahoma state branch.
The Advance Motion Picture Company is making an
offer of $1,000 for a scenario that will be acceptable to
them for making a two or three reel feature film.
May 3, 1913
MOTOGRAPHY
325
Sans Grease Paint and Wig
By Mabel Condon
"R
Jack Richardson
A V E N S-
WOOD 3729
Mr. Nehls,
please.
"Mr. Nehls?— This
is Motography, Mr.
Nehls. and Miss Con-
don talking."
"Oh. very fine,
thank you — and you?
That's lovely —
"Well, I am coming
out soon — you got a
new what? —
"An entrance sign
and a guide to point
the w a y in ? — Oh,
very well then, I'll
surely come as there's
no chance of my
again getting lost.
"But what I called
you for was to ask if
you'd write Jack
ines and tell him that I'm going to
'tell-it-in-your-own-way' biography ?
Richardson a few
write him for a
Yes — just as a sort of introduction to the gentleman
I'm going to put my note in the mail in about five minutes
— oh, will you? — he'll get them together, then. Thanks
awfully, Mr. Nehls — good bye!" And the telephone re-
ceiver experienced a decisive click.
"Girls, who'll loan me a No. 11 machine for a few
minutes? I have a very, very important letter to write
and it calls for a perfectly good machine, mine is all
right for 'copy' but for a letter to Mr. Richardson —
thank you, Polly ; no. I'll just do it myself and will only
be a few minutes at it. But I'll put a 'G' down in the
corner so it will look as though a real stenographer did
it. Why 'G'? Guess."
Five minutes later the note was sliding down the
mail-chute en route to the American studio at Santa
Barbara, Cal.
Twas exactly 1 1 :45 a. m. by Director Allan Dwan's
time-piece ; eight scenes finished and one more to go and
after that lunch for everybody, an hour of rest and
gossip for the ladies and some Kelly pool for the men.
Then back to work, everybody.
The last scene. The camera-man chose a nice soft
little dirt mound for his camera. Was everybody ready?
Everybody was. Jack Richardson knotted a red ban-
danna handkerchief about his throat and set his Stetson
at a thoroughly rakish angle ; George Periolat felt of his
bushy eye-brows and white goatee, to determine if they
were still faithful to previously bestowed attention and
Jack Warren Kerrigan stood ready to rescue anyone at
whom Jack Richardson might so much as glance. Pauline
Bush, Louise Lester and Jessalyn Van Trump were at
attention and the open air scene began.
Warren and Pauline were keeping a tryst and, while
it really seemed none of Jack Richardson's business, he
proceeded to snoop and was caught in the act by Miss
Lester and Mr. Periolat. As the owners of the estate.
they had a perfect right on the premises. Jack Richard-
son didn't, but that didn't matter to Jack ; furthermore
he resented the unexpected appearance of Miss Lester
and Periolat upon the scene, and expressed his re-
sentment by shaking a dangerous looking fist within
three inches of the Periolat countenance. Warren and
Pauline were attracted by the disturbance and Warren
valiantly interposed himself as a target in place of the
white-whiskered Periolat, (evidently his father-in-law-
to-be). But the Kerrigan physique was more of an
opposition than Richardson cared to chance, so he wisely
slunk away and out of the picture while Kerrigan re-
ceived the thanks of Pauline and his parents-in-law-to-be.
Richardson removed the desperate looking hand-
kerchief from his neck, placed his hat the way the pic-
ture on this page shows it and made an advance attack
upon the studio and lunch with Kerrigan and Periolat.
"Come along if you're going to shoot some Kelly
pool," advised Kerrigan as Richardson stopped to re-
ceive his mail, among which were two Chicago letters.
"My dear Richardson," he read when he had torn
open the letter which bore the stamp of the American
Film company, "You will probably receive, in this same
mail, a letter from Motographyjs offices asking for your
life history. I'm writing you this as an advance an-
nouncement and wish you would give the letter, as soon
as received, your immediate attention." It was signed
"Richard R. Nehls."
The second letter informed Mr. Richardson that
he had been doomed for Motographv's grease-paint
page and would he please chat for a while, in a letter,
and forward it at once to the writer?
"Waiting for you. Richardson !" sang somebody's
voice from the studio's pool-room, but Richardson was
already on the way to his dressing room with the fatal
letters in his hand.
At the end of half an hour, he was the author of
the following epistle :
Santa Barbara. Cal., April ij. 1Q13.
My Dear Miss Condon : —
Just in receipt of your letter and also a letter from our
Mr. Nehls. I will not waste any time, but will thank you in
advance for dooming me, as you say, to appear in Motography.
I won't start out with my age, but I have lived a few over twenty-
one, yes, I have voted for president several times. I certainly
love the motion picture work. Ever since I graduated from
Culver Military Academy I have had the actor bug in my head.
I love horses and enjoy most the pictures where, as the villain, I
have to be chased by the posse. I just love my heavy work. No
hero stunt for me. I get letters from people every day who
say they hate me and would like to see me play the nice parts
once in a while ; but they don't know my stock in trade. When I
play the bad man, hold up a stage or a bar room. I really live
the part; I can imagine just how the bandit feels. I forget the
camera, I forget everything but that one point I want to get over.
Well, I say I love my work. I always enjoyed sports. I
played football, baseball, tennis and ran on the track team. I
love autoing. I also enjoy swimming and boating and I do like
a good game of pool or billiards more than a card game. I
roll my own cigarettes ; once in a while I buy the ready mades.
I have been on the coast for five years playing with several
repertoire companies and road shows. I fell into the motion
picture business all of a sudden at Selig's in Los Angeles, then I
worked for the Bison, and two years ago joined the "Flying A"
at Lakeside, Cal., and am here still and hope to be a long while.
Don't get the idea that Kerrigan and I are enemies just be-
cause he usually beats me up in the pictures. No, Jack and I
are the best of friends and often shake hands after hard scenes,
326
MOTOGRAPHY
Vol. IX. No. 9
especially if we have a crowd of onlookers, and they usually
laugh. I am five feet eleven and a half, and tip the scale at
178 pounds. Am in the best of health, and, oh how I can eat.
Well. I think I have told you about all and I wish to thank
you again and hope you can read this rather bad writing ; the
pen is a little at fault. They all call me "Rich." but I will sign
my full name.
Thanking you, I remain.
Very truly yours.
Jack IPtchardson.
"There ! Guess I'll send that 'special delivery,' " he
decided as he addressed an envelope, placed the letter
within and sealed it; then reached for his hat, and hur-
ried down-stairs. When he had dropped the bulky envel-
ope into the mail-basket, he consulted his watch and
found he had just twenty minutes to devote to that Kelly
game.
Player Badly Injured
Last week Mrs. Hal Wilson, of the Yitagraph Com-
pany, playing a part in "The Circus Comes To Town,"
sustained a fall through a sky-light, breaking a rib, and
yet pulled herself together so that she was able to walk to
her home. When Mrs. Wilson was picked up after her
fall, she complained of a severe pain at the side of the
spine. She asked her friend. Flora Finch, to rub her
with alcohol and then walked to her home, in spite of
the almost unendurable pain, refusing to send either for
an automobile to carry her there or for a doctor to look
after her. In the evening the attention of a medical man
was found to be necessary and it. was then discovered
that a rib was broken. At the time of the accident, Mrs.
Wilson was playing a part in an animal picture in which
her fellow actors were four particularly lively monkeys.
One of them, a golden baboon, turned' rather savage and
made a jump for Mrs. Wilson, causing her to fall from
a window, in which she was standing, through the sky-
light of an out-building adjoining. She would have es-
caped without injury but for the presence of a projecting
joist, which she struck in her fall. In spite of the pain
she suffered, Mrs. Wilson insisted on finishing the scene
in which she was playing. No one. indeed, had any idea
that she was anything but slightly bruised.
American Has Novel Plan
building a
is
During
The American Film Manufacturing Company
new studio at Santa Barbara, Cal.
the process of construction a few feet of film are made
every day. This will be shown in a short release, giving
the effect of the entire studio being constructed in seven
or eight minutes. Thus exchanges and theaters as well
as patrons will get a wee glimpse of the home of their
favorite pictures. The pictures are being made under
the personal supervision of Mr. Hutchinson.
Mrs. David Horsley has a new automobile, and is
fast getting to believe that she is able to make Barney
Oldfied and others take some notice.
Scene from American's "The Kiss.
May 3. 1913
MOTOGRAPHY
327
Scene from Essanay's Dramatic Subject "The Prophecy," Released May 7.
Photoplays from Essanay's
Some Coming Releases
MAY — the most beautiful month of the year — with
its new blossomed flowers, its sparkling streams
and enchanting song-birds, brings forth new am-
bition and life to everyone. This seems to be especially
so with playwrights, who have been sending in manu-
script after manuscript, all above the average high
mark. The new ideas that give the photoplays a "punch"
never before recorded are either responsible for the
spring atmosphere or that the butterfly has come out of
its cocoon, only to realize that the public wants some-
thing different and original.
"Cousin Jane." booked for release April 29, is a
sprightly comedy, chuck full of hilarious situations. Tom
Allen visits his sister at boarding school, where he meets
Jane McArthur, and falls desperately in love with her
charming beauty and pleasing personality. Tom spends
a pleasant week taking Jane and the girls to the theater,
skating, and making himself congenial generally. Some
time later Jane returns home to the country to spend the
•winter holidays with her mother and discovers by read-
ing the newspapers that the grand opera season has com-
menced in New York. Mrs. McArthur writes to her
sister in the metropolis asking if Jane may visit her for
a few davs. Mr. Lawrence, the uncle, receives the letter
and is very enthusiastic about having Jane visit them.
Mrs. Lawrence and the daughter take a different attitude
in the matter however, though Lawrence finally gets the
consent of his wife to write Jane asking her to come
on. Jane receives the sarcastic letter. Full of life
and up to tricks at all times, Jane finally arrives at her
aunt's home, appearing as a country yokel. Mrs. Law-
rence ushers Jane to her room, where she installs a
maid to prevent the country cousin from attempting to
come down stairs, where a party is at its height. Jane,
however, dresses in a beautiful evening gown and comes
down stairs, where she meets, to her astonishment, Tom
Allen. Allen is more enthused over Jane at this meet-
ing than he ever was before, and proposes to her. They
call a taxicab and are taken to the license clerk's home,
where he obligingly issues the necessary paper. A min-
ister is notified and meets them at Mrs. Lawrence's resi-
dence, where Jane and Tom are married to the surprise
of everybody. Mrs. Lawrence had tried to capture Tom
Allen for her daughter so the marriage of Jane to Tom
scarcely pleased her. Beverly Bayne as Jane puts a true
to life "punch" into her character, and John Steppling,
as Tom Allen, gives a splendid interpretation of that
role.
328
MOTOGRAPHY
Vol. IX, No. 9
In "Bill," booked for release April 30, "Smiling
Billy" Mason is the whole show and then some. His
acting as Bill, the idiotic office boy, is something that
will captivate any audience.
"The Story the Desert Told," released Thursday, May
1, tells a story that one who has not traveled across a
desert barely realizes. The sheriff of Desert Valley, Cal.,
received a letter from Mrs. Tom Decker, requesting him
to send Marjorie Day, an orphan, to her. A volunteer
is called for to risk his life in escorting the four-year old
child across the sandy plain. John Hartley steps for-
ward and promises to protect the child with his life.
That day Bill Barratt, an outlaw, is arrested and lodged
in jail for the murder of Jim Ellis' child. That night
the sheriff is informed that the men in the village are
going to lynch Barratt. Sheiff Mackley handcuffs the
prisoner, orders him on a horse and takes him into the
desert for safe-keeping. In the meantime, Jim Hartley's
mule succumbs to the heat. Being out of water, he tells
Marjorie to be patient and wait, that he will return
soon. Several hours later Mackley and his prisoner hear
the faint cry of a child and are quick to find the thirsty
child. Mackley returns to his horse to get a canteen,
but discovers that the animal had galloped off. Without
water they are in a hopeless condition. Barratt promises
to guard the wagon until the sheriff can return to town,
G. M. Anderson in "The Crazy Prospector."
where he takes the almost lifeless form of Marjorie.
Several hours later the men return for Barratt and dis-
cover that he had died of thirst.
Lovers of juvenile actors will be well pleased with
the clever dramatic story entitled "A Child's Precaution,"
booked for release May 2. Margaret Steppling, not yet
eight years old, demonstrates her remarkable talent to
advantage. Playing the lead, she offers the character to
the photoplay fan as a real living personality, and she
certainly portrays the part and feeling in a true child-
like fashion. John Cartleigh presents Dorothy with a
doll on her birthday. That day Cartleigh collects several
hundred dollars for his employer. Finding the bank
closed he takes the money to his home, unaware of the
fact that he is being followed. That night the trusted
employee places the money in the buffet drawer for se-
curity. Dorothy, fearing that her doll will be stolen, gets
up in the middle of the night, and places it in the buffet
drawer, taking the wallet out, and bringing it into her
room, where she places it under the pillow. Having
seen Cartleigh place the money in the drawer, the rob-
ber waits until the household is in darkness. He forces
an entrance and is furious when he discovers the wallet
missing. He takes the doll and smashes it on the floor,
which awakens Dorothy. The child, in her nightie, runs
into the room which scares the burglar away. Dorothy's
precaution saved John Cartleigh's employer's money.
Cartleigh rewards his young daughter with a new doll.
On Saturday, May 10, the Essanay Film Manufac-
turing Company will release "Alkali" Ike's Mother-in-
law, with Augustus Carney, the "Gibraltar of Fun."
This western comedy is said to be exceedinglv clever
and full of excruciatingly funny incidents.
For weeks the Essanay directors and players have
been working on a great two-reel subject entitled "Into
the North," which the publicity man declares will be one
of the greatest box office attractions ' in the history of
photoplays. For the benefit of exhibtors the Essanay
Company have prepared thousands of beautiful heralds,
1 well illustrated and attractive. Both the cast and the
subject are said to be exceptionally excellent. An ad-
vertisement in Motographv will shortly give the release
date and a 'review of the film will also appear.
Players Issue Challenge
The spring golf tournament, in which every member
of the Essanay eastern stock company is interested, will
be "teed off" Saturday, April 19, at the Evanston Golf
Club. Miss Beverly Bayne won the ladies' champion-
ship medal last season, and great prospects for another
medal are in view for her. Mr. William Walters holds
the gentlemen's title. This season the "golf fiends" are
open to meet other motion picture manufacturer's play-
ers. All golf enthusiasts please write.
Lubin Director Builds a Depot
Taking a recent photoplay, entitled "A Perilous
Ride," Wilbert Melville, director of the Lubin studio
at Los Angeles, required a small isolated looking railroad
station close to the track, with an old-fashioned chimney
built against the outside. Miles and miles of the adjacent
country were searched, but no such structure could be
found. Realism, not only in acting but in atmosphere,
is Melville's hobby. He would have the real thing and
no makeshift. A piece of the Salt Lake Railroad track
was rented and the Lubin director built himself a com-
plete depot of the primitive persuasion, inside and out,
signal tower, platform, telegraph connections and every
detail necessary. Rude as the structure was it cost $1,000,
and all just to take one scene in the picture.
May 3, 1913
MOTOGRAPHY
329
Those Awful Cinematograph Faces
By Harry Furniss*
ONE can always derive a fund of quiet amusement
from listening to children at their play, and ob-
serving without being observed. "Let's play
shops" — or trains — or keeping house — "Let's make be-
lieve"— well, practically anything; as preludes to the
children's play these may almost be regarded in the light
of what one may term household phrases. But the times
have a persistent and ineradicable habit of changing,
and even juvenile pastimes have altered with the march
of progress. As a sign of the times we live in at pres-
ent, I may quote a remark I overheard made by the
youngsters of a friend of mine the other day. They
had gone through a fairly lengthy programme of im-
promptu amusements, and had come to a temporary
standstill. "And now," said one of the elder children,
smitten with a brilliant idea, "let us make cinema faces!"
Tickled by the novelty and up-to-dateness of the
idea, I watched with interest the performance that fol-
lowed. It was really a most amusing burlesque, as
legitimate as it was laughable, the keynote of which was
purely and simply exaggeration. It consisted of wide-
eyed, open-mouthed facial contortions — that was all ; but
it plainly demonstrated to me that the rising generation
see in the moving pictures something expressly peculiar,
and, therefore, something particularly wrong.
Cinema faces, as a matter of course, should be ab-
solutely natural, and up to a year or so ago it must be
said that they practically were so, but in more recent
days I have been impressed by the fact that films of both
English and American manufacture, but particularly the
latter, are displaying a marked and unfortunate tend-
Oh Those Bewitching Eyes.
ency towards quite abnormal facial contortion, and a
complete overdoing or ultra-emphasizing of what should
rightly be the natural expression.
Many years ago Her late Majesty Queen Victoria
made a remark, which has since become historical, con-
cerning the late Mr. Gladstone — i. e., that the Grand Old
Man "always spoke to her as if he was addressing a
public meeting." This would apply with a considerable
The Bioscope, London.
deal of aptitude to a large number of cinematograph
performers in speaking their parts to the camera. In
the course of natural conversation, it is certainly not cus-
tomary to stretch one's mouth open to the extreme limit
of cavernous expansion, to twist and distort every
muscle in in the facial area, and to goggle one's eyes to
a seemingly perilous extent ; nor is it precisely the thing
And That Everlasting Grin.
in polite society to express amusement by grinning like
a Cheshire cat or laughing after the manner of a hyster-
ical hyena. These camera contortionists, however, have
become such abject slaves to their own mannerisms that
there seems to be no limit whatsoever to their extraordi-
nary exaggerations ; therefore, sad to record, some of
those who erstwhile were considered to be in the first
flight of cinema performers have now descended to the
level of mere pantomimists. Buffoonery in the guise of
simple clowning is the hall-mark of degeneration, and in
this particular respect I make bold to say that there is no
doubt whatever that marked degeneration has set in in
the case of the most popular American studios. To a
certain extent this is attributable to the enlarging of the
faces in the projection of the pictures, which has led to
the play of the features, instead of the play of the
author, being made the main consideration. Long prac-
tice in the art apparently breeds perpetual facial con-
tortion, and it is this pandering to play of expression
that we have to blame for inflicting upon us the ever-
lasting cinematograph grin.
Now that appalling grin, like the wooden nutmeg
and the rag-time craze emanated originally from the
United States. On this side of the Atlantic it first made
its irritating presence felt in the photographs and picture-
postcards of musical comedy divinities, later figuring in
the advertisement pages of the popular weeklies and mag-
azines as an inducement to buy divers toilet requisites,
330
MOTOGRAPHY
Vol. IX, No. 9
particularly high-priced dentifrices. And now, in addi-
tion, we are grinned at in nine cinematograph pictures out
of ten, but I suppose that in cinematography the offence
is universal, and we must e'en — well, grin ourselves, and
endeavor to bear it!
There would seem to be no escape from this aggres-
sive grin that spreads and spreads until one feels in im-
minent danger of disappearing into the vast, grinning
mouth, but, in addition to this, we are confronted on the
screen with the cinematograph eye. The fact is. that
both male and female performers, with a few notable
exceptions, sadly overdo the facial make-up for the cam-
era. Some of them, indeed, go so far as to give one the
impression that they have blacked their faces to play
coon parts, and afterwards only washed their cheeks and
foreheads, leaving a heavy deposit of black in the con-
cavities of the face, particularly around and under their
eyes.
Oh, those eyes ! Dear, charming Miss Columbia,
let me, as a friend of many years' standing, diffidently
inquire the why and wherefore of those coal-black, co-
quettish orbs with the leeringly wicked expression of a
cat's eyes in the dark? Why are those delightfully long
and sweeping lashes of yours made so extremely jet-
black as the thickness of your own hat-pins or your
grandmother's knitting needles? You, my dear young
lady, are supposed to be simply a natural, guileless, un-
sophisticated maiden in high society, but you make your-
self up instead into the semblance of an abandoned Con-
tinental adventuress in highly colored melodrama, or a
wicked demoness in pantomime. Not only do you by
this destroy your own distinctly considerable charms,
but — let me whisper it, so that no one hears, into that
pretty little shell-like ear of yours — it actually makes you
look old !
Yes, I have no hesitation in saying that it adds a
good ten or twenty years to your age, this mistaken make-
up. I know, of course, that you were actually only nine-
teen last birthday, but, then, your cinematograph aud-
iences are ignorant of such intimate details concerning
you, and on the screen, in spite of that fascinating, den-
tifricial grin of yours, in spite of the alluring bewitching
batteries unmasked when you open your eyes, in spite of
your youthful nerve and vivacity, you look, I grieve to
inform you, considerably nearer forty than twenty!
Really, it is one of the great difficulties of the art
that the camera in cinematography, in consequence of
the tremendously strong lighting power indispensable to
the process, has the unfortunate effect of apparently
aging all the performers. On the other hand, on the
stage of the theater, it is quite an easy matter for an
experienced actor to take years off his actual span by
dint of a clever make-up. As a case in point, only the
other day all the dramatic critics were avowedly mar-
velling at the wonderfully youthful appearance of Mr.
George Alexander as the twenty-odd hero of Max Beer-
bohm's clever playlet at the Palace theater. It was a
real triumph of make-up.
Now for the camera, on the contrary, the more pains
you take to make-up young-looking, the more you add
in effect to your actual years. But if the make-up — the
blackened eyes and eyebrows arched like semi-circular
seams of coal, the painted lips and palpable false whisk-
ers and mustaches, to say nothing of false noses — if all
these, I say, possibly pass unnoticed by the bulk of cin-
ema-goers, there is something that fastens on picture-
play audiences like the Old Man of the Sea, and that is
— the Cinematograph Face ! They are haunted by that
face, with its staring, goggling, rolling eyes, and the
cavernous mouthing, supposed to be natural to the
speaker in ordinary conversation, which, sad to say, is
becoming a stereotyped thing with even some of the best
performers. Such abnormal facial contortions are detri-
mental in the highest degree to the interests of the photo-
play, for they spoil the comedies, transform tragedies
into burlesques, and bring ridicule generally upon the new
and delightful art of cinematography.
Interesting Incidents of the Fire
Many incidents of a peculiar nature have developed
from the recent fire at the Universal's western studio-
two are especially interesting. In the first place Mrs.
Aubrey M. Kennedy herself saved and carried out the
two huge books which will give a record of all accounts
in connection with the pictures and the business end.
Mrs. Kennedy grabbed these and managed to get them
out whilst the office was full of smoke and flames. An-
other quite extraordinary incident is the fact that four
of Lincoln J. Carter's scripts were in the ruins. They
were given up as lost and Mr. Carter was rather dis-
consolately kicking the bricks, which had fallen upon
the place where they were before the conflagration, when
he saw a bit of blue paper, and reaching down brought
out all four scripts — all the worse for wear but never-
theless decypherable — the brick chimney had fallen and
protected them. Everything else was either charcoal or
a crisp— the scripts were invaluable to Mr. Carter and
his delight was unbounded.
Comedy-Melodramas Popular
The Keystone Film Company, with Mack Sennett's
master hand at the wheel is presenting a new variety of
film at the present time, which marks a departure in the
picture game. Mack calls them comedy-melodramas and
judging from the praise of exhibitors throughout the
country they are great. The stories have a well defined
plot, filled with thrilling incidents and intense moments,
while a light vein of comedy running all the way through
the picture provides excellent relief and much laughter.
Scene from "The Bawlerout." Reliance Release of April 30'. Film
Adapted from Forrest Halsey's Famous Story.
May 3, 1913
MOTOGRAPHY
331
Of Interest to the Trade
General Film Buys Kinetograph Co.
The strife between the General Film Company and
the Kinetograph Company, both of which were hand-
ling films licensed by the Motion Picture Patents Com-
pany, came to an end Wednesday night, April 16, when
the Kinetograph Company went out of the exchange
business and sold its stock of films to the General Film
Company. The price paid for the films is not known.
The Kinetograph Company had a large stock on hand,
as it started business by buying old copies of all the
releases of the Patents company for six months back
for each of its six offices. Service went on uninter-
ruptedly for the exhibitors taking Kinetograph service.
It is probable that the Kinetograph offices will remain
open for several weeks while the business is being closed
up.
The Kinetograph Company was really a revival of
a distributing company run by Percy L. Waters, later
general manager of the General Film Company, in 1897.
At that time Mr. Waters had an office in Twenty-first
street, which he ran with Edison films and what foreign
stuff he could acquire. When he and J. J. Kennedy of
the Biograph Company decided to organize an exchange
concern they adopted the name of Mr. Water's old
Kinetograph, which had been inoperative for several
years. Incorporation papers were secured last August
and the New York office began to give service to 112
customers February 8 of this year. The incorporation
papers were not included in Wednesday's sale. The
day before the sale of the New York office was handling
211 accounts. The Kinetograph had six offices — New
York, Atlanta, New Orleans and three in Canada, St.
John, Montreal and Toronto. Between them the six
offices had a total of about 400 accounts.
The Talking Motion Pictures
A fairly comprehensive explanation of the mode of
operation of the talking motion pictures is given in the
May issue of Popular Mechanics. A portion of it runs
as follows : One of the illustrations herewith shows the
connection by means of which the motion-picture ma-
chine, high up in the gallery of the theater, and the
phonograph, located in a well in the stage just behind
the screen or curtain, are synchronized, or made to oper-
ate at the same time and speed, so that the motion of the
lips in talking and singing may be simultaneous with the
utterance of the sound. Every sound or noise made
by the persons producing material for the "talking" pic-
tures is caught by a single phonograph recorder while the
motion-picture camera is taking the pictures. In repro-
ducing the talking pictures all that is necessary is to
provide that the phonograph and the motion-picture ma-
chine be run in the same relation to each other as when
the pictures were made and the sounds recorded. This
is done by mechanically connecting the motion-picture
projecting machine and the phonograph by means of an
endless wire cable running over pulleys. The cable
passes under the floor of the stage, up to the top of the
proscenium arch, and across the upper regions of the
theater by air route to the motion-picture machine.
Should the cable slip and so throw the two machines "out
of step," so to speak, the operator of the projector can
retard or increase the movement of the pictures until
they are again synchronized with the phonograph. Al-
though the sound seems to come direct from the picture
of the particular person or instrument represented as
producing it, no matter whether at the right, the left, or
the center of the screen, it all actually comes from just
one point — the horn of the phonograph. That it seems
nni
How the Talking Pictures Work.
otherwise to the audience is due to the same illusion that
makes ventriloquism possible. The accompanying dia-
gram illustrates the principle. Referring to this diagram
two motion picture figures, going through the facial
movements that accompany utterance, would, one at the
extreme right and the other at the extreme left of the
screen, be still close enough in line with the real source
of sound so that the audience, a little distance back,
could not tell from which it was coming if there were no
facial movements of either, but "listening" with the eyes
as well as the ears, the sound seems to come from the
ones whose lips are moving. Were the screen so wide,
however, that some of the talking figures might be shown
a considerable distance to the right or left of the course
of sound the illusion would be lost.
Two Year Contract Is Signed
The New York Motion Picture Company, manu-
facturing the Kay-Bee, Keystone and Broncho brands of
film, has signed a new contract with the Mutual Film
Corporation, to begin July 1 and run for two years. At
present the New York Motion Picture Company are
releasing six reels per week but under the terms of the
new contract it is understood twelve reels will be released.
Three new brands, for which the names have not yet
been selected, are to appear after the contract becomes
operative, one new reel to be added a month, starting the
first of September, it is said.
The six extra reels will include three reels of drama
and two of comedy it is declared, which, of course, will
necessitate new studios, at least one of which will be
located in the East somewhere, probably in or near
New York City. The signing of the new contract puts
an end to the countless rumors which have been flying
332
MOTOGRAPHY
Vol. IX, No. 9
thick and fast as to what would be done when the present
contract expired.
It is understood that by the new contract the Mu-
tual increases the number of prints it will buy of each
reel. Inasmuch as the number of reels produced a week
is to be doubled, the new contract must be most satis-
factory to both sides, and the coming two years will see
the brands of the New York Motion Picture Company
on the Mutual program.
Police Censors Unchanged
Representatives of motion picture manufacturers,
exchanges, and the exhibitors of the city of Chicago,
On Friday of last week called upon Major M. L. C. Funk-
houser, the newly created second deputy superintendent
of police of the city of Chicago, to learn his views on
the censorship of films. A story to the effect that the
new official proposed to ask the co-operation of clergy-
men, representatives of various civic welfare, social up-
lift and other reform organizations in the censoring of
film and that in the near future Sergeant Jeremiah
O'Connor and his assistants would be relieved of their
task of viewing the weekly releases, had come to the
ears of the manufacturers, exchangemen and exhibitors
and their call was an attempt to learn if the story was
founded upon fact.
Major Funkhouser welcomed the delegation and
assured his visitors that while it was true that invitations
were soon to be sent out to the clergy and representatives
of reform and social welfare organizations, asking them
to give their views on the proper censorship of films,
the said invitations fell far short of meaning that those
receiving them would be called upon to sit as a board of
censorship. After Joseph Hoff of the Standard film
exchange, F. A. Farnharm of the Mutual film exchange
and Harry Cohn of the General Film Company had ex-
plained at some length that the exchangemen were per-
fectly satisfied with the present censorship of Sergeant
O'Connor and his assistants, and felt that any change
in the makeup of the censorship board could only be a
change for the worse. Major Funkhouser declared that
no immediate change was contemplated by the police de-
partment and that the meeting was expected to only
bring forth suggestions for the more satisfactory opera-
tion of the regular police censorship board. Before the
delegation left Major Funkhouser, Mr. Hopp, its chair-
man, was invited to name a committee to represent the
various picture interests at the meeting with the clergy
and reformers, and told that at all times they would be
consulted before any radical change of any kind was
made. Mr. Hopp has appointed the following commit-
tee representing the three branches of the industry, the
manufacturers, the exchangemen and the exhibitors : R.
R. Nehls of the American Film Manufacturing Company,
V. R. Day of the Essanay Film ompany and John
'Pribyl of the Selig Polyscope Company, to represent
the manufacturers; Joseph Hopp of the Standard film
■exchange. F. A. Farnham of the Mutual exchange and
Harry Cohn of the General Film Company to rep-
resent the exchanges ; and Robert Levy, W. J. Sweeney
and John Doffin to represent the Motion Picture Exhib-
itors' League of America. This committee will meet on
a date later to be designated and of which they will be
notified by Major Funkhouser.
Previous to calling upon the second deputy super-
intendent of police the delegation called on Mayor Carter
H. Harrison, but were told that the matter would have
to be taken up direct with Major Funkhouser, so they
visited him. The following were among those present:
J. R. Freuler, representing the American Film Manu-
facturing Company ; V. R. Day, representing the Essa-
nay Film Manufacturing Company; J. F. Pribyl, repre-
senting the Selig Polyscope Company ; F. A. Farnham,
representing the Mutual Film Corporation ; Joseph Hopp,
representing the Standard film exchange; "Ted" Flaherty,
representing the Mutual exchange ; George W. Hutchin-
son, representing the H. & H. film exchange; J. C. Seery,
representing the Majestic film exchange; E. E. Fulton,
representing the Lubin Manufacturing Company ; Harry
Cohn, representing the General Film Company ; C. R.
Plough, representing the Anti-Trust film exchange ; C.
C. Whelan, W. J. Sweeney and R. R. Levy, representing
the Motion Picture Exhibitors' League of America. Rep-
resentatives of Motography, the Moving Picture World
and the Billboard were also present.
Another Two Reel Feature
The story of "Through Many Trials" — the two-reel
drama produced by L. B. Carleton for release by the Lu-
bin company on April 30, runs as follows : Guy Maurice, a
Scene from "Through Many Trials.
Lubin Release.
rich young artist, goes to the country and takes board at a
farm house. He is shown around the farm by Emily
Brown, the farmer's daughter and he takes her for a
drive. They fall in love and Maurice asks her to marry
him. Abner Brown, the farmer, is very angry when he
finds Maurice making love to his daughter and turns
him out of the house. They elope and get married.
The farmer turns Emily's picture to the wall. The
artist and his wife live in a city home, but after a time
he starts to go out with his old friends, back to the cafe
life, while his wife sits home waiting for his return. He
neglects his work and they become poor. A child is
born and Guy's better nature makes him try to win back
the love of his wife. He paints another picture which
is put in the art gallery and is given the highest award.
Meanwhile, Mary, the farmer's wife, is still crying for
her child. Silas, the son, tells her he will find her, and
he leaves home to begin the search. After his departure
the old home is cleaned out by the sheriff and the farmer
is turned out of his home, and his wife dies. The son at
last finds his sister and her husband, who are now well
May 3, 1913
MOTOGRAPHY
333
to do, after getting the award for the picture. The old
farmer comes to the city to hunt for his daughter. He
meets with an accident, the notice of it is read by the
daughter, who, with her husband, goes to the hospital
Scene from "Through Many Trials." Lubin Release.
and brings the old man home to end his days in- peace
and comfort. The cast follows :
Abner Brown John Smiley
Mary Brown Mary Stewart Smith
Emily Smith Isabelle Lamon
Silas Brown Clarence Elmer
Guy Maurice Richard C. Travers
Rewinding Film No Longer Necessary
A. J. Borget of Detroit, Michigan, who has pur-
chased outright the patent rights for the United States
to the Delaney invention of a non-rewinding film reel is
now casting about for the most profitable means of put-
ting this invention on the market. It is well understood
that the necessity of rewinding film under the present
methods has been the cause of constant aggrevation to
exhibitors and operators, besides causing constant wear
and tear on the films themselves. The Delaney invention,
it is understood, makes it possible to use films over and
over again without rewinding them at any time, and con-
sists of a contrivance or reel on and from which the film
winds and unwinds, just as it does on the present type
of reels, except that the film is so guided on the reel
that the title can be readily picked out and the entire
film again led through the machine from the upper to
the lower magazine and then shown again, if desired,
without the necessity of rewinding. It requires no altera-
tion or adjustment of any kind on present types of pro-
jecting machines and necessitates no change whatever
in the ordinary routine of exhibiting pictures or handling
films.
Aside from the considerable convenience and saving
that the device affords it will doubtless strongly appeal
to exhibitors and operators in that it enables them to
better abide by the lawr which forbids more than one
film at a time to be exposed in the operator's booth. The
Delaney invention is understood to be thoroughly prac-
tical and will not in any way tear, wear or strain the films
in use. In fact it is said to cause less strain and wear
than under present conditions. Mr. Borget, who now
controls the invention, has not yet fully determined to his
own satisfaction whether his market will be found with
projecting machine manufacturers, film distributors or
among the exhibitors direct, but will shortly be prepared
to take orders for the new device at which time he will
make the necessary announcement to the trade.
Laemmle Office Burned
The offices of the Laemmle film service at 1312
Farnum street, Omaha, were completely burned out by
a fire which started early the moring of April 9, in the
room of an express company on the first floor. The
minimum loss in positive films is $30,000.
Through the courtesy of the William H. Swanson
Denver Film Exchange there was no loss of business. All
the surplus film of the Denver office was rushed there,
and the service to the exhibitors was not interrupted.
The owners of the Laemmle office are Carl Laemmle and
R. H. Cochrane of the Universal Film Manufacturing
Company of 1600 Broadway, New York City.
An Unusual Picture
"An Accidental Alibi," a near release of the Edison
company, is an unusual photoplay in a good many re-
spects. The story of this unique film runs as follows :
Joe Hardy, a young farmer of good family and standing
but somewhat wild in his habits, is in love with Jessie
Barnes, the daughter of a neighboring farmer, and she
returns his affection. He proposes and is accepted, but
when the young people bring the matter to Mr. Barnes
for sanction, he refuses consent on account of Joe's
wildness, and a rather stormy scene ensues in which he
orders the young man to keep away from Jessie, and
forbids her to see him.
Joe, who is hot-tempered, goes to the village and
while taking a drink in the saloon foolishly makes threats
against Barnes' life in the presence of several witnesses.
He later decides to forget it all and go to New York and
enlist. While in the city he is caught by a motion picture
Scene from "An Accidental Alibi.
Edison Release.
camera without knowing it. During his absence Barnes,
while riding through a lonely part of the country is
thrown from his horse. His head strikes a stone and he
dies almost instantly. His body is found early the next
morning by a party of searchers and they immediately
jump to the conclusion that Joe has carried out his threat
334
MOTOGRAPHY
Vol. IX, No. 9
and is the murderer. Joe returns home. There he is
found and taken to jail. He protests his innocence, stat-
ing that he was in New York at the time, but of course
he is not believed. Jessie, however, believes in him, but
as she has nothing to go on except his unsupported
statement that he was in New York on the day that
the crime was committed, the case seems hopeless.
The trial comes up and Joe is convicted on circum-
Scene from "An Accidental Alibi," Edison release.
stantial evidence. After the trial Jessie is persuaded to
visit a friend in New York and while there she visits
a motion picture theater. There, in one of the pictures,
she sees and recognizes Joe. She immediately communi-
cates with his attorney and as a result he is given a new
trial. In the thrilling court rooms scene the new evi-
dence, in the shape of the motion picture is projected
before the judge and the assembled jury. It is abso-
lutely conclusive and the jury gives a verdict of "Not
guilty" without leaving their seats. The attempt to show
a motion picture being projected on a screen is probably
the most realistic ever tried and the idea of showing the
projecting machine and what is being projected is also
a scene of unsual interest. There are many pretty light
effects which will help to make this film one of the most
all-around desirable features
The cast is as follows :
Joe Hardy Augustus Phillips
Jessie Barnes Bessie Learn
Her father Robert Brower
Her mother Mrs. Read
Moving Pictures Advertise Horse Shoes
In order to show farriers, blacksmiths and horse-
shoers all over the country just how the best horse shoes
are made, the Phoenix Horse Shoe Company of Pough-
keepsie and Joliet have had produced a series of moving
pictures showing every detail of their manufacturing pro-
cess. These pictures were taken at the Phoenix plant at
Joliet, Illinois, and are of unusual educational interest,
because they signalize the first use of moving pictures for
advertising purposes in the horse shoe industry. The
opening scene shows a panorama of the Phoenix Joliet
plant with trains of cars backing in and out, of the im-
mense yards and a bird's-eye view of the various build-
ings. Next is shown the big locomotive crane in action,
also the big magnet which lifts hundreds of pounds of
iron as though the weight was nothing. Then we see,
heating and rolling the bloom, shearing billets, heating
and rolling horse shoe bars, shearing bars into lengths
for shoes, bending and pressing shoes, punching nail
holes, inspecting, sorting and packing, making kegs for
Phoenix horse shoes for shipment, and the bull dog toe
calk department, which is one of the most important
features of the plant. This series of moving pictures
is lightened by three scenes, one showing a troop of
United States cavalry shod with Phoenix horse- shoes,
another showing the fire department in action where the
horses are all shod with Phoenix shoes, and the final
scene is a very realistic fight between two bull dogs which
scene is introduced by the title "The Bull Dog Takes
Hold and Never Lets Go" which is one of the advertising
phrases used by the Phoenix Horse Shoe Company in
description of their Bull Dog toe calk.
The first exhibition of this subject was held at
Chicago, Monday April 7, before a private gathering
of moving picture experts and newspaper men, all of
whom were loud in their praise on the subject. The first
advertising use of these pictures was made at a con-
vention which was held at Indianapolis, April 9. For
the months of April and May this film is booked for the
various farriers' conventions throughout the country.
Aftewards, it will be taken by agents of the Phoenix
Horse Shoe Company who call on the export trade par-
ticularly in South America. The series of pictures was
made by the Industrial Moving Picture Company of
Chicago.
Newman Frames to Be Displayed
The Newman Manufacturing Company, of Cincin-
nati, Ohio, and 101-103 Fourth avenue, New York City,
have contracted with the managing director of the In-
ternational Exposition Company for space at the Mov-
ing Picture Convention to be held at the Grand Palace
in New York City from July 7 to July 12. They will
have on display some of the very latest ideas in brass
lobby displays, brass railings, interchangeable signs, etc.
During the exposition the Newman Company will throw
open their entire first floor of the New York branch to
the use of visiting exhibitors, and every courtesy will be
extended them. Mr. S. J. Newman, secretary of the
firm, states that his salesmen on the road report that a
great many exhibitors throughout the country are mak-
ing preparations to attend the convention, and it will
probably be the biggest thing ever attempted along this
line.
Duty on Films May Be Reduced
The tariff on motion picture films is to be lowered
one-fifth of its present total provided the tariff bill, re-
ported to the House, April 7, by Mr. Underwood, chair-
man of the Ways and Means Committee' passes. The
present tariff is 25 per centum ad valorem whereas item
395 of the new tariff, listed under "Schedule N" reads as
follows : "Photographic dry plates or films, not other-
wise specially provided for in this section 15 per centum
ad valorem. Photographic-film negatives or positives,
imported in any form, for use in any way in connection
with moving picture exhibits, or for making or reproduc-
ing pictures for such exhibits, and moving picture films
not developed or exposed, including herein all moving,
motion, motophotography or cinematography film pic-
tures, prints, positives or duplicates of every kind and
nature, and of whatever substance made, 20 per centum
ad valorem."
May 3, 1913
MOTOGRAPHY
335
Brevities of the Business
PERSONAL NOTES.
Paul Scardon of the Reliance Company is receiving the con-
gratulations of his friends on the arrival of a nine-pound
daughter at his home.
Jack Warner is temporarily at the helm of the new Warner
Features office which has been opened in Washington, D. C.
Sydney Goldin now qualifies as a director, out at the Univer-
sal Company's studios.
Frank L. Dyer, president of the General Film Company, is
back from his trip through the south, where he found his com-
pany's popularity to be most satisfactory.
Captain L. A. Boening, of the American Cinematograph
Company, is again at his Chicago offices after a profitable two
weeks in New York demonstrating the camera which his com-
pany puts out.
Charles Weston and wife, Alice Inward, both of the Majestic
Company, have gone to Paris for several weeks' rest.
George Larkin, after a short stay with the Lubin Company,
has succeeded Mr. Gebhardt as leading man with the Pathe
people under the direction of James Young Deer, for whom he
previously had played leads.
Irving Cummings, of the Reliance studio, will take a vaca-
tion in May and spend it on an automobile trip through New
Jersey and Pennsylvania, stopping en route at a number of
picture houses where his appearance will be a program feature.
George L. Cox, one of Chicago's best known motion picture
producers, is now producing for the Advance Motion Picture
Company. Mr. Cox has engaged an entire troupe of players and
the first release will be announced very soon.
L. Rogers Lytton. a Vitagraph player, has been promoted to
the rank of director, having overseen the production of several
successful screen plays.
W'ittenberg and Bodenshatz, of Woodstock, 111., dropped into
Motography's office last we_ek with the information that they
are going to give Woodstock a motion picture house that will
lead in the way of attraction.
William Fox has signed a contract with the Kinemacolor
Company of America, whereby the original nature-colored motion
pictures will be installed in all the theaters of the Fox circuit.
Among the theaters in New York and Brooklyn may be men-
tioned The Washington, City, Crotona, Folly, Star, Riverside
and Nemo.
J. Ludwig Price, husband of Mrs. Kate Price, of the Vita-
graph stock company, died unexpectedly at 8 :30 a. m. on April 9.
at St. Mary's Hospital, Brooklyn. Death was due to heart
failure following severe asthmatical paroxysms. Mr. Price was
45 years old and had been married 20 years. He and Mrs. Price
had been partners in the old "Variety" days, and were very
closely attached to one another. Much sympathy has been ex-
pressed for Mrs. Price by her fellow-workers at the Vitagraph
plant, who sent a floral wreath. The funeral was held from
the home, 1521 East Fifteenth street, Brooklyn.
Miss Hettie Gray Baker, of Hartford, Conn., author of many
popular and artistic Selig photodramas, among them "Sally in
Our Alley" and "Old Songs and Memories," stopped off in
Chicago last week on her way to California. During her stay
in the western metropolis she was a visitor at the Selig studios
where she witnessed the production of an elaborate picture by
Oscar Eagle, the scenario for which Miss Baker recently wrote.
J. Stewart Blackton, vice-president and secretary of the
Vitagraph Company, left New York for Naples on March 29.
accompanied by his friend and fellow-artist, Carle J. Brumner.
They intend to spend the next few weeks on a sketching tour
through Italy and will pick up an art treasure or two to bring
home with them. This is the first vacation taken by Mr. Black-
ton for a considerable time. He has been working at high
pressure and has been forced by the condition of his health to
take a rest. He expects to return refreshed and ready for work
again towards the end of May, as he is scheduled to officiate
at the opening of the Atlantic Yacht Club, of which he is com-
modore, on May 30.
Miss Adele Lane has opened with the Selig Pacific Coast
forces, taking the principal part in an exciting American-Mexican
romance, impersonating a passionate Spanish girl in love with
an American army officer, played by Harold Lockwood. The
picture was put on in a big, bold way by Director Martin. The
photoplay is entitled "The Flight of Princess Irma."
Aaron Jones, of the Chicago theatrical firm of Jones, Linick
& Shafer, went to New York recently to secure the Kinemacolor
film service for the Willard and Wilson theaters immediately.
Later Kinemacolor will be installed in the other houses of their
Chicago motion picture circuit, but Mr. Jones wanted to be first
in the field with their pet theaters.
Nellin C. Sturgeon, the manager of the Vitagraph western
studios at Santa Monica, Cal., recently leased the Majestic moving
picture theater in that flourishing little city.
George Peters, one of the Selig Polyscope Company's star
camera men, has been transferred from the Chicago studios to
the producing branch at Prescott, Arizona. Peters has been the
recipient of a great deal of praise recently because of his excel-
lent work in securing the pictures of the Dayton flood which
the Selig people recently released.
J. L. Kempner has been appointed general representative of
the Chicago office opened in the Morton Building, Dearborn
street near Madison, by the Kinemacolor Company. The new
office is the result of insistent demands from the mid-western
territory for another distributing station of the film service
department.
ROLL OF THE STATES.
ARKANSAS.
Moving pictures have been introduced in the schools at Fort
Smith. This is the first city in the state to add them to the public
school system. The first machine was installed at DuVal school.
It was purchased by the scholars and faculty by subscription.
CALIFORNIA.
Confirmation was given by the council recently to Mayor
Alexander's appointments of Miss Florence G. Moore and Mrs.
P. G. Hubert to the board of moving picture censors at Los An-
geles.
A new theater will be erected at Fresno. L. L. Cory, W.
Parker Craycroft and others interested.
COLORADO.
Boulders' magnificent mountain scenery has caused the
Sowers Publicity company of Denver to enter into a contract
with the Boulder Commercial association for taking a 1,000-foot
moving picture reel of Boulder and vicinity, to be shown in the
independent moving picture houses of the country without cost
to the city The views are to be taken during the 1913 tourist
season and will take in pictures of the State university, Colorado
Chautauqua. Flagstaff and Green mountains, the Flatirons of
the Rocky Mountains, stretches of road on the new Denver
Boulder highway and of the scenery along the Switzerland trail
railroad through Boulder county in the Arapahoe peak region.
DELAWARE.
The Avenue Theater at Wilmington has been sold by David
M. Hess estate of Philadelphia to Mrs. Patterson.
GEORGIA.
Ed Peters, a capitalist of Rome, has announced that plans
are being drawn by an architect for the erection at the old Lyric
theater site of a new theater, which will be ready for operation
this summer. An entirely new building will be erected for the
use of a moving picture house and small attractions.
IDAHO.
Theodore Fohl will erect a moving picture theater building
at Oropino.
ILLINOIS.
Amusement company, Aurora; capital, $10,000 ; operate the-
aters, moving pictures, etc. ; incorporators, William C. Flanmgan,
William J. Mullen, Mae Mullen.
La Grange's new moving picture theater is rapidly reaching
completion. It is expected that everything will be ready for
operation by the first of May.
The show will be under the management of the American
Theater Co. P. A. Kelner, a former resident of LaGrange, is the
manager of this company, and states that he will do all in his
power to give the people of LaGrange a strictly up to date place
of amusement. There will be a seating capacity of 450 people.
Each seat will sell at ten cents, there being an entire change
of films daily.
Rogers Everett Feature Film Exchange, Chicago; capital,
$10,000. Incorporators, Byron W. Everett, Russell N. Rogers and
Beryl B. Collins.
Columbia Transparency, Chicago, $5,000 ; manufacturing and
dealing in moving picture machines and apparatus. Incorpora-
336
MOTOGRAPHY
Vol. IX, No. 9
tors : Harold L. De Lisle, Matthias F. Adams and Wilhelmina
K. Borgmeier.
The Green River Amusement Company of Amboy has re-
cently purchased a high grade moving picture machine. It is the
purpose of this company to give moving picture entertainments
every Wednesday and Sunday evening commencing at 8 o'clock
sharp.
Milo Phares has purchased the Star Theater in Henry, a
moving picture place, and will operate it as soon as he can get
necessary remodeling done. This is the only theater of any
kind in the city.
INDIANA.
Articles of incorporation of the Ticket Premium company
of Fort Wayne were filed in Indianapolis for the purpose of con-
ducting picture shows. The capital stock is $10,000. The direc-
tors are : E. T. Keech, J. Kaminski, Edward Krause and F. L.
King.
IOWA.
Wilson Bender has leased the old meat market building on
Second street, Ida Grove, and will start a moving picture theater
there this spring. He has secured a lease on the property and
will remodel the building, putting in a new front and practically
rebuilding the structure for the special use of the theater.
W. L. Hester has leased the Grand opera house at Ida
Grove and has opened a moving picture show there.
Chariton has a second picture show, the Grand Theater,
under the management of J. D. Banning being thrown open to
the public. The room was especially arranged for a moving
picture show with high ceilings, a loft in the rear for the
operator's booth and orchestra, while 240 comfortable opera
chairs have been provided. The booth for the operator is con-
structed of steel with asbestos lining.
KANSAS.
Wichita public schools are to lead the nation in adopting
moving picture courses as planned by Thomas A. Edison and
recently announced by him. At least five of Wichita's public
schools will have motion picture courses, to be used in connection
with regular class work next winter. Contracts for the construc-
tion of two new buildings, plans for which have been completed
recently, were let by the board of education. Both of these new
buildings will have auditoriums, and the auditoriums will be
equipped with motion picture machines. Preliminary plans for
the new Carlton school building contemplate the use of the mov-
ing picture machine.
KENTUCKY.
J. F. Hawn and others will erect a moving picture theater
at Barbourville.
The New Albany Amusement Company will remodel the
large four-story brick building on the south side of Main street,
between Pearl and State streets, Louisville, to convert it into
a vaudeville and motion picture theater.
LOUISIANA.
C. A. Demeris, manager of Dreamland theater at Shreve-
port, will remodel building at 224 Texas street for moving pic-
ture theater.
MARYLAND.
Roscoe Cook Tindall, the architect, has received bids for the
alteration of the moving picture theater at Salisbury.
MICHIGAN.
Harry Goseline, the well known local vocalist and former
vaudeville and minstrel performer, opened his moving picture
theater on North Washington avenue and hundreds attended its
premier. It is a very attractive house and is well equipped. The
front is white and of tasteful design. The entrance and exit
on either side of the ticket booth are double doors. The interior
is principally white, trimmed with red velour. The ceiling is of
heavy steel.
MINNESOTA.
Permits for the erection of two moving picture theaters on
University avenue, St. Paul, to cost $10,000 each were issued
last week. Ellsworth Cameron will build on University between
Mackubin and Kent and H. J. Breilein will build on University
near Farrington.
MISSOURI.
Mr. and Mrs. Claude McDonald of Mt. Ayr, have opened
an up-to-date and up-to-minute picture show at Bethany. They
leased the north room of the Harrison County Bank- building,
recently occupied by Chas. Zimmerlee, took possession at once
and fitted it up with opera chairs, an elevated floor, a $600
electric piano and fixtures bought in Chicago.
G. W. Ellsworth will erect moving picture theater at 2510
East Thirty-ninth street, Kansas City; cost $4,950.
The Gem moving picture theater at Higginsville has been
opened for business. It is the best fitted and most attractive
theater that has ever been in Higginsville and A. G. Quails, the
proprietor, has spent much time and money in fitting up the
place. It is located just south of the American bank.
NEBRASKA.
A special election will be held in the near future to give
the citizens of Seward an opportunity to vote on whether or
not the moving picture shows are to be closed on Sunday.
NEW JERSEY.
Klaw & Erlanger purchased a tract on Lemoine avenue,
Fort Lee, near Hackensack, for improvement with a moving
picture plant for the manufacture of films.
Plans were filed by Thompson Bros., contractors, for a
moving picture theater at 1829 Atlantic avenue, Atlantic City.
PENNSYLVANIA.
J. T. Sanders has the contract to erect a $10,000 moving
picture theater on' McKean street, Philadelphia, for James Mc-
Monigle.
Carl P. Berger will invite estimates on a moving picture
theater at Yark, Hope and Howard streets, Philadelphia, for
Zorn & Spaulding. Cost $30,000.
The contract has been let for the erection of a $14,000
moving picture theater at 2768 Ruth street, Philadelphia. F. C.
Michaelsen, manager.
Plans by John D. Allen for a moving picture theater in
Frankford for William Freihofer were filed last week.
SOUTH CAROLINA.
C. L. Jorden, one of Allendale's public-spirited citizens, has
arranged to give Charleston a moving picture show five nights
of each week. He proposes to show for the white people three
nights and for the negroes two nights. The entertainment for
the negroes is to be given in a separate hall.
SOUTH DAKOTA.
The bids for the construction of the new Orpheum theater
in Sioux Falls were opened in Chicago and the bid of the Sioux
Falls Construction Company was accepted.
TENNESSEE.
The Empress is the name of the new picture show which
has been opened at the corner of Woodland and 12th streets in
East Nashville. C. W. Beasley and F. E. Draper, managers.
Permit issued to W. L. Delheim at Birmingham to build a
brick theater to cost $16,000.
The moving picture show at the opera house, Murfreesboro,
which has been operated for several years by Horace Hunt,
has changed hands, Mr. Hunt selling his equipment and lease for
five years to Ben Ransom, a well known clothing merchant of
that place. The transfer became effective April 1.
TEXAS.
Earnest Fowler and Henry Burdeck have opened the Elec-
tric, their new picture show at Fowlertown. It is located on
Texas street.
Thomas Tatum, an Orange citizen, announced that he would
erect a building on the grounds formerly occupied by the old
opera house on Division street, where he would conduct a
moving picture show.
W. E. Mayes, who recently purchased the lot near the
Bimini bath house at Mineral Wells, let the contract to Shirley &
Galley to erect a building which will be used for a picture show
and vaudeville.
WEST VIRGINIA.
Mr. Francis, proprietor of the picture theater in the old
Church of God property on Sixth street, Wheeling, will make
elaborate improvements on the place in the near future. J. C.
Weidman, owner of the building, has decided to have the mam
auditorium remodeled and enlarged and Mr. Francis will furnish
and decorate the interior in a thoroughly up-to-date manner.
The theater is at present entirely too small to accommodate the
many desiring to attend nightly.
WISCONSIN.
A moving picture theater is being erected at 617 University
avenue, Madison, by Knudt Johnson. Cost $6,000.
The Gem Theater at Portage will be remodeled by Manager
Huber.
State censorship for moving pictures is the object of a bill
to be submitted to the legislature by Charles H. Phillips, presi-
dent of the Exhibitors' League of Milwaukee. That league is
opposed to city censorship, believing that state censorship will be
more effective. The proposed board will have a right_ to pass
upon all moving picture shows and songs that are sung in places
of entertainment.
May 3, 1913
MOTOGRAPHY
337
Complete Record of Current Films
Believing the classification of film pictures by the nature of their subjects to be of greater importance to the exhibitor than classification by maker,
Motography has adopted this style in listing current films. Exhibitors are urged to make use of this convenient tabulation in making up their program*.
Films will be listed i-s long in advance of their release dates as possible. Film manufacturers are requested to send us their bulletins as early as possible.
Reasonable care is used, and the publishers cannot be responsible for errors. Synopses of current films are not printed in Motography as they may be
obtained of the manufacturers.
LICENSED
Date
4-16
4-16
4-16
4-17
4-17
4-17
4-17
4-17
4-18
4-18
4-18
4-18
4-19
4-19
4-19
4-19
4-19
4-19
4-19
4-21
4-21
4-21
4-21
4-22
4-22
4-22
4-22
4-22
4-23
4-23
4-23
4-23
4-23
4-24
4-24
4-24
4-24
4-25
4-25
4-25
4-25
4-26
4-26
4-26
4-26
4-26
4-26
4-26
4-26
4-26
4-28
4-28
4-28
4-28
4-28
4-29
4-29
4-30
4-30
4-30
4-30
4-30
5-1
5-1
5-1
5-1
5-1
S-2
5-2
5-2
5-2
5-2
5-2
5-3
5-3
5-3
5-3
5-3
5-3
5-3
4-12
4 12
4-14
4-14
4-14
4-14
4-15
4-15
415
4-16
4 16
4-17
4-18
DRAMA.
Title Maker Length
The Italian Bride Patheplay
A Plot for a Million Kalem 1,000
After the Honeymoon Vitagraph 1,000
A Frightful Blunder Biograph
The Unknown Essanay 1 ,000
The Right Road Lubin 1,000
The Tie of the Blood Selig 1,000
Sleuthing Vitagraph 1,000
The Man from the West Edison 1,000
The Crossing Policeman Essanay 1,000
The Power of the Cross ..." Lubin 2,000
Playing with Fire Vitagraph 1,000
A Misunderstood Boy Biograph
For His Child's Sake Cines 1,000
The Twelfth Juror Edison 1,000
The Fire-Fighting Zouaves Kalem 1,000
A Florida Romance Lubin 1,000
The Pride of Innocence Patheplay
The Wrong Road to Happiness Patheplay 2,000
The Left Handed Man Biograph 1,000
The Sneak Kalem 1,000
Back to the Primitive Lubin 1,000
The Artist's Great Madonna Vitagraph 2,000
A Heart of Steel Cines, 1,000
An Innocent Informer Edison 1,000
The Unburied Past Essanay 1,000
Seeds of Silver Selig 1,000
The Mystery of the Stolen Jewels Vitagraph
The Miser's Millions Cines 2,700
A Four-Footed Detective Eclipse 1,000
Love the Winner Selig
The Outlaw Patheplay 1,000
The Secret Marriage Kalem 1,000
How Chief Te Bonga Won Kis Bride Melies
The Thwarted Plot Patheplay 1 ,000
Love in the Ghetto Selig 1,000
The Power That Rules Vitagraph 1,000
The High Tide of Misfortune Edison 1 ,000
Diamond Cut Diamond Lubin 1,000
The End of the Quest Lubin 2,000
The Stronger Sex Vitagraph 1,000
The Ladv and the Mouse Biograph 1,000
Forgotten Cines 800
A Splendid Scapegrace Edison 1,000
Broncho Billy and the Rustler's Child Essanay 1,000
The Fighting Chaplain Kalem 1,000
The Birthmark Lubin 1,000
An Exciting Honeymoon Patheplay 2,000
A Fighting Chance Vitagraph 1,000
The Count's Will Patheplay
The Haunted House Kalem 1,000
In the Harem of Haschem Lubin 1 ,000
Roses of Yesterday Selig 1,000
Hearts of the First Empire Vitagraph 2,000
O'Hara and the Youthful Prodigal Vitagraph 1,000
The Orphan Edison 1,000
Granny Lubin 1 ,000
Through Many Trials Lubin 2,000
The Burglar Who Robbed Death Selig 1.000
The Mexican Defeat Patheplay
The Eighth Notch Kalem 1,000
A Window on Washington Park Vitagraph 1,000
If We Only Knew Biograph 1 ,000
The Story the Desert Told Essanay 1,000
The Veil of Sleep Lubin 1,000
A Buried Treasure Melies
The Parting Eternal Patheplay 1,000
Groundless Suspicion Edison 1 ,000
A Child's Precaution Essanay 1 ,000
The Broken Vow Cines 2,000
The Girl Back East Lubin 1,000
Their Stepmother Selig 1,000
Cinders Vitagraph 1,000
The Wanderer Biograph 1 ,000
Billy s Sweetheart Edison 1,000
The Crazy Prospector Essanay 1,000
Ihe Wayward Son Kalem 1,000
General Scott s Protege Patheplay 1,000
The Diamond Miniature Patheplay 2,000
Captain Mary Brown Vitagraph 1,000
COMEDY.
Keeping Tab on Sammy Cines 800
Pete Tries the Stage Lubin 1,000
A Horse on Bill . Biograph 500
He Had a Guess Coming Biograph 500
Mimmie, the Widow Lubin 400
One on Romance Lubin 600
The New Pupil ... Edison 1,000
The Pawned Bracelet Lubin 1,000
The Fortune ...... Vitagraph 1,000
Seven Years Bad Luck Edison 1,000
\££ C?pt£re •••/••V--K Essanav 1,000
What is Sauce for the Goose Melies 684
1 he Bravest Girl in California Kalem
Date. Title Maker. I.
4-18 Baby's New Pin Lubin
4-18 Beating Mother to It Lubin
4 18 Cured of Her Love Selig
4-18 That Mail Order Suit Selig
4 19 Alkali Ike's Homecoming Essanay
4-19 Seeing Double Vitagraph
4-21 Hulda of Holland Edison
4-21 Alas Poor Yorick Selig
4-21 Mixed Identities Vitagraph
4-22 A Slight Mistake Lubin
4-22 Sunshine Sue Lubin
4-22 In the Good Old Summer Time Vitagraph
4-23 His Undesirable Relatives Edison
4-23 The Rival Salesmen Essanay
4-23 Dollar Down, Dollar a Week Selig
4-23 There's Music in the Hair Vitagraph
4-24 A Rag Time Romance Biograph
4-24 The Cure Biograph
4-24 The School Principal Lubin
4-25 The Deacon's Dilemma Essanay
4-25 The Phoney Singer Kalem
4-25 Arabia Takes the Health Cure Selig
4-28 Blame the Wife Biograph
4-28 The Daylight Burglar Biograph
4-28 When the Right Man Comes Along Edison
4-29 The New Arrival Cines
4-29 Cousin Jane Essanay
4-29 Hiram Buys an Auto Selig
4-29 Two Company, Three a Crowd Vitagraph
4-30 Grandpa's Rejuvenation Eclipse
4-30 A Reluctant Cinderalla Edison
4-30 Cousin Bill Essanay
4-30 A Coupon Courtship Kalem
5-1 Absent-Minded Mr. Boob Selig
5-1 Bunny vs. Cutey Vitagraph
5-2 Fatty's Busy Day Kalem
5-3 The Rival Lovers : Cines
5-3 Jerry's Rebellion Cines
5-3 Clarence at the Theater Lubin
5-3 Fixing Aunty Up Lubin
EDUCATIONAL.
4-11 The Capture of a Wild Cat Edison
4-11 The Analysis of Motion Patheplay
4-11 The Locust Patheplay
4-11 Laying a Marine Cable Vitagraph
4-17 A Tahitian Fish Drive (Manners and Customs) ... .Melies
4-17 Glimpses of the National Capital Patheplay
4-17 The Sponge Industry in Cuba Patheplay
4-18 School of Gymnastics (Military) Patheplay
4-18 The Cuttlefish Patheplay
4-9 Jean and Her Family Vitagraph
4-19 On An Alligator Farm Imp
4-25 Japan the Industrious Kalem
4-25 Our Feathered Friends Patheplay
4-29 The Cormorant Patheplay
4-29 Hidden Life in Seaweed Patheplay
4-30 The Panama Canal Today Patheplay
5-1 The Home of Terms Melies
5-1 Some Chickens _ Selig
5-1 Uses of Dynamite by U. S. Engineering Corps. .Vitagraph
5-2 Liquid Air Patheplay
SCENIC.
4-21 Canton, China Selig
4-22 Ancient Greece Patheplay
4-24 City of Mexico Essanay
4-24 A Trip to the Waitoma Caves of New Zealand Melies
4-25 A Trip on the Seine, France Patheplay
4-26 Views in Liege, Belgium Ci nes
4-29 Scenes and Ruins Near Rome Cines
4-29 Along the River Eure, France Patheplay
4-29 Chinese Scenes Selig
4-29 Street Scenes, Yokohama, Japan Vitagraph
4-30 A Picturesque Jouney in Western France Eclipse
5-2 Winter in Upper Engadine, Switzerland Patheplay
TOPICAL.
4-21 Pathe's Weekly, No. 17 Patheplay
4-21 Gala Day Parade, Yokohama, Japan Vitagraph
4-22 Winter Sports at Bodele Patheplay
4-23 Crowds Attending Gods in Temple, Tokio, Japan. .Vitagraph
4-28 Pathe's Weekly, No. 18 Patheplay
4-30. German Cavalry Maneuvers Eclipse
5-2 Old Women of the Streets of New York Kalem
ength.
400
6O0
1,000
1,000
500
500
1,000
1,000
1,000
1,000
1,000
1,000
800
1,000
350
1,000
1,000
500
500
400
600
350
316
1,000
200
250
1,000
1,000
400
DAILY LICENSED RELEASES
MONDAY: Biograph, Edison, Kalem, Lubin, Pathe, Selig, Vita-
graph.
TUESDAY: Edison, Essanay, Cines- Kleine, Lubin, Pathe, Sella
Vitagraph. s*
WEDNESDAY: Edison, Essanay, Kalem, Eclipse-Kleine, Pathe
Selig, Vitagraph.
THURSDAY: Biograph, Essanay, Lubin, Melies, Pathe, Selie
Vitagraph.
FRIDAY : Edison, Essanay, Kalem, Lubin, Pathe, Selig Vita-
graph.
SATURDAY: Edison, Essanay, Cines-Kleine, Kalem, Lubin
Pathe, Vitagraph.
338
MOTOGRAPHY
Vol. IX, No. 9
INDEPENDENT
Date
4-12
4-14
4-14
.4-14
' 4-15
4-15
4-15
4-16
4-16
4-16
4-16
4-16
4-17
4-17
4-17
4-18
4-18
4-18
4-18
4-18
4-18
4-19
4-19
4-19
4-19
4-19
4-21
4-21
4-21
4-22
4-22
4-22
4-23
4-23
4-23
4-23
4-24
4-24
4-25
4-25
4-25
4-25
4-26
4-26
4-27
4-27
4-28
4-28
4-28
4-29
4-29
4-29
4-30
4-30
4-30
4-30
4-30
5-1
5-1
5-1
5-1
5-2
5-2
5-2
5-2
5-2
5-3
5-3
5-3
5-4
4-10
4-12
4-12
4-13
4-14
4-14
4-14
4-14
4-15
4-15
4-16
4-16
4-17
4-17
4-17
4-17
DRAMA.
Title Maker Length
The She-Wolf Reliance
Blood Will Tell Imp
The Moving Picture Girl Excelsior
Suspended Sentence American
Bred in the Bone 101 Bison 2,000
Pedro's Revenge Majestic
The Girl and the Grafter Thanhouser 1,000
An Affray of Honor Nestor
The Lesson Powers
The Evil Genius Eclair 2,000
Held for Ransom Reliance 2,000
A Southern Cinderella Broncho 3,000
The Leader of His Flock Imp 2,000
A Friend of the Family Rex
In Another's Nest American
Paying for Silence Nestor
The Troubadour of the Ranch Powers
The Coward's Charm Victor
Retribution Thanhouser 1,000
The Leopard Avenger Lux 1,000'
Where Love Dwells Solax 1 ,000
The Last Roll Call Bison 2,000
Why' the Ranger Resigned Frontier
The Ways of Fate American 1,000
The Good Within Reliance
The Two Convicts Great Northern 1,000
The Regeneration of John Storm Imp 1,000
The Man from the City Excelsior 1,000
When Strong Men Meet Champion 1,000
Bred in the Bone Bison 3,000
An American in the Making Thanhouser 1,000
O Komo San Gaumont
The Sheriff's Warning Nestor 1,000
Mathilda Eclair 2,000
Retrogression Broncho 2,000
The Hoodoo Pearls Reliance 1,000
The Dragon's Breath ! Rex 2,000
The Daughter of the Sheep Rancher Frontier 1,000
For Her Sake Nestor 1,000
Loneliness and Love Victor 1,000
Will o' the Wisp Kay Bee 2,000
For Another's Sin Thanhouser 1,000
The Black Chancellor Great Northern 3,000
The Woman Hater's Deceit Reliance 1,000
The Wayward Sister Rex 1,000
The Law of the Wild Eclair 1,000
The Cub Imp 1,000
Oil on Troubled Waters ; American 2,000
The Surveyors Excelsior 1 ,000
The Last Roll Call Bison 2,000
The Girl Detective's Ruse Thanhouser 1,000
The Whim of Destiny Majestic 1,000
The Greater Love Nestor 1,000
In a Strange Land ; Powers 1,000
The Return of Crime Eclair 2,000
Bread Cast Upon the Waters Broncho 2,000
The Bawlerout Reliance 3,000
The Rise of Officer 174 Imp 2,000
The Turn of the Tide Rex 1,000
The Word of Jose Frontier 1,0.00
The Tattooed Arm American 1 ,000
The Ingrate Nestor 1 ,000
The Unseen Influence Victor 1,000
A Black Conspiracy .■ Kay Bee 2.000
The Widow's Strategy Thanhouser 1,000
The Miller's Daughter Lux
The Vengeance of the Skystone Bison 2,000
The Good Within Reliance 1 ,000
The Road to Ruin American 1,000
A Country Maid's Romance Majestic 1,000
COMEDY.
Willie Prefers Liberty to Wealth Mutual
The Mysterious Card Imp
The Bewitched Rubber Shoes Great Northern
Billy's New Watch Majestic
A Night of the Garter Nestor
Dad's Surprise Nestor
Lena's Flirtation Champion
A Life in the Balance Keystone
Billy Turns Burglar Gem
Lobsters, All Styles Gaumont 1,000
Some Doings at Lonesome Ranch Frontier
The Mystery of the Lost Hat Solax 1,000
Murphy's I. O. U Keystone
A Dollar Did It Keystone
Willie and the Conjurer Mutual
When Scandal Threatened Gaumont 1 ,000
DAILY "MUTUAL" RELEASES
(Independent.)
MONDAY: American, Keystone, Excelsior.
TUESDAY: Majestic, Thanhouser.
WEDNESDAY: Broncho, Mutual Weekly, Reliance.
THURSDAY: American, Mutual, Keystone.
FRIDAY: Kay-Bee. Thanhouser.
SATURDAY : American, Reliance.
SUNDAY: Majestic, Thanhouser.
Date
4-18
4-19
4-20
4-20
4-20
4-20
4-20
4-20
4-21
4-21
4-21
4-22
4-22
4-22
4-23
4-23
4-24
4-24
4-24
4-24
4-24
4-23
4-25
4-25
4-25
4-26
4-26
4-26
4-27
4-27
4-27
4-27
4-28
4-28
4-28
4-28
4-29
5-1
5-1
5-1
5-2
5-2
5-3
5-3
5-4
4-7
4-15
4-17
4-20
4-24
4-26
4-28
4-22
4-29
5-1
4-2
4-2
4-3
4-9
4-9
4-9
4-16
4-16
4-23
4-23
4-30
4-30
5-3
Title Maker
The Runaways Kay Bee
Fixing the Fakirs Imp
The Children's Conspiracy Thanhouser
I Love You Majestic
His Romantic Wife ". . . Crystal
Two Lunatics Crystal
Poor Little Chap Eclair
He Was Only Dreaming Eclair
His Friend Jimmy Nestor
Boobs and Bricks American
Cupid in a Dental Parlor Keystone
Burglarizing Billy Gem
Against the Law Gem
Not for Mine Majestic
When Dolly Died Powers
His Wife's Affinity Solax
A Sprig of Shamrock Imp
A Fishy Affair Keystone
The Bangville Police Keystone
When Jim Returned American
Funnicus is Tired of Life Mutual
The Sham Suffragette Powers
A Truant Husband Lux
Safeguard for Bachelors Lux
A Severe Test Solax
Why Men Leave Home Imp
The Old Man's Last Attempt Frontier
Calamity Anne's Trust American
Rose's Revenge Thanhouser
Old Mammy's Charge Majestic
Forgetful Flossie . Crystal
A Joke on the Sheriff Crystal
When Father Was Kidnapped Nestor
The Clown Hero Champion
The New Conductor Keystone
His Chum the Baron ....Keystone
Billy's Suicide Gem
That Ragtime Band Keystone
The Old Invalid Mutual
The Shoe on the Other Foot Gaumont
Neighbors Powers
The Invisible Hand Lux
Her Lover's Voice Imp
An Eastern Cyclone at Bluff Ranch Frontier
Express C. O. D Thanhouser
EDUCATIONAL.
The Life Savers of Chicamacomico Chmapion
The Laplanders Gem
Village Customs in Ceylon, India (Manners and Customs)
Mutual
Fire Eclair
Electrical Phenomena Mutual
The Pottery Industry Imp
Life in Soudan Champion
SCENIC.
The River Romantic Gaumont
Views of Cape Hatteras Gem
Tachkent, Asiatic Russia Mutual
TOPICAL.
Animated Weekly, No. 56 Universal
Gaumont's Weekly, No. 56 Gaumont
Mutual Weekly, No. 14 Mutual
Animated Weekly, No. 57 Universal
Mutual Weekly, No. 15 Mutual
Gaumont's Weekly, No. 57 Gaumont
Animated Weekly, No. 58 Universal
Mutual Weekly, No. 16 Mutual
Animated Weekly, No. 59 Universal
Mutual Weekly, No. 17 Mutual
Animated Weekly, No. 60 Universal
Mutual Weekly, No. 18 Mutual
Opening of the 1913 Baseball Season Imp
Length
1,000
1,000
500
500
500
1,000
1,000
1,000
500
500
1,000
1,000
1,000
1,000
500
500
1,000
500
1,000
500
500
1,000
500
1,000
1,000
1,000
1,000
1,000
500
500
1,000
500
1,000
1,000
1,000
1,000
500
500
500
500
KINEMACOLOR
DAILY UNIVERSAL RELEASES
(Independent.)
MONDAY: Champion, Imp, Nestor.
TUESDAY: Bison, Gem.
WEDNESDAY: Animated Weekly, Eclair, Nestor, Powers.
THURSDAY: Imp, Rex, Frontier.
FRIDAY: Nestor, Powers, Victor.
SATURDAY: Imp, Bison, Mecca.
SUNDAY: Crystal, Eclair, Rex.
1,000
1,000
1.000
1,000
DRAMA.
Nathan Hale Kinemacolor 3,925
Her Son Kinemacolor 2,900
A Matter of Honor , Kinemacolor
COMEDY.
Keeping Up With Hubby Kinemacolor
EDUCATIONAL.
Water Babies Kinemacolor 1,105
The Marble Industry at Carrara, Italy Kinemacolor 1,175
SCENIC.
The Bernese Overland, Switzerland Kinemacolor 675
Madras, Mysore and Goa Kinemacolor 1,080
VOL. IX.,
MAY 17, 1913.
No. 10
Published Bi-Weekly by Electricity Magazine Corporation, Monadnock Building, Chicago
MAUDE FKALY
IN MOTION PICTURES
&/
TWO REELS
TWO REELS
JAPANESE DAGGER
Copyright. 1913, by George Kleine
PURCHASING THE DAGGER
ABOARD THE BATTLE-SHIP
An Absorbing Story of Two Continents,
Involving Love, Jealousy and Superstition
Released
May 12, 1913
GEORGE KLEINE
166 N. State Street
CHICAGO
Released
May 12, 1913
SPECIAL HERALDS
may be procured (or this feature film from your
EXCHANGE or GEO. KLEINE
ONE, THREE and SIX-SHEET POSTERS
from ARMSTRONG LITHOGRAPH CO.
Cleveland, Ohio
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May 17, 1913
MOTOGRAPHY
EASTMAN
motion picture
film— the acknowl-
edged standard the
world over.
Manufactured by
EASTMAN KODAK CO.,
ROCHESTER, N. Y.
ANNOUNCEMENT.
The Fireproof Film
Company is prepared to
accept orders and make
contracts for motion
picture film guaranteed
to be superior to the
best on the market.
Manufactured by
FIREPROOF FILM COMPANY
ROCHESTER, N. Y.
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If you saw it in MOTOGRAPHY, SAY SO!
WITH WHICH IS INCORPORATED THE NICKELODEON
CHICAGO, MAY 17, 1913
PUBLISHED BI-WEEKLY BY
ELECTRICITY MAGAZINE CORPORATION
MONADNOCK BUILDING, CHICAGO
Telephones: Harrison 3014 — Automatic 61028
Ed. J. Mock and Paul H. Woodruff, Editors
Neil G. Caward, Associate Editor
Mabel Condon, Associate Editor
Allen L. Haase, Advertising Manager
Entered as second-class matter at the postoffice at Chicago, Illinois, under
act of March 3, 1879.
TERMS OF SUBSCRIPTION
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Single copy 10
NOTICE TO ADVERTISERS
Changes of advertising copy should reach the office of publication not
less than ten days in advance of date of issue. Regular date of issue, every
other Saturday. New advertisements will be accepted up to within five days
of date of issue, but proof of such advertisements can not be shown in
idvance of publication.
NOTICE TO SUBSCRIBERS
Remittances— Remittances should be made by check, New York Draft
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remitted direct by International Postal Money Order, or sent to our London
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S. Rentell & Co., Representatives
This publication is free and independent of all business or house con-
nections or control. No manufacturer or supply dealer, or their stockholders
tr representatives, have any financial interest in Motography or any voice in
its management or policy.
CHICAGO, MAY 17, 1913
TABLE OF CONTENTS
CONTENTS.
Scene from "Into the North" Frontispiece
Editorial 339-340
Legislating Ventilation 339
Perhaps They're Not So Bad 340
"Quo Yadis?" in Eight Reels 341
Current Kleine Comment 342
Globe Trotters Are Still Busy 343
Sans Grease Paint and Wig. By Mabel Condon 345-346
On the Outside Looking In. By the Goat Man 347-350
Essanay's Into the North 351-352
Motion Picture Making and Exhibiting. By John B. Rathbun. . .353-356
Another Selig Animal Picture 357-358
Motography's Gallery of Picture Players 359
Just a Moment Please 360
Who's Who in the Film Game 361-362
The Motion Picture Exhibitor's League of America 363-365
Prominent Exhibitors 366
Current Educational Releases 367-368
Of Interest to the Trade 369-374
Brevities of the Business 375-380
Complete Record of Current Films 381-382
LEGISLATING VENTILATION.
PICTURE theaters which have been built expressly
for that purpose are almost universally provided with
ample means of ventilation. So are a great many — per-
haps the majority — of rebuilt theaters. But there still
remain a substantial minority of small shows and "store
theaters" which, through negligence and structural diffi-
culties, are inadequately ventilated.
Ventilation and sanitation need no argument.
Everyone will admit their necessity in some degree; and
since ventilation is now an exact science, the proper de-
gree is in all cases a definite figure. It becomes essential
merely to learn the figure and apply it.
Negligence is bound to be a factor, however, in all
work of man, and frequently legislation is necessary to
enforce proper rules of living. This fact is taken into
consideration in a report of the committee on standards
for ventilation legislation for motion picture show places,
presented at the recent annual meeting of the American
Society of Heating and Ventilating Engineers. This re-
port makes the following recommendations of minimum
requirements that are practical to secure :
1. Floor Area per Occupant. — A minimum of four and one-
third square feet of floor area, as a seating space, per occupant,
exclusive of aisles and public passageways, shall be provided in
the audience hall.
2. Cubic Space per Occupant. — A minimum of 80 cubic feet
of air space, per occupant, shall be provided in the audience hall.
3. Quantity of Outdoor Air. — A positive supply of outdoor
air from an uncontaminated source shall be provided the audience
hall at all times while the show place is open to the public and
the quantity of this positive supply of outdoor air shall be based
on a minimum requirement of 15 cubic feet per minute, per
occupant.*
Temperature. — The temperature of the air in the audience
hall shall at all times, while the show place is open to the public,
be maintained throughout at the breathing line (persons being
seated) within the range of 62 degrees F. to 70 degrees F. (ex-
cept when the outside temperature is sufficiently high not to
require the air supply for ventilation to be heated). The tem-
perature, distribution and diffusion of the supplied outdoor air
shall be such as to maintain the temperature requirement with-
out uncomfortable drafts.
5. Direct Heat Sources. — Any good heat source which does
not contaminate the air will be accepted to supplement the warmed
outdoor air supply. Gas radiators are prohibited.
6. Machine Booth Ventilation. — Enclosures or booths for
the motion picture machines shall be provided with special ex-
haust ventilation with a capacity to exhaust at all times not less
than 60 cubic feet of air per minute through a one-machine
booth, not less than 90 cubic feet of air per minute through a
two-machine booth, and not less than 120 cubic feet of air per
minute through a three-machine booth.
This requirement shall include a number of small metal
screened openings (equipped with special dampers and auto-
matic appliance with fusible link to automatically close tight in
case of fire in the booth) on the sides of the booth near the
bottom, aggregating 180 square inches for a one-machine booth.
*The ordinance in force in the City of Chicago at the present time
requires that the air in the auditorium in the class of buildings in which
motion picture show places are included, shall be changed so as to supply
for each person for whom seating accommodation is provided, at least 1,500
cu. ft. of air per hour for new buildings, and at least 1,200 cu. ft. of air per
hour for buildings constructed prior to the passage of the ordinance,
which requirements the Illinois Chapter of the Society considers practical
to obtain and desirable to require by legislation for motion picture show
places.
Higher standards of ventilation than set forth as a minimum in the
committee's report are urged wherever possible to obtain.
340
MOTOGRAPHY
Vol. IX, No. 10
210 square inches for a two-machine booth, and 240 square
inches for a three-machine booth ; and this requirement shall also
include a metal or other fireproof flue, extending from the top
or side at the top of the booth, and carried to a proper place of ■
discharge outdoors. The ventilation should be augmented by
mechanical or other means, so as to exhaust at least the quantity
of air as herein stated.
The size of this special fireproof vent flue shall be not less
than 96 squire inches clear area for a one-machine booth, not
less than 120 square inches clear area for a two-machine booth,
and not less than 144 square inches clear area for a three-
machine booth, and this special vent flue shall be provided with
an adjustable damper, operated from the booth, and equipped
with an automatic appliance and a fusible link to operateso as
to open the damper wide automatically in case of fire in the
booth. The machine booth ventilation shall be kept in opera-
tion at all times when the booth is in use.
General questions, such as inspection, method of
enforcing the requirements, penalties for non-compliance,
etc., are left for each state, town, or city to determine,
although some suggestions covering these matters are
made in the following general remarks.
It will be noted that the foreging regulations are
simple, and that violations may be readily detected, also
that care has been exercised to leave large latitude for
design of the ventilating apparatus.
It should be especially noted that the foregoing regu-
lations call for a minimum of all requirements as com-
pulsory, and that it should be the aim of the administra-
tive department having enforcement of the regulations in
charge to encourage motion picture show owners and
managers to provide as comprehensive, liberal and high-
class equipment as possible, with a view to catering to
the comfort and health of the patrons and thus add to
the popularity of the show place as compared with others
which may have barely come within the legal require-
ments.
The minimum of four and one-third square feet of
floor area per occupant called for by the recommended
legislation regulations considers the seating space to be
32 inches back to back of seats, with a width for an
individual seat of 19^ inches. The 32 inches has been
demonstrated as desirable to provide for reasonable
passageway. The general regulations would probably
cover these dimensions.
The 80 cubic feet of air space per occupant, called
for by the recommended regulations, has been arrived at
as a minimum cubic space per individual under which
fairly good air conditions can be secured, and it will be
noted that this requirement, when taken in conjunction
with the floor space requirement, automatically provides
that the ceiling height in the small show place will average
about 16 feet in the clear, under minimum floor space
requirements.
Elimination of dust from the air supply by means of
air filters or air washers is desirable under the best con-
ditions and is imperative under some conditions of espe-
cially dusty air supply. This question is dealt with by
suggestion in the following general clauses.
The controlling of relative humidity is desirable,
whenever possible, but the committee decided to omit
from the regulations any humidity requirement.
The machine booth ventilation, as per recommended
regulations, would be greatly improved, especially for
summer conditions, by providing a duct connection from
out of doors to the bottom of the booth, for the introduc-
tion of outdoor air directly to the booth, such a duct to
equal in size the special exhaust duct referred to in regu-
lations for the different sizes of booths, should be made
of metal and should pitch from the booth downward to
the outside wall of the building and be provided at the
inlet with a weather-protection hood. An adjustable
damper should be placed in this duct connection near the
booth, under control in the booth and independently
equipped with an automatic appliance and a fusible link
to operate so as to close automatically in case of fire in
the booth.
Strong emphasis is placed on the need of having the
administrative feature of legislation of the kind here
advocated, placed in the control of a responsible depart-
ment, such as a state board of health in the case of vil-
lages, but preferably some other responsible local depart-
ment for cities, and that such department be supplied
with a special inspector or inspectors, experienced in
heating, ventilation, and sanitation, and that such depart-
ment be given reasonable latitude by legislation, such as to
require approval of plans preceding installation or to re-
quire special extra equipment for special cases.
The requirements noted by the committee are rea-
sonable and fairly easy of fulfillment. Although they
are suggestions for legislation, the enterprising and up-to-
date manager will need no legislation to induce him to
adopt them, if he is not already conforming to them. It
is quite a bid for public favor if the exhibitor is able to
stand pat in the face of new laws, because he has fore-
stalled them.
PERHAPS THEY'RE NOT SO BAD.
CHICAGO exhibitors and exchangemen have been
told so often in the past that the picture theaters in
this city are among the worst to be found in the country
that their feelings have grown callous and hardened.
Some of them even felt that, if conditions were really
as bad as some of the reformers have pointed out. the
task of bettering them would be a hopeless one and de-
cided to let matters drift. First one reformer and then
another has libeled and berated the exhibitors and the
films they show ; has declared that many of the picture
houses were nothing better than darkened and filthy, vice-
breeding halls ; have maintained that the pictures shown
were of such a character that crime and immorality were
featured rather than frowned upon. In the brief periods
when the reformer was silent the police department, the
board of health or some other branch of the municipal
government was at the heels of the exhibitor, so that the
showman was at all times "between the devil and the
deep sea."
It is quite refreshing, therefore, to read the recently
published interview with Miss Kate Davis, president of
the National Regulation League, in which the lady asserts
that Chicago is the only city in the United States in which
youth is not subjected to the immoral and criminal influ-
ence of objectionable motion pictures. This statement
was made in Washington, D. C, after Miss Davis had
completed a tour of all the larger cities of the United
States and had carefully investigated the picture theaters
in each. A portion of the published interview with Miss
Davis reads as follows :
Conditions in motion picture theaters in Chicago, so far as
the character of the films is concerned, are practically perfect.
I was unable to find a single place displaying pictures to which
the least objection could be made. This is the result of a strict
municipal censorship such as ought to be adopted by the state of
Illinois and by other states.
Chicago is the only really clean city in the country in this
respect. I tried in vain to find something to criticise in the pic-
tures exhibited in the cheapest theaters of the poorest sections of
the city.
Some settlement workers told me I would find the bad pic-
tures in South State street, if anywhere. I visited all the nickel
shows in that quarter. They were all clean and the entertainment
good. At noon I found the places crowded with laborers with
their dinner pails and they were getting something educational
and uplifting when otherwise they might have been in saloons.
May 17, 1913
MOTOGRAPHY
341
"Quo Vadis?" in Eight Reels
A Motographic Masterpiece
WONDERFUL, marvelous, stupendous, awe-in-
spiring, spectacular, are all adjectives that fall
woefully short of describing the great photo-
drama "Quo Vadis?" which was revealed to the Chicago
public for the first time at McVicker's theater on Monday
afternoon. May 5, and which is to run on indefinitely
during the summer season.
Never before has such a powerfully impressive story
been told in pictures, and surely never before has the
motion picture camera recorded such a well-directed,
capably-acted, and magnificently-staged spectacle. Prac-
tically every seat in the huge theater was occupied when
the film title was flashed on the screen, and as the throng
made its way out of the playhouse, at the conclusion of
the drama, one could hear people on every side pro-
claiming "Quo Vadis?" to be the greatest motion picture
ever shown. The verdict seemed to be unanimous, and
it will probably be many years before a greater produc-
tion will be achieved — though in this age of miracles one
hesitates to make such a prediction, for it seems like only
the other dav that similar things were being: said of two
Scene from "Quo Vadis." Copyrighted 1913, by George Kleine.
and three-reel film productions, now looked upon as quite
ordinary.
In the startling realism of the effects, in the pano-
ramic quality of the pictures, in the faithful following of
the written story, and above all in the vast depths given
to the big scenes, which permit of great hordes of super-
numeraries being used, the pictured version of "Quo
Vadis?" once and for all clearly proves its claim to
superiority over the stage version, which by the very
nature of things is confined to a limited field, whereas
the camera can present with equal ease closeup views of
detailed action, or a distant spectacle in which hundreds
and hundreds of actors take part.
One has no sooner ceased to marvel over the skill
with which such scenes as the turbulent bacchanalia of
Nero's dissolute court are depicted, than a still more
wonderful view of burning Rome is shown. When one
has been held spellbound by the revels at the banquet and
seen scores of dancing girls entertaining the guests of
Caesar, all shown with marvelous realism, until it seeems
the acme of perfection in dramatic action has been
reached, the picture slowly fades and is replaced by a
still more stirring spectacle — that of the city in flames.
Now a narrow street glows under the light of
Scene from "Quo Vadis?" Copyrighted 1913, by George Kleine.
building, the flames shoot across the way and kindle new
conflagrations, that grow and spread before our very
eyes, until the whole city is seen to be in the clutches of
the fire demon. The panic stricken populace are rush-
ing madly through the narrow streets or across huge
courts, lighted only by the distant flames. Hundreds
and still more hundreds of terrified inhabitants dash
past, seeking a haven of refuge — and then the camera
takes us to a high balcony and we behold Nero, sur-
rounded by his courtiers, his leering, smirking face lit by
his drunken frenzy, singing his foolish verses, the while
he thumps a lyre.
But this great scene of the conflagration — unques-
tionably the most impressive fire spectacle yet attempted
Scene from "Quo Vadis?" Copyrighted 1913, by George Kleine.
in picture — does not end the thrills. The succeeding
reels of film show in all their glory and magnificence, in
all their horror and brutality, the series of spectacles
342
MOTOGRAPHY
Vol. IX, No. 10
arranged by Nero to quiet and entertain the populace
that they may, perhaps, forget the fire. In the vast
Roman amphitheater we behold the struggles of the
gladiators, the chariot races, the Christians beset by
hungry lions, and, as the crowning event of all, see Lygia,
lashed to the back of a huge bull, rescued from certain
death by Ursus, who breaks the bull's neck by main
strength. Vinitius and the populace appeal to Nero to
Scene from "Quo Vadis?" Copyrighted 1913, by George Kleine.
spare Lygia and the cowardly emperor, seeing nothing
but angry looks, upturns his thumb, the sign of grace,
and Lygia is borne out of the arena. Though the
camera has been able to show us but one scene at a time,
it has been shifted about in such a clever manner that
one gets all the impression of having actually sat that
day in the Roman amphitheater and viewed the happen-
ings in the arena below. This particular portion of the
film will probably live the longest in the mind of the
average spectator and create the most powerful impres-
sion.
The great photodrama, however, contains much be-
sides the spectacular and sensational effects, for most of
the scenes in which Christ and the apostle Peter appear
are handled in the most reverent and sacred manner. A
hush, quite perceptible, steals over the audience as the
scene in which Peter is addressing the Christians at
Ostranium flashes on the screen, and ones sees the light
of a new understanding breaking over the face of Vini-
tius. The appearance of Christ on the Appian Way is
another of the reverent scenes played in such a masterly
way that a religious fervor, almost imperceptible, is
wafted through the audience.
Had the Cines company hunted the world over it
could scarcely have found an actor better able to interpret
the role of Nero than C. Cattaneo. In appearance, man-
nerisms and dress he fulfilled the popular conception of
the despotic and profligate emperor. A. Mastripietri
gave a most skillful bit of character work as Chilo
Chilonides, the Greek soothsayer. All the subtle, finer
points were cleverly brought out, until the crafty old
rascal became almost an acquaintance, so real did he seem.
A. Novelli, who startlingly resembles William Faversham,
makes an excellent Vinitius and rises to great heights in
the more intensely dramatic scenes. G. Serena as Petro-
nius, and C. Moltini as Tigellinus, were splendidly cast
and made the characters they portrayed almost living,
breathing men. Miss Giunchi as Lygia gives a perform-
ance much along the lines of the stage interpretation of
the same character and Mrs. Cattaneo was convincing as
Eunice, the slave of Petronius. B. Castellani, owing to
his superb physical qualifications, was well fitted to enact
Ursus and he made the strong man a most likable char-
acter. J. Gizzi gave a reverent portrayal of the apostle
Peter, and Mrs. Brandini was the proud and haughty
Poppaea to the life. During the production Dr. Louis
Falk at the organ rendered the special Julian Edwards'
music composed especially for "Quo Vadis?" and this
undoubtedly added much to the enjoyment of the picture.
The photodrama follows closely the Sienkiewicz
novel and is divided into three acts. The first act com-
prises three reels, the second a like number, and the third
requires but two. The story is too well known to need
repetition.
Current Kleine Comment
The Art of Cines and Eclipse
4 4 r I ^HE Japanese Dagger," a current Kleine-Eclipse
production, is released May 12. It is a two-reel
melodrama, with a live theme, involving love,
jealousy and superstition.
Superstition forms the real theme of the story, and to
our knowledge it has not been treated, to any great extent,
as a subject for picture films previously. Therefore, be-
ing novel and well enacted, it should meet with great
favor among exhibitors and their patrons.
Superstition is a difficult subject to visualize, but in
this particular production it is vividl> and comprehensive-
ly portrayed by showing in the early part of the story the
dagger, suggestive of evil, with a quaint inscription upon
its blade, forewarning its owner.
"The Japanese Dagger" possesses a novel feature in
that a French battleship is shown in all her elegance,
while on her decks and in her cabins, many of the active
scenes are laid.
According to the story, Lieutenant Davis, a young
naval officer, while in Tokio, Japan, buys an old dagger
as a curio. While looking at his curio with a Japanese
friend, they are astonished to find a quaint inscription
upon its blade, reading as follows : "Never must I leave
this country; evil will befall anyone who carries me
away." Undisturbed by any foreboding, Davis brings it
home and hangs it on the wall in his studio.
The lieutenant, under peculiar circumstances, makes
the acquaintance of Count Firoenzi and his beautiful
sister, Bertha. They become intimate friends and while
calling at his studio, the countess finds the photograph of
a beautiful young woman. Upon finding the photograph,
it is apparent that she is more attached to Davis than she
had at any time before manifested. Struck with jealousy,
she takes the photo with her, together with an envelope
which she suspects contains a love letter.
That evening while alone in his room, the lieutenant
experiences a strange omen of ill-luck. Without apparent
cause, the dagger which had been hanging on the wall
over the Countess' portrait falls and the glass on the por-
May 17, 1913
MOTOGRAPHY
343
trait is broken. Davis, up to this time unconcerned about
the dagger, now becomes alarmed.
The trio visit a French battleship and in the Com-
mander's room, Davis finds that he has overlooked or
The French Battleship.
mislaid an envelope containing the secret signal code. He
immediately rushes home, but the code is nowhere to be
found.
The countess, at home, takes the opportunity to look
again at the photograph which she had taken from the
lieutenant's room, and finds that it is no other than that
of the lieutenant's mother when she was a young lady.
When she opens the envelope the secret code is revealed.
Knowing that the lieutenant had been reprimanded for
the loss of this code and hoping to atone for her folly
without recognition, she attempts to replace the document.
She succeeds in entering the studio under cover of dark-
ness, but Davis has been on the lookout for a person he
suspects of robbing him. As Bertha is bending over the
1 &
&
r 1
S^^l
1 T~*
' 7I| - - ^^^
5a! H^H
Finding the Photograph.
table, Davis bounds upon her form, at the same time
drawing the dagger from the wall. He strikes, and is
horrified to see that he has stabbed his beloved, his inno-
cent fiancee.
Will S. Rising, whose face is well known in Broad-
way productions, is now playing leading parts with the
Ramo Film Company.
Globe Trotters Are Still Busy-
There is an amusing story told of an old lady who
approached a moving picture camera-man, taking a street
scene. "Play a little louder, young man" she said, hand-
ing him a nickel, "I am a trifle deaf and can't hear
your music very well." Even stranger and more amus-
ing have been the experiences of the camera-men and
players forming the personnel of the Vitagraph "Globe-
Trotters," who are now touring the world, making novel
and interesting photo-plays in various foreign lands. The
party, which is under the leadership of William V.
Ranous and Maurice Costello, left New York early
last December and have now completed about half of
their projected tour. They traveled by way of Chicago
and San Francisco, across the Pacific to Honolulu in the
Hawaiian Islands, and thence to Japan, where they
stayed for a considerable time. From there they went
to Hong Kong and Singapore and on again by way of
Panang and Rangoon to British India, whence they trav-
eled to Egypt, where they are located at the moment of
writing. In almost every place where they have stopped
they have produced a photoplay. After careful study of
the manners and customs of the different places, they
have been able to introduce into the pictures a
true local atmosphere, the like of which could not
possibly be duplicated in a studio production. This
is well illustrated by "The Wrath of Osaka," a
stirring Japanese romance played near Yokohama,
which was released early in May. They got busy
with Japanese subjects at the very moment of land-
ing, on producing "Jack's Chrysanthemum," a pretty love
story of an American artist and a runaway Geisha girl,
also listed for release next month. The players, who are
all workers, did not even rest from their labors on the
voyage across the Pacific. If one of them was sea-sick,
he or she was immediately filmed, and some of the amus-
ing situations on the boat form the basis of a screamingly
funny comedy, "Delayed Proposals," "The Mystery of
the Stolen Jewels" and the concluding scenes of "The
Mystery of the Stolen Child" were also enacted while
crossing the ocean. The American public will not be
happy unless Maurice Costello appears constantly upon
the screen, and it is interesting to note that his prolonged
absence from this country will not by any means involve
his absence from the moving picture theater. He will be
seen just as regularly as heretofore. As soon as a photo-
play is taken, whether it be in Calcutta or Nagasaki, the
film is sent to New York, where it is speedily developed
and made up in readiness for production in the theaters.
To avoid the gap that would have occurred while await-
ing the first of these foreign-produced plays, Mr. Costello
and the other players had to spend a strenuous week or
two before their departure, so as to leave enough material
to fill in. Among the other players on tour are
James Young, Miss Clara Kimball Young, who makes a
most delightful Japanese maid, and the pretty Costello
children, who have been just tickled to death by the funny
antics of some of the queer native tots they have met.
Almost every day letters and post-cards arrive from the
wanderers, who seem to have their time thoroughly well
occupied and who are certainly enjoying a peculiar var-
iety of experiences and change of scene. The public will
be able to participate in much of this enjoyment and ex-
perience when they see the interesting series of
travelogues and photoplays that the "Globe-Trotters" are
sending them.
By no means the least important of the travelers is
Gene Mullin, the Vitagraph scenario writer who accom-
panies them.
344
MOTOGRAPHY
Vol. IX, No. 10
Another "Calamity Anne"
Thursday, May 22, is the date set for the release of
the next "Calamity Anne" picture by the American Film
Manufacturing Company. Its title is "Calamity Anne's
Parcels Post," and the quaint character, now knowr to
film fans all over the country, will appear in the role of a
parcels past carrier. The synopsis of the story in brief
is as follows : Calamity Anne rose from her bed of straw
in the barn and sighed dismally. Then she woke Wood-
row, her partner, the burro, and both sallied forth in
search of adventure. At the same time the Most Im-
portant Man in Town rose and went to his place of busi-
ness. He hung out his shingles one after the other.
Some of them read "Sheriff," "Justice of the Peace,"
"General Store," "Physician and Surgeon," "Lawyer,"
"Merchant" and "Postmaster." That morning the im-
portant one received official authority to hire a parcels
post carrier. Who should he choose but Calamity, most
popular person in Death Gulch. Frightful experiences
awaited Calamity. A negro baby, from the Lord knows
where, must be delivered without address. Calamity
forced it on the unhappy important one, who rushed
wildly home with it. A rooster formed another barrier
to Calamity's happiness, for how can one lead a burro
and a rooster too? But better things awaited Calamity.
The town had long been terrorized by the Meanest Man
until a $1,000 reward was offered for his capture. Now,
the Meanest Man was tired and through the influence
of Calamity's guardian angel he sought Calamity's own
barn to rest. Then the rooster got away from Calamity
and, with her madly after it, sought refuge in Calamity's
hay-mow. Result — Calamity's gun was out and the
Meanest Man in her care directly. With a rope around
his leg, a rope around the chicken's leg, and a rope by
which she led her burro, Calamity made her appearance
before the boys and the sheriff and claimed the reward.
The cast is as follows :
Calamity Anne Louise Lester
The Most Important Man in Town George Periolat
The Meanest Man in the World Jack Richardson
Occupations of the Philippines in Films
Considering the large part that the possession of
the Philippine Islands plays in our recent national
history, it seems strange that it has not heretofore been
embraced as a field for motion-picture portrayal. This
deficiency is now to be supplied by the Universal, which
has decided to put on a series of pictures dealing with
this subject as well as the war in Cuba. These pictures
will be produced under the 101 Bison brand at the
Providencia ranch, now known as Universal City. The
series will be under the direction of Francis Ford, and
will start with a picture entitled "Stars and Stripes,"
descriptive of the Cuban occupation by the United States,
as well as a general and correct idea of matters of public
interest in the Cuban campaign. The habits and man-
ners of the natives will be shown and every phase of the
conquest of the islands will be pictured. In order that
everything may be correct, a large number of special
costumes have been purchased of the 1899-1900 period,
as well as the arms that were used in the campaign.
Scene from a coming Selig Release.
May 17, 1913
MOTOGRAPHY
345
Sans Grease Paint and W^gf
By Mabel Condon
W&,
Fred Mace.
/RED MACE
M crossed one fat
knee over the
other, held it .there so
it wouldn't slip, and
announced his inten-
t i o n of thereafter
making one film a
week for the Majestic
company, out in Lois
Angeles.
This to our new
associate editor and
myself in a private
parlor of the Hotel
La Salle, where Mr.
Mace was stopping
for a few days on his
return trip to the
coast. Mr. Mace sat
at one end of a
tapestried divan and I
sat at the other; Mr.
Mace's end sank, mine
didn't. The new a. e. chose a spindle-legged chair that
faced Mr. Mace and they talked one-half hour's worth.
I listened.
"I had thought of making 'Mace films'," continued
Mr. Mace, "but when this offer was made me at a most
satisfactory remuneration, I decided to take it up. I
can do the other at any time, you see. Furthermore, I
will still be working for Kessel and Bauman. In addi-
tion to directing this one comedy film for Majestic re-
lease, I may have a company making a western or Indian
legend film, maybe, for the Kinemacolor people, perhaps,
at my own studio out at Hollywood, possibly. But there
is no definite arrangement as to this, yet."
"I guess things are in a pretty much unsettled state
in the West just now," opined the new a. e. Mr. Mace
agreed with him and declared they were worse in the
East.
"I went to New York to see if there was a solution
to the tangle and found things even worse there," he
went on, fingering his flat, round, gray felt hat, typical
of many of the Mace photographs. "Everybody was
leaping, not knowing where they were leaping to, and
Pat Powers was one of the high jumpers.
"The actors and directors are a part of the general
excitement. There are some directors who don't begin
to qualify for the job and companies object to working
for them.
' Tf somebody's going to tell me to do something I
want him to know a little more about it than I' — that's
the sentiment, and when a man who had never been a
real actor but was a street-car conductor or scene-shifter,
is made a director of a company, there's bound to be
trouble.
"Then there are actors who think they should be
declared in on the profits of the company, and there's
more trouble. And spare me from the fellow who gets
such a big opinion of himself that he has to scratch his
head away out here," and Mr. Mace indicated half-an-
arm's-length from his own gray-sprinkled locks which,
by the waftr, have allowed the Mace forehead to become
higher than in ' the days when he cavorted in "The
Chocolate Soldier," his last engagement on the legitimate
stage.
"Going to take any of the Keystone people with
you?" somebody inquired, and Mr. Mace guessed that
wherever people would see him, there also,'they would see
.Mabel Normond.
"Sennet and I have been looked upon as an estab-
lished fact," he ruminated, "and, of, course, we were.
We worked together in Biograph films and went to Key-
stone at the same time and are still the- b£s£ of friends.
All of us in Keystone worked fine together, and Mabel
Normond is one of the best little actresses I know. The
only trouble I had with her were the times she'd start
giggling and couldn't stop; she's • a wonderful giggler.
"About the company to work in comedy with me for
the Majestic — maybe I'll pick a company from the people
the Majestic already has out at the coast, and maybe I'll
sign up some new players. That is one of the things
Kessel and Bauman are to decide on our trip out there.
I'm to meet them here tomorrow night and we're all going
out to the coast together, then they'll turn around and
come right back. Another thing to be decided is whether
the films will be called the MajeStic-Mace, the Mace-
Majestic, or just Majestic comedies finder., the direction
of Mace ; any one of them suits.
"I'd like to make Indian legend stuff, though, out
at my own studio for some company. That'd take fine
in Kinemacolor- — nature and all that, you know, and I
have a contract with the Blanket Indians all through the
West" — and just then a bell-boy discovered us and pre-
sented Mr. Mace with a special delivery letter from the
East, which the recipient, after one glance at its several
pages, declared would wait and thrust it into an inner
pocket that bulged with its weight of telegrams and
other papers. With the thrust went the remark, "Yes,
that Indian legend stuff would go fine."
"How's the Photoplayers' Club coming?" questioned
the new a. e., and Mr. Mace, as president of that organi-
zation, had many good things to tell, of that several hun-
dred strong offspring. "Beats the Screen Club," he
summed up. "Yes ?" I wondered, and he said, "You bet !"
"I went to New York, partly, to attend the Screen-
ers' ball — and say," he confided, sliding out to the edge of
the divan, "I disgraced myself. For a fact. I hadn't
had a drink for eight months until I showed up at the
Screen club — and now I'm on the outs with Carl Laemmle
and one or two others. Carl owed me twenty-five dollars
for a scenario and I remembered it at the wrong time.
And Bunny and I hadn't seen each other since either of
us had gone into pictures, and we were doing some kind
of a dance around the club and Charlie Kessell says I
was put out. Heavens! but I disgraced myself," and
Mr. Mace crinkled shut his blue-gray eyes in a big laugh
and only for that I'd have thought he meant it, about
disgracing himself and all that. When Mr. Mace laughs
his cheeks shake and you wonder whether he has one
chin or two. Not that Mr. Mace is really fat ; he isn't,
he's just round, and when he walks he steps quickly and
makes you think of ever so many times you've seen him
just so, on the screen.
"Most of my work, in pictures, is spontaneous," he
said, when the subject of the ball had been laid to rest
346
MOTOGRAPHY
Vol. IX, No. 10
Scene from American's "Ashes of Three," Two-Reel Feature by Stewart Edward White, Released May 26.
and the new a. e. asked if he (Mr. Mace) thought out
the "business" of each picture beforehand. "And some-
times the unexpected situations are as funny to the com-
pany producing them as they are to the people who see
them on the screen."
"Is it fun making funny pictures ?" I asked as the
new a. e. discovered that thirty minutes had ticked itself
away and we rose to go. "Well, it's pleasant work," com-
promised Mr. Mace.
"I'll wire or write you about that Indian stuff," he
offered as we descended the stairs and we shook hands
in the lobby and said "Good-bye" to the man who had
intended entitling himself "the funny man of motion
pictures," only Bunny got there first.
who fortunately is in California just at this time. Since
the humble toilers in the mills implicitly believe that every-
thing they see in the picture theater is the record of an
actual event Mr. Gleason is almost afraid to have his
daughter return home, lest she be literally overpowered
by the workmen eager to behold in the flesh the heroine of
a strong arm, true heart, bound-to-rise courtship. The
daughter as yet, it is said, is blissfully ignorant of the
stirring scenes through which the steel workers believe
she has so recently passed.
Film Courtship Stirs Gary
The Thanhouser Film Corporation "started some-
thing" when it released the film entitled "An American
in the Making," which was taken at Gary, Indiana, some
weeks ago. The film was shown in Gary one day last
week, says the Chicago Examiner and thousands of the
steel workers are now weaving romances in their dreams
as a result. According to the pictures a young French-
man, of noble family, comes to America and begins a new
career in the steel mills. He falls in love with the super-
intendent's daughter and after making himself worthy
of her by diligent study he manages to rise to a position
of power and finally becomes an official of the company.
Now Samuel W. Gleason is the real superintendent of
the mills, and has a real daughter, named Mary Louise,
Wills' Plays to be Filmed
The Vitagraph Company has arranged to make mo-
tion picture productions of several plays from the pen of
the late Anthony E. Wills, the Brooklyn dramatist, who
died last July. His published works include twenty-two
plays, many of which are frequently produced by amateur
dramatic societies.
"A Regiment of Two," a farce, is the first on the
list for adaptation to pictures. Others that probably
will be used are : "Fighting for Freedom," "Our Wives,"
"Benjamin, Benny and Ben," "Her Gloves," "Just Plain
Folks," "The Gypsy," "A Count of No Account," "Too
Many Husbands," "The East Siders," "The Stubborn
Motor Car," "Never Again," "New England Folks,"
"The Matinee Idol," "Liberty Corners," "College
Chums," "Blundering Billy," "All Charley's Fault,"
"Burley's Ranch," "A Football Romance," "Oak Farm"
and "Heirs at Law."
May 17. 1913
MOTOGRAPHY
347
On the Outside Looking In
By the Goat Man
THE M. P. Exhibitors' League doesn't seem to be
living up to the layman's expectations. ( )ne reason
for this is doubtless due to the lack of knowledge
regarding its constitution and by-laws. We are not in-
formed specifically regarding what the league stands for.
The impression prevails that it is an active, co-operative
body designed to safeguard the interests of the motion
picture proprietor. It is intended to combat adverse legis-
lation ; to correct alleged abuses of exchangemen ; to con-
fer with the manufacturers ; to eradicate evils of exhibit-
ing and otherwise work out the problems that naturally
develop in a new and active enterprise. The league
doesn't seem to be accomplishing a great deal as a national
body. It has many victories to its credit in various local-
ities, but the branch leagues take such credit home to
themselves. This is natural sefishness. On the other
hand, this local condition and its practice is bound to
lead to complications when things go wrong, and the
national body will get the brunt of it. When Sam Trig-
ger wants to clean up his competition in a certain quarter
of New York City and will show ten reels, daily change,
for ten cents, he establishes a bad name for the rational
exhibitor who shows three reels at the same price and
only changes his subjects three times a week. New York
offers the worst of all conditions in the name of the
league. It is an open secret that the members down
there threaten boycott if you don't do his bidding. Fine
state of affairs. If New York exhibitors would confine
themselves to an unaffiliated organization, their sins would
not stain the fabric of the national body, but they don't
do it and there you are. In Chicago, the league wants
something that can be felt with the itching palm, or seen
with the naked eye, something that may be used in round-
ing up the unfaithful. I have it that league members lack-
faith in their own offerings and want "dealers' prices"
for supplies and things. With this sort of inducement
they may have better success in increasing their member-
ship. You can buy six pounds of beans of the grocer
for two bits. Maybe the league members, by concerted
action, can hammer this price down to five pounds for
twenty cents and insist on the hand-picked variety. I
have no patience with such business. The supply dealer
is as necessary as the film exchange. If the exchange-
men want to cut out their profit on supplies in the effort
to "land a customer," that is their own affair. They
should have better sense, but sometimes gray matter is
nix. But the exhibitor should have too many more im-
portant offerings to induce membership. He should be
glad to pay his little old monthly or quarterly dues to
support a real working organization, thus freeing his
mind from monumental worries. The exhibitor's hours
are long and tedious. He has much to do to furnish an
acceptable program and provide entertainment and com-
fort for his patrons. This is a man's job seven days in
the week. Should he tax himself a dollar a month to
maintain an official bodv to look after those details which
Scene from Lubin's "The District Attorney's Conscience," release of May 21.
348
MOTOGRAPHY
Vol. IX, No. 10
require legal adjustment and professional care, he would
find the service so eminently satisfactory that three cents
a roll on tickets would be forgotten.
* * *
If Chicago League exhibitors want to go into the
accessory business no objection will be made. If they go
into the grocery business no one will have a care. L. H.
THE STICKING SIX.
Photograph taken at noon the day following the Screen Club Ball. Place :
Featherbed Lane. Cameraman: C. Lang Cobb. Director: The
Chauffeur. Standing : Ed. Barry, Agnes Egan Cobb, Wm. Commuter
Oldknow, Babe Farnham. Unable to stand : Fred Beecroft, Wendell
P. Milligan.
Frank may start a League Clothing Emporium and split
his legitimate profits with his members. Nobody will ob-
ject— not even the clothiers. But will he get by? Frank
would, somehow, for he's a lucky guy, but that half profit
would lose charm after awhile just as the split supply
profit would fail to maintain the purely co-operative shop.
% % %
By the way, did you fall for George J. Wyer's little
two and a half cent ticket scheme ? Not hardly. Say, fel-
lows, there's a new one born every minute, eh? Mercy,
to think of "coughing up" half your receipts for tickets!
* * *
Coupon Cobb was cluttering up the, Scenery of Chi-
cago's film rialto a little while ago withuRamo tickets —
good for a nickel, maybe. If you get one and find a
place where Ramo is being shown, it's good for admis-
sion. You can't cash 'em at a thirst emporium, or any-
thing like that. It was Coupon Cobb, by the way, who
loaned the picture of the "Sticking Six," shown else-
where. Pretty good still for an all-night crew, don't you
think ? Cobb took it with his little Brownie.
There has been another meeting of those managers
of the General Film Company who come into the central
western group. It occurred on the last day of April ; the
scene was the Blackstone Hotel, Chicago. Mr. Dyer and
his assistant, Mr. Boushey, came on from New York and
the confab lasted all the afternoon, winding up with a
dinner at "night. These meetings, while of little public
concern, will exert a tremendous value to the exhibitor.
The discussions of these managers are all based upon the
welfare, both immediate and prospective, of the pro-
prietor of the motion picture theater. The exchange men,
managers of the various branches of the General Film
Company, get the viewpoint of both manufacturer and
renter. He knows, better than any other individual, ex-
actly what is needed to make the wheels run smoothly.
These conferences with the "head of the house" are to
be commended and it is part of the fixed program to hold
them whenever occasion demands.
I fear that Mr. Neff was too slow with his appeal
to help his fellow sufferers — those exhibitors who were
wiped out by the treacherous waters of Ohio and Indiana.
At any rate I have not been deluged with checks made
payable to the order of the league's treasurer, nor have
I parted company with those who have. May 14th will
be the closing date for the effort.
^ ^c ^
F. C. Gunning, a vigorous dopster who dopes day
and night for Eclair, Tippets, et at, New York, is one of
those well-meaning young men who are telling the exhibi-
tor that the exhibitor is the whole cheese. Now Gunning
dopes because he has the assignment and his people have
the price. His little dope-sheet fairly shrieks that the
exhibitor is the goat in all transactions. He does this to
have the exhibitor demand Eclairs, which are frequently
all Gunning has to say for them. Gunning says his little
house-organ delivers the goods — that it is Eclair's best
bet; but I wonder what the exchangemen think of the
brand of poison that is smeared all over every page of
Gunning's contributions. And in all cap letters, most of
the time.
^ ^ ^
I am going to maintain right along, until convinced
to the contrary, at least, that the film business is a manu-
facturers' proposition. The exhibitor's success depends
upon the quality of the films that are available for his use.
If the films were all first-class and high-grade, then the
business would reflect that condition. If the films are
half bad and half good, the business as a whole will be
View of Pathe Studio Looking West.
half bad and half good. If all the films were bad all the
time, we wouldn't have any film business at all. Then
why isn't it up to the maker of 'em? Don't be bashful
about singing out your answer.
* % *
There is some advantage in not knowing the other
fellow's game. I never made an inch of film and I have
May 17, 1913
MOTOGRAPHY
349
never told any one how to make it. I know of a man
who spells his whole name out in full and advises at so
much per advice just how films should be made and just
how they should not be made. This man had talked and
written so much about the subject that he was regarded
View of Pathe Studio Looking East.
as an authority. He was given a chance to score. He
made 7,000 feet of negative film which went into the
scrap. I'm glad I don't pretend.
;J: % ^
You see I had never been over the river to the Pathe
studio. Heretofore when I went to Gotham it was con-
venient to find the Pathe folks on the island, but now it
is different. From the McAlpin to the Jersey tube is
about a minute and the run to Hoboken is void of in-
terest. There are no film advertisements in the subway
cars and New York newspapers never have anything for
a westerner to read and there was no scenery. Arrived
at Hoboken — still different. I asked a copper not for
1 Congress street, but for Pathe Freres. "Shure, take
a White Line car 'till it gets you there." I will never
tell you where that surface sledge went but it was on
the way. Finally it stopped, far up the Jersey coast and
I embarked. Among the advertisements in this issue,
page 6, is an illustration of a poster. The view east-
ward from the place I landed is shown in the "Con-
science?" poster. I think the picture must have been
taken from the fire escape on the Pathe building. But
the building has more to do with my story, after all. I
am printing a couple of pictures to give you a partial
idea of it. Located high in the air on a keystone shaped
lot which points north by northeast, the builder's dis-
advantages are apparent, but the architect has shown
what money will do when combined with cleverness. In
the view "Looking West," you will discover a flat, one-
story building which is utilized for the general offices.
The corner in the foreground is the private office of
J. A. Berst, vice-president and American representative.
Immediately adjoining I found H. C. hoAgland, Mr.
Berst's good man Friday and publicity director. Strung
along down the corridor were others of the executive's
force. This building is the most deceiving thing I ever
got inside of. There is all kinds of room in it and you
will see more floors added from time to time. I saw
the Pathe home projector — a beautiful little mill which
generates it own current and takes a special film. On
the continent this machine finds a ready sale and the film
service is low-priced. Over here they are doing noth-
ing with it as yet. I also saw a complete Cameron pro-
jector— a full-fledged, practical model embodying new
principles that seem to be sound in theory and in prac-
tice. And from somewhere in this one-story building
there was a stairway which led into the big studio build-
ing which is all of that, except it isn't nearly big enough.
In the picture "Looking East" you will see some evi-
dences of new construction. That big building is being
extended clear through to the stone wall shown and
another building, still larger than this one is to be built on
the south. There seems to be room enough on the Pathe
lot for all the plant the concern will need, and these
evidences indicate that it needs a lot more of a plant.
The buildings are all fireproof, modern in every way,
steel and stone and gray brick construction. The equip-
ment is first class and ample for present needs, but in-
creased demand for Pathe makes the additional space
necessary. I think I met nearly everybody about the
place ; watched the making of a scene full of thrills,
thunder and thumps and spent a delightful half day.
At New Rochelle, the Thanhouser town, I saw the
plans of a splendid new studio that contemplates an
outlay of a quarter of a million dollars. These plans
include many things I have not seen in other film produc-
ing places. The exterior of the building has had more
care. The artistic has been attained. You will not know
that this is a film plant by the outward indications. I
hope to fetch this thought right up to you by showing
illustrations in an early issue. Thanhouser films are
being turned out now in a remodeled garage ! You
would never guess it. There is a laugh in every inch
of the place, but it isn't a laughing matter for those who
do the work. Carpenters, brick layers, electricians and
other workman vie with each other to see who can make
the most noise. In fair weather the producer and his
stock do stunts on an improvised stage which lies off
north from bedlam. If there is inspiration for these
loyal Thanhouser workers, they must find it on the blue
prints — that gorgeous dream book that will bloom to
Scene from "Quo Vadis." Copyrighted 1913, by George Kleine.
reality and present one of the world's finest film estab-
lishments. Charlie Hite likes his new home and the
people who work with him. He says New Rochelle is
his town — that he can have anything the town has to
offer — all free. When he had his fire all he had to do
350
MOTOGRAPHY
Vol. IX, No. 10
Scene from "The Modern Snare," Release May 24. Copyrighted 1913, by American Film Manufacturing Co.
to get the fire department was to push a button. The
department came on the run ! Hite can have everything
New Rochelle has to offer. The town is proud of him.
* * *
Nothing has blown up in New York since I left
town. After Ad Kessel paid $1,000 for the Screen Club
program he left for California.
^ ^ ^
Anybody seen Ben Beadell ?
^ ^ ^
Are you down hearted?
* ^ *
Quo Vadis?
% ^ %■
McVicker's.
Illumination of Projectors
On Friday evening, April 18, J. F. Martin, of the
Duquesne Light Company, read a paper on "Illumina-
tion of Motion-Picture Projectors," before the Pitts-
burgh Section of the Illuminating Engineering Society,
says a recent issue of The Electrical Review. Prefacing
his remarks with the statement that the aggregate maxi-
mum demand of all moving-picture machines in the coun-
try is over 60,000 kilowatts, the author pointed out the
necessity for an approximately point source of light with
as great an intensity as possible, exceeding 10,000 candle-
power with a 40-ampere direct-current arc. He then dis-
cussed the size and type of carbons recommended for dif-
ferent current values, the lamp mechanism, the lens sys-
tems, and the various types of screens.
The principal feature to be observed in the illumina-
tion of the hall is the elimination of glare ; this prohibits
wall brackets, and, in general calls for indirect-lighting
systems.
In discussing whether moving pictures cause perma-
nent eye-strain, Mr. Martin pointed out that the only
strain on the eye is confined to the involuntary muscles
which control the iris. These tend to close rapidly and
open more slowly. Hence the pupil is closed more with
a flickering light than with a constant light of the same
average intensity, and the pupil may be observed to trem-
ble slightly when watching moving pictures. That the
discomfort produced by fatigue from this source is merely
temporary is attested by the fact that very few moving-
picture operators have any eye trouble.
In the general discussion, which followed, it was
brought out that eye-strain is much reduced by better gen-
eral illumination of the hall, and by the lesser displace-
ment of the picture, produced by the notched film and
more perfect register. The principal objection to motor-
driven machines has been that the operator may leave the
room while the arc is burning. This is discounted by the
fact that the operator must constantly watch the pic-
tures to keep them in register, and hence cannot leave for
more than a few seconds at a time. Motor-driven ma-
chines are permitted by the fire underwriters in Pitts-
burgh and some other cities provided the film is at no
time exposed to the air, also provided an automatic fire
May 17, 1913
MOTOGRAPHY
351
Essanay's "Into The North"
An Unusual Subject
SNOW covered hills, wind swept prairies and life in
the Canadian wilds forms the background for
Essanay's latest two reel production, entitled "Into
the North," which is to be released as a special on May
17. Viewing this picture one obtains a splendid idea of
what hardships and trials are experienced by the men of
the Northwest Mounted Police and how relentless is their
pursuit of whiskey runners and other fugitives from jus-
tice.
The picture is splendidly staged, well acted, and
possesses a real "punch," so essential in extra reel sub-
jects if they are to "get over" in this day of many multiple
reel features. It is so far from the ordinary photoplay
themes, with their hackneyed subjects and repeated situ-
ations, that it would be welcomed, alone, on account of
its originality. But in addition to originality "Into the
North" is so well played and skillfully managed that it
will be long remembered by all who witness it on the
screen, and probably will bear repetition in many houses
where it will be shown.
E. H. Calvert plays the role of Fred Wentworth in
a thoroughly capable manner and William Bailey as
Frank Davis, the heavy role of the melodrama, helps Cal-
vert to make several of the big scenes remarkably realistic.
Their struggle in the cabin, along about the middle
of the second reel, could scarcely have been better done,
and forms a real thrill that will grip any audience.
Dorothy Phillips as an Indian maiden is clever, and
Messrs. Steppling, Holuber, Hitchcock and Walters as-
sume the various parts assigned them in a satisfactory
fashion. Such details of "business" as the securing of
the keys, when Davis escapes from prison, and the man-
ner in which the whiskey is concealed in hollowed-out
logs is well handled. The reviewer was also favorably
impressed with the pretty, brown tinting in a goodly
William Bailey and Charles Hitchcock in "Into the North."
portion of the second reel, this shade seeming particularly
well adapted to the forest and snow scenes.
The story begins in the Fourth National bank of
Minneapolis when Frank Davis, a notorious crook, shoots
the cashier and robs the vault. As he is leaving the
building he bumps into Fred Wentworth, an employee of
the bank, and accidentally drops the bundle of bank notes
he has just stolen. Wentworth, not realizing what the
small package contains, picks it up and carelessly drops
it into his pocket during the moment of excitement occa-
sioned by the discovery of the dead cashier and the looted
vault. The president of the bank, entering at this mo-
William Bailey, E. H. Calvert and Dorothy Phillips in "Into the North."
ment, discovers Wentworth standing over the lifeless
form of the cashier, a revolver in his hand and the bank-
notes in his pocket. On this circumstantial evidence
Wentworth is sent to prison where he languishes for a
time but finally manages to escape in a clever manner.
After a long lapse of time Wentworth makes his way into
the great Northwest and eventually joins the ranks of
the Mounted Police. Davis, meanwhile, has also sought
refuge in Canada and ekes out a living by selling liquor
to the Indians. We are shown how he craftily carries
the whiskey about in hollow logs and finally purchases
Dapple Fawn, an Indian maid, for two bottles of it.
News of the whiskey running finally reaches the
ears of the Mounted Police and Wentworth is assigned
to the case by his chief. He finds the Davis cabin, and
learns from Dapple Fawn how her husband is managing
to deceive the officers. While the Indian girl is showing
the scheme in all its details to Wentworth Davis unex-
pectedly returns and surprises the two. The hand to
hand battle which follows is one of the most exciting
screen fights the reviewer has ever seen and in the scuffle
the little cabin is made to look as though a cyclone had
struck it. Davis at the finish dashes through the door
hoping to escape, but is shot by Wentworth.
In the meantime the brother of the chief of the
Mounted Police, who also happens to be none other
than the Minneapolis bank president, arrives to spend a
few weeks' vacation in the north. He has witnessed the
departure of Wentworth when the chief started him out
on the hunt for the whiskey runners and dimly recalls
the face, but has not yet recognized the man. Later on,
as he ponders over the matter, full recollection occurs,
and he comes to a realization of the fact that the mounted
policeman is the escaped convict, the man who was once
an employee in his bank, and whom he sincerely believes
to be the murderer of the bank cashier back in Minne-
apolis.
352
MdTdGRAP'H'Y
Vol. EX, No. 10
Scene from Essanay's "The Forbidden Way," Two-Reel Feature to Be Released Soc
Naturally the chief is told the whole story and other
policemen are at once sent on the trail of Wentworth to
bring him back. They arrive just as Wentworth shoots
Davis and both men are brought back to the post. Davis,
in his dying moments, makes a full confession which of
course completely exonerates Wentworth and the latter
is finally promoted for his bravery,
The full cast follows :
Fred Wentworth, of the N. W. M. P .Mr. E. H. Calvert
Frank Davis, Whiskey Runner Mr. Wm. Bailey
Cashier of Bank Mr. John Steppling
President of Bank Mr. Holuber
Chief of Mounted Police Mr. Frank Dayton
Old Indian Mr. Wm. Walters
His Squaw Mrs. Smith
His Daughter Miss Dorothy Phillips
Pal of Davis Mr. Chas. Hitchcock
Two mounted Police { Mr. Bryant Washburne
I Mr. Frederick Wulf
Bartender Mr. Howard Missimer
'Mr. Whitney Raymond
Mounted Police and Natives.
Mr. Jim Carroll
Mr. Barry
Mr. Gleason
Mr. Downs
Mr. Tracey.
Nashville Man Added to Staff
E. T. Lowe, Jr., of Nashville, Tenn., photoplay-
wright, has accepted a position with the Essanay Film
Manufacturing Company of Chicago in its scenario de-
partment, in the capacity of reconstruction work. Sev-
eral of Mr. Lowe's pictures have been shown during the
past year, among the best of which were "Out of the.
Night," "Hearts of Men," "From the Submerged," "The
Moving Finger," "When Soul Meets Soul," "The Shadow
of the Cross," "The Girl at the Brook" and "The Virtue
of Rags." Others to be shown during the next few
months are "Stone the Woman," a meritorious drama
dealing with false promises and a broken heart ; "To Be
Seen of Men," a sermon story showing the hypocrisy of
certain people, and the naught for which it all counts
when the day of final judgment comes. AlsO "The Spy's
Defeat," a love-story drama of the Franco-German war.
This is a two-reel feature photoplay and is the first of its
type to be released by the Essanay Company. It has been
highly commended, and is said to be a radical departure
from the ordinary love story.
Edison Players Chased Kitten
A diminutive kitten held up one of Walter Edwin's
Edison pictures not long ago and caused one of the best
impromptu comedies that has ever been seen. The reel
could not be finished without the kitten which was very
carefully guarded during the preparation of a new scenic
setting. But she finally escaped and then began the ridi-
culous spectacle of three perfectly serious six-footers —
Herbert Prior, Charles Ogle and Walter Edwin — chasing
a speck of a kitten, dodging in and out of scenes, crawl-
ing over stage properties and making wild rushes in the
open, until finally the fugitive was surrounded and cap-
tured by a carefully planned flank movement.
May 17. 1913
MOTOGRAPHY
353
Motion Picture Making and Exhibiting
By John B. Rathbun
CHAPTER II. (CONTINUED).
INCOMBUSTIBLE FILM.
BECAUSE of the fact that the majority of the daily
papers have discovered that celluloid is a product
of gun cotton, it has long been the subject of scare-
head articles in which its inflammability has been greatly
exaggerated. Thrilling tales are told of spontaneously
exploding celluloid collars and of yard-high flames leap-
ing from combs and mirror backs. It has even been
reported that burning celluloid is impossible to extinguish.
Only those who have handled this material know the
absurdity of these statements, especially those regard-
ing its tendency toward spontaneous combustion. While
it is true that celluloid is inflammable, and even highly
inflammable, it is only possible to ignite it by bringing it
into contact with an open flame or by subjecting it to a
temperature of several hundred degrees in the field of
the electric arc. Even after ignition, it is much more
easily controlled than burning gasoline, as it cannot flow
or be spread by the application of water. Its chief
danger lies in the rapidity with which the flames spread
through the mass due to the distillation -of the volatile
constituents in its composition. This vapor can only be
caused by a generally high temperature surrounding the
film ; without the vapor, it ignites little easier than paper.
A great number of experiments have been conducted
for the purpose of discovering a non-inflammable sub-
stitute for the gun cotton base, or for the camphor which
is also inflammable. Several attempts have been made
to use some substance that will take the place of cam-
phor and at the same time will reduce the inflammability
of the gun cotton. Substances have been discovered
that have been successful in reducing the inflammability
of the film, but which have introduced serious difficulties
Fig. 25. Typical wardrobe room, showing space devoted to the storage,
making and alteration of the players' costumes.
in the way of brittleness or in the reduction of trans-
parency.
Since the inflammability of the gun cotton depends
upon the presence of several unstable high nitro-com-
pounds. attempts have been made to break up or deni-
trate the substance. Treating the celluloid with amyl
or methyl silicate is one process, and titration with an
alcoholic solution' of calcium chloride in acetone is an-
other. In the latter process the calcium chloride solu-
tion, and the acetone, in the proportion of ten parts of
the former to one part of the latter, is evaporated and is
spread in thin sheets and dried. These strips are diffi-
Fig. 26. Camera man .equipped and ready for taking a military scene.
Note the weightof the camera and film that must be carried in out
door work of this nature.
cult to ignite and do not burn after the ignition flame is
removed.
A compound of hitr<?-cellulose and acetyl-cellulose
also forms a slow-burni^ compound. Chloride of tin
added to celluloid while in a softened condition produces
a film that will burn only when held in the flame. This
compound consists of one hundred parts of nitro-cellu-
lose, four hundred parts of camphor, and one hun-
dred parts of alcohol. Kohler's substitute is prepared
by immersing nitro-cellulose in acetic ether or acetone;
the resulting colodion is then mixed with nitrated cotton
that has been dipped in shellac, Canada balsam, or sim-
ilar solution. '
Treating cellulose with strong caustic potash through
which carbon disulphide vapor is passed, produces a
transparent viscous mass which approximates celluloid.
After this treatment the cellulose is removed by a solu-
tion of salt water. Cellulose is soluble in acetic acid,
and this product, "cellulose acetate," is not inflammable.
While it has been shown that there are several sub-
stitutes for celluloid that are non-inflammable, it may
be said that all of them are practically failures as far as
moving picture film is concerned, and that considerable
work remains to be done before perfection is attained.
WATERPROOF FILM.
Every time that the film is run through the projector
it is scratched and smudged to a certain extent by the
sprockets, and even by the friction of one turn of the
film on the other during the process of unwinding from
the reels. The particles of dust and grit that float in the
air collect between the turns of the film and are ground
into the delicate emulsion bv the friction. In addition
354
MOTOGRAPHY
Vol. IX, No. 10
to the scratches and dirt, the film is usually well supplied
with the finger marks of the operator.
The scratches and dirt produce what is known as a
"rainy film," or a film in which the motion of the
scratches on the screen appears as a heavy downpour of
rain. A film in this condition is exceedingly annoying
to an audience for the "rain" not only obscures the pic-
ture but dazzles and tires the eyes as well.
The emulsion side of the film gathers the dirt and
scratches because of its delicate and mat-like surface,
and as this side is easily softened and destroyed by water
it is not practicable for the operator to wash it unless it
has been previously protected with some form of water-
proof covering. With a waterproof coat it is possible
to have the film as clean at the end of the season as at
the beginning.
A perfect waterproof coating must be transparent,
flexible, and yet perfectly hard under comparatively high
only the most common of everyday events. For two or
three years a five-minute picture showing a fire engine
passing down the street, or a locomotive rushing past a
way station were exhibited continuously. The moving
picture of this period attracted crowds, not because of
the interest of the subject, but simply for the reason that
it moved. After a short time the novelty of the moving
picture, as a moving picture, wore off and the producer
was compelled to offer something more than a machine
demonstration. It steadily degenerated until it finally
became a "chaser" or tail piece in vaudeville shows,
whose sole purpose was to warn the audience politely
that the show had ended.
The producers soon realized that the motion pic-
ture had reached the critical stage in its career, and began
to cast about for features that would reinstate the show
in the public regard. The first attempt that led to the
modern story picture was the production of a "comic"
Fig. 28. Taking a studio scene, showing the arrangement of the scenery and the position of the camera.
The director in the middle foreground is explaining the action of the scene to the players.
temperatures, and should be of such a nature that it will
take the cement used for making splices. These condi-
tions have been met by a substances greatly resembling
celluloid that makes the emulsion side as hard and shiny
as the back of the film. This coating makes the film
slide more easily through the gate of the projector, and
also prevents the operating troubles due to the fine dust
that is the result of the abrasion of the emulsion.
This coating is applied by passing the film through
a bath of the compound by a special machine designed
for this purpose. As the process is complicated, and the
machines large and unwieldy, the coating is done at the
plant of the waterproofing company. The washing is
done by a special machine, for the sake of speed, at the
film exchanges.
CHAPTER III. TAKING THE PICTURE.
For a few years after the first appearance of the
Edison Kinetoscope, the films were short and displayed
in which a small boy and a garden hose were the prin-
cipal characters. The popularity of this "slap stick"
film led to a second edifying production in which a black
mammy was shown in the act of applying a smother of
soap suds to several of her pickaninnies. However crude
these pictures may have been, they at least pointed the
way to public approval. The public clamored for a story,
and finally got it.
The demand for plays led to the complete transfor-
mation of the motion picture business. Studios were
built with complete theatrical equipment, and actors were
employed from the legitimate theaters. Because of the
length of the new production means were found by which
the old film lengths of forty feet were increased to two
hundred feet, which could be spliced end to end. Writers
had discovered a new market for their literary product,
and as a result the moving picture attained a new dignity.
The public soon discovered that the photoplay was
May 17, 1913
MOTOGRAPHY
o^o
far more realistic than the plavs produced upon the
legitimate stage, and that the range of subjects that
could be covered by the film were almost limitless. In-
stead of using scenery, it was possible to produce the
act among the actual surroundings demanded by the
play. When the producer required a ship, he did not
Fig. 27. Taking the pictures of a military scene in the field. The
production of this play necessitated the employment of several hundred
"supes," and took several weeks of rehearsal before the action was
ready to film.
build one of painted canvas and n few boards, but went
and photographed the group of players on board an actual
ship that rode an actual ocean. The photoplay filled
exactly the ever increasing demand for realism.
About this time the film manufacturers discovered
that foreign scenes were attractive to the average show
patron, with the result that the '"travel" picture came
into being. These pictures were not only entertaining
but were instructive as well, and are as popular now as
on the day of their inception. The travel picture really
marked the final break from the conventional theatric
atmosphere and placed the motion picture theater on
its feet as an independent and legitimate form of enter-
tainment.
The first notable film of this period was the three-
reel production of the "Passion Play," which was pro-
duced in New York by Richard Hollaman from the
manuscript of Salmi Morse. With the poor facilities
at hand at that time for taking a picture of this char-
acter, its preparation was a tremendous task and a great
financial risk, for no one knew whether it would make
an appeal to the public even were the great mechanical
difficulties overcome. Beside these difficulties, the pro-
ducers had to contend with the opposition of the clergy,
who had been instrumental in preventing the presenta-
tion of the play on the stage.
No expense was spared in its preparation, and when
it finally appeared on the screen it immediately became
tremendously popular, even among the clergy. Sunday
schools attended the performances en mass, day after
day the theater was crowded with people whose religious
principles had up to that time prevented them from
attending a place of amusement. Its success may be
judged from the fact that it ran continuously in one
theater for six months. Prints were distributed all over
Europe and were exhibited with the same success that
had met the production at home This was the first
three-reel film that had ever been produced, either at
home or abroad.
The tremendous impetus given to the industry by
this play, and by the numerous travel pictures that were
being shown, started the moving picture boom, and from
this time it was easy sailing, at least where the public
was concerned. To meet the increasing demand for
novelties, the manufacturers then introduced pictures of
topical events, pictures showing different manufacturing
processes, scientific films, and several other types of
educational value. The motion picture projector was
becoming an instructor as well as an entertainer.
THE CLASSIFICATION OF FILMS.
At the present stage of development, the films are
divided according to their subject matter into seven
principal classes : "Dramas," "Comedies," "Topicals,"
"Trick Pictures," "Educationals" and "Industrials."
According to our idea, the subjects are arranged in the
order of their popularity, although not according to their
merit. The term "educational" covers a multitude of
subjects, such as "scenic" or travel pictures, and films
that treat of historical or scientific subjects.
The subjects for topical, industrial, and educational
films are gathered in the same way that news items are
gathered for newspapers or magazines. When an event
of unusual interest is about to take place, the producer
sends a camera man to that locality to take the pictures.
The larger manufacturers have camera men constantly
on the road, seeking for novelties or news items, and as a
result there are few events of general interest that
escape the lens of the moving picture camera. The taking
of these pictures is usually an exciting and hazardous
occupation, and contrary to the general opinion they are
seldom "faked." Pictures have been taken from bal-
loons, aeroplanes, from the tops of unfinished sky-
scrapers, and on the battlefield.
Dramatic films which tell a story through a series
of related incidents are equivalent to the drama of the
"legitimate" theater in all of the essential details, except
of course that the action is expressed entirely in panto-
Fig. 29. Showing how an "industrial" film is taken in a factory. The
rows of vertical tubes on the right of the picture are Cooper-Hewitt
mercury vapor lamps used for illumination of the dark interior. A
film of this nature has a great educational value in the motion picture
theater, and is of great value to the manufacturer who wishes to have
his customers become interested in the inner workings of his plant.
mime. The incidents of the film drama, like that of the
legitimate drama, are based on a story or manuscript
known as a "scenario." Provided with the scenario, the
players go through the play before the camera as in an
ordinary theatrical performance, the camera playing the
role of "audience." The interior scenes of these plays
are enacted in the studio of the manufacturer. The
356
MOTOGRAPHY
Vol. IX, No. 10
Fig.
30. An example of a studio illuminating system showing the great amount of electrical energy necessary for the lighting of a scene,
are 80 arc lamps and 15 banks of mercury lamps having 8 tubes per bank.
There
exterior views are of course taken at the place designated
by the scenario, which may be any place south of the
Arctic circle or north of the Antarctic. Trick pictures
are invariably studio productions.
Film comedies correspond to the comedies of the
stage, and are photographed in the same way as the
dramatic films, either in the studio or at some place that
is in accordance with the scenario. As comedies are
based upon some story, a scenario is provided for their
production, similar in nature to that furnished in the
dramatic films.
Trick pictures are really sleight of hand perform-
ances that are made possible by the special manipula-
tion of the camera. By running the camera backwards,
or by substituting dummy objects for the real ones, the
photographer is able to perform many wonderful feats
that are deceiving to the audience. The effects obtained
in trick pictures usually border on the comedy form,
although some of the illusions, notably the vision pro-
jection, are sometimes utilized in the dramas. Trick
pictures require a great ingenuity both in the conception
of the trick and in the mechanical features of the camera
manipulation, and are deservedly popular.
In the early days of motion picture photography,
the stage was located out of doors in a small shed which
was left open in the front and closed in on the remain-
ing three sides. The enclosed sides served both as a pro-
tection against the weather and as a support for the
scenery. In the majority of cases there was no roof
over the stage. The floor of the little building was
elevated a few feet above the ground and served as a
stage on which the plays were enacted. The camera
was installed in a small house directly opposite to the
open side of the stage so that the lens could take in the
full width of the building.
Both the studio and the camera house were mounted
on a common platform that was free to turn in any direc-
tion like a turntable, so that the open side of the stage
could be faced toward the sun. By this means it was
possible to secure any desired illumination on the scene.
As it was possible to take pictures in this type of studio
only under favorable weather conditions, and for the
reason that the wind caused unnatural effects on the
draperies and clothing of the players, it was soon aban-
doned for the glass enclosed studio of the present day.
The present studios are enormous glass-enclosed
buildings, greatly resembling giant hot houses in their
external elevation, and are generally of the steel frame
type of construction. Both the roof and sides consist
of continuous glass paneling, so that it is practically as
light in the studio as out of doors. Steel trusses carried
from columns on the side do away with all intermediate
posts, giving a clear floor space. With a studio of this
construction it is possible to carry on the work under
almost any weather conditions, with natural light.
(To be continued.)
May 17, 1913
MOTOGRAPHY
357
Another Selig Animal Feature
Lions Shown in "Wamba"
MONDAY, May 26, is the date set for the release
of "Wamba, a Child of the Jungle," the next
two-reel animal picture to be featured by the Selig
Polyscope Company. In this picture three big lions, the
particular pets of "Big Otto" Breitkreutz of the Selig
wild animal farm, are the beasts about whom the interest
of the film and the danger to the players centers, while
Bessie Eyton as "Wamba" and Baby Lillian Wade as
"Lillian Rice" are the human players predominant in the
film. The settings, as usual, are quite convincing and
the story will doubtless hold many an audience spell-
bound.
Mother love might have been chosen for the title
of this picture, perhaps, as suitably as "Wamba, a Child
of the Jungle," for it is about this emotion that the story
really hinges. Miss Eyton makes of Wamba a most
likeable character, and shows conclusively the little
brown woman of the jungles, with all the pas-
sion of a tigress and the courage of an amazon, also
possesses a love for her baby that nothing can overwhelm
or quench, and which she lavishes on a little white girl,
placed in her charge, after her own little one dies. This
little white girl, most capably played by "Baby" Wade,
causes the real thrill of the film in the second reel when
she seeks refuge in a hollow log and is pursued by a huge,
man-eating lion.
The Selig people are to be congratulated upon their
elimination of much that might have been blood curdling
Wamba and Lillian.
Pursued by Lions.
and gruesome in the picture, had it been played out on
the screen the way some feature productions are staged
these days. They present all the horror of death in the
teeth of a lion by suggestion only, and leave the catas-
trophe itself to the imagination of the spectator.
The story of Wamba is laid in that picturesque but
dangerous strip of coast country known as the British
East African Jungle. Wamba is the simple-hearted, half-
breed wife of a brutal Portuguese, who lives in a hut on
a clearing in the jungle. He is addicted to the rum jug
and, as a consequence, abuses Wamba terribly. One day
Wamba's child falls sick and she is unable to relieve the
little one's suffering. Pete returns to the hut in a surly
mood and starts in to abuse his wife. She pleads with
him to allow her to take the sick child to Dr. Rice, the
surgeon at the British Trading Post. Pete turns a deaf
ear to her pleadings and orders her to take the child out
of his sight. Finally he falls into a drunken stupor.
The child's condition has become worse. Finally, the
sympathetic mother love of Wamba overcomes the fear
which she holds for her husband, and taking her child she
steals out of the hut and makes her way through ihe
dense and untraveled jungles to the doctor's home.
She finally manages to reach the trading post, where
she is received in the kindliest possible manner by Dr.
Rice and his wife. Mrs. Rice needs a nurse to look after
Lillian, her little girl, and as the white child seems to take
to Wamba from the first, they arrange to retain her in
the household. In spite of the doctor's best efforts to
save the native child, Wamba's baby dies, and the heart-
broken mother pours out her affection on little Lillian.
Pete, finding his wife and child gone, proceeds to
358
MOTOGRAPHY
Vol. IX, No. 10
track them through the jungle and eventually arrives
at the doctor's house where he attempts to drag Wamba
away with him. The doctor intervenes, thus incurring
Pete's everlasting enmity. Pete lingers in the commu-
nity nursing his grudge. Day by day he watches for his
chance to work revenge. Arrives a day when Dr. and
The Rices.
Mrs. Rice ride away to a neighboring settlement. Slowly
and cautiously Pete creeps up behind the unsuspecting
Wamba, and with one blow stuns her into insensibility.
Then he snatches up the child and departs into the jungle.
Little Lillian manages to escape from the Portuguese
brute but in her effort to evade her kidnapper she gets
lost in the dangerous jungles. Her path is beset with
prowling man-eating lions, and her many escapes from
torturous deaths are little short of miraculous. Pete
finds the trail she has taken and once more starts in
pursuit. Lillian arrives at the bank of a river and sees
the murky waters flowing below. She is about to turn
back when she sees Pete following her. He is closely
pursued by a huge lion. The tiny tot takes in the situa-
tion at a glance and, apparently without hesitation,
plunges into the deep waters below. Luckily she is able
to swim and she bravely strikes out for the opposite
shore. Pete meantime has jumped into the water and
hidden under an overhanging rock.
By this time Wamba has recovered consciousness.
She seizes the doctor's rifle and traces Pete and the baby
through the forest. Lillian reaches the opposite shore
but this proves little satisfaction to the tot for she is
immediately followed by other lions. She runs to a
clearing and takes refuge in a hollow log. Just as the
beasts are about to drag the child out and devour her,
Wamba rushes into the scene and shoots one lion. This
frightens the others away, and soon afterward the child
is being clutched to the bosom of the woman.
By this time the Rices have returned. They discover
the absence of the nurse and Lillian. A posse is imme-
diately organized and starts to search the jungles. Wamba
and the child are found and brought to safety. The
posse there follow Pete's trail. This leads them to his
shack but upon arrival they find their services will not
be necessary. Beasts of the jungle have followed him
to the hut and his mutilated body is all that remains of the
evident conflict. The cast is as follows :
Portuguese Pete Thomas Santschi
Wamba, Pete's wife Bessie Eyton
Dr. Rice, the trading post surgeon Frank Clark
Mrs. Rice, the doctor's wife Eugenie Besserer
"Baby" Lillian, their daughter "Baby" Lillian Wade
Vaudeville Experience Helps a Lot
The experience gained by Ford Sterling, one of the
leading comedians of the Keystone Film Company, while
working in vaudeville has stood him in good stead since
his advent in silent drama. Many funny situations which
used to set his audiences in roars have been utilized by
Ford in the pictures with great effect. Sterling is a past
master in the art of facial expression and make-up and
his impersonation of the German, Hebrew and Irish
character on the screen leaves little to be desired.
Although comic in their nature, they are true to life in
the last detail in expression, make-up and costume. Ster-
ling seems to have set a new mark for this sort of work
and gotten entirely away from the old style and conven-
tional character types formerly presented on the screen
and accepted as the real thing by motion picture audi-
ences.
American's Camera Man Has Accident
In producing pictures requiring explosions many
camera men have escaped death by a fraction of an inch.
None, however, ever came closer to the Happy Hunting
Grounds than Albert Heimerl of the American Film Com-
pany while the second company was making a scene last
week. A temporary shelter of heavy planking was erect-
ed over Heimerl and his camera. One hundred pounds
of black powder and thirty sticks of dynamite were too
much for the short 150 feet which separated Heimerl. A
300 pound boulder struck the top of his shelter, smashed
his camera and buried Heimerl under the debris. He was
unconscious when extricated and will be laid up for
several weeks.
Clifford Buys a Bungalow
William Clifford, leading man for the Bison brand
under Director Francis Ford, has joined the ranks of the
real estate owners in Hollywood, through the recent pur-
chase of a beautiful bungalow. The residence consists
of eight rooms, set in a particularly pretty garden on
Sunset Boulevard, an ideal playground for that won-
derful baby.
S. S. Hutchinson Back in Chicago
S. S. Hutchinson and wife rounded out a four
months absence from the Chicago office by returning to
the city last week. Mr. Hutchinson spent most of his
time at the Santa Barbara studio, but found time to make
a trip to Honolulu where he obtained some splendid views
of life in the Islands.
May 17, 1913
MOTOGRAPHY
359
Motography's Gallery of Picture Players
CHARLES FLEMING left Canada, the country of
snow-shoes and log-fires, for New York and St.
John's College, Fordham, where he was graduated with
honors and a deep love for books. The latter he in-
herit e d from his
mother, May Agnes
Fleming, whose nov-
els were the "best
sellers" of their day.
An opening in a dra-
matic company was
offered Mr. Fleming,
about the time he had
packed his sheepskin
away and decided that
a career somewhere
in the workaday
world ■ awaited him
and he accepted the
offer with thanks.
Years of work with
William Crane, John
Drew, Lena Ashwell,
Nance O'Neill and
other stars followed,
besides much stock
work. Then broke the
Charles Fleming. day of the motion
picture and Mr. Fleming worked in the front ranks of
the Imp and Majestic companies, under Mr. Miles'
direction. Recently Mr. Miles affiliated with the Kine-
macolor company.
MABLE VAN BUREN was blown out of the "Windy
City," across several states, and brought up at the
Kinemacolor studio on one of those prosperity gales for
which the lake city and its weather man are justly noted.
In this case, however,
David Miles was the
direct cause of the
high wind which took
Miss Van Buren Ki-
nemacolorwards. He
needed a leading
woman, remembered
the work of Miss Van
Buren in a company
with himself, some
time previous, took a
train to Chicago and
on his meeting Miss
Van Buren created
the storm of entreaty
which resulted in her
giving up vaudeville
popularity for the call
of the silent drama.
And she's not sorry a
bit, for she loves act-
ive work in big por-
Mable Van Buren. tionS J also, she loves
all outdoor sports, being an expert swimmer and horse-
woman, and she gets all these things she loves, in picture
work. A very lovely woman is Miss Van Buren, with
wonderful brown eyes, dark hair and pretty teeth.
T INDA GRIFFITH is small and blonde and has
1— ' attained the height of success in her leading roles
with the Kinemacolor company in New York. She is
of a deep thoughtful nature, which is responsible for her
forceful yet quiet act-
ing, in films, and, in
addition, is a student
and a writer for peri-
odicals. California is
Mrs. Griffith's home
state and her most
thrilling experience,
she claims, was her
surviving the San
Francisco earthquake
and fire. She had
been doing theatrical
work in the doomed
city and, after its
devastation, went east
where she became in-
genue with Florence
Roberts and Margaret
Anglin. That was
about the time she
changed her name
from Arvidson to
Griffith and became
one of the first members of the Biograph stock company.
Last summer she went to Sweden, visiting the homes of
her ancestors, and on returning to the states, was induced
to help make Kinemacolor famous.
Linda A. Griffith.
MURDOCK McQUARRIE sounds Scotch, but he
isn't ; he's San Franciscan. Just now he a Kine-
macolorite by merit of his ability to play leads and has
been with the nature-color company almost since its in-
ception. He was but
twelve years old when
he began his dramatic
work, playing the part
of the waif in the
"Lights of London."
For three years fol-
lowing this beginning,
he assumed the ani-
mated role of cow-
puncher on his uncle's
ranch in Arizona,
then he deserted and
returned to the stage,
assuming juvenile
parts at the Alcazar
stock, San Francisco.
For sixteen weeks he
was leading man for
Clay Clemment in
Honolulu, and, re-
turning to America,
decided that New
York should there- M- J- MacQuarrie.
after be his home. There he appeared with E. S. Wil-
lard, Jefferson and others and signed for four years of
work for William A. Brady. That finished, he turned to
the picture world via Kinemacolor entertainment.
360
MOTOGRAPHY
Vol. IX, No. 10
Winnifred Is So Bashful
Although Winnifred Greenwood, one of the most
popular leading women with the Selig oiganization, was
"born in a dressing-room trunk," as the saying goes, led
her own stock organization for many years, and played
hundreds of stage heroines during her successful career,
she has never forgotten how to blush and is still subject
to stage fright. A week ago she happened to be an
innocent spectator at the Parkway theater in Chicago,
where the Selig pictorial war play of "Pauline Cushman"
was the feature. It so happened that this lady had
vitalized the title role of the heroine. Manager Nelson
recognized her and led her reluctantly to the stage where
she was introduced to the crowded house as the lady
who made the shadow of the celebrity so vital and
fascinating. There were vociferous calls for "Speech,
speech." This was something new to Miss Greenwood.
All at once the hundred carat heroine had three varieties
of stage chill, including an attack of "tonguetiedness."
She finally managed, however, to stammer her thanks,
and then dodged a shower of bouquets that admiring
ladies in the audience heroically and impetuously sacri-
ficed to honor the actress.
Ittat A iiomntt f Imst
"Calamity Anne" Picture at Venice
Director Hale of the American Film Mfg. Co. in
company with Jack Kerrigan, Jack Richardson, Louise
Lester, a number of cowboys and last but not least the
famous American burro, which plays such star parts in
all the Calamity Anne pictures, left Santa Barabara last
week for Venice, Calif, to finish some scenes in a new
picture. The journey is 125 miles from Santa Barbara,
a distance travelled for the sake of six scenes. Much
difficulty was found in inducing the burro to travel alone
in the freight out of Santa Barbara. He refused to
mount of his own accord, and in an effort to drag him
on he fell from the platform of the freight station and
everyone thought a dead burro would be found. But
"Woodrow" was unscathed, and by dint of ropes was
finally pushed and hauled into the car, rending the subur-
ban atmosphere with burro calls for help.
How "Toothless Ted" Got Name
"Toothless Ted," commonly known as Theodore W.
Wharton, the producer of par excellent merit with the
Essanay Film Manufacturing Company, earned his title
as "Toothless Ted" in a rather painful manner. Last
Thursday Wharton had fifteen teeth extracted and nine
nerves taken out without an anesdietic. This was all
done in less than one hour, and before another hour had
elapsed Mr. Wharton was on the floor of the studio
directing a photoplay.
Seeking Broadway Theater
Film history will be made by Harry R. Raver and
Philip Klein, the son of Charles Klein, the playwright,
if negotiations to put Itala multiple reel masterpieces
in Broadway theaters, not in conjunction with regular
service, are consummated.
Inasmuch as Itala features at the present time do
not exceed four reels, this action in "featuring features"
whose length does not nearly approach the eight and nine-
reels of "Quo Vadis" and others, the enterprise is un-
precedented.
SUGGESTION TO PRESS AGENTS.
Why not send out story of injury to one of your players
and close item with sentence: "Despite the injury the player
pluckily insisted on finishing the scene." It must be great stuff —
they all do it.
HOW MANY WOULD YOU EXPECT?
"Parted at the Altar — in two parts" announces a feature
film manufacturer in his advertising. It pays to be explicit.
—
SCENARIOS THAT ANYONE CAN WRITE.
WTar Drama: — Two brothers in Virginia leave for school, '.one to North-
ern and other to Southern. War breaks out. One joins federals, other
Confederates. Boys are rivals for hand of same girl. Nij^thern soldier
spurned when he enters Southern lines to plead his case. Pursued. Brother
takes his place to help him get away. Bang! bang! He's shot! Carried
to old home. Girl nurses him back to health. War over. Northern soldier
returns. Brothers shake hands beneath entwined rebel and federal flags.
Girl marries old friend.
PLENTY OF CAPITAL.
A trade item recently published announced that Charles
Rich, Thomas Cash and William Rich were the incorporators
of a new concern to operate a chain of New England picture
theaters.
TOO MUCH SCREEN CLUB BALL?
In the May number of "Vitagraph Life Portrayals" we lamp
by the published cast that Robert Gaillord plays the role of "The
Strong Man" and a star precedes his name, while we read be-
neath the cast that "star indicates portrait shown, on this page."
Down in the lower right hand corner is a small halftone of
Alice and Edna Nash, the Vitagraph Twins. What's the an-
swer?
WAS ENCOURAGEMENT NECESSARY?
"After the meeting adjourned a banquet was served in the
grill room of the Seelbach Hotel where the sweet strains of
music cheered the exhibitors on as they partook of the hospitality
of the Louisville committee on arrangements" reads the report
we received of the convention of Kentucky members of the M.
P. E. L. of A.
OUR BURG.
Fred Mace, pop. actor, pres. of The Photoplayers, and possibly next
mayor of Los Onglez, was a visitor in Our Village last wk. Ye ed. had
a nice little chat with Fred over at the La Salle House and found him even
more likeable in real life than he is in the pictures. Come again Fred.
Geo. Kleine opened his new show, "Quo Vadis," at the Opry House
this wk. and our villagers unite in declaring it's some regular show.
Johnny Pribyl, right bower of Will Selig, sailed for London, Eng. on
the 26 of last mth. Bon Voyage John.
A rumor was current on Main st this wk. _ that Geo. Spoor is going
to handle dolls as a side line to his w. . k. film biz. New industries are al-
ways welcomed. Chi. is getting to be a sure enough mfct. center.
C. Lang Cobb, the man who put the ram in Ramo, was seen Tues. of
this wk. shaking hands with friends on the sunny side of Main St. Wel-
come to our city.
THAT BRITISH GEOGRAPHY.
The Ohio flood pictures, when shown in London, occasioned
the following comment in The Bioscope : "The recent floods
which have devastated the United States from the east of the
Rockies, across the middle states from west to east, culminating
in Southern Ohio, where Dayton is the chief city to suffer, have
probably not been equaled in magnitude of disaster since- — " etc.
Sir:
WE JUDGE THE MARRIAGE WAS UNHAPPY.
I note your mention of some odd motion picture titles and wonder if
those you listed attracted any more attention than did three recently an-
nounced by a Pennsylvania exhibitor. As listed in his lobby they read:
"A Coupon Courtship," "The $100 Elopement," "The Parting Eternal."
A. K. W.
Selig, we are informed, is to film Chicago's welcome to the
Peerless Leader, which occurs on Frank Chance Day, otherwise
May 17. Something tells us the welcome would be just as cor-
dial were Frank to leave his ballplayers (?) behind.
Had a touch of Spring Fever yet?
So have we.
N. G. C.
May 17, 1913
MOTOGRAPHY
361
Who's Who in the Film Game
THE commonplace man
knows very little of
art. It has small con-
cern for him. The artist
and the lumberman see
strangely different things when they look toward the
woods. The artist would give credit for it to the Master,
the Lord Creator. He would see the surpassing beauty
of the sun's rays reflected by the myriad leaves. He
would gurgle with the delights of the colorings — the
girdles about the trees — the grace of that far-reaching
limb. The glint of a dew-drop on a leaf tip would
suggest diamond drip, or some such fanciful thought.
There would be yellow-golds and similar tinting. The
undergrowth would be
freshly green ; and the
heather would be bejeweled
and the fragrant flowers
would rest their blossoms on
mellow sheens or lichen-cov-
ered rocks. He would exult
with Nature. On the other
hand the lumberman would
reckon the value of the same
scene on a dimension basis
— h ow many fee t — how-
many dollars. By which
token, be it known that
Ingvald C. Oes is no lumber-
man. Ingvald is an artist.
Mr. Oes is exceptional in
many other respects. He is
an artist, but he doesn't sus-
tain himself by his art. Far
be it from. He adores Corot
and Barye and Rousseau and
Millet and Diaz, but that is
all. He found out early in
life that he could go right
along adoring the old mas-
ters without entering into
competition with them, and
he learned about the same
time that competition was
plentiful and much more
profitable and easier in other
directions. But he stuck to
art for quite some consider-
able spell, even at that.
For one so young and bashful. I. C. Oes has made
remarkable progress. He is only a little past thirty, was
born in Chicago, educated in Norway and if he hadn't
been shifted' about so much when he was little he might
have attained considerable standing. As it is, he only
measures six feet four in his holeproofs and he languishes
the sad hours away with his feet hanging over the dash-
board or through the footboard or any other where that
it is convenient for him to find rest for his great length.
When he stands, they all look up to him. You have to.
Six feet four is no joking matter. It's a head above any-
thing you run across. So you will agree that had he
been cuddled along in his baby days without the discom-
forts offered by two or three continents he might have
Facts and Fancies About a Man
You Know or Ought to Know
shot or anything- like that.
assumed gigantic if not
freakish dimensions. As it
is, he is only six feet four.
But then, he isn't wabbly or
bent in the shoulders or hip-
He's an artist and as sym-
Six Feet Four is
metrical all the way up or down as his cute little mus-
tache would indicate.
When Oes was only about three feet three, his folks
took him back home with them. His education, that
equivalent to our high schools, was completed at Chris-
tiania. After graduation, Oes' penchant for making pic-
tures suggested the development of that talent and lie
became a student at the Royal Industrial Art School
where he acquitted himself
with honors. With his dip-
loma as reference, he be-
came a member of the scenic
art staff of the Royal Xa-
tiania Theater of Christiania.
Art. as a regular thing, be-
gan to wane about then, but
art got him the position as
publicity director for one of
the largest publishing houses
in Denmark with headquar-
ters at Copenhagen. And
his art led him straight into
the art department of the
same concern and out of it
into the Great Northern
Film Company of the same
city. For when Mr. Oes
saw the possibilities of mo-
tion pictures he knew the jig
was up for him as a com-
petitor of old masters. He
was in at the beginning of
an entirely new era of art
and with his fine sense of
appreciation he said : ''Me
for that." He has been wear-
ing a that sticker ever since.
When the Great Northern
Film Company thought of
America as a place to ex-
tend its operations, it also
thought of Ingvald C. Oes,
who by then was bidding
fair to blossom into a man-sized man. So Mr. Oes was
sent to the land of the free and the rest of it in 1908
with full power to represent his company. Oes stopped
in New York and established his headquarters there.
Equipped with educational advantages of two continents
and a handicap of only twenty-five years to the bad since
birth and six feet or so backed by the virility of youth,
you were bound to hear from the house of the polar bear.
Oes is a regular bear in the film business. He has had
opportunities a plenty to line up with the bunch and
take his inning at the double-cross, but he always pulls
through or around every combination.
For he was in at the beginning and he's an artist in
more ways than one. At one time he hesitated between
Joking Matter.
362
MOTOGRAPHY
Vol. IX, No. 10
'Buck Richard's Bride," May 14. Copyright 1913, Selig Polyscope Co.
going licensed or not. Possibly he doubted his youth
among a class of men much older. At any rate, some-
thing told him to steer clear or the boogy man might
get him. He held Great Northern back. Then he be-
came a director of the Motion Picture Distributing and
Sales Company. When that concern had no other func-
tions to fill, he became vice-president of the Film Supply
Company. This concern, so recently in the spot-light
that it requires no comment, is being dissolved by mu-
tual consent. The method of distributing certain brands
seems to be evoluting along new and untried paths, but
Mr. Oes is holding Great Northern fast. Only recently
the Exclusive Supply Company was formed and Oes'
postion with the new concern lends more power to his
energies. The Exclusive practically succeeds to the Film
Supply program.
Ingvald C. Oes is a bachelor and, like most film men,
he is too busy for clubs or societies.
and Rome. The Itala Film Company is composed of
northern Italians, and the dramatic method of the north-
ern Italians is evidenced in their playing. There is
little of the local characterization in the playing of
Ermete Zacconi, known as "the Mansfield of Italy," and
the successor to Salvini. His art is too universal in
scope and feeling to be classified as is those of lesser
lights. The work of the Itala players in "The Dread
of Doom" is clearly distinctive of the northern Italian
mode of expression. Their methods are subtle, there
is the absence of gross violence, such as has marred the
work of other Latin localities. They leave more to the
imagination, act more with their heads than with their
hands, so to speak. It is their theory that given a cer-
tain situation, it is understood that the persons in re-
spective parts will have emotions to correspond to their
situations. Accordingly they go on to surmount the
higher artistic summits, and to achieve admirable finesse.
Method of Itala Players
There are dialects in the sign language and deaf
and dumb eloquence as in the other languages of man-
kind. Some races, particularly the Latin, are known for
eloquence of hands and facial features. It is peculiar
to note that in Italy the modes of expressing thoughts,
feelings and passions differ in various provinces. They
vary almost as radically as do the tongues of the various
peoples. The _ sign languages of Sicily and Calabria,
southern provinces, are rougher and ruder in expres-
sion than is the case in provinces to the north, Tuscanv
Props Worth Over $5,000
For the benefit of the many persons who believe that
it is an easy matter to stage and properly equip a picture
company on small capital, it might be interesting to note
that skins worth more than $5,000 were used in a recent
production at Universal City under the direction of Mr.
Montgomery. Tiger skins gathered in South Africa,
leopard skins from the same country and a large collec-
tion of other skins from different parts of the world were
used besides hundreds of dollars worth of properties,
scenery and other incidentals.
May 17, 1913
MOTOGRAPHY
363
The Motion Picture Exhibitors'" League
of American
General Headquarters
703 Euclid Ave., Cleveland, Ohio
OFFICERS OP NATIONAL ASSOCIATION.
President M A Neff. .-ock Box 15. Cincinnati. 0. : Secretary. C. M. Christenson. 703 Euclid Ave.. Cleveland. 0.: Treasurer. J. J. Rieder, Jackson. Mich.; Vice-President;.
W A. Pettis" Conneaut O : Wm J Sweeney. Chicago. 111. ; Ferd J. Herrlngton, Pittsburgh, Pa. : B. L. Converse, Owassa, Mich. ; F. J. Rembusch. Shelbyville. Ind. : E. vf .
Waugh Huntington W ' Va : Orene Parker, Covington. Ky. ; Geo. H. Wiley, Kansas City. Mo. ; Chas. Rothschild, San Francisco, Cal. ; Sidney Asher, New York. N. \.: Fulton
Brylaw'«ki Washington, D. C. ; L. F. Blumenthal. Jersey City. N. J.; H. C. Farley, Montgomery, Ala.; A. D. Saenger. Shreveport, La.; Thos. A. Brown. Iowa City. la.;
W H Wasserman. Nashville. Tenn. ; T. P. Finnegan, Dallas. Tex.: Carl Gregg. Tulsa. Okla. ; Paul LeMarquard, Winnipeg, Can.; E. F. Tarbell. Tampa. Bla; Geo. Osbora.
St Paul Minn ■ C H Phillips. Milwaukee, Wis.; Geo. F. Washburn, Boston. Mass.; Glenn D. Hurst, Reno, Nev. ; E. Wayne Martin, Hutchinson. Kan.; J. E. Schlank,
Omaha Neb ; Julius Meyers, Charleston, S. C. : S. A. Arnold. Mena, Ark. ; Hiram Abrams, Portland, Me. ; O. T. Curtis. Pueblo, Colo. ; Fred Abbley, Gulfport, Miss. :
P. S. McMahon. New Britain. Conn.: S. T. Merchant, Providence, R. I.; A. B. Campbell. Sedro Wooley, Wash.
Getting Ready for Convention
The second annual state convention of the Motion
Picture Exhibitors' League of Pennsylvania will be held
in the Continental Hotel in Philadelphia on May 27 and
28. Through the influence of Mr. Neff the Pennsyl-
vania exhibitors have been able to secure the services of
Clem Kerr, who will act as manager of the arrange-
ments in general. Mr. Kerr has already achieved much
prominence among the various branches of the Motion
Picture Exhibitors' League throughout the country for
his adaptability in organization as well as his managerial
ability in handling these conventions. The phenomenal
success of the convention at Dayton, Ohio, together with
that of Columbus, Ohio, and other states have secured
for Mr. Kerr the plaudits of all who have seen his work.
The national convention held in Chicago last year also
owes much of its phenomenal success to his unceasing
efforts and careful guidance.
The Pennsylvania convention will undoubtedly be a
most interesting one, owing to the fact that in that part
of the United States the exhibitors have been contend-
ing for some time with many laws and orders enacted
by civic authorities, through their ignorance of condi-
tions, that have done much to stay the onward progress
of this industry.
The Continental Hotel is one of the most ideally
arranged hotels in the East in which to hold an affair
of this kind, owing to its ample auditorium facilities. To
one side of the room which will be used for the con-
vention will be a still larger room which will be artistic-
ally decorated and divided into booths for the display of
the by-products of the motion picture industry.
The detail arrangements are in the hands of
Clem Kerr, who will act as manager; E. A. Jeffries,
who will be the general chairman, and J- Hesser Wal-
raven. who will act as secretary of the convention. The
comforts of the many out of town guests will be attended
to by a carefully selected entertainment committee
headed by Jacob ^"einrich, assisted by A. R. Cavanaugh
and others, while the exhibits will be in charge of Walter
Steumpfig and John Greenbaum.
Kentucky Exhibitors Meet
Kentucky state branch number eight, of the Motion
Picture Exhibitors League of America, met in conven-
tion at the Seelbach Hotel, Louisville, Ky., on Wednes-
day, April 23. A large number of exhibitors attended;
new members were taken in and a rousing, enthusiastic
convention was held. After remarks by several of the
members, the convention got down to businss. After
listening to the reports of the committees on credentials,
auditing, resolutions, legislative and grievances, a check
was voted drawn to the National League for the per
capita tax, and a general discussion of matters followed.
The following officers were elected :
PENNSYLVANIA STATE CONVENTION COMMITTEE.
Bottom Row, Sitting: — M. J. Walsh, Geo. H. Roth, Treasurer, Walter Steumpfig, President; E. A. Jefferies, Chairman; Clem Kerr, Conven-
tion Manager; J. Hesser Walraven, Secretary, and A. R. Cavanaugh. Top Row, Standing: — George Chapman, J. G. Greenbaum, Ben Zerr, Walter
Jacobs, Press Agent; J. Weinrich, Chairman Entertainment Committee; John Conners, J. W. Pierce, Harry Schroeder, and Chas. Segall.
364
MOTOGRAPHY
Vol. IX, No. 10
Scene from "Calamity Anne, Parcel's Post," Release May 22. Copyrighted 1913, by American Film Manufacturing Co.
National vice-president, Orene Parker, Covington,
Ky. ; president, L. J- Dittmar, Louisville, Ky. ; first vice-
president. T. A. Bleich, Owensburg, Ky. ; second vice-
president, j. J. Ciablo, New Port, Ky. ; secretary, J. J.
Dolle, Louisville, Ky. ; treasurer, Max L. Simon, Louis-
ville, Ky.
The following delegates and alternates to the New
York convention in July were chosen : L. H. Ramsey,
A. B. Arnett, L. J. Dittmar, J. J. Cravlo, H. B. Strulie,
Carl Tarvin. Alternates : G. A. Bleich, C. Bloomfield,
J. M. Wentzell, Jos. L. Steurle, Mr. Griffith, Fred Dolle.
Just after the officers were elected, President Neff
arrived and was escorted to the convention hall where
he addressed the convention. President Neff in his re-
marks called the attention of the exhibitors to conditions
existing now as compared with former conditions a year
or more ago. He pointed out the necessity of organizing
and co-operation of all those interested in the motion pic-
ture business, especially dwelling on the importance of up-
lifting the business and creating a healthy public senti-
ment in favor of the motion picture.
After the meeting adjourned a banquet was served
in the grill room of the Seelbach Hotel. During the ban-
quet, Mr. Neff stirred the exhibitors to a high stage of
enthusiasm over the big convention which will take place
in New York. Kentucky will undoubtedly be there well
represented, with banners flying.
After the banquet, the exhibitors in a body visited
President Dittmar's beautiful Majestic theater and at
8:10 visited Keith's vaudeville house and were enter-
tained by a splendid performance. After the show was
over they again visited the Seelbach where a splendid
spread awaited them.
Rousing West Virginia Convention
Over one hundred delegates attended the opening
meeting of the West Virginia convention of the Motion
Picture Exhibitors' League of America, held in Wheel-
ing on April 30, and many more arrived after the meet-
ing had adjourned for luncheon.
Mayor H. L. Kirk delivered the address of welcome
to the convention, and in a few well chosen words ex-
tended them the freedom of the city.
While delivering his words of welcome the mayor
paid high tribute to the picture men in the following
words :
"No business man can do a community the service
the motion picture men can do. They are the genuine
missionaries of progress and they are fast breaking down
old prejudices. They scatter the germs of progress
wherever they go."
President Neff replied to the mayor's address, con-
gratulating the city of Wheeling on having a man for
mayor who had so many progressive ideas.
Following this address adjournment was taken and
the delegates retired to the ground floor grill of the Mc-
Lure, where musical instruments, moving picture ma-
chines and like supplies for picture houses were being
exhibited.
May 17, 1913
MOTOGRAPHY
365
At the closing session the following officers, dele-
gates and alternates were elected :
President, A. G. Frohme. Home Theater, Wheeling ;
first vice-president, Russell Lynn, Dixie Theater. Fair-
mount; second vice-president, Patrick McGovern, Odeon
Theater, Clarksburg; secretary, M. A. Sybert, Park
Theater, Moundsville ; treasurer, D. B. Eagan, Amuse
Theater, Ronconverte; national vice-president. A. L. Cot-
trill, Wonderland, Point Pleasant.
Delegates, L. R. Thomas, R. Robinson. U. P. Kem-
per, P. W. Barrett, D. B. Eagan, R. E. McCray: alter-
nates, G. W. Perrine, Frank McCray, J. B. Cotts, Jas.
Velas ; John Papaulias. O. F. Langworthy.
On the night of April 30 a big banquet was given.
Many distinguished gentlemen were present, among them
being the mayor of Wheeling, the mayor of Bellaire,
Ohio ; mayor
M. A. Neff.
President Xeff has just sent an organizer into Tennessee
to visit all the exhibitors there.
The Baltimare, Md., and Wilmington, Del., con-
of Bridgeport, and X'ational President
Some Coming Conventions
The Texas state convention will be held in Dallas,
Texas, on May 28 and 29. A large attendanace is ex-
pected. National Vice-President Finnegan of Dallas
will have full charge of convention arrangements ; as he
made such a grand success of their last convention, it
goes without saying that the Dallas convention will be
one of the largest yet held in the south.
A convention is called for Tennessee on Mav 17.
"Ashes of Hope," Copyrighted 1913 by American Film Mfg. Co.
ventions are being handled by experienced enthusiastic
workers and the big convention to be held in Philadel-
phia no doubt will be a hummer.
Solax's "The Man In the Sick Room." Mav 16.
Lubin to Entertain Exhibitors
Until a short time ago the name of Philadelphia
was synonymous with somnambulism. It is most grati-
fying to note the way in which that city is waking up.
This fact is well evidenced by the way those interested
in the motion picture industry have displayed their en-
thusiasm over the coming second annual state conven-
tion of the Motion Picture Exhibitor's League, which is
to be held in Philadelphia on the 27th and 28th of May
at the Continental Hotel. On last Wednesday, Messrs.
Kerr, Walraven and Roth, of the convention committee,
were the guests of Siegmund Lubin at luncheon at the
Lubin plant. Mr. Lubin showed great enthusiasm in re-
gard to the coming convention, and will detail a number
of his camera men to make a reel of film for the Ex-
hibitors' League, depicting the historic points of interest
in and around Philadelphia, as well as taking a picture
of all the exhibitors and their families.
Elaborate arrangements will be made by Mr. Lubin
to entertain the manv out-of-town exhibitors and their
366
MOTOGRAPHY
Vol. IX, No. 10
families, who will wish to visit not only the Lubin plant
in Philadelphia, but the new two million dollar plant
which is nearing completion at historic Betzwood, out-
side of Philadelphia.
Prominent Exhibitors
Exhibitors, Attention !
President Neff would be very much pleased to hear
from a few live, wide-awake exhibitors in the following
states : Arizona, Georgia, Idaho, Montana, New Hamp-
shire, New Mexico, North Carolina, North Dakota,
Oregon, South Carolina, Vermont and Wyoming.
All contributions for the members of the Motion
Picture Exhibitors' League who have suffered by reason
of the flood or tornado must be in by May 14, iplS.
Hungry Realism in "Robespierre"
A hungry mob scene that needed no rehearsal to
make it realistic was enacted during the production of
the Imp three-reel feature, "Robespierre," under the
direction of Herbert Brenon. A morning of strenuous
mob scenes was followed by a call for luncheon. The
delicatessen that furnishes lunches for the Imp studio
had already supplied the three Imp companies, but the
mob of two hundred men, women and children had been
overlooked. They were becoming peevish. Director
Brenon, to save time, decided to go on with the mob
scenes. The particular scene to follow was the mob's
attack on the bake-shop, which was elaborately stocked
with loaves of bread, rolls, cakes, pies and all kinds of
pastry. When the mob got a peep at the foodstuffs,
one can well imagine what happened. The whistle blew ;
the scene was on ; the hungry mob made one grand on-
slaught. All well armed with axes, clubs and stones,
they smashed down the doors and crushed in the show
window, climbed through and helped themselves in true
mob fashion to everything edible in sight. Then pick-
ing up the provender, they scurried to all parts of the
studio to lunch sumptuously.
First Picture House for Amoy, China
The Amoy Cinematograph Co. (Ltd.), capitalized at
$6,000 gold, has recently been organized and has placed
the order for its entire plant with a firm in the Philippine
Islands. This Philippine firm is to have the equipment
in the city within a few weeks and will send an Amer-
ican there to install it and to instruct the local Chinese in
the method of operation.
The establishment of this enterprise is largely ex-
perimental, as it is the first of its kind there, although
traveling companies have stopped for a few days at a
time when passing through. The local company has
rented a building formerly used as a Chinese theater,
and since there are a number of somewhat wealthy Amoy
men interested in the success of this venture, it is antic-
ipated that there will be no difficulty in finding a sale for
tickets. It is interesting to note in this connection that
in subscribing for stock some of the more wealthy men
stated that they were very anxious to have the company
start operations in order to provide a means of enter-
tainment.
The capital stock represents merely the cost of buy-
ing the plant and the incidental expenses incurred pre-
liminary to the opening, and no one person has been
permitted to invest so heavily as to gain a controlling
interest in the company. It is expected that, if this
venture succeeds, the company will increase its capital
and open more theaters in other parts of the city.
FROM a little log hut in the hills of southern Ohio to the
office of president of the Motion Picture Exhibitors' League
of America is a long jump, yet such is the leap made by the
subject of this brief sketch, M. A. Neff, of Cincinnati, Ohio. Along
the upward path he paused long
enough to be employed in a tree
nursery, to act as a cabin boy
on a Mississippi river flatboat, a
lumberman, a surveyor, a rail-
road conductor, a freighter in the
far west, a gold miner, a cow
puncher, a colonization agent, a
vaudeville and theatrical man-
ager, and in addition to all this
organized the M. P. E. L. of A.
He lays whatever success he has
achieved in life to his mother, and
declares the most impressive
memories of his boyhood are the
arrival of the first issue of Horace
Greeley's New York Tribune and
his first ride on a railroad train.
The idea in establishing the league,
he declares, was to secure a
square deal for all and special
privileges for none and he leaves
it to the exhibitor himself to
judge whether or not that object
is being obtained as the league grows in size and strength. Cold
figures prove however that the little idea that originated in Mr.
Neff's head for the formation of a motion picture exhibitors'
league has borne fruit to the extent that today that league num-
bers members in every state in the union and is still growing. The
frequent conventions and get-together meetings of the league now
keep Mr. Neff on the rails a majority of the time.
CARL RAY, president of the Michigan branch of the M. P.
E. L. of A, was born in Bowling Green, Ky., on November
12, 1867. Attending school in Baraboo, Wis., it was quite natural
that he entered the employ of Ringling Brothers, whose circus
winters in that city. For two
years he handled the ticket wagon
of that show and then journeyed
into Old Mexico with the Travena
Circus in an executive capacity.
Some time later a dramatic com-
pany of Sherman, Texas, was in
charge of Manager Ray and then
motion pictures claimed him. With
an Edison Kinetograph, for which
he paid $800, he started en tour
with the Corbett-Jeffries fight
films. This was only the begin-
ning— today Muskegon, Mich.,
claims Mr. Ray as its mayor, the
owner and manager of the Orphe-
um, the Lyric, the Majestic, the
Elite and the Amuse theaters, all
located in that city, and its wealth-
iest real estate operator. A large
and prosperous ranch at Gardena.
California, and a beautiful and
luxurious winter home at Holly-
wood, in the same state, are also
the property of this genial picture
magnate. The high standard of the programs maintained at Mr.
Ray's houses keep them playing to capacity business every day in
the week and prove conclusively that he is a showman born
and bred. He knows that quality counts and gives his patrons
all that they can possibly expect for their money and then a
little bit more — just for good measure. If you don't think this
policy pays him well cast your eyes over Mr. Ray's diamonds
and you'll find the answer. For he is a successful exhibitor in all
that the word success means.
May 17, 1913
MOTOGRAPHY
367
"In the Long Ago," May 15. Copyrighted 1913 by Selig Polyscope Co.
Current Educational Releases
Relics of Ancient Rome. — Cines. These views
carry with them the very atmosphere of the days when
these grounds were traveled by the men who made their
country foremost in architectural, musical and mythical
arts. They were produced by excellent photography and
a painstaking selection of the castles and aqueducts in the
Champagne Romaine. After having witnessed these
views, one may truthfully say "I have visited Italy."
The Chicken Industry, France. — Eclipse. The
chicken industry in France has reached a height that
hardly any other country can equal. In this picture is
shown a model stock farm. Feeding and cramming
poultry follow ; after which their methods of plucking
and sanitary packing are shown. The special method
used to whiten and make the flesh tender is also illus-
trated.
Reedham Drill. — Kinemacolor. Reedham Or-
phanage is at a little town called Purley, not far from
London. It is for the children of soldiers, and is man-
aged under the direct patronage and interest of the King
and Queen. This particular school being for soldiers'
orphans, they are taught there the duties that they them-
selves will have to perform when they become members
of the British armv, and one of the features of the school
is the annual display of their fancy marching. To the
sound of their instructor's whistle they form various
stars and circles, this being coronation year, the last
figure they make is the Imperial Crown, and underneath,
the King's royal initials, G. R., standing for George Rex.
The People of Somaliland, East Africa. — Cines.
In this picture of the Somali natives we see them in their
every habit. A typical village is first shown, after which
comes the Sultan of Gheledi. As to the local marketing,
a butcher with a cleaver is shown at work. The methods
of protecting their homes against storms, the maintenance
of their maize and cotton plantations comes next. Weav-
ing and many other industries in their crude state closes
this picture.
Gulf of Togulio, Northern Italy. — Eclipse. This
is one of the most picturesque landscapes of which Italy
can boast. In detail are shown St. Marguerite, St.
Michael, Rapallo, Annibale Bridge and many other note-
worthy edifices.
The Jelly-Fish. — Patheplay. This film deals with
the jelly-fish that inhabits the Mediterranean Sea. The
species is more richly colored and more beautiful than
that of any other part of the world. Some of the speci-
368
MOTOGRAPHY
Vol. IX, No. 10
mens examined are a yard in diameter. The jelly-fish
has introduced himself to practically every surf bather,
and they should take this opportunity to study the inno-
cent looking creature at close range.
Electrical' Phenomena. — Eclair. This educational
subject treats with one of the most interesting subjects
of the present day. The mystery of electricity is still the
wonder of the century. Here are shown some very in-
teresting and entertaining experiments which are quite
unusual. It would be impossible to see these same ex-
periments, except by making trips to some of the best of
the world's laboratories, where scientific research work is
conducted.
Along the Banks of the River Eure (Colored.)
■ — Patheplay. A scenic film that includes views of the
ruined aqueduct used to carry the waters of the Eure
to Versailles and several examples of fifteenth century
architecture built at the instance of Louis XIV, and the
whole handsomely colored.
Salamanders. — Eclair. A popular scientific sub-
ject, not only interesting and instructive but one which
has enough action to please.
In the Tyrolese Alps, Austria. — Eclipse. By the
most extraordinary efforts these views were taken along
the rivers between snow-capped mountain ranges, which,
running down to the rivers far below, display by the
vegetation along their sides every season of the year.
Inspection of the Quebec Police. — Vitagraph.
Showing the splendid police force of the oldest Canadian
city, the men that now patrol the historic Heights of
Abraham, the scene of General Wolfe's famous exploit.
Montreal, Quebec and Halifax. — Patheplay. This
film offers an opportunity to everyone to visit every place
of interest in these three thriving cities of Canada. No
country in the world has more scenes of historic interest
and historic landmarks than this, and persons, by means
of this film, may view at their leisure the monuments
•and landmarks in a more comprehensive manner than
would be possible through a personal visit with its re-
sultant expenditure of much time and money.
Vitagraphers at Kama Kura.— Vitagraph. A
beautiful reproduction of life in the Land of Lotus Flow-
ers, showing the Vitagraph "Globe-Trotters," as they
appeared at one of their first stops in the Mikado's
empire. The neighborhood of some of the Vitagraph
Japanese plays, the first of their kind ever produced.
Saragossa. — Patheplay. The capital of the ancient
province of Aragon and a reminder of the golden age
of Spain when she was the greatest power in the world.
Uses of Dynamite by U. S. Engineering Corps.
—Vitagraph. Dynamite has many uses in times of peace
as well as in warfare. The engineering corps are shown
using it in stumping and felling trees and for a variety
of other purposes. The ease with which this violent ex-
plosive may be handled and its enormous power when
exploded in close quarters are most strikingly illustrated.
animals in captivity. The different species of each family
are also shown, making it a most educational and inter-
esting picture.
The Chateau of Blois (France.) — Patheplay. A
castle high on the bank of a beautiful river. The chateau
is an architectural masterpiece reminiscent of the days of
royalty and replete with historic mementos. An un-
usually fine scenic offering.
The Grand Canyon. — Vitagraph. A splendid
travelogue, showing the wildest scenes of the majestic
valley of the Colorado River. The valley where the human
voice may be heard over fourteen miles away.
In the Valley of the Vesubie (France) (Col-
ored).— Patheplay. The Vesubie River, rising in Italy
at a height of 6,000 feet, winds its way through the Alps
to France and the spectators follow its course through a
valley, beautiful in black and white, but whose beauty is
enhanced by the handsome coloring.
Big Game. — Eclair. These views were taken at the
London Zoo, England, and show many of the largest
Winter in Upper Engadine (Switzerland). — ■
Patheplay. — A view of the Alps in all their wondrous
and glorious beauty holding the spectator spellbound by
its very magnificence.
Nathan Hale (A Historical Drama). — Kinema-
color. Nathan Hale is the first of a series Kinemacolor
will produce depicting the main incidents and lives of
great men. Hale is discovered teaching school when he
hears of the battle of Lexington and the call to arms.
He enlists and is next seen in the Camp of Revolution-
ists. At school he made an enemy of the town bully,
Seth Brown, which later is his undoing. Gen. Washing-
ton desiring information as to the number and condition
of the British troops, calls for a spy. Hale offers to go,
dressed as a Country school teacher, inside the British
lines. He secures the desired facts for Washington, but
is seen and betrayed by Seth Brown, who has joined the
British. He is captured, the papers found on him, and
is condemned without trial. Later we see his newly made
grave with an old man mourning for the brave youth.
The picture ends with a view of Nathan Hale's statute
in City Hall Park, New York, and the subtitles — "137
Years Later, Lest We Forget." Official records having
been consulted for all action and subtitles. It shows
both American and British Camps, and the celebrated
picture "The Spirit of '76" is reproduced in this film.
Tachkent, Asiatic Russia. — Eclair. Tachkent
has been the capital of Turkestan since 1867. The city
is made up of two sections, the old and the new. The
new Russian town, with its beautiful gardens, presents
the appearance of an immense park. The ancient part of
the city is almost entirely surrounded by a great crum-
bling wall.
The Ant-Lion. — Patheplay. The ant-lion is a very
interesting little creature about a quarter of an inch
long, whose principal occupation, as the name suggests,
is the trapping of ants. It chooses a patch of soft sand
on which to build the trap and then buries itself in it.
By maneuvering underneath the sand the ant-lion forms
an imitation ant-hill with a hole through the center.
When the ant passes across the hill the sand slips be-
neath his feet and the more he struggles the deeper he
goes until the ant-lion feels the pang of hunger which
prompts him to reach through the sand and make sure of
his prey.
May 17, 1913
MOTOGRAPHY
369
Of Interest to the Trade
Held Business Meeting
A business meeting of the mid-west branch offices
of the General Film Company was held at the Black-
stone Hotel. Chicago, on Wednesday, April 30. Among
those present were the following : President Frank L.
Dwyer and General Manager Homer A. Boushey of New
York ; Geo. K. Spoor, Manager Isaac VonRunkel, Man-
ager A. M. Eisner, Manager Walter E. Scates and Special
Representative Harry Cohn, all of Chicago; Manager
A. W. Garth and Special Representative J. E. Willis of
Cleveland ; Manager S. W. Hatch of Cincinnati ; Man-
ager Robt. Lieber of Indianapolis ; Manager A. J. Gillig-
ham of Detroit ; Manager F. W. Redfield of Milwaukee ;
Manager "Tiny" Augur of St. Louis ; Manager E. R.
Pierson of Omaha ; Manager C. I. Ramsdell of Kansas
City; and Manager W. C. Preller of Minneapolis.
Rising from the Ruins
The same spirit of "get there" which characterized
the rebuilding of San Francisco after the fire of 1906,
is being shown in the rebuilding of the Universal's plant
destroyed by fire on the night of March 26. A large
force of men under the direction of General Manager
A.
M. Kennedv and Edward Wortham, stage manager.
are working night and day to allow the executive force
to move into the new building by the end of the present
week. In addition to the new general offices, which
are situated at the southwest corner of Gower street and
Sunset boulevard, Hollywood, a new stage, 70x70, one
60x60, twelve new dressing rooms, a complete and up-
to-date barber shop, a large projecting room, two large
property rooms, two scenic docks and a spacious cafe
and restaurant where the best meals obtainable can be
had at almost cost, are a few of the improvements
planned by Mr. Kennedy. The work of construction
started on the morning of April 13 and will be completed
this week.
The administrative building will contain the private
office of the general manager, cashier, controller, a room
for the use of the directors, the scenario and publicity
writers and the telephone exchange and booths. The
building directly west of the new administrative build-
ing will be used for the restaurant and barber shop.
Program Brought $1,000
One of the most remarkable features of the Screen
Club Ball, held in Terrace Garden, April 19, was the
spirited bidding for the souvenir program raffled off by
King Baggot, the president. This book was the first off
the press and the first bid for it was $125. The price then
began to soar with leaps and bounds until Adam Kessel,
Jr.. president of the New York Motion Picture Co., of-
fered $1,000 for the book. It went to him without a
struggle. The program contains original cartoons of
Messrs. Kessel & Baumann by Rube Goldberg, the famous
artist of the Evening Mail and also the autographs of
all prominent people present at the ball.
Celebrates His Birthday
A very pretty function was pulled off at the Lubin
plant on Monday, April 20, the date being the anniver-
sary of Mr. Lubin's birthday. At noon a gun was fired
and over four hundred of the employees, players and
executives poured out into the grounds, shouting "Many
happy returns of your birthday." Mr. Lubin was direct-
ed to a platform to receive the congratulations, and a
silver cup was presented by Anna Levitt and Mary
Powers, two little girls, both players and under four
years of age. Charles Goldsmith made the presentation
speech, to which Siegmund Lubin responded in a very
Siegmund Lubin Receives a Loving Cup.
emotional reply. The buildings were decorated with
bunting and the executive office filled with flowers. The
cup was manufactured by the Caldwell company of Phila-
delphia and weighs eight and one-half pounds. Barry
O'Neil, Tom Cochran, William Kerry, Charles Gold-
smith, H. A. D'Arcy and Tom Hopkins were the com-
mittee of arrangements and made a success of a function
that will for many years remind Herr Lubin of the love
and loyalty of his people.
Two Interesting Educationals
Two educational pictures are scheduled for early
Majestic release. "The Oyster at Home." which will
appear on the reel with "Billy's New Watch" on May 11,
and "Liquid Air" on the same reel with "Rivals Out-
witted," released on May 18. The well-known dog actor
"Shep" will be featured in "Shep the Hero," released on
May 20, which will also mark the debut of a number of
beautiful puppies of which Shep is the proud father — all
destined to be actors.
Film Causes War on Impure Milk
A moving-picture film showing the dangers of an
impure milk supply has been exhibited with such good
effect in Germany that health officials at once became
much more rigorous in their enforcement of the pure
food regulations. Their campaign against negligent dairy
men was conducted with such energy that the milkmen
finally presented a petition to the authorities, asking for
the prohibition of this particular film. In reply to this
action Professor Schlossmann, of the Dusseldorf Mu-
nicipal Hospital for Children, who is responsible for the
film, proved that it had led to the trial and conviction
370
MOTOGRAPHY
Vol. IX, No. 10
of many dairymen for violation of the pure food regu-
lations. Its exhibition was not discontinued.
Much is being said nowadays in Germany about
the possible evil effects of moving pictures, but the other
side of the question, the moving picture as a public edu-
cator, is well illustrated by the experiment of Professor
Schlossmann. His film showed particularly how impure
milk is responsible for many of the diseases of children,
and it was exhibited extensively throughout the Rhine
Province in promoting a propaganda for reducing the
rate of infant mortality. The net results so far have
been excellent. The health authorities are enforcing ex-
isting rules and regulations much more effectively; the
dairymen are producing a better article, and the children
are drinking cleaner and purer milk.
Want An "Alkali" Ike Doll?
Practically every youngster in the United States
during the "Teddy Bear" craze insisted upon having one
of the fuzzy little "bears." What promises to be an
even more popular successor to the "Teddy Bear" will
soon be put upon the market by the Essanay Film Manu-
facturing Company, and will probably serve to make not
only one of its players but also that brand of films
the best known in the world — it's an "Alkali" Ike doll.
The doll, which is a perfect miniature representa-
tion of ever-popular Au-
gustus Carney in the
role of "Alkali" Ike, will
stand some eleven-and-
a-half inches high, when
astride the little hobby-
horse as shown in the
accompanying cut, and
will be so jointed that it
can be made to perform
all sorts of stunts. The
doll can be removed
from the horse and
made to assume count-
less other poses. The
blue shirt, sheepskin
"chaps," sombrero, bright colored neckerchief, and even
the leather holster containing a miniature revolver will all
be reproduced in a lifelike manner. The exact resem-
blance to the well known character of the motion picture
screen is assured by the fact that the Essanay people are
going to pay the doll manufacturer five hundred dollars
for the mould alone, from which the face of the doll is to
be cast.
The Essanay Company will shortly announce the
method by which the dolls can be obtained and the
moment the plan is made known will undoubtedly be
flooded with orders. Not only will every exhibitor be
certain to want a supply to sell his patrons or give away
as souvenirs, but every lad will want one as a plaything
and travel miles to reach the theater at which they can
be obtained. Plans are also under way for placing the
dolls on sale in toy emporiums and department stores all
over the country. The new toy is the creation of Don
Meaney, Essanay's genial publicity promoter, and will
undoubtedly place him in the front ranks of press agents.
It's a cold and stormy day when the fertile Meaney brain
can't concoct some new advertising wrinkle, but this latest
creation of his bids fair to outdo all former efforts, and
to make not only "Alkali" Ike dolls and Essanay films,
but also Don himself the talk of the country.
Scenario Prize Offered
At a meeting of the board of directors of the expo-
sition of the motion picture art, which is to be held in con-
nection with the third annual convention of the Motion
Picture Exhibitors League of America, in New York
City, in July, it was decided to offer a prize of $25 for the
most appropriate scenario of a comic nature, suitable for
either a man or a woman. This scenario is to be used
during the week of the show and must not take more
than five minutes to act. The competition is open to all
and the manuscripts to be entered should be sent to
Frank E. Samuels, secretary of the exposition, second
floor, German Bank Building, Fourteenth street and
Fourth avenue, New York City. Those not accepted
will be returned to their authors.
Second Crystal Release
Beginning Tuesday, May 27, the Crystal Film Co., of
New York, will start their second release of Crystal films.
This subject will be dramatic and special pains are being
taken to make each reel intensely interesting and worthy.
It will be the policy of the Crystal to make this new re-
lease entirely different from anything at present on the
program, intending same to be a high class society drama.
Scene from Kinemacolor's "The Scarlet Letter."
The reel will feature Miss Pearl White, the popular Crys-
tal star, who has endeared herself to patrons of the silent
drama. The first dramatic subject will be entitled
"Where Charity Begins."
Auto Picture Show for Rural School
Moving pictures for rural schools was favored by
the members of the St. Paul University of Minnesota
Alumni Association at its annual meeting. The pictures
in the rural schools will be shown, if found practicable,
by means of a dynamo mounted on an automobile making
a circuit of the schools of the state.
The automobile plan of showing educational pictures
is being fostered by the extension department of the
State University. It is proposed to mount a dynamo on
an automobile and have it driven by the auto engine. In
turn the dynamo would furnish power for the moving
picture machine. The need of such an arrangement has
been felt for some time throughout the state. Many
rural schools are isolated so far as electric power is
May 17, 1913
MOTOGRAPHY
571
concerned. With the apparatus mounted on the auto
it could be driven over a circuit of schools and provide
educational films. As the automobile engine has not been
perfected to the point of driving electric dynamos, the
engineering department of the university is experimenting
along the line of making it adaptable. The contrivance
would be operated in conjunction with the film bureau
now contemplated by the extension department. It is
proposed to establish a film bureau for supplying films
to the high schools of the state which have moving picture
machines. Eventually the plan would extend to the grade
schools.
'Twill Warn Jealous Girls
Now, girls, resolve quick to never be jealous of your
best beau again ! Or else 'twill go as bad with you, no
doubt, as the Thanhouser release of Friday, May 9, shows
it went with Lulu Orville, who was so jealous of her
sweetheart, Frank Mush. Lulu was a scrapper, too —
always "starting something" on about any topic Frank
expressed interest in. In their home, California City, a
rose tournament was to be held, and Frank was entered
in it with a chariot. He besought Lulu to drive it for
him — the entrant always appoints a pretty girl as driver
— but argue she must, and in the end won't drive ! On
the spur of the moment, Frank asked a fair stranger to
drive and on the same spur the strange one consented.
Lulu's jealousy exploded right there; she walked off in
high indignation. Thereby she lost her Frank ; as he
came to know the driver of his chariot well, and she came
to drive him in the matrimonial sweepstakes.
New Kinemacolor Shows
'Frisco will get an advance view of the Panama Canal
in natural colors at the Columbia theater on July 6, the
first Pacific Coast company opening at the Valentine
theater, Toledo, and travelling westward by easy stages
with stops at Omaha, Denver and Salt Lake City. This
pictorial advance agent of the Exposition will remain in
San Francisco and surrounding territory. About the
same time a North Coast company will open at Seattle,
and a little later another company will be sent on a tour
of British Columbia. As an interesting war feature, the
Coast companies will show some films depicting the man-
euvers of the Japanese army.
Early California Days Filmed
An achievement in motion picture production almost
as epoch-making as the historic event that it portrays,
is "The Coming of the Francescans," upon which the
Universal Studios at Hollywood, California, are busily
engaged. For some months, special scenery has been in
the course of painting, buildings have been erected, and
designers have been making special trips all over Cali-
fornia, copying costumes and implements of the period.
All of the old missions between San Diego and Monterey
will be shown. In addition to the regular members of
the company, there will be hundreds of extra people,
among them will be many descendants of the Indians
christianized by the Padres along their line of march.
"T e Noisy Six," May 23. Copyrighted 1913 by Selig Polyscope Co.
372
MOTOGRAPHY
Vol. IX, No. 10
Reliance Studio Notes
General Stage Director Oscar C. Apfel and his
talented wife, Marion Brooks, have returned from a two
weeks' trip to Panama. Oscar enjoyed his much needed
rest and had a visit with Irving Willett and Anna Lehr
in Havana, where pictures of the Atlantic squadron haA^e
just been completed.
Edgar Lewis has returned from Oklahoma with
four big Western pictures which he directed on Miller's
101 Ranch for early Reliance release. The first one,
"The Sheriff, " will be presented on May 10, to be fol-
lowed by "After the Massacre" on May 14.
Among the new members of the Reliance Stock
Company is Ethel Phillips — the well-known Australian
actress — who will make her first American appearance
in Reliance films. Thomas R. Mills and Alan Hale have
also been added to the Reliance ranks, as has the
beautiful child actress, Runa Hodges.
Irving Cummings has been elected captain of the
Reliance baseball team, which is practicing daily and
expects to schedule a number of interesting gynies.
Challenges from Lubin, Edison and a number of other
teams have been received.
Manager J. V. Ritchey was made a railroad presi-
dent on Tuesday of last week but only held the job
down for a few hours. The responsibility was gladly
shifted to other shoulders after a picture was taken of a
railroad incident which compelled Mr. Ritchey to assume
all responsibility for the road in case of accident during
the making of the film. The only train allowed to move
on the whole line during the term of the temporary presk-
dent was the one used in the picture.
Harry Myers of the Lubin Company and His Machine "The Yellow Peril."
In May, the Advance Motion Picture Company will
produce a film entitled, "A Battle Above the Clouds"
which will be taken on the site of this battle on the fiftieth
anniversary. Agents with the company have made ar-
rangements with the Society of the Sons of the Con-
federacy who will have their meeting at Chicamagua
National Park, May 26. 27, 28 and 29. These old soldiers
who participated in the battle of Look-Out Mountain will
be invited to participate and assist in making the film an
actual historical record.
They Looked Suspicious
Charles M. Seay, the Edison director, a few days
ago conceived the idea of taking a picture in the subway
and, taking his camera man with him, he went over to
one of the uptown stations to see if the idea could be
worked out. Their machine stopped directly at the head
of the stairs and the two men went down into the station
and stood over at one side surveying the place carefully
and discussing in low tones the possibilities of various
spots. It was late in the morning and travel was light.
There were only two or three women on the platform and
the ticket seller was out of his booth talking to the ticket
chopper. The engine of Mr. Seay's car could be heard
buzzing at the top of the stairs. The ticket seller glanced
casually at the two men, then he looked a little harder.
The noise of the motor reached him and his face gradu-
ally stiffened into a do-or-die expression. Then, with an
air of the greatest possible unconcern, he sauntered over
to his booth, securely locked the door and began to put
all his change away into a drawer. He thought they were
taxi bandits !
Moving Into New Studio
Charles L. Gaskill, Director-Manager of the "Helen
Gardner Picture Players" which produced the success-
ful picture-drama, "Cleopatra," has moved its headquar-
ters to Tappan, New York, where a magnificent studio
has been erected at a cost of twenty-five thousand dollars.
The new structure is said to be the last word in the
motion picture industry, and to be completely equipped
with the latest appliances and every modern convenience
required for an up-to-date studio. "The Wife of Cain,"
an original story, by Charles L. Gaskill, with Helen
Gardner in the title role, will be the next production of
the organization.
England's Shows in Working District
The popularity of the moving-picture palaces in the
populous manufacturing districts in England is attracting
attention. It is reported that the licensing magistrates
look seriously on the extension of these picture theaters,
and in the near future these annual licenses will not be
granted so freely as in the past.
In Bradford, with a population of 289,618, over
twenty theaters and halls have already been licensed for
cinematograph entertainments, and fourteen of these
have been specially built or adapted for that purpose.
The daily attendance of these places of amusement is
estimated at 30,000. There are also three picture palaces
in Shipley, a suburb of Bradford. In addition eleven
or twelve new halls in Bradford are applying for licenses.
In Halifax five picture houses are doing good business,
and a new cinematograph theater in the center of the
town is projected. At Keighley there are five picture
palaces, and a sixth is now being planned on an elaborate
scale. There are also cinematograph theaters at Silsden,
Cross Hills, Haworth, and Bingley, all in this consular
district.
Magazine Buys New Home
The Motion Picture Story Magazine Company of
Brooklyn. N. Y., has purchased the dwelling at 175
Duffield street, which will be remodeled for business
purposes, says the Brooklyn Eagl.e. The building is three
stories and basement, and the publication will occupy part
of it.
May 17, 1913
MOTOGRAPHY
373
'The Stolen Melody," May 21. Copyrighted 1913 by Selig Polyscope Co.
Society Folks in Film
Some of the smartest ladies of Southern California
figure in "Uncle Tom's Cabin," a Universal feature of
the near future. The well-known society woman, Miss
Goddard, and her friends, all of high social standing,
were greatly interested in the taking of the boat scenes
and asked to be allowed to appear in them. Mr. Turner
consented and told them they must make up and be pre-
pared to be bossed around, and they were delighted.
Their pretty faces and dresses will be admired by the
thousands who will flock to see this wonderful picture.
Pastor in Praise of Motion Pictures
The Rev. Frank O. Hall, speaking on the subject of
"The Theater as a Moral Force" in New York City, at
the church of the Divine Paternity vigorously defended
the moving picture show. When the time comes, Dr. Hall
said, to estimate the great inventions of the present age,
the moving picture will take the same relative place
given to the printing press.
"I hold no brief for the theater," said Dr. Hall, "ex-
cept that I am a lover of the theater and I believe it is
a better institution today than it ever has been in the
history of the world. There are better plays and better
actors than ever before. Within the last ten years few
have realized what a tremendous influence the theater
exercises, especially since the invention of the moving
picture or the cinematograph. I have visited many mov-
ing picture shows, and I find them a great deal better
than I expected. The evil has been overestimated. Of
course, there are bad pictures, but I have found very
few that were objectionable. I have observed the chang-
ing sentiment and demand for educational pictures. I
have seen the enthusiasm which greeted the films showing
the features of travel in foreign lands.
"Shall there be a censorship? Yes, when the other
theaters are censored. Why should the people who can
pay $2.00 for a seat censor the plays to be shown the
people who can afford to pay only five cents? After all,
the public is responsible for the plays that are presented."
New Advertising Stunt
C. Lang Cobb, Jr., manager of sales and publicity
for Ramo films, has started a unique campaign of adver-
tising in the form of issuing coupons to the public. Each
coupon will be redeemed by the Ramo Company for its
face value of five (5) cents from the Ramo exhibitor
who accepts it, and gives in return a free admission to
the bearer. The Ramo Company does not claim that
the coupon method of advertising is original with them,
but Mr. Cobb is quite certain the plan Ramo has adopted
of making use of the time honored coupon has never
been used in the moving picture business.
Director Wilfred Lucas, of the Universal's staff,
has recently been entertaining his old friend, Charles
Dalmores, the highest priced and most popular tenor in
the world today, outside of Caruso. Mr. Dalmores was
in Los Angeles with the Chicago Grand Opera Company.
374
MOTOGRAPHY
Vol. IX, No. 10
"The Tattle Battle," Selig release of May 20.
Edison Players Sail for England
Director Charles J. Brabin, Miriam Nesbitt, Marc
MacDermott and Otto Brautigan, photographer, all of
the Edison Company, sailed for England on Saturday,
May 3. As the result of Manager Plimpton's visit to
Europe last month, arrangements have been perfected
for an excellently equipped studio and a strong company
has already been assembled to support these famous
players. The trip will be an extended one, probably
covering six months at least, during which time the
players will cover many points of interest throughout
the British Isles.
Seeking New Players
Harry McRae Webster, general director for the
Essanay Film Manufacturing Company is in New York
for the purpose of securing new talent for photoplays.
If you see a little, short, red haired gentleman lurking
around the Times Square Building, at Broadway and
Forty-second street, just tap him on the shoulder and
impress him gently but firmly that you are desirous of
appearing in motion pictures.
Come On With Challenges !
The Lubin baseball team is on the firing line and
ready for a battle with any of the film men. Manager
Billy Hallman has the men in first class shape. The
team is composed of G. H. Stillfield, Matty Kilroy, Harry
Myers, Bill Engel, Ira M. Lowry, John Mclnnis, Billy
Hallman, Arthur V. Johnson and John De Foney. Any
one wishing to challenge this strong team should address
G. H. Stillfield, business manager.
Kathlyn "Williams to Produce Picture
Kathlyn Williams, the talented leading woman of
the Selig Polyscope Pacific Coast stock company, has
already gained a great deal of prominence through her
ability as an originator and writer of successful scenarios.
Now she is going to add further laurels to her reputation
by personally producing a series of pictures which she
has written herself and in which she will play the prin-
cipal roles. Mr. W. N. Selig has completed arrange-
ments whereby her initial effort in this direction will
receive the co-operation of the entire Pacific Coast studio
organization.
Telephone Advertising Film
The Mountain States Monitor, house organ of the
Mountain States Telephone and Telegraph Co., makes
mention of the fact that motion pictures were recently
taken of the Denver headquarters building and its busy
force. Views of the operating rooms, the emergency crew
of linemen, the operator's school, fire drill, the auditor's
office, the printing plant engaged in turning out 43,000
Denver telephone directories, 700 Denver employees leav-
ing the building for lunch, and numerous other graphic
telephone scenes make up the two reels of film made at
the plant and which were exhibited recently at the Em-
press theaters in Denver, Colorado Springs and Pueblo
to enthusiastic audiences. It is later expected to show
the film in theaters in all sections of the country.
Selig Kangaroo in Vaudeville
"Boxer," the famous fighting kangaroo and exhibit
extraordinary of the Selig wild animal farm, is now
attracting attention as a headliner in vaudeville. He is
being exhibited in theaters of the Sullivan and Considine
circuit. "Boxer" was presented to Mr. W. N. Selig,
president of the Selig Polyscope Company, by J. D.
Williams of Australia.
The Advance Motion Picture Company is engaged
in making a film called "The Feast of the Flowers." It
is San Antonio's famous flower festival. The film is
booked solid in the state of Texas and an enterprising
exhibitor of Kansas City has arranged to exhibit the film
for two weeks straight in a hall in Kansas City which
seats 15,000 people.
Don Meaney of Essanay in His Scrumptious New Quarters.
May 17, 1913
MOTOGRAPHY
375
Brevities of the Business
PERSONAL NOTES.
W. H. Durham, scenario editor, is back at his desk at
the Western Vitagraph Companay's offices, though not entirely
recovered from the effects of the fracture of his right knee.
Bob Frazer is again playing juvenile roles in Eclair
films after his all-winter work with Savage's "Million" comedy.
Mrs. Miles, late of the Kinemacolor company, is now with
the Western Vitagraph Company in their scenario department.
Director Bowman, on leaving the Kay-Bee company, joined
the players of the Western Vitagraph companay, with Rollin S.
Sturgeon's band at Santa Monica, Cal.
J. S. Dawley has brought the Edison western players back
to New York after their eight months' absence, and all members
of the company are in perfect health. Laura Sawyer has much
to say about the splendid land of sunshine they have just left,
and is displaying a wonderful collection of ostrich feathers and
Mexican drawnwork to her feminine friends.
Charlie Hoskins, who was with the old Republic company
and later with the Universal as director and character man, has
joined the Reliance company.
Frank Meyer, of the Chicago office of the Famous Players
Film Company, is in New York on company business.
Ermette Zacconi is returning to his villa in Italy after play-
ing in Itala's two films, "The Palace of Flames" and "The Dread
of Doom." He has long been associated with Duse and is
known as "the Mansfield of Italy."
Lincoln J. Carter is a grass widower, for Mrs. Carter has
gone to Chicago for a business visit and Mr. Carter and his two
sons are keeping house alone on the hills of Hollywood.
William Wallace Corrie, who was murdered with another
seaman at Graymas, was a brother to Jane Keckley, who in
private life is Mrs. Roy Watson. She is a member of Lincoln J.
Carter's company at the Universal Ranch. Mrs. Watson is
very distressed at her brother's sad ending and has spent most
of her spare time with her bereaved father and mother, who
live in Los Angeles, and have received sympathetic messages
from Washington. Admiral Cowles wrote feelingly regarding
the irreproachable character of their son, who was not quite
twenty years of age and had been in the United States navy
for three years, attached to the California as a signalman.
Big Jimmy Dayton sat on a mouse out at the Universal
studio, said mouse being in the pocket of a coat which had not
been used for some time. The mouse didn't even get time to
squeak, and was the flattest thing in the world when Dayton
arose.
Arthur Hotaling is taking his Lubin company to Atlantic
City, where they will picture until July 1. Meanwhile, George
Nicholls and his band will continue working in Jacksonville,
coming north in early July.
Louis Fitzroy, one of Director Milton H. Fahrney's oldest
actors, is now assistant director to him. Both Mr. Fahrney and
Mr. Fitzroy have had military training which is invaluable to
them whilst producing Bison 101's. Mr. Fitzroy will continue
acting as hitherto, which is well, for he has had a long stage
experience and is a master of the art of makeup.
Al Christie has decided to use paper hats in the future
when directing pictures, as they are less expensive than the
standard brands. Al, when he becomes excited, cares nothing
about throwing his hat down and standing on it.
Bob Leonard and Wilfred Lucas have the credit of being
pioneers in the wearing of straw hats at the Universal city.
Leo Maloney, an old Bison actor, has returned to the
Universal fold, appearing under his old director, Milton H.
Fahrney. Louis Fitzroy has been advanced to the position of
assistant director to Mr. Fahrney. His military training is valu-
able to him in the production of the 101 Bisons.
Ramona Langley, a native daughter of California, who re-
cently closed an engagement with the "Modern Eve" company,
having taken the part of Ranee, made her debut in moving
pictures as a member of Phillips Smalley's Rex company.
A. E. Smith, treasurer and business manager of the Vita-
graph Company, has returned to New York from Europe, where
he spent the last two months studying conditions in the moving
picture world there.
Josiah Pearce, the moving picture man of the South, and
the senior member of Josiah Pearce & Sons, has arrived in New
Orleans from Chicago, 111., with Mrs. Pearce and Mrs. J. Eugene
Pearce. He will remain in New Orleans until the latter part
of May. when he will return North to spend the summer months
on his estate at Conneaut Lake, Pennsylvania.
Larry McGill is again at the Reliance studio after several
weeks of strenuous work in Florida.
Mary Fuller, the Edison Company's Mary, rendered first
aid to the driver of a delivery wagon recently when Miss Fuller's
auto and the delivery wagon collided, injuring the driver and
causing him to lose consciousness. A gash in the man's head
received the ministration of Miss Fuller until an ambulance
arrived and took the patient to a hospital.
Zena Keefe is leaving Vitagraph pictures to spend three
months in European travel in company with her mother and
her aunt.
ROLL OF THE STATES.
ALABAMA.
Commissioner Lane of Birmingham will back up License
Collector Boggan in his proposed recommendation to require the
picture shows to adopt a uniform five-cent admission limit, in lieu
of having the license fee raised.
R. H. Little will erect a moving picture theater on Greens-
boro avenue, Tuscaloosa. Cost $10,000. W. F. Howell, manager
of the Diamond, will lease same.
A moving picture concern has taken a lease on the Elks'
theater at Huntsville for the whole summer and will have vaude-
ville and moving pictures there during the next twelve weeks.
Other moving picture concerns are said to be trying to get in
but so far no suitable locations have been found in the business
section of the city.
Yeates and McCoy will erect a moving picture theater build-
ing on east side' of Dearborn, two blocks south of Texas street.
Montgomery, at a cost of $1,000.
ARKANSAS.
Leister and Blake are erecting an airdome on the Davis lot
on West Twelfth street, Bentonville, adjoining the Royal theater.
CALIFORNIA.
Plans and specifications have been completed for a new
theater building to be erected in El Centro, on Sixth between
the Masonic Temple and Rumsey department store, to be con-
structed by J. L. Travers and to be leased to Charles Applestill
for moving picture shows.
Plans have been prepared by Architects Train & Williams
for a theater building for F. W. Woodley, manager of the Optic
theater. Cost $25,000.
California Feature Film Corporation, Los Angeles, capital
stock, $15,000. Subscribed $200. Directors, M. C. Doan, L. H.
Jolley, E. S. Messer, J. M. Walker.
Willis Polk will draw plans for the municipal opera house
in the Civic Center at San Francisco.
C. W. Northrop was awarded the contract at $22,000 for the
erection of a moving picture theater at 650 State street, Santa
Barbara, for H. K. Marble. A. Lawrence Valk is architect.
COLORADO.
A. E. Carlton, a Cripple Creek mining man plans to erect
a moving picture theater building at the corner of Colfax ave-
nue and York street, Denver. Cost, $25,000.
IDAHO.
The old store building at 819 Main street, Boise, which for a
number of years has been occupied as a restaurant, is soon to be
the home of a moving picture show. The building is being
remodeled and will soon be opened by Herman Kaiser, who
proposes to operate a high class show.
ILLINOIS.
The new motion picture theater, the Grand, has opened up
for business in Evanston.
The old Star motion picture theater in the Hunt block.
Main street, St. Charles, has been sold by William Morse to
B. H. Finch of Peoria, for some time owner and operator of the
Princess and Lyceum motion picture theaters in that city. Mr.
Finch has sold both his Peoria houses and will devote his entire
time to the management of the St. Charles amusement place,
making his home in that city.
L. D. Gillette expects to conduct an airdome this summer at
Woodhull, in which will be shown maving pictures three even-
ings each week. He has secured a portion of the Red Men lot
and proposes to enclose it with a high fence as soon as he can
get workmen. Comfortable seats will be put in and a large
curtain will be made on which to throw the pictures.
Motion pictures of fifty boys of Morgan Park high school at
376
MOTOGRAPHY
Vol. IX, No. 10
"Indian Summer." May 22. Copyrighted 1913 by Selig Polyscope Co.
work in their twenty-acre apple orchard, in which they hope to
clear $1,000 or $2,000 a year, will be shown in the public schools
of the rural districts of Cook county on special occasions planned
for general education in the move to make the farming districts
more productive.
Champaign is to have a new and model motion picture
theater, one that will be equal to anything in the middle west.
Mark and Bert Cooper are to be the builders of this new
theater, having just closed a deal for the T. D. Wilson lot on
Church street, just west of the Trevett & Mattis bank, and
work on the new structure will be taken up in a short time.
Herbert Hewitt, acting as architect and agent, took out a
permit for the erection of a new moving picture theater which is
to be erected at 1201 South Adams street, Peoria. The permit
as issued by Building Commissioner J. A. Schneider, calls for the
construction of a theater building valued at $12,000.
A moving picture show will occupy the building made vacant
by the Moffitt stock at Bloomington.
The new motion picture theater which Wallace Emery has
been equipping has been opened at Galva.
Loop Theater Company. $15,000, to operate theaters in Chi-
cago. S. Ruhstadt. J. Kaplin and others.
Milo Phares will open up a moving picture theater in Henry.
Banner Theatre Co., Chicago. $17,500 to operate theaters.
Menle E. Moore, Jas. C. Matthews and others.
Photo-Drama company, $1,000, Chicago; operating moving
picture shows ; J. A. Verhoeven, M. A. Dynewicz, R. J. Cooney.
Ezra Beers has sold th.e Princess theater on South Main
street. Canton, to Don Elliott. Mr. Elliott is the son of former
Deputy Sheriff J. B. Elliott, and he has had some experience in
moving picture shows.
A deal was closed at Bloomington recently whereby Woolley
Bros, become the proprietors of the motion picture business that
has been conducted by R. A. Shobe. A. B. Woolley is to have
the personal charge of the business.
George L. Murphy has purchased property north of B. S.
Austin's grocery store in Woodstock, and will erect thereon a
new theater building.
Moore Feature Films, $3,000, Chicago ; to operate moving
pictures ; M. E. Moore, W. W. Willis, M. J. Bover, incorporators.
H. C. Hatcher is assisting Milo Phares in starting his new
picture theater in Henry.
The moving picture show in the Schlitz opera house, Minonk,
closed. The proprietors, Messrs. Paul Kohl and Charles Gar-
rett, having dissolved partnership. Mr. Kohl will open the show
again as soon as he can get matters straightened up but it will be
several weeks.
P. L. Shepherd of Springfield has purchashed the Rex
moving picture parlor on East State street, Rockford, and has
taken possession. The new proprietor is an old hand at the
moving picture business, having had five years' experience in
that line. The purchase was made of the White Brothers, who
have conducted the Rex since its opening a year ago.
The building that was formerly occupied by Fred C. Miller
at Somonauk has been remodeled into an up-to-date moving
picture theater by Cress & Mooring. A raised floor has been
put in, the interior has been painted, booths have been installed,
and additional exits have been arranged.
Plans for a new opera house at Elgin are being drawn by a
Chicago architect. Attorney Walter Healy is interested.
The Wiley Amusement Company, Chicago; capital $2,500;
to operate moving picture and vaudeville shows ; incorporators,
Frank W. Lambden, George I. Wiley, Alice W. Glaskay.
INDIANA.
Northern Indiana Motion Picture Company, Huntington ;
capital $5,000 ; to promote moving picture business.
The brick masons have begun laying the foundation for the
new theater in North Main street, Bicknell. According to plans,
it will be one of the most up-to-date in southern Indiana.
Homer Knox is remodeling his theater at Bloomfield.
A score of alarmed patrons fled from the Scenic theater, a
moving picture house at 504 East Washington street. Indian-
apolis, when fire starting from a broken electric light bulb
ignited three films one evening recently. Jack Hamilton, the
operator, was forced to jump from a high balcony to save his
life. He was unhurt. The damage was $500, three films and a
machine being destroyed. The theater is owned by Edward
Philips and A. Braem.
May 17, 1913
MOTOGRAPHY
377
The Atlas Amusement Company intends to build a motion
picture show building at Indianapolis that will seat 700.
Architects Brubaker, Stern & Boyle are drawing plans for an
addition to the Columbia theatorium at Columbia street and
Fulton avenue, Evansville. The addition is 50x40 feet, making
the total length of the building about 140 feet. The cost of the
work including a balcony from which the pictures will be pro-
jected, is $4,000.
IOWA.
J. E. Peuland is putting the O. H. Walker building at
Mediapolis, recently vacated by Oscar Danielson, in shape to start
a moving picture show.
Wilson Bender is having his building at Ida Grove remodeled
for a moving picture house.
Fire starting in a moving picture theater over the Woodna &
Mareias restaurant at 12 :30 o'clock Sunday morning, April 28,
wiped out a large section of business buildings in Maurice and
caused a loss estimated at $25,000.
A theatrical corporation with $10,000 capital has been organ-
ized in Waterloo to conduct the new picture theater which will
be built over the mill race on Bridge street. The incorporators
are W. S. Butterfield and M. Heiman of Battle Creek and Chi-
cago, and Ira J. Hoover of Waterloo. Until the annual meet-
ing in October the officers will be : President, W. S. Butterfield ;
vice-president, Ira J. Hoover; secretary-treasurer, M. Heiman.
Bridwell, Tracy and Keller have purchased C. E. Dayton's
moving picture show at Richland, and it will hereafter be known
as "The Princess."
J. Miloslowsky has leased from John Gibson the first forty-
four feet of ground, floor frontage, west of the Equitable building
on West Locust, Des Moines, and will remodel the first floor
for a moving picture theater. The improvements will be started
Tune 1, when the present lease expires.
Proprietors of the Bio moving picture theater on Fifth ave-
nue, near Sixteenth street, Rock Island, were the victims of a
bold robbery recently. An unknown thief helped himself to a
small sack of money containing between $75 and $100. The rob-
bery was committed some time after the closing of the theater.
James Queer, of Atlanta, Ind., has leased the New Richmond
opera house for a year and on May 1 will begin presenting mo-
tion picture shows.
T. C. Higgins and Henry Webb have let the contract for an
Airdome to be built at Kellerton.
Architect Arthur H. Ebeling has plans for the erection of a
moving picture theater at Davenport.
The Photoplay theater at Harlan has changed hands, Mrs.
Allen selling to Joseph Bishop and George Fowler.
Hart Brothers will erect a new picture house at Clinton.
George Frank Dippel. architect of Rogers Park, 111., will
draw plans for a moving picture theater to be erected at Mus-
catine.
Thomas Morrish, proprietor of a motion picture show at
Knoxville, was instantly killed last week in a fall from a step-
ladder upon a cement sidewalk in front of his place of business.
H. A. Watkins, formerly proprietor of the Lyric theater at
Boone, has purchased two moving picture theaters at Center-
ville, la., and he and his son, Ralph, will take charge of them at
once.
The moving picture hall at Tabor has been repaired, repap-
ered and repainted. The interior has been furnished with fixtures
for a first class motion picture show. New opera chairs have
been installed and the interior looks nicer than ever.
The new theater at Hampton, the Windsor, has been opened
at a cost of $35,000.
Clinton is to have another modern picture house. Hart
Brothers have closed a deal whereby they become owners of the
property across from the city hall formerly owned by George W.
Kendall, and will build a handsome new picture house, which
they state, will be the finest in Iowa. It will be known as "The
Best." A new 1914 model "Motiograph" machine will be in-
stalled in the Second street theater. The building will be of
brick, with a beautiful tile and marble front of the latest design.
The house will be splendidly appointed and handsomely deco-
rated.
W. M. and Carl Shields and Fred \ reeland are to put in a
first-class moving picture theater in Osceola. They have rented
a large room and now have a force of men remodeling and put-
ting it in first-class condition.
Elbert & Getchell will erect a moving picture theater at Des
Moines, and will manage same, when completed.
W. L. Hester has leased the Grand Opera House at Ida
Grove and will open a moving pictrue show there.
The house defeated the Burt bill providing censorship for
moving picture films. As reported back to the house the bill
provided for the appointment of a censor to pass on all films
shown in the state. When brought up on the floor as a special
order an amendment was submitted by Whitney of Woodbury
and adopted by the house providing for the elimination of the
censorship and making it unlawful to show any pictures of a
questionable character. On a roll call on the amended bill it
was defeated by a vote of 55 to 48.
Keota will have a new opera house. J. F. Romine, D. D.
Crone and C. A. Lacey are interested.
KANSAS.
The front which is being installed at 734 Kansas avenue,
Topeka, will be the most elaborate picture show front in the city.
Emporia is considering the erection of a new moving
picture theater. Plans have been prepared by Carl Boiler of
Kansas City, Mo.
Two moving picture houses at Wichita that raised the
admission from 5 to 10 cents have returned to the price of 5
cents to all shows. The announcement that they would give up
the 10-cent arrangement was made by the Colonial theater and the
Star. Moving picture men raised the price on account of the
state censor law. The reason for going back to the old price
is that they have not been called on to pay the censorship tax
and from present indications will not have to do so.
KENTUCKY.
The North Side Amusement Company of New Albany has
taken over the large brick building on High street between Pearl
and State streets, and will remodel it into a motion-picture
theater. H. H. Legg, P. N. Curl, Chas. Miller, E. V. Knight, Jos.
Burns and others, incorporators
J. E. Wawcett. manager of the Earlington Bee at Earling-
ton, has bought the Princess moving-picture show and will run
that in connection with his duties as publisher of the Bee.
MASSACHUSETTS.
Boston Mutual Film Corporation, $5,000; Edwin D. Twom-
bly. A. W. Philbrick. Perley D. Smith.
MICHIGAN.
J. D. Winchell, who plans to open a motion picture theater
on Wealthy street near Eastern avenue, S. E., Grand Rapids, got
under the wire just in time. He was granted the license just
before a remonstrance against the theater was filed by some of
the church people in the vicinity on the ground that it would
be demoralizing to the young people.
Hudsonville now has its first motion picture theater. M. M.
McEachron has rented the I. O. O. F. hall and purchased a
moving picture machine which he set up for business and
pictures are being shown nightly.
MINNESOTA.
A moving picture theater will be erected in Duluth at a cost
of $50,000 by the Burnswick Co.. an amusement concern, backed
by Thomas Furniss and associates.
Nicholas & Hay will erect a moving picture theater at Fair-
mont.
The Theatorium picture show at Tyler changed hands.
N. G. Nelson sold to H. Mears and Harry Johnson of Brook-
ings, S. D. They took charge and will remodel same.
Dunning & Panabaker, proprietors of the Idle Hour theater,
at Albert Lea, have sold that well known and popular play house
to F. F. Latta, proprietor of the Cozy theater, who will run both
houses, giving the people all clean, first-class attractions.
MISSOURI.
The work on the new motion picture show location at Mound
City is completed. The proprietors are Messrs. Ahern & Walker.
Elaborate preparations were made in the way of remodeling
the building, and the auditorium which now has 285 chairs.
Kirby & Hawkins, owners of the Gem theater at Monroe
City, have leased a lot and will erect an airdome.
Hugh Myers, who purchased the Lyric theater at Trenton,
sold same to Fulton Gentry, son of J. A. Gentry.
Harry Poter, of Milan, Mo., has installed a new patent mo-
tion picture screen at the Pictorium. This screen is an improve-
ment over the ordinary screen in that it does not affect weak
eyes and eliminates most of the rainy effect noticed in white
screens.
Messrs. T. S. Stephens, Lon Kellev and J. W. Webb sold
their moving picture machine and airdome at L;nner.>. to T. X.
Ormiston. The new owner is putting the airdome in shape and
will begin the shows in a few weeks.
R. S. Keeves has completed the plans for the conversion of
his business house at Oregon into an amusement house. Work-
will commence the latter part of May.
Universal Film and Supplv Companv, St. Louis: capital, one-
half paid, $100,000. Incorporators, A. F. Black, 498 shares : A. T.
Porter, R. B. Dickson, 1 share each. To buy, sell and deal in
moving picture machines and films.
Don W. Stuart, secretarv and treasurer of the Mutual Yaude-
578
MOTOGRAPHY
Vol. IX, No. 10
ville Association of Chicago visited St. Joseph recently, with a
view to bringing about the erection of a new theater there. He
represented the O. T. Crawford Theater Construction Company.
A deal has been consummated whereby the Grant City Im-
provement Company becomes the owner of the McDonald moving
picture show at Grant City and work will start immediately on
the erection of a new opera house. The building will occupy the
site of the old wooden structure. It will be modern in every
way, one story, 30 by 100 feet, with a 20-foot ceiling. The com-
pany has been incorporated for $3,000, with a paid-up capital
of $2,000. The charter has been received from the secretary of
state. The members of the company are A. M. Willhite, W. V.
Hauber, W. C. Okey, Cory Pettijohn, Harry Dalby, J. F. Robert-
son, J. T. Marrs, C. B. DuBois, Bert Miller and Edward Kelso.
The officers are W. V. Hauber, president ; W. C. Okey, secretary,
and J. F. Robertson, treasurer.
MISSISSIPPI.
Work has been begun on the $38,000 new vaudeville theater
and moving picture show building, which is being erected by S.
R. Floyd at Meridan. It is expeected that the building will be
completed by July 1.
NEBRASKA.
C. Cawley has bought out Claude Wheeler's interest in the
picture shows at Dewitt and in Western.
The Empress, the new West avenue motion picture house
at Holdredge, is open for business. R. Wright is manager.
John Ritner has just let the contract to erect a theater for
moving pictures at North Platte. The building will be fireproof
and it is expected that it will be ready for occupancy by June 1.
An explosion of unexplained origin in the Laemmle Film
exchange, over 1312 Farnham street, is the cause attributed to a
fire recently in the heart of the downtown district of Omaha.
The manager of the film company would not talk about the loss
to his company, but it is thought it will be less than $2,000.
NEW JERSEY.
At a meeting of the Parents-Teachers' Association of the
public schools at Audubon, plans were. made to provide for in-
struction through the use of motion pictures, to be begun as
soon as bonds, which were authorized at a recent election, are
sold.
NEW MEXICO.
An event of importance and interest in the motion picture
field in Albuquerque was the opening of the Lyric theater, in the
Everitt building, on West Central avenue, between First and
Second streets. The Lyric is owned by Fred Cameron, who has
had extensive experience in managing motion picture houses.
Mr. Cameron has expended $4,500 in the equipment of the Lyric.
There are two afternoon shows, at 3 and 4 o'clock, and three
at night, beginning at 7:30. Four films are shown at every
show and music is furnished by a fine orchestra.
NEW YORK.
Jas. E. Barry & Co. have leased for Anthony F. Koelble
three stores on St. Nicholas avenue, New York, to a moving
picture company.
Adam Kessel, Jr., Charles Kessel and Charles O. Baumann
of Brooklyn are directors of the New York Motion Picture
Corporation of New York City, chartered by the Secretary of
State, with a capital of $600,000.
The Educators' Film and Service Corporation of Man-
hattan, photography and motion pictures, $100,000. Frederick G.
Fisher, Frederick L. Kopff, Henry C. Darling, 175 Lexington
avenue, New York.
Chippewa Amusement Company of Buffalo, motion pictures
and theaters, $10,000. Paul Sheehan, Arthur J. Adler, William
H. Gorman, 145th St. James place, Buffalo.
E. G. Brown of Brooklyn is one of the directors of the
Powers Photo Plavs of New York Citv. formed with a capital
of $50,000.
Victor is to have a moving picture theater, and at last get
in line with the progress of the surrounding towns. The second
floor of the Walling block is being converted into the theater
by the owner, A. D. Prentice, of Rochester, formerly of this
town. Added exits are to be built and other safety precautions
taken. The Village Board has granted a permit for the new
amusement place.
M. Ancker, 11 Park Row, has ordered Gothelf & Zimmer-
man, contractors, to build a moving picture theater in New
York.
W. B. Shane of Syracuse, has leased the store of Albert
Kaufman, 128 North James street, Rome, and will transform it
into a moving picture theater.
L. and A. Pineus have bought from the Kingman estate land
on Fulton street, New York, at the junction of Grand and Put-
nam avenues, and they are having plans prepared for the erec-
tion of a moving picture theater. Cost, $250,000.
Morton H. C. Foster & Brother have leased to John Roddy.
1945 Third avenue, northeast corner of 107, New York, and he
will erect a moving picture theater.
Salta Amusement Company, Inc., of Manhattan, moving pic-
tures ; $10,000. Henry S. Flynn, Samson Friedlander, and Sam-
uel W. Levine, 65 West 115th street, New York.
Elmira Heights is to have a motion picture show. Mr. Van
Allen has secured the Troxel buildings and same will be remod-
eled.
James A. Lockhart will build a moving picture theater at
the southwest corner of Briggs avenue and Tonawanda street,
Buffalo.
The contract to erect a motion picture theater on East Main
street, St. Johnsville, has been let to Ed. Everetts by Stephen A.
Smith.
Theatrical Building Contracting Company of Manhattan,
theaters and moving pictures ; $10,000. Max Rothbard, Joseph
Rothbard, Louis Epstein, all of 2295 Second avenue, New York.
Leo C. Teller, manager of the Broadway Theater, Brooklyn,
will erect a moving picture theater at a cost of $180,000.
The McCarthy building of Glens Falls, which for many years
was used for the postoffice, has been remodeled for a moving
picture theater. The promoter of the new enterprise is Joseph
Delaronde.
M. B. Dudley Film Company; capital, $50,000. Incorpor-
ators: G. F. Hoyte, A. S. Marks, H. I. N. Ashton, New York
City.
The Metropolitan roller skating rink, with stores, at 1684
Broadway, New York, is to be made over into a moving picture
theater and stores, according to plans filed by Otto L. Spann-
hake. The estate of A. F. Eno is the owner. John P. Magner is
the lessee. The cost of making this change has been estimated
at $10,000.
Exclusive Film Service Corporation, Manhattan; film ex-
change, etc. ; capital, $1,000,000. Incorporators : C. L. Dunn,
Bronx; J. J. Cullen, Coney Island; G. W. Collins, New York
City.
Inter-City Amusement Company, Brockton, moving pictures,
etc.; capital $25,000; incorporators, A. Cazneau, A. M. McLean,
Brockton.
Buffalo Branch Mutual Film Corporation of Buffalo, picture
film exchange, $10,000. C. J. Hite, W. C. Toomey, H. E. Atken,
60 Wall street, New York.
Paul Fosmer and Robert Duell of Bolton Landing have
purchased a Powers moving picture machine from Joe Miller
and have opened a moving picture theater in their home village.
The theater has been named the "Navajo," and will feature none
but the best pictures obtainable. The venture is meeting with
unexpected success.
Lestershire will have a new theater built by R. M. Davidson,
owner of the Delphi Theater.
Plans for the erection of motion picture houses on the east
side of Buffalo have been completed by Manager Vewinkel of
the Oriole Theater.
Plans have been prepared for the erection of a new opera
house at Nunda. W. H. Willard is the principal backer of the
proposed concern.
Exclusive Film Service Corporation of Manhattan, moving
picture films; $1,000,000. Charles L. Dunn, James J. Cullen,
George W. Collins, 207 East Nineteenth street, New York.
Comet Amusement Corporation of Manhattan, moving pic-
ture films; $10,000. Harry Harris, E. Knight Harris, Ralph A.
Kohn, all of 31 Nassau street, New York.
John R. Cishel, 257 Virginia, will erect a motion picture
theater in Buffalo at a cost of $15,000.
Tohn J. Maher, 186 Rhode Island, will build a motion picture
theater in Buffalo to cost $15,000.
Carmel Battista, 98 Dante, Buffalo, will alter a brick build-
ing for a motion picture theater to cost $20,000.
Jubilee Realty Company, 1284 Niagara, will erect a motion
picture theater in Buffalo at a cost of $20,000.
Theodore W. Meyers leased from the plans his new moving
picture theater to be erected at the southwest corner of Audubon
avenue and One Hundred and Eighty-first street, New York.
The building will be one story high, on a plot 57x90. A feature
of the structure will be a sliding roof, so that during the heated
months the playhouse will practically be out of doors.
Levyn Michaels, 205 Allen, will build a motion picture theater
in Buffalo to cost $45,000.
Heuel Improvement Corporation of Manhattan, realty; $30,-
000. Charles S. Clark, James A. Taylor, Frank F. Gearux, 203
Bergen street, Brooklyn.
Martin Pfeuthner, 943 Jefferson street, Buffalo, is to open a
one-story brick motion picture theater costing $13,000.
May 17, 1913
MOTOGRAPHY
379
M. N. Mark, 303 West Ferry, Buffalo, will erect a motion
picture theater to cost $90,000.
Five men were fined in Special Sessions in New York City
recently for keeping and maintaining a nuisance in that they
allowed "standees" in their moving picture theaters. The men
were Benjamin Nibur of 368 West One Hundred and Thirty-
fifth street; Louis Montag, 365 First avenue; Samuel Cohen,
797 Third avenue, and Herman Gordon of 39 Rutgers street, all
fined $50, and Tonv de Franchi, 677 Morris street, who was
fined $100.
NORTH CAROLINA.
The moving picture theater at Wadesboro. owned by M. R.
Hawley burned, with a loss of $2,500, partially covered by insur-
ance. The theater was in the Smith building, and the fire was
caused by the reels igniting.
The A. & E. Moving Picture Supply Company of Raleigh,
has been chartered with $25,000 capital authorized and $300 sub-
scribed by R. S. Aronson, O. R. Browne and others, for originat-
ing moving picture films, handling supplies and conducting mov-
ing picture theater, parks and other amusements.
NORTH DAKOTA.
Stanley has a new moving picture house.
OHIO.
The moving picture censor bill has been passed by the senate
after a number of amendments had been made. All films manu-
factured in Ohio or those which enter the state must pass the
censors. A flat rate of $1 is charged for each film. The bill
does not preclude local censorship.
Toledo's new exclusive motion picture theater, the Alham-
bra, just south of the Second National Bank on Summit street,
soon to be completed, will be unique among theaters of the world.
It is to possess every modern accommodation and equipment and
is to embrace all the most commendable features of the principal
theaters in France, Germany, Italy, Great Britain and America.
Frank Bancroft has opened the Redland airdome in the
Cincinnati ball park.
The Casino, Geneva's new picture house, will soon open up
for business. Manager Ault.
The Vendome Amusement Company, Cincinnati ; operating
moving picture theaters, etc. ; capital, $25,000. Incorporators :
James Arata, C. J. Wrampelmeier, Louis E. Kiegle, Charles
Brichette and Edward D. Jacob.
Dr. Edward Behymer is receiving estimates for a motion
picture house at 3737 Eastern avenue, Cincinnati, planned by
Custer Brothers.
The West End of Toledo is to have a new picture theater.
It will be located at Detroit and Delaware avenues, and will be
operated by the Empress Amusement Co., controlled by L. E.
Beilstein, general manager of the Rail-Light, and E. R. Kelsey,
also connected with the Rail-Light. The Empress Amusement
Co. will lease the building from the Zeno Realty Co., which has
just been incorporated at Columbus for $10,000 by O. S. Brum-
back, Arthur H. Hull and William H. Kopittkc, all of Toledo.
Ground has been broken.
While alone in the People's five cent theater, Starr avenue
and Main street, East Side, Toledo, at 6 :30 one evening, Carl
Cook, an operator, struck a match in the operating room and a
spark ignited a film, causing a small explosion. The blazing
film set fire to other contents of the room and caused damage
amounting to $75. Cook escaped uninjured.
OKLAHOMA.
Mutual Film Corporation of Oklahoma City, capital $10,000.
Incorporators, Joseph F. Custin, H. O. Coughlin of New York
City, Hugh L. Harrell of Oklahoma City.
Building on the new airdome at Sand Springs Park has com-
menced and it will be ready for the opening date, which has been
set for May 11.
PENNSYLVANIA.
Samuel Schultz is estimating on plans for a picture theater
to be built at 1426-28 South Fourth street, Philadelphia, building
to be one story, 35 by 135 feet.
Peucket & Wunder are preparing plans for a moving picture
theater building to be erected in Germantown. Building is to be
one-story brick. Plans will be ready for bids in about two weeks.
F. Roe Searing, Shaughessy & Wiler are estimating on plans
for a moving picture theater to be built on North Broad street,
Philadelphia, for Goddard & Weaver, building to be 35 by 100
feet, of stone, one story. Clyde S. Adams, architect.
George Hogg has been awarded the contract for a one-story
brick and stone picture theater, 35x10 feet, to be built in Phila-
delphia for Kahn & Greenberg. Shukert & Sloan, architects.
Hardican & Co. have been awarded the contract for a
moving picture theater to be erected at 3941-43 Market street,
Philadelphia, for the Eastern Amusement Companay. The new
theater will be 40 feet by 120 feet, and will seat 500 persons. The
cost will be $25,000. Private plans.
The Polish National Home Association of Shamokin pur-
chased the old Polish church and will transform same into motion
picture theater.
The Cambria Amusement Company will erect a motion pic-
ture theater at Philadelphia. Cost $15,000.
H. L. Brown, J. Richardson Jackson and Dorney & Smith
are estimating on plans for a moving picture theater to be built
at Fifty-fourth street and Baltimore avenue, Philadelphia, for
W. J. Smith. Building to be one-story, brick, 75x100 feet. R.
Werner is the architect.
Blaine Slipp, Nelson Geiger and Ed Albright have sold their
interests in the Hippodrome moving picture house at Birdsboro
to George Kline, Jr.
Stuckert & Sloan are preparing plans for a moving picture
theater to be built at Thirteenth and Market streets, Philadelphia.
Plans will be ready for bids in a few weeks.
Charles E. Bell of 223 South American street, Philadelphia,
has secured the contract to erect a large film factory for the
Lubin Manufacturing Companay at Betzwood.
Daniel Faunce, of Philadelphia has purchased 50 feet of
land along the Boardwalk, Ocean City, between Ninth and Tenth
streets, for $20,000. A moving picture house will be built.
Title has been taken by F. G. Nixon-Nirdlinger from Robert
C. Hutchinson, to the properties 5130 and 32 Market street, Phil-
adelphia, upon which a moving picture theater is to be built. The
consideration was nominal. The property measures 40 by 75
feet and is assessed at $18,000.
J. Rose & Son, moving picture house, 40 by 100 feet, south-
west corner Gray's Ferry road and Twenty-third street, Phila-
delphia, for Franklin Amusement Company; cost, $13,000; also
one-story store adjoining; cost, $800.
Motion picture theater, 108 Oley street, Reading, W. I. Hip-
pie, owner, cost $12,000.
J. P. Cassidy, Cape May, has been awarded the contract for
an open air moving picture theater, with a Dutch windmill en-
trance.
The Esplanade Amusement Company, Camden; objeect, to
operate, manage and control theater ; capital, $2,000 ; incorpor-
ators : Michael Seltzer, Alexander M. Seltzer, Thomas M. Love,
Samuel F. Nirdlinger, Fred S. Nixon-Nirdlinger.
S. J. Reich will erect a moving picture theater at 1708 Sus-
quehanna avenue, Philadelphia, for William Cohen to cost $12,-
000.
William R. Dougherty has been awarded the contract for a
moving picture theater at Berwyn, building to be one story and
built of brick. Sterns & Castor, architects.
Judge Barratt in an exhaustive opinion granted an injunc-
tion restraining Kahn & Greenberg from erecting the proposed
moving picture theater at the southeast corner of Broad and
Thompson streets, Philadelphia, in the heart of a residential sec-
tion. While the Court shows that the policy of the Pennsyl-
vania law, since Colonial times, has been against stage plays and
entertainment, and that the proposed theater would menace the
peace and comfort of the residents in the vicinity, the decision
is primarily based on the restriction in the deed, which prohibits
"any offensive occupation" on the site.
J. A. Bader and Company will build a moving picture theater
at 2924 Richmond street, Philadelphia, for William E. Butler.
The same company will build a moving picture theater at Broad
and Diamond streets, Philadelphia.
M. Shore has been awarded the contract for moving picture
theater on Woodland avenue, west of 58th street, Philadelphia,
to cost $27,000 for Wolf Bodek. B. A. Rehill is the architect.
A permit has been granted for a moving picture hall to be
built at 1710 to 1714 Susquehanna avenue. Philadelphia, for Will-
iam Cohen. The site adjoins the Claghorn School, and a meeting
was held recently protesting against the building of a theater
because of the proximity of the school. The buildings on the site
are to be razed at once and the amusement hall built at a cost of
$12,000.
John H. Myers and J. B. Esbenshade, will erect theater at
corner of West King and South Prince streets, Lancaster, Jacob
Stumpf & Son, contractors. Will be ready about May 15.
The half interest of Mrs. Minnie M. Collins in the moving
picture theater, 2132 and 2134 North Sixth street, Philadelphia,
40x142 feet, extending through to and including 2137 Marshall
street, has been sold by her to John W. Donnelly, who took title
to for a nominal sum subject to a mortgage of $7,500. The pur-
chase of Mrs. Collins' interest gives Mr. Donnelly, who was
her husband's business partner at the time of his death, entire
control of the property, which is assessed at $23,000.
The W. M. Dudley Film Company, Philadelphia; capital
stock $50,000; to organize, manufacture, produce and direct
380
MOTOGRAPHY
Vol. IX, No. JO
motion picture shows ; incorporators, George F. Hoyte, Arthur
S. Marks, Herbert I. N. Ashton, all of Philadelphia.
Edward Rieben has been awarded a contract for a one-story
moving picture theater, 61x74 feet, at the northwest corner of
Twenty-fourth and Brown streets, Philadelphia, for Joseph F.
Werner. The cost will be $7,500.
TENNESSEE.
Thomas Hurst of Johnson City has purchased and is now
operating the moving picture show at Greenville, having pur-
chased same from W. J. Cargille, who was compelled to give
up business on account of failing health.
TEXAS.
Porter & Mainard have erected an airdome theater just
south of Clark & Greathouses blacksmith shop, Galveston. It is
40x80 feet.
The new Airdome theater, on Main street, Houston, under
the management of R. P. Mitchell, has opened.
A new moving picture show has just been installed in Mexi-
quito, making three movies for Mission.
El Paso is to have another airdome. Otto Ross, Frank Hilt-
man and Isaac Alderete are planning to construct an amusement
place of this character at the corner of West San Antonio
and Santa Fe streets.
The new Airdome theater on Main street. Smithville, under
the management of R. P. Mitchell, has opened.
M. Greenspun, care of Parker-Brown Company, Ft. Worth,
contemplates erecting a moving picture theater.
W. G. Bell is building an airdome at Ninth and Colorado
streets, Austin.
Joseph Heydler, brother-in-law of J. B. Orr, has closed out
his business interests in Velasco, Tex., and has assumed a part-
nership with Mr. Orr in the moving picture business in Denison.
Mr. Heydler was a citizen of Denison twenty-five years ago.
Another airdome is being erected on West Lott street, Yoak-
um, for Ross Irvin, proprietor of the Bijou Theater. It will
have a seating capacity of 800.
Two reels of film caught fire in a picture show at Gaines-
ville and Lee Cobble, operator, was severely burned on the hands.
Both reels of pictures were destroyed.
Repair work and improvements are being made on the
Baker Airdome at Luling.
Messrs. Carter & Glover have leased the Mistrot building
at Madisonville, and are fixing it up for a moving picture show.
The management promises an up-to-date show in every respect.
A moving picture theater will be erected at Beaumont, headed
by J. K. Grist. Cost, $20,000. F. W. Steinmann has drawn the
plans.
Through negotiations closed recently J. J. Hegeman, pro-
prietor of the Crescent motion picture theater of Temple, becomes
the owner of all the moving picture theaters in the city, having
acquired the Judge and the Majestic theaters from the former
owner, J. J. Judge, who will go to California. The new owner
will operate all three of the theaters under his personal direction.
Mrs. H. J. Lutcher is arranging to erect a moving picture the-
ater at Orange. She received word from her New York archi-
tect that he will start the work immediately.
James Rudd of Temple has accepted plans for the erection
of a small theater building for motion pictures on First street
near Central avenue, which will cost about $8,000.
That he will erect a new $100,000 moving picture theater on
the lot now occupied by the Crystal Theater on Elm street.
Dallas, was announced by G. K. Jorgensen, owner of the
Crystal and also of seven picture houses in Galveston. Plans
are now being prepared by Architect I. A. Walker, who designed
the Queen Theater, and will be ready for bidders about June 1.
The present building, occupied by the Crystal Theater, is to be
torn down.
Plans have been completed for the new moving picture
house to be erected this spring by the Crystal Company at
Onalaska.
UTAH.
Articles of incorporation of the Utah Theater Company have
been filed with the county clerk at Salt Lake City. The company
is capitalized at $50,000, and is organized to engage in the motion
picture business. Tracey Wootton is president ; S. B. Newman.
vice-president ; A. M. Clarke, secretary and treasurer. These,
with Tom Norris and J. S. Gard, form the directorate.
VIRGINIA.
Amendment to Film Exchange Corporation, changing its
name to Mutual Film Corporation (Richmond, Va.).
WASHINGTON.
W. H. Twiss has purchased the Bell theater business, the
oldest moving picture show in Chehalis. W. H. Burke, the for-
mer manager, goes to Aberdeen.
WEST VIRGINIA.
The Wheeling Film Exchange and Supply Company, Wheel-
ing's newest industry, has opened for business in the offices
formerly occupied by Squire Dobbs on Sixteenth street. This
firm will not only handle motion pictures but will distribute talk-
ing pictures.
WISCONSIN.
Marinette is to have another new and up-to-date moving
picture enterprise. The papers filed show that a corporation is
to be formed known as "The Cozy Theater Co." The names
of the incorporators are given as John K. Setright, Walter P.
Setright and Harry R. Goldman.
Dr. Evans, well-known Danville physician and owner of
five-cent houses throughout Illinois, will erect a moving picture
theater at Racine.
The Miramar Theater Company has purchased a sixty-foot
lot on Oakland avenue south of Folsom place, Milwaukee, from
William Stewart, on which a $25,000 motion piicture will be
erected.
A motion picture theater is said to be planned at Second and
Wells street, Milwaukee, on the zrown row site owned by the
Plankinton estate.
The new opera house management at Mt. Hereb has de-
cided to put in a moving picture show of the latest type and will
run two nights a week.
T. C. Tully, manager of the opera house at Florenci has
gone into the moving picture business.
George Ehlers is drawing the plans for a motion picture
theater at Kinnickinnic and Potter avenues, Milwaukee, for
which Charles Petri will spend $8,500 in construction.
The Saxe brothers recently entertained the members and
employes of the Milwaukee branch of the General Film Ex-
change, which has been opened in the Merchants' and Manufac-
turers' building. This film exchange will employ close to 200
people.
W. H. Hudson, vice-president of the United Amusement
Company of Milwaukee, took over the Lyric motion picture
theater at 416 Main street, Racine. The theater has been closed
for remodeling.
Architect Louis Esser is drawing plans for the remodeling of
the Davidson theater annex at Milwaukee, to be made into a
moving picture house to cost $40,000.
A new motion picture theater will be opened shortly in the
Webster block, 1212-14 Tower avenue, Superior. Saxe Brothers,
who control a chain of theaters in Southern Minnesota and Wis-
consin, are behind the project. The new talking pictures will be
featured in the theater.
Crawford's moving picture show has begun operations, and
will be open every Tuesday, Thursday and Sunday evening. On
Thursday of each week a dance will be given after the show.
WYOMING.
For the purpose of interesting residents of Oregon in the
protection of elk which were imported by that state from
Wyoming during the past winter, the state of Oregon has pur-
chased from W. J. Stroud of Rock Springs 1,000 feet of moving
picture film showing how elk are protected in their Wyoming
haunts and how they are hunted during the open season.
"Her Big Story," American release of May 31.
May 17, 1913
MOTOGRAPHY
381
Complete Record of Current Films
Belie\ing the classification of film pictures by the nature of their subjects to be of greater importance to the exhibitor than classification by maker,
Motography has adopted this style in listing current films. Exhibitors are urged to make use of this convenient tabulation in making up their program*.
Films will be listed i-s long in advance of their release dates as possible. Film manufacturers are requested to send us their bulletins as early as possible.
Reasonable care is used, and the publishers cannot be responsible for errors. Synopses of current films are not printed in Motography as they may be
obtained of the manufacturers.
LICENSED
DRAMA.
Date Title Maker
4-29 The Orphan Edison
4-29 Grannv Lubin
4-30 Through Many Trials Lubin
4-30 The Burglar Who Robbed Death Selig
4-30 The Mexican Defeat Patheplay
4-30 The Eighth Notch Kalem
4-30 A Window on Washington Park Vitagraph
5-1 If We Onl v Knew Biograph
5-1 The Story the Desert Told Essanay
5-1 The Veil of Sleep Lubin
5-1 A Buried Treasure Melies
5-1 The Parting Eternal Patheplay
5-2 Groundless Suspicion Edison
5-2 A Child's Precaution Essanay
5-2 The Broken Vow Cines
5-2 The Girl Back East Lubin
5-2 Their Stepmother Selig
5-2 Cinders Vitagraph
5-3 The Wanderer Biograph
5-3 Billy's Sweetheart Edison
5-3 The Crazy Prospector Essanay
5-3 The Wayward Son Kalem
5-3 General Scott's Protege Patheplay
5-3 The Diamond Miniature Patheplay
5-3 Captain Mary Brown Vitagraph
5-5 The Tenderfoot's Money Biograph
5-5 The Heart of an Actress Kalem
5-5 Pedro's Treachery Lubin
5-5 A Midnight Bell Selig
5-5 An Old Actor Selig
5-6 A Mixed Affair Cines
5-6 When Greek Meets Greek Edison
5-6 The Judgment of the Deep Lubin
5-6 A Welded Friendship Selig
5-7 The Prophecy Essanay
5-7 Belle Boyd — A Confederate Spy Selig
5-7 The Crooked Bankers Patheplay
5-7 The Alien Kalem
5-/ The Deerslayer Vitagraph
5-8 Two W estern Paths Essanay
5-8 Her Mother's Ambition Patheplay
5-8 Her Guardian Selig
5-8 The Wrath of Osaka Vitagraph
5-9 The Golden Wedding Edison
5-9 A Woman's Way Essanay
5-9 The Cheyenne Massacre Kalem
5-9 A Mock Marriage Lubin
5-9 In the Days of Witchcraft Selig
5-10 The House of Darkness Biograph
5-10 An Accidental Alibi Edison
5-10 The River Pirates Kalem
5-10 The Paymaster Lubin
5-10 A Girl Spy in Mexico Lubin
5-10 The Sea Maiden Vita°raph
5-12 The Heart of Valeska Edison
5-12 The Japanese Dagger Eclipse
5-12 The Adventure of an Heiress Kalem
5-13 The Prophecy Edison
5-13 The Ranch Girl's Partner Essanay
5-13 The Padre's Strategy Lubin
5-13 A Woman of Impulse Patheplay
5-13 Lieutenant Tones Seli<*
5-14 The Will of Fate Eclipse
5-14 The Two Merchants Edison
5-14 Man's Greed for Gold Kalem
5-14 A Redskin's Mercy Patheplay
5-14 Her Masked Beauty Patheplav
5-14 The Stolen Loaf Biograph
5-14 Longing for a Mother ;.-. Lubin
5-14 The Black Trackers Melies
5-14 A Soul in Bondage Vitagraph
5-16 John Manley's Awakening Edison
5-16 Two Social Calls Essanay
5-16 Breed of the West Lubin
5-16 A Daughter of the Confederacy Selig
5-16 His Life for His Emperor Vitagraph
5-16 The Vampire of the Desert Vitagraph
5-17 The Yaqui Cur Biograph
5-17 A Woman's Influence Cines
5-17 A Concerto for the Violin Edison
5-17 Broncho Billy's Grit Essanay
5-17 The Poet and the Soldier Kalem
5-17 The Battle for Freedom Kalem
5-17 Retribution Lubin
5-17 A Wrecked Life Patheplay
COMEDY.
4-28 When the Right Man Comes Along Edison
4-29 The New Arrival Cines
4-29 Cousin Jane Essanay
4-29 Hiram Buys an Auto Selig
4-29 Two Company. Three a Crowd Vitagraph
4-30 Grandpa's Rejuvenation Eclipse
Length
1,000
1,000
2,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
2,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
2,000
1,000
996
1,000
1,000
2,000
1,000
1,000
1,000
1,000
500
1,000
1 ,000
1,000
1,000
2,000
1,000
1,000
1,000
1,000
1,000
1,000
2,000
1,000
1,000
1,000
1,000
1,000
1,000
2,000
1,000
1,000
2,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
2,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
500
1,000
2,000
2,000
500
1,000
1,000
1,000
2,000
1,000
1,000
1,000
800
1,000
Date.
4-30
4-30
4-30
5-1
5-1
5-2
5-3
5-3
5-3
5-3
5-5
5-5
5-6
5-6
5-7
5-7
5-7
5-7
S-8
S-8
5-8
5-8
5-9
5-9
5-9
5-10
5-10
5-10
5-12
5-12
5-12
5-12
S-12
5-12
5-13
5-13
5-14
5-14
5-14
5-15
5-15
5-15
5-16
5-17
_ Title Maker. Length.
A Reluctant Cinderalla Edison 1,000
Cousin Bill Essanav 1,000
A Coupon Courtship Kalem
Absent-Minded Mr. Boob Selig
Bunny vs. Cutey Vitagraph
Fatty's Busy Day Kalem
The Rival Lovers Cines
Jerry's Rebellion Cines
Clarence at the Theater Lubin
Fixing Aunty Up Lubin
The $100 Elopement Edison
Bingles Mends the Clock Vitagraph
A Tango Tangle Essanay
Omens and Oracles Vitagraph
The Dividing Wall Eclipse
Aunty and the Girls Edison
With the Assistance of "Shep" Edison
Disciplining Daisy Vitagraph
Frappe Love Biograph
The Coveted Prize Biograph
She Must Be Ugly Lubin
Hattie's New Hat Lubin
The Hash House Count Kalem
Toothache Kalem
Cupid's Hired Man Vitagraph
Excess Baggage Cines
"Alkali" Ike's Mother-in-Law Essanay
Putting It Over on Papa Patheplay
The King and the Copper Biograph
A Rainy Day Biograph
Lucky Cohen Lubin
A Ten-Acre Gold Brick Lubin
The Post Impressionists Selig
The Wrong Pair Vitagraph
Willie's Alarm Clock Cines
Horatio Sparkins Vitagraph
The Same Old Story Essanay
Buck Richard's Bride Selig
Two Souls With But a Single Thought Vitagraph
Boosting Business Essanay
An Itinerant Wedding Patheplay
In the Long Ago Selig
Pat the Cowboy Kalem
Bunny and the Bunny Hug Vitagraph
EDUCATIONAL.
Hidden Life in Seaweed Patheplay
The Panama Canal Today Patheplay
The Home of Terms Melies
Some Chickens Selig
Uses of Dynamite by U. S. Engineering Corps. .Vitagraph
Liquid Air Patheplay
The Ant- Lion Patheplay 500
Hatching Chickens Selig 500
The Jelly Fish Patheplay 333
SCENIC.
4-29 Street Scenes, Yokohama, Japan Vitagraph
4-30 A Picturesque Jouney in Western France Eclipse 250
5-2 Winter in Upper Engadine, Switzerland Patheplay
5-6 The Chateau of Blois, France Patheplay
5-8 A Trip Through the "North Island" of New Zea-
land from Auckland to Wellington Melies 1,000
5-9 Montreal, Quebec, and Halifax Patheplay
5-9 In the Valley of Vesubie, France.... Patheplav
5-10 The People of Somaliland, East Africa Cines 300
5-10 Beautiful i^ake Como, Italy Cines 300
5-12 The Grand Canyon Vitagraph 500
5-16 Along the Banks of the River Eure Patheplay 333
5-16 Sargossa Patheplay 333
5-17 Gulf of Togulio, Northern Italy Cines 500
TOPICAL.
5-2 Old Women of the Streets of New York Kalem
5-5 Pathe's Weekly, No. 19 Patheplay 1,000
5-7 Inspection of the Quebec Police Vitagraph 400
5-12 Pathe's Weekly, No. 20 Patheplay 1,000
5-16 Food Inspection Kalem 500
5-16 With the Students of the North Dakota Agricultural
College -. Selig - 500
4-29
4-30
5-1
5-1
5-1
5-2
5-6
5-6
5-16
500
500
400
600
1,000
1,000
1,000
1,000
1,000
400
600
400
600
1,000
400
1,000
1,000
500
500
400
600
1,000
500
780
1,000
1,000
1,000
1,000
1,000
1,000
1,000
500
1,000
350
DAILY LICENSED RELEASES
MONDAY: Biograph, Edison, Kalem, Lubin, Pathe, Selig, Vita-
graph.
TUESDAY: Edison, Essanay, Cines-Kleine, Lubin. Pathe, Selig,
Vitagraph.
WEDNESDAY: Edison, Essanay, Kalem, Eclipse-KIeine, Pathe,
Selig, Vitagraph.
THURSDAY: Biograph, Essanay, Lubin, Melies, Pathe, Selig,
Vitagraph.
FRIDAY: Edison, Essanay, Kalem. Lubin, Pathe, Selig, Vita-
graph.
SATURDAY: Edison, Essanay, Cines-Kleine, Kalem, Lubin,
Pathe, Vitagraph.
382
MOTOGRAPHY
Vol. IX, No. 9
INDEPENDENT
Date
5-2
5-2
5-2
5-2
5-2
5-3
5-3
5-3
5-4
5-4
5-5
5-5
5-5
5-5
5-6
5-6
5-6
5-6
5-7
5-7
5-7
5-7
5-7
5-8
5-8
5-8
5-8
5-9
5-9
5-9
5-9
5-9
5-10
10
10
5-11
5-12
5-12
5-12
5-12
5-13
5-13
5-13
5-14
5-14
5-14
5-14
5-14
5-15
5-15
5-15
5-15
5-16
5-16
5-16
5-16
5-16
5-17
5-17
5-17
5-1
5-1
5-1
5-2
5-2
5-3
5-3
5-4
5-4
5-4
5-4
5-5
5-5
5-5
5-6
5-6
5-7
5-8
5-8
5-8
5-8
5-9
5-9
5-10
DRAMA.
Title Maker Length
The Ingrate Nestor 1,000
The Unseen Influence Victor 1 ,000
A Black Conspiracy Kay Bee 2.000
The Widow's Strategy Thanhouser 1,000
The Miller's Daughter Lux
The Vengeance of the Sky stone Bison 2,000
The Good Within Reliance 1,000
The Road to Ruin American 1,000
A Country Maid's Romance Majestic 1,000
The Rosary Rex 1,000
The Brothers American 1,000
Brothers All Excelsior 1,000
Eureka Imp 2,000
The Shark God Champion 1,000
The Caged Bird Thanhouser 1,000
Children of St. Anne Majestic 2,000
An Eye for an Eye Gaumont 1,000
The Indian's Secret Bison 2,000
The Way of a Mother Broncho 2,000
A Cruel Suspicion Reliance 1,000
The Past Forgiven Solax 1,000
The Awakening of Papita Nestor 1,000
The Sons of a Soldier Eclair 3,0-00
Human Kindness American 1,000
The Whole Truth Imp 1,000
The Smuggler's Daughter Rex 2,000
The Sheriff's Rival Frontier 1,000
Past Redemption Kay Bee 2,000
The Other Girl Thanhouser 1,000
Saved from the Grip of Alcohol Lux 1,000
Miss Nobody Nestor 1,000
The Unknown Victor 1,000
The Sheriff Reliance 1,000
Youth and Jealousy American 1,000
The Northern Spy Bison 2,000
The Poverty of Riches Rex 1,000
The Angel of the Canyons. American 1,000
The Eternal Sacrifice Reliance 1,000
A Woman Loved Imp 1 ,000
Hawaiian Love Champion 1,000
The Marble Heart Thanhouser 2,000-
My Lady's Boot Majestic 1,000
The Toll of War Bison 3,000
A Slave's Devotion Broncho 2,000
The Big Boss Reliance 2,000
The Clean-Up Nestor 1,000
The Violet Bride Powers 1,000
The Key Eclair 1,000
The Kiss American 1,000
The Cap of Destiny Rex 1,000
The Heart That Sees Imp 1,000
In the Great Southwest Frontier 1,000
For Love of the Flag Kav Bee 2,000
The Man in the Sick Room Solax 1 ,000
An Eye for an Eye Nestor 1,000
The Tarantula Powers 1,000
A Fair Exchange Victor 2.000
After the Massacre Reliance 1,000
The Great Harmony American 1,000
In the Secret Service ' Bison 2,000
COMEDY.
That Ragtime Band Kevstone 1 ,000
The Old Invalid Mutual 500
The Shoe on the Other Foot Gaumont 1,000
Neighbors Powers 1 ,000
The Invisible Hand Lux
Her Lover's Voice Imp
An Eastern Cyclone at Bluff Ranch Frontier 1,000
Express C. O. D Thanhouser 1,000
Pearl as a Detective Crystal 500
Oh Whiskers ! Crystal 500
Bewitched Matches Eclair
Algie on the Force Keystone 500
His LTps and Downs Keystone 500
The Country Cousin Nestor 1 ,000
Billy's First Quarrel Gem 500
Call Him Whiskers Gem 500
The Black Smallpox Scare Powers 1,000
The Dark Town Belle Keystone 500
A Little Hero Keystone 500
The Old Clock Mutual 500
It's Great to Be Great Gaumont 1,000
The Case of the Missing Girl Solax 1,000
Bozo Arrives Powers 1 ,000
Leo Makes Good Imp
DAILY "MUTUAL" RELEASES
(Independent.)
MONDAY: American, Keystone, Excelsior.
TUESDAY: Majestic, Thanhouser.
WEDNESDAY: Broncho, Mutual Weekly, Reliance.
THURSDAY: American, Mutual, Keystone.
FRIDAY: Kay-Bee, Thanhouser.
SATURDAY : American, Reliance.
SUNDAY: Majestic, Thanhouser.
Date Title Maker Length
5-10 The Tenderfoot's Ghost Frontier 1,000
5-11 Barred from the Mails Thanhouser 1,000
5-11 My Lady's Boot Majestic 1,000
5-11 When Love Is Young Crystal 500
5-11 His Awful Daughter ...Crystal 500
5-11 A Wise Judge Eclair 500
5-12 Mabel's Awful Mistake Keystone 1,000
5-12 The Squashville Ladies' Fire Brigade Nestor 1,000
5-13 In the Wake of the Brainstorm Gaumont 500
5-13 Billy's Adventure Gem 1,000
5-14 Dad's Orders Solax 1,000
5-15 Their First Execution Keystone 2,000
5-15 His Master's Rival Mutual 500
5-15 Sweets to the Sweet Gaumont 1,000
5-16 A Mighty Hunter Luz 500
5-16 Pat Moves in Diplomatic Circles Lux 500
5-17 Betty's Bandit Frontier 1,000
5-18 Why Babe Left Home Thanhouser 1,000
5-18 The Rivals Outwitted Majestic 500
EDUCATIONAL.
5-4 Salamanders Eclair 500
5-10 The Oyster Industry Imp 500
5-11 Manufacture of Steel Eclair 500
5-17 Beetles Imp 500
5-18 Oysters Majestic 500
SCENIC.
5-1 Tachkent, Asiatic Russia Mutual
5-8 Mosques and Tombs, Egypt Mutual 500
5-15 Albula, Switzerland Mutual 500
TOPICAL.
5-3 Opening of the 1913 Baseball Season Imp
5-7 Animated Weekly, No. 61 Universal 1,000
5-7 Mutual Weekly, No. 19 Mutual 1,000
5-14 Animated Weekly, No. 62 Universal 1,000
5-14 Mutual Weekly, No. 20 Mutual 1,000
KINEMACOLOR
DRAMA.
The Scarlet Letter Kinemacolor
The Sand Man Kinemacolor
COMEDY.
Mumps Kinemacolor
Mixed Signals Kinemacolor
Love and Laundry Kinemacolor
EDUCATIONAL.
Reedham Drill Kinemacolor
4,460
1,360
1,460
700
MISCELLANEOUS FEATURES.
Date. Title
The Glass Coffin Warner's
Regeneration Warner's
Redemption Warner's
11-15 Souls in Torture Itala
Peril of the Plains Warner's
Tracked By Wireless Warner's
12-15 A Living Tomb Itala
Mona Lisa (hand colored) Warner's
Saved in Midair Warner's
1-15 The Palace of Flames Itala
A Traitor to His Country Warner's
Rescued from the Burning Stake Warner's
2-15 The Great Aerial Disaster Itala
A Daughter of the Confederacy (Gene Gauntier
Warner's
3-15 The Shadow of Evil Itala
Mystery of Pine Tree Camp (Gene Gauntier)
Warner's
4-15 Tigres > Itala
Mexican Conspiracy Outgeneraled (Satax)
Warner's
5-15 The Dread of Doom Itala
Their Lives by a Thread (Satax) Warner's
The Eye of a God (Pyramid) Warner's
6-15 The Fatal Grotto Itala
Maker. L
ength
Features
3,0-00
Features
3,000
Features
3,000
Features
2,000
Features
3,000
Features
3,000
Features
2,000
Features
2,000
Features
3,000
Features
3,380
Features
3,000
Features
3,000
Features
2,800
Features
3,000
Features
2,000
Features
3,000
Features
4,000
Features
3,000
Features
3,000
Features
3,000
Features
3,000
Features
2,000
DAILY UNIVERSAL RELEASES
(Independent.)
MONDAY: Champion, Imp, Nestor.
TUESDAY: Bison, Gem.
WEDNESDAY: Animated Weekly, Eclair, Nestor, Powers.
THURSDAY: Imp, Rex, Frontier.
FRIDAY: Nestor, Powers, Victor.
SATURDAY: Imp, Bison, Mecca.
SUNDAY: Crystal, Eclair, Rex.
VOL. IX.
MAY 31, 1913.
No. 11
EXPLOITING
Published Bi-Weekly by Electricity Magazine Corporation, Monadnock Building, Chicago
NliL
T
fe&HEL CLAYTON WITH LUBIN
* *
/ '
jllk
"f
I Si
3 REELS
3 REELS
WHEN A WOMAN LOVES
Copyright, 1913, by George Kleine
Released June 2, 1913
AT THE RECEPTION
A BIT OF COQUETRY
•
Portraying a vampire in all her cunning, angling for another's love
GEORGE KLEINE
166 N. State Street CHICAGO
SPECIAL HERALDS
may be procured for this feature film from your
EXCHANGE or GEO. KLEINE
ONE, THREE and SIX-SHEET POSTERS
from ARMSTRONG LITHOGRAPH CO.
Cleveland, Ohio
r
^S«r _Jr mm-* ' f * v^t 1 V
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1
UNRELENTING RIVALRY
HER SUCCESSFUL RUSE
CINES- KLEINE FEATURE FILM
IN THREE REELS
May 31, 1913
MOTOGRAPHY
We Make Them Good, Our Friends Make Them Famous
RAMO FILMS
THE NEW FILM OF QUALITY
{J| Criticized by Manufacturers for its superiority in photography.
Cj Boosted by Exhibitors for its superiority in acting.
OUR FIRST RELEASE,
JUNE 11th, 1913
A Day to Be Remembered in Filmdom
Copyright 1913 Wray Physioc
Drama June 11th-
Comedy-drama *' 18th-
Drama " 25th-
Drama July 2nd
Comedy-drama " 9th-
Drama " 16th-
Drama " 23rd-
Drama " 30th-
Drama Aug. 6th-
"THE HELPING HAND"
"THE CALL OF THE ROAD"
"THE WORTH OF MAN"
"DANGEROUS SYMPATHY"
"I'M NO COUNTERFEITER"
"THE BLACK OPAL"
"THE ETERNAL TRIANGLE"
(2 reels) Spectacular Production
"LOVE AND GOLD"
"CHECKERED LIVES"
RAMO STUDIOS
102 W. 101 STREET, NEW YORK CITY
Good Films and Exclusive Territory Protection
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If you saw it here tell the advertiser.
WITH WHICH IS INCORPORATED THE NICKELODEON
CHICAGO, MAY 31, 1913
PUBLISHED BI-WEEKLY BY
ELECTRICITY MAGAZINE CORPORATION
MONADNOCK BUILDING, CHICAGO
Telephones: Harrison 3014 — Automatic 61028
Ed. J. Mock and Paul H. Woodruff, Editors
Neil G. Caward, Associate Editor
Mabel Condon, Associate Editor
Allen L. Haase, Advertising Manager
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This publication is free and independent of all business or house con-
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CHICAGO, MAY 31, 1913
TABLE OF CONTENTS
Scene from "The Law and the Outlaw," Selig release Frontispiece
Editorial 383-384
That Censorship Question 383
Films as an Advertising Medium 384
Essanay's "The Final Judgment" 385-386
On the Outside Looking In. By the Goat Man 387-390
Motography 's Gallery of Picture Players 391
Just a Moment Please 392
Who's Who in the Film Game 393
Old Story Prettily Told 394
Selig Releasing Western Thriller 395-396
Sans Grease Paint and Wig. My Mabel Condon 397-398
The Motion Picture Exhibitors' League of America 399-402
Current Kleine Comment 403
Publicity Man a Musical Genius 404
Motion Picture Making and Exhibiting. By John B. Rathbun... 405-408
Current Educational Releases 409
Prominent Exhibitors 410
Of Interest to the Trade 411-414
Brevities of the Business 415-416
Complete Record of Current Films 417-418
THAT CENSORSHIP QUESTION.
ANEW YORK writer, now in England, seems to re-
gard the voluntary censorship of the British board,
which corresponds to the National Board in this country,
as nearly ideal. It is pointed out that there the exhibitors,
manufacturers and renters have combined to maintain a
board of censors which is operated for the good of the
trade at a nominal cost. All exhibitors bind themselves
to use only such pictures as have been passed by that
board and that's all there is to it. The paper with which
the writer referred to above is connected, says editorially,
"The same method of procedure might be put into opera-
tion here with the National Board as now constituted as
the censoring authority. All that is needed to make the
judgment and dictates of that body effective is for
exhibitors to refuse to show pictures that do not bear its
official approval. There is no necessity to invoke the
authority of the state to accomplish the desired result."
Evidently the writer of the editorial is not aware
that outside of little old New York the present National
Board of Censorship doesn't count for much — that the
legal authorities are every day absolutely forbidding the
showing of pictures upon which the national board
has already placed its O. K. — that several states have
constitutional amendments permitting every village and
hamlet in that state to have its own little censor board,
whose word is law in that immediate community.
Each of these little censor boards, impressed by
its own importance, scoffs at the rulings of the national
board and proceeds to do a little censoring of its own.
What does the New York board know about the pic-
tures that ought to be shown in Pumpkin Center or
Squab Hollow? That picture may be all right for New
Yorkers to see, but it would never do for our theaters.
Such is the attitude of these smaller censor boards and
sometimes we are even inclined to believe them right,
though in the great majority of cases they are probably
wrong.
But, aside from all this discussion of the city
man's judgment as opposed to that of the resident of the
smaller town, there still remains the question of the
acceptance of the national board's rulings. "All that is
needed to make the dictates of that body effective is
for exhibitors to refuse to show pictures that do not
bear its approval," says the editorial, but what about
the helpless exhibitor, here in Chicago for instance, who
finds himself unable to run any picture which has not
been censored by the Chicago police censors? These
police critics are legally appointed — created by law —
whereas the national board, as is well known, is with-
out legal standing. The Chicago exhibitor might refuse
to show every picture not censored by the national board
and still would be powerless to run his show a single
night — unless the film had also been O. K.'d by the
police censors.
The same situation that exists in Chicago seems
to be found in many other large cities, and the state
board of censorship plan, as adopted in Ohio recently,
384
MOTOGRAPHY
Vol. IX, No. 11
seems to be the lesser of many evils. President Neff of
the Motion Picture Exhibitors' League of America, on
another page of this issue, writes at length regarding the
Ohio bill so that any comment by us seems unnecessary.
Under the Ohio bill there will be but one board of censor-
ship for the entire state — a board that is legally created
and whose power is unquestioned. Films O. K.'d by this
board cannot again be censored by the police authorities
of any Ohio city, so that at one stroke of the legal
machinery much of the re-censorship is obviated. Being
entirely local, and familiar with conditions in that par-
ticular section of the union, this board can probably
better determine what films should be excluded and
what films may be shown with propriety, than can a
body of men and women located elsewhere.
It will probably take a long time and a good many
changes will be necessary before we arrive at the best
possible censorship plan, but the decision to legalize and
thus make authoritative the rulings of such censorship
boards as are now being created seems a step in the
right direction. Having taken the first step, let us look
carefully about us to determine what the next should
be, trusting that the time is not far distant when censor-
ship of any kind will no longer be necessary.
The whole question finally rests with the manu-
facturers, for once the time comes that all prints are so
trimmed and pruned before they leave the factory that
a censorship board can immediately pass them, the need
for that board will have vanished. American manufac-
turers have learned pretty well what to avoid, and today
American films are probably cut less often than than any
other brands. It seems to be the foreign manufacturers
who make censorship boards necessary, due to the fact
that the foreign viewpoint of what should and what
should not be shown on the screen is so radically differ-
ent from our own. The two standards are however
drawing nearer and nearer together and eventually, we
have every reason to believe, will be uniform. Once
that time arrives the censors will have nothing to censor
and will automatically cease to exist. All manufacturers
will do their own censoring to the complete satisfaction
of everybody.
FILMS AS AN ADVERTISING MEDIUM.
ADVERTISING by means of motography is a paying
proposition.
You can call it motographic advertising, animated
ad-illustration, or just plain moving picture advertising,
but you can no longer term it an experiment ; for the
moving picture, taken for sale-suggesting purposes, has
won its spurs as a valuable and potent advertising me-
dium ; and is so recognized.
It didn't take long for the advertising fraternity
to see that illustrations speak louder than words, and
the whole world has faith in the saying : "actions speak
louder than words." Forming a natural combination
we have moving picture advertising and the truism ;
"active or animated illustrations are far more persuasive
and effective than mere words or still pictures."
There never has been any mystery surrounding the
advent of moving pictures in advertising. The one big
mystery to the advertiser is the political situation which
governs the exhibition channels, and the secondary mys-
tery, why it is that the latest volunteer crop of moving
picture advertising salesmen persist in deepening the
mystery, by telling the prospective advertiser such a mess
of bunk as, "if you give me this order I can put your
film in every moving picture house in America." When
an advertiser falls for a statement of that kind he after-
wards finds himself in about the same position as the
chap in the trackless wilderness who bought an automo-
bile from a catalogue and figured that he could run it
without gasoline, roads or up-keep.
It isn't necessary to lie about a good moving picture
advertising proposition. You don't have to say that your
company is the only firm in the world making good mov-
ing pictures. It is a mistake to permit your ignorance,
or ulterior motives, to prompt exaggerated circulation
claims. Just use common advertising sense and real facts
and, if you have the moving picture advertising combina-
tion clear in your own mind, put it up to the prospect
frankly and intelligently, and if he has the right subject
it won't take him long to see the light and do business.
The hard work is not merely to get the signature
on the dotted line, it is to handle the subject so that on
moving picture film it fully develops its advertising pos-
sibilities. Then, when you have accomplished this — and
it can be done if you know your business — the trick is to
register results by putting the film in circulation, so that
the advertising message is motographically delivered be-
fore the people to whom your advertiser bids for busi-
ness.
You have waste circulation and an unprofitable in-
vestment where you advertise expensive automobiles to
the laboring class, mining machinery to a farming com-
munity, or patent medicine to a Christian Science con-
gregation. You might just as well advertise Armours'
ham to a Ghetto audience, or Wilson whiskey before a
W.-C. T. U. gathering. The thing is to aim your adver-
tising punch where it will bring down orders, and this
is quite as necessary in moving picture advertising as it
is with newspaper, magazine and other advertising media.
This is the evolutionary period of moving picture
advertising, and the new and novel ad-factor is pushing
to the front by sheer merit, and is making good in every
instance where it has been judiciously utilized.
When a certain medium of advertising pays out for
such exacting advertisers as the Du Pont Powder Com-
pany, Northern Pacific Railway Company, Pacific Coast
Borax Company, M. Rumely Company, Holt Caterpillar
Company, International Harvester Company, Mayer
Brothers, and others of equal reputation — when a cer-
tain method of gaining effective advertising and publicity
is recognized by men of advertising experience and skill
such as C. W. Post, Witt K. Cochrane, John Lee Mahin,
A. M. Cleland, George Frank Lord, J. N. Stewart, G
W. Perry, Milton Mayer and a long list of others whose
names are written big in the history of advertising
achievement — when such reputable journals as the Sci-
entific American, Printers Ink, Novelty News, Adver-
tising And Selling, Standard Advertising, etc., use valu-
able space to comment upon the advertising possibilities
of moving pictures, it means something. It means just
this : Moving picture advertising should be investigated
by every one who has a proposition to advertise, either
directly or as an agent for an advertiser who pays for
up-to-the-minute advertising advice.
FILM SCREEN A BULLETIN BOARD.
New use has been found for the picture screen.
When the "button strike," which threw about 7,000
miners idle in the Shamokin district, Pennsylvania, was
settled one recent Saturday night, it was too late to get
publication in the local papers so the men could prepare
for work on Monday. Cards displayed on the moving
picture screens solved the problem, and the mines were
able to resume on Mondav.
May 31, 1913
MOTOGRAPHY
385
Essanay "s "The Final Judgment
A Thrilling Photodrama
in
THE biting cold of the far Northwest, the blistering
heat of a big fire, are the opposite extremes to
which we are taken in "The Final Judgment," the
powerful two-reel story to be released by the Essanay
Film Manufacturing Company on June 9.
That the exhibitors will hail the picture with delight
seems self evident to all who have been privileged to wit-
ness the advance showing of the film, for there is action
and thrill aplenty and the audience who will not enthuse
over the stirring hand-to-hand tussle of McCormack and
Brandon, or the spectacular scenes at the burning of a big
shirtwaist factory, must be a dull one indeed.
A striking view of an Alaskan gold camp is given
in the first reel, the stores, cabins and shacks all being
convincing in their architecture and not mere scenic shells
as is frequently the case. Real snow, several feet in
depth, adds realism to the scenes depicting the flight of
Brandon with his little son, and the director is to be con-
gratulated upon his constuming of the players for these
Alaskan scenes.
The second reel tells the New York end of the story
and shows not only the city room of a big newspaper
office but also some spectacular fire scenes. The Essanay
people were fortunate enough to catch the Chicago fire
department at work on a big blaze of recent date and
flashes of a score of engines at work and hundreds of
firemen busy at their tasks make the fire scenes ones long
to be remembered by the spectator. The reviewer be-
lieves, however, that still more interest would be added to
the film by tinting the fire views.
E. H. Calvert as Frank McCormack is a sturdy,
brawny prospector and later a convincing city editor,
while William Bailey is satisfactory as Carl Brandon, the
heavy of the drama. Bailey was especially good in his
death scenes. The role of Edna Wallace was capably
taken by Dorothy Phillips, while Juanita Dalmorez did a
clever bit as Lucile, a dancing girl.
The first part of the photoplay is laid in the Klondike
country, two years after the great gold rush in 1897.
The country has become more settled and a thousand little
mining camps and villages have sprung up about the
Yukon metropolis, Dawson. In one of these we find the
principals of the story, Frank McCormack and Carl Bran-
don, two young men from the East ; McCormack, an ex-
newspaperman, Brandon, the younger of the two, a pros-
pector. But Brandon has caught the gambling fever, and
McCormack, fearing for his friend, endeavors to per-
suade him to invest his winnings in some legitimate busi-
ness. The result is they purchase a small restaurant and
lunchroom, said to be a veritable mint to its former
proprietor, who has died, from Edna Wallace, the latter's
daughter. The girl wants to return to the States, but
Two scenes from the two reel Essanay feature "The Final Judgment.
386
MOTOGRAPHY
Vol. IX, No. 11
both men are in love with her and each proposes. She
accepts Brandon. Five years later finds Brandon drink-
ing heavily, and neglecting his wife and business. In
vain, McCormack endeavors to rescue his friend. The
climax comes when Brandon, who has lately turned his
attentions toward a rouged dancing girl, has a serious
quarrel with his wife and friend. Brandon accuses his
wife and McCormack of planning to elope. That night
he steals his four-year-old son from the side of his sleep-
ing wife and starts on the long sledge trip to Dawson.
Morning finds the baby kidnapped and McCormack, on
snowshoes, follows, promising the hysterical wife to bring
back the baby. The men meet in the wilderness and fight.
The fight ends in MacCormack being wounded. Brandon
hurries on to Dawson, believing he has killed his former
friend. MacCormack is rescued by two prospectors, and
two weeks later returns to Gold Point, the mining village,
only to find that Mrs. Brandon has returned to the States
in an endeavor to find her husband and child.
Fifteen years later Frank MacCormack is the night
city editor of a New York daily paper. One early morn-
ing, after the paper had gone to press, MacCormack,
entering his apartment, seats himself to enjoy an early
morning repast when a noise from the other room attracts
his attention. Armed with a revolver, he slips out of the
room and flashes on the lights in the library. A second
later he is confronted by Carl Brandon, unkempt and
ragged, a revolver in his hand. The two men face each
other. There is a gasp of horror from Brandon, who
thinks he sees an apparition, and a moment later he sinks
at his friend's feet, dead from heart failure. Through a
letter found in Brandon's pocket, McCormack learns that
the boy, William Brandon, is in a military academy and
well cared for. The letter counsels the son to try and
find his mother. A month later young Brandon learns
the story of his father's tragic death from McCormack
and is offered a position as a reporter on the editor's staff.
The boy does not make good as a reporter, and at the
time that McCormack is regretfullv advising him to
Scene from Essanay's two ree
dgment.
choose some other career a four-eleven fire alarm comes
in. A reporter, by telephone, reports to McCormack
that the fire is in a shirtwaist factory in which a thousand
women are employed, and asks for some one to help him
get the story. Young Brandon pleads for another chance
and is assigned to cover the fire. Brandon forgets his
duty to his paper in an effort to rescue a woman who has
fainted on an upper fire escape. The elevator in the
building has long ceased running and young Brandon
reaches the stairway, the only avenue of escape, when it
collapses. The woman, returning to consciousness,
pleads with the boy to save himself. He refuses, and
Scene from "Alkali Ike's Misfortunes." Latest Essanay comedy.
dragging her back to the fire-escape, shouts for help.
Both are severely burned when rescued by two stalwart
firemen and rushed to the hospital. Two hours later
McCormack calls at the hospital to see the young hero.
He inquires about the woman who had been saved. The
boy indicates the cot opposite. McCormack turns, looks
down at the woman and draws back in bewilderment. It
is Edna Brandon. The boy had rescued his own mother
and did not know it. The story ends touchingly, with
McCormack apprising each of the relationship between
them, and there is the happy suggestion that McCormack
will also later share more intimately in their great joy.
On May 31 the Essanay Company release "Alkali
Ike's Misfortunes." a film which the management con-
sider to be the best "Alkali" Ike picture yet shown. Ac-
cording to the story, all the men of the camp were in
love wtih Soffie Clutts, and all plan to call upon her on
the same evening. Wearing apparel of a suitable type
being lacking, the various male characters assault meek
little "Alkali" Ike and divest him of the raiment he was
preparing to don. preparatory to himself calling on the
fair Soffie. From Dr. Shockum, an electric belt demon-
strator, who visits the camp, Ike obtains several belts
guaranteed to give the meekest man the strength of a
Hercules, and proceeds to take revenge upon his tor-
mentors. A short circuit on the belts results in some
laughable situations, the various characters being made
to go through some truly surprising maneuvers by means
of the aid of trick photography. Margaret Joslyn plays
Soffie Clutts. while, as usual, Augustus Carney interprets
the role of "Alkali" Ike.
New Leads for American
Robert Gray and "Billy" West joined the Ameri-
can forces at Santa Barbara last week. Mr. Gray comes
from fresh honors with Kalem, Edison and Pathe. Miss
West is a charming ingenue in whom much confidence
is expressed. They will play opposite each other in the
second company. Miss Vivian Rich, who has been
playing leads in the second company, has been transferred
and hereafter will play opposite Warren Kerrigan.
May 31, 1913
MOTOGRAPHY
387
On the Outside Looking In
By the Goat Man
THERE is no hope that I shall ever be ready to hand
out the rules for making a successful him man.
The business is always in a "state of evolution."
Ask any him man "How's tricks?" and he will tell you
that it is all at sea right now. but — and then he throws 'er
into high and takes the hills with his eyes shut. I didn't
say takes to the hills, you will please note. He doesn't do
that. He is always on the jump and he's always there.
Tohn Tippetts has been in Chicago five times in four
weeks. He lives in Xew York. Laymen don't know "John
Tippetts. but film men — some of them get a glimpse of
him about ever so often. I never knew him till I found
him in Xew York. He's alright, John is, because he's in.
If you think you can tell him something worth while, put
a price on it. Send in your card and tell him you have
a new idea that is worth $100. You offer it to him on two
conditions — a hundred if it's new and the privilege to kick
you out of it isn't. I'll stand out front and catch you
coming every time. Nothing new for John. And at
that, he says that features are his big problem this minute.
You know why, I expect. At least I take it that the fea-
tures offered in regular programs has had something to
do with it.
;?: ^c %
But there is nothing new under the sun. Everybodv
is making films, or trying to. and those who have a cinch
i-u-ket are getting along while the other fellow languishes.
At that, if you know how to make a real picture — a Quo
Yadis. for example, I'm thinking you stand a chance to
•et your money back ! You know it has been a bug with
me that anything well done finds a way through. I have
been foolish enough to apply the rule to the film game.
I try to kid myself into believing that the film business is
like other business. While I know it isn't. I guess Quo
Yadis has put the kibosh on the argument that a good
one couldn't score under certain circumstances. What is
to prevent":' Men who have the pictures or even a pic-
ture, as is a picture, can go right ahead and rent theaters
and hold 'em out. Quo Yadis will always be a picture.
Go out and make one you fellows who are down-hearted.
Scene from "The Wordless Message," May 28. Copyrighted 1913 by Selig Polyscope Co.
By the way. I hear that Ambrosio is
working on "The Last Days of Pompeii"
and that Cines has tackled another, try-
ing to outdo 0. A". It do beat all what
the fellows undertake. Nerve, my broth-
ers, is ninety-nine per cent of the assets
in film stunts. * * %
My friend, Wm. N. Selig. is back
from California where he bought a lot
more land for his animals ; and bought a
lot more animals for his land and mercy,
I don't know what all. He goes out there
to spend money and when he does it for
four or five weeks, he comes back to his
home to spend some more money. Wm.
N. Selig was the first man who said :
"Xow. my boy, you're getting started —
make it a weekly and I'll go along." Since
then several others have told me the same
thing. Ninety-nine per cent of the assets
is nerve. I only have fifty per cent nerve.
How will I get the printer-man to stand
for that forty-five per cent deficit ?
"The Belasco of Motion Pictures"
S. L. Rothapfel of the Lyric. Minneap-
olis, has invited me up to his town to see
how he puts on "From the Manger to
the Cross." Invitations of this sort are
infrequent. The average m. p. man
doesn't regard publicity as being worth
while. He takes indifferent pride in his
exhibition. Rothapfel isn't an average
exhibitor. When a film doesn't come up
to his expectations he revamps it. Mak-
ing over a film is his pet diversion. He
is always doing something to make the
best of 'em better. He told me how he
added a climax to Kalem's masterpiece.
Instead of dropping the curtain on the
Savior nailed to the cross, Rothapfel
388
MOTOGRAPHY
Vol. IX, No. 11
fetches on a storm and has the clouds obscure the Kalem
conclusion. When night descends he blazes a flash of
lightning across the scene, accompanying it with thunder.
I didn't see it that way and I fancy the trip to the Twin '
City at Rothapfel's expense would have shown me many
other of his tricks. For Mr. Rothapfel, be it remem-
bered, is that exhibitor among 'em all who says he will
live to play pictures at a dollar a seat, making a change
not more frequently than twice a week! Oh, you Sam
Trigger and your ten reels a day for ten cents !
# * #
Here's the honest-to-goodness leading lady of C. J.
Hite's various activities. No matter how he is pressed
for time, there is this dainty little morsel of femininity
who comes in for the lion's share
of his affections. And no matter
how preoccupied he is, there is
ever recurring the thought of this
sweet face and the touch of the
velvety, warm flesh of a pair of
tiny hands and cheeks. For this is
little Elizabeth Marjory Hite, only
daughter of Mr. and Mrs. C. J.
Hite, New Rochelle, U. S. A. Mar-
jory's papa tossed this little snap-
shot on my desk one day last fall
and I have had it before me ever
since. Believing in sharing most
good things with my fellows, I give
you the chance to have Marjory on
your desk. There is no release date on the picture. It
isn't copyrighted. The footage is in evidence! Marjory,
like other of Hite's proteges, is paying dividends — not
in cash, mind you ; but in roguish baby fun and love —
prime essentials to relieve the peak load of the day's
work.
^ % ^
I will have an endless task to recall all that hap-
pened to me in New York. It's a gay burg. You get
funny notions of things when you don't know and you
can never know till you have a look. I had a look and
upset my funny notions. Us westerners never will un-
dertsand why New Yorkers call all the floors above the
main street "lofts." Our notion of a loft is a place to
chuck goat feed. When I get into a loft I find hay and
straw and fodder — winter provender for our four-footed
friends. But in New York if it is above the main street
it is a loft. You can find everything in lofts. It's a
wonder they don't sleep their guests in hotel lofts, but
they don't. Well, away up at 102 West 101st street — in
a loft — I found Eddie Roskam and the plant of the Com-
mercial Motion Pictures Company. I had heard that
Roskam was a live wire — that he knew the game — that he
was worth going way up to 101 to see. And I found
that the dope was good. If I knew all about the film
game — which I don't, I would describe the little bunch of
Roskam films that lie here before me. All I know is that
they are as clean and mechanically correct as the plant
that produced them. Roskam showed me how he had
turned his loft into a film factory, pure and spotless and
fireproof. He showed me his scheme of developing; his
filtering process; his printing machines ; his method of
inspecting, finishing and storing. I never saw anything
more nearly perfect. Without ostentation, Roskam would
spill out his plans and I believe when folks find out that
he can make films as well as anybody else, they will send
him their negatives. If personal care and modern equip-
ment will do it. Roskam is your boy.
And right on the same floor was Ramo. Now you
can never tell anything about it till you see. I had always
thought that a film factory had to be that. I have been
used to going way out in the open and find a big campus
and a lot of big buildings, including the whole works.
There has been a big smokestack where the smoke went
up the chimney and which never figures in the press
dope. Say Selig's or Vitagraph or similar institutions.
You know, however, that a scene can be played in the
cellar if you get the props and the people and the lighting
facilities. Well, Ramo isn't a cellar by a long shot. It's
a New York loft, right on the corner of 102 West 101st.
There is plenty of God's daylight but not enough for
Ramo films. They have artificial lighting facilities and
props and people. They were strung around all over
the place and when the negative was done, it was hurried
down the hall to Roskam. All on one floor of a New
York loft. When I made more noise than the elevated
trains rushing past the windows and the carpenters and
the sign painters and the hustlers and the typewriters and
C. Lang Cobb himself, I found the business office. That
is why I will never pretend to know anything about the
film business. It is always showing me that I will never
learn. The men who know the game from the inside have
very little concern about the future. They can make and
market and that, after all, is the whole process. The man
who can make 'em always lacks something — the more's
the pity. Cobb and Roskam and Physioc know how.
Save your pity !
* * *
Here comes along an offer to sell to the Motion Pic-
ture Exhibitors' League members all "certified parts" for
standard projectors. If you want in, send two dollars
The Lubin Baseball Team. Standing — Soc Seibold, John Mclnnis,
Harry May, Matty Kilroy, Bill Engle, Geo. Stillfield, C. Kelly, Harry
Lochman, Ed. DeWolf, Jack Schwartz, Billy . Hallman (Capt.), John De-
Foney and Jack Kelly. Sitting — Bennie from Lubinville, Albert Hackett
and I. Schwartz. •
for a membership in the American M. P. Supply League;
buy $25 worth of parts and get back a credit for your
two beans. It has the unequivocal endorsement of Presi-
dent Neff and a committee including the National
League's officers and two. If you are a member of the
new scheme you can buy Baird parts at 40 per cent less
the list. Looks like a straight Baird proposition. If
Baird will send me the $2 I'll send the members Motog-
May 31, 1913
MOTOGRAPHY
389
raphy for a year. For the life of me, I can't see why
that subscription price is needed because the list in all
likelihood is subject to fifty oft" to the bona fide
dealer. I don't buy parts, but I imagine that forty off
direct would be less satisfactory than fifty off in the reg-
ular channel.
* * *
The Sherman House, Chicago, was the recent scene
of a gathering of independent clans. Exchangemen —
members of the Independent Exchange Company, New
York — representing all parts of the country were in at-
tendance. Among manufacturers representatives who
could not resist the temptation of the meeting were Carl
Laemmle, Wm. H. Swanson, R. H. Cochrane, P. A.
Powers, Herbert Blache, C. Lang Cobb, Ingvald C. Oes
and John D. Tippetts. There may have been others. The
sessions were interrupted only by the meals. For details
see the papers that know it all.
Mr. Rothapfel didn't tell me this story — it comes
from H. E. Southard and was told by him to Felix Feist
of Kinemacolor: "The Elgin Hotel (Minneapolis)
writes to the various companies playing at the Grand
Theater, pointing out the accommodations it has to offer.
The hotel man gets the names of individuals from ad-
vance billing in the lobby. He wrote to the Kinemacolor
players, believing it was a sure enough show. Because it
was a large company he laid on the inducement stuff
pretty heavy. Mr. Dempsey, the house manager, got all
the letters and he called up the hotel to explain. The hotel
manager was sore through and through and wanted to
know "Why in h — 1 the theater never told the truth."
He wound up his tirade by adding: "You never do show
on the inside what you've got out front !" There is
bound to be more than one goat in the film game.
Speaking of goats, Stanley Twist sent in a clipping
which engages the subject in detail. Sorry I don't know
the author, but you can have it :
Dost know whence came the expression:
I'M THE GOAT
Believe me, Goat-Getters didn't garner their first Angoras
in the nineteenth century. I discover that the first goat was
gotten and the present Household Expression, "I'm the Goat,"
invented in the days when folks didn't think it was impolite to
Hook their Beans with their Lunch Hooks.
It was back in the fairy-tale days of Mythology. In those
days when they thwacked you on the Bean first and argufied
thereafter, there were two parties wearing handles that sound
like their folks had Spondooliks. There was Satyri and Doric
Tityri. Each sprouted a pair of horns on his dome, wore peg
top pants of his own hair, and had it all over old Satan and
any walking creamery you ever saw for hoofs.
Hermes and Iphthima, who kept a half-way house on the
Big Ditch called the Nile, had to admit parentage. The kids,
according to the story as it was slipped to me, handed Pa and
Ma the merry "Good-night" and beat it out into the wide, wide
world. They were looking for the blazing lights and the places
for the Big Time. They had not gone far when they get a Higii
Sign from a Parcel of Fluffs sitting under a palm tree sipping
fooy fooy juice. Doric and Satyri sidled up to look over the
fancy chickenry. The going was pleasant. The eats and mois-
ture kept up until the lowing of the beef.
Satyri and Doric stayed in every time any one picked a new
Scene from "Suwanee River," Selig release of June 5. Copyrighted 1913 by Selig Polyscope Co.
390
MOTOGRAPHY
Vol. IX, No. 11
Bunch of Grapes. Well, along about ten bells the next day Doric
opened one eye and looked at Satyri. Satyri pulled a Giggle.
Doric rubbed a horn and looked Peeved. This is what he
Wheezed :
"When I left home I had money and no experience. Today
Scene from "London Assurance." Reliance release.
I have experience — no money. You, Satyri, never blew a Cent."
Satyri, being some responder, eased him this —
"Yes, Dear Brother Doric, you are not a true Satyr; you
are a Goat."
Whereupon Satyri slammed him on the cornice piece with
his flute. When Doric awoke he breezed the famous piece of
Slang that has lived Ever since :
"Right ; I'm the Goat."
"Toddles" Rescues W. N. Selig
During the recent visit of W. N. Selig, president
of the Selig Polyscope Company, to his Los Angeles
properties, he had occasion to inspect a tract of land
lying east of the Selig wild animal farm, on the out-
skirts of the city. He was traversing the land in a
heavy touring car, when the machine became mired in
a soft spot. The united efforts of a number of men and
horses failed to extricate the car. Finally a hurry call
"Pearls of the Madonna," a coming Kinemacolor subject.
elephant who "works" in Selig wild animal photodramas,
was brought post haste to the scene of the disaster. "Tod-
dles" sized up the situation in no time, wrapped his trunk
was sent to the animal farm and "Toddles," the famous
around the rear axle, and with a pull that seemed to
cost him no more effort than doing a "turn" before the
camera, raised the automobile onto dry land. A crowd
which had been attracted by the novel "salvage scene
applauded "Toddles" vociferously, as the sagacious
animal waved a farewell with his trunk to Mr. Selig,
when the car sped safely off toward town.
Hite Makes Correction
In the last issue of Motography appeared a story,
clipped from a Chicago morning newspaper, regarding a
Thanhouser film, recently taken, which was supposed to
have pictured a romance of the steel mills at Gary, Ind.
This story C. J. Hite, president of the Thanhouser Film
Corporation, discovered to be erronious in many particu-
lars and accordingly, immediately, dictated the follow-
ing letter to the city editor of every Chicago daily paper :
I want to bring your attention to an instance of yellow
journalism by a Chicago "yellow." The story is attached. You
will note the paper that it is from.
The moving picture that was taken at the steel works is a
so-called industrial film, and illustrates the operation of the
various safety devices. There is a very slight story in it to
keep the spectator's interest strong. In the first place, the cor-
rect title was "An American in the Making." Of course, the
"yellow" did not care to get the title of the picture correct.
Neither Mr. Gleason nor his daughter "insisted on changes in the
Scene from 101 Bison's "Battle of San Juan Hill." June 3 release.
announcements made in connection with" this film, and the film
does not tell "the story of the superintendent of the Gary Mills,"
and it does not "show that the superintendent has a beautiful
daughter of marriageable age" and "portray the winning of this
daughter by a man who rises from the ranks of factory life."
As a matter of fact the film merely tells the story of an immi-
grant who gets a job in the steel works and is enabled in time to
buy a little house and marry a young school teacher. The whole
attached article is a slander on Mr. Gleason and his daughter,
who were not mentioned even remotely in the film.
I do not know if you publish all the letters you receive, but
you may certainly publish this one if you care to, and I am glad
to stand right back of it.
Two-reel French Costume Play
Something distinctly out of the ordinary is promised
by the American Film Manufacturing Company on a
two-reel French costume play soon to be released. Jack
Kerrigan in costume of a French cavalier is quite the
Jack Kerrigan of the sombrero and chaps, yet quite an-
other person, too. Admirers of the handsome picture
idol will be delighted with the new Kerrigan.
May 31, 1913
MOTOGRAPHY
391
Motogfraphy's Gallery of Picture Players
BERTA NELSOX is the lady with the black, black-
hair who plays strong leads in Itala pictures. Maybe
you've seen her in some of the many-reel specials for
which Itala is famous, and if you have you know what a
really fine actress she
is. Her name and her
appearance belie each
other, but that's be-
cause she is as much
northland as she is
Latin, her name being
wholly the former,
coming down to her
from the Viking days
when her forefathers
swooped down on the
Mediterranean shores
and boldly took their
pick of the maidens.
Signorina Nelson's
maternal ancestor was
among those chosen
and was borne away
to Norway to become
the bride of one of the
thralls of Leif the
Lucky. So when Miss
Berta Nelson. NelsOll made this
world's acquaintance, the name Berta, typical of the
northland, was bestowed upon her and she proceeded to
develop into a purely Latin type. It's a type that the
signorina makes valuable to the Itala company.
GIUSEPPINA AMICI, before she became a member
of the Itala company, had one ambition in life, and
that — to be a singer of grand opera. For years she had
studied with this one idea in mind. By mere chance, she
took a part in a mo-
tion picture play and
became so interested
in the work that she
postponed the fulfill-
ment of her former
ambition ; then came
an illness which de-
p r i v e d her tempo-
rarily of the use of
her singing voice, and
she turned her whole
attention to perfect-
ing herself in the art
which demanded of
her accomplished ac-
tion and not voice.
So great has been her
success with the Itala
people that she has re-
linquished her oper-
atic ambitions and de-
votes her whole inter-
Giuseppina Amici. e s t t O film work.
Much of her success in this line Signorina Amici owes
to an inherent talent for dramatics, as she is the scion
of a family whose name has long helped to make history
for the Italian stage.
ERMEXTE ZACONNI is the Italian actor who took
leading roles in Itala's ''Palace of Flames" and "The
Dread of Doom," to correctly portray death. This done,
he retired for a short rest to his villa in Italy. Zaconni's
work is marked by an
absence of the over-
abundance of gestures
and facial expressions
so apparent in many
of the foreign pic-
tures. He is known
as the "Mansfield of
Italy," and has long
been associated with
Duse in her notable
successes. Zaconni is
a native of the north
of Italy, and his ab-
horrence of many ges-
tures and facial con-
tortions is inherent,
as it is claimed that it
is the people of the
south of Italy who
transgress in this
particular. To Zacon
ni this transgression is
a crime against art,
a crime of which he
not his hands, dominate his work both on the screen and
the stage, and he believes that the actor should rely, to a
certain extent, on the imagination of the people.
big
Ermente Zaconni.
is absolutely guiltless. His head,
T YDIA QUARANT
1— < by accident. True
but was at a loss how
earthquake solved the
catastrophe she was
visiting kin-folk in
Messina and when the
earthquake depopu-
lated the little city,
killing and maiming
the biggest part of its
vmfortunate dwellers,
Miss Ouaranta was
among the first to vol-
unteer as a nurse.
She became known
throughout the city as
the "angel of mercy,"
and was photo-
graphed a number of
times, during the
course of her work,
by motion picture
camera men. Hap-
pening to see herself
on the screen, she was
seized with the inspi-
ration which meant
her becoming a picture
the films showing her
it to the Itala company
pany's cast.
A became a photoplayer simply
she had ambitions photoplayward
to realize them until the Messina
problem for her. During that
Lydia Quaranta.
star ; obtaining a print of one of
at work in the hospital, she sent
and obtained a place in that com-
392
MOTOGRAPHY
Vol. IX, No. 11
Mary Pickford Coming Back
Daniel Frohman, managing director of the Famous
Players Film Company, has arranged with David Belasco
for a motion picture production of "A Good Little Devil."
This work is now going forward. The entire company,
including William Norris, Mary Pickford, Ernest Truex,
Ernest Lawford, Edward Connelly and the others, are
busily engaged every day at the studio of the Famous
Players Film Company, and the results so far have ex-
ceeded the fondest hopes of all concerned. "A Good Little
Devil" is peculiarly adapted to motion pictures, offering
unequaled opportunities for illusions, visions and other
camera effects. As the result, no city of any size in the
country will be deprived next season of this Belasco fairy
play. While the actual players in the actual production
are appearing in the large cities, the same players in
motion pictures will be seen in the smaller cities, which
either could not be booked next season or whose stages
were inadequate to hold the production.
"Smiling Billy's" New Golf Scheme
Being a golf fiend, and being unable to play during
the day- time, as his services are always in demand,
"Smiling Billy" Mason of the Essanay Company has
decided to form a club to be known hereafter as "The
Phosphorous Golf Club." "You see, it's like this," said
Billy ; "I never get an opportunity to play during the day
time, except on Sunday, when the links are so crowded
that you can't move, so I have decided that a ball smeared
or rubbed with phosphorous could be used and played
with at night, and could be seen as well if not better than
the ordinary golf ball in the day time." A small course
was made by the golf fiends at the Essanay studio in the
back yard, and already they have played several games
with the phosphorous ball, which has proved to be a
huge success. All phosphorous ball enthusiasts please
write. You have to give it to Billy when it comes to
clever and novel ideas. Miss Ruth Stonehouse, Essa-
nay's leading lady, beat "Smiling Billy" at his own game
last Friday night.
Special Rates for Film Players
An enterprising hotel man of Minneapolis has the
habit of writing to the managers and members of all
visiting theatrical companies, inviting them to stop at his
hostelry. Observing the frames containing photographs
of the Kinemacolor stock company in the lobby of the
Grand theater, he at once addressed letters to David
Miles and the members of the company, offering special
rates in view of their number. Manager Dempsey of
the Grand replied for the company that during their stay
in Minneapolis the Kinemacolor players would be accom-
modated very comfortably in tin boxes, when not actually
at work in the films upon the screen. He might have
added that out in Los Angeles, where the Kinemacolor
stock company is located, most of the players own hotels
or bungalows of their own — but the Floury City boniface
was sore enough when he discovered the joke.
Mutual Program at Fulton's
At the showing of "The Battle of Gettysburg" at
E. E. Fulton's projection room, La Salle and Lake streets,
on Tuesday, May 20, announcement was made that be-
ginning the following week all Mutual releases would be
shown to exhibitors there.
A picture play author writes William Lord Wright that he
is adding to his income by raising mushrooms in the basement
of his home. Wm. L. kindly refrains from making any casual
remarks concerning the "best cellars."
"I was with Booth, the mighty,
But Booth, alas, is dead !
So now I am with the movies,"
The old tragedian said.
"In Chambersburg and Pottstown,
And likewise Kokomo,
You can view me classic features
At 5 and 10 a throw.
"I was with Booth, the mighty,
But Booth has long been dust,
So I get me cakes and coffee
From the moving-picture trust.
"Shakespeare, thou wast me idol,
But thee I hadst to can;
Me, oh, Bard, for the movies;
Me for the camera-man !"
— M. D.
IT PAYS TO ADVERTISE.
They took some motion pictures of Winona (Minn.) street
scenes recently and the Republican-Herald of that city, in com-
menting on the pictures when seen on the screen, says "Willis
Hastings is seen crossing the street several times to make certain
of getting before the camera."
SCENARIOS THAT ANY ONE CAN WRITE.
Diplomatic story: Impecunious attache of embassy secures plans of
U. S. fort. Writes letter to European power offering them for sale. Let-
ter intercepted by secret service agent. Plans missed at embassy. Mys-
tery. Three hundred feet of padding. Views of Administration building,
White House, Pennsylvania Avenue, etc. Military guard rings doorbell
at attache's home. Switch to inside set. Attache with revolver — starts at
bell ringing. Blooie! Dead. "Passed by the National Board of Cen-
sorship."
Watching the pictures on the screen over at the Majestic
film exchange the other day, we lamped an educational entitled
'The Oyster." Anybody know who wrote the scenario?
WE GET YOU, STEVE.
Sir: While walking about a small Indiana village last week the fol-
lowing announcement was glimpsed outside a nickel theater: — "A Rainy
Day," "Bragg's New Suit," "The Same Old Story." — K. T.
Press bulletins of the Kinemacolor Company announce that a
full reel of fashion film will shortly be released, to be shown
to ladies only. How'd you like to be the operator?
Decoration Day will soon be here. In passing through the
film graveyard don't forget to drop a tear and a flower on the
headstones of "Centaur," "Yankee," "Comet," "Republic,"
"Mecca," "Punch," and "Shamrock."
California should worry about this Japanese thing. If the
worst comes to the worst, she can call on those umpteen regiments
of regulars, volunteers, Civil War and Spanish-American war
veterans now performing before the cameras of the score or
more of film companies operating in the Golden state. There's
enough of 'em to throw a regular scare into the Japs. As for
experience — they all wade through a river of blood every day.
Judged by that cut of the motion picture center in the dear
old Clipper, one would have to be a fly to visit the place. Per-
haps, though, the intelligent make-up man merely got the cut
upside down.
PERHAPS COBB THINKS SEVEN LUCKY.
We lamp by a trade item that C. Lang Cobb's new film
ibureau is to be located on the seventh floor of a building at
Seventh avenue and Forty-seventh street.
The Independent Exchange Company was in Our Villagfe
last week — nearly all of it, including Peerless Patrick Powers.
And when Pat is in town
So is Laemmle,
Or vice versa. N. G. C.
May 31, 1913
MOTOGRAPHY
393
Who's Who in the Film Game
Facts
You
RUBY doesn't comb his
hair like the picture
shows. He lets it grow
long on top and drags it
straight back — like a sopho-
more from Columbia ; but otherwise this is a fairly good
feature picture. If you have been in the business very
long you will have heard about Ruby. He comes very
nearly being the baby of the game as well as the "oldest
in the business." It was Ruby himself who told you
how he used to chase down to headquarters and "fix"
the exhibition of early films in New York. It was hard
going right from the start. Everybody had it in for
motion pictures and the copper on the beat was no excep-
tion. Motion pictures offered
a new form of amusement
and no perquisites worth
considering. It wasn't allur-
ing. Every petty grafter
laid a rock in the path and
Ruby was younger then, and
fleet of foot and always will-
ing. Besides he knew every-
body down at headquarters
— knew their price and was
the economic expediter all-
round. So he got in at the
beginning. He pushed the
obstructions into the back-
ground at so much per.
Ruby had had trouble long
before that. When he was
just a wee mite of a kid there
was a certain settlement day
with his dad. It was that
particular moment when he
declared he would be a news-
paperman. All through his
school days he wrote dog-
gerel and at eleven he was
editor-in-chief of the school
journal and he was thor-
oughly inoculated with the
writer's itch. When the
aforesaid dad heard of it, he
was panic-stricken. Dad saw
no good in newspapermen,
judging by the broken-down
examples that had drifted
across his path. But Ruby was firm. He graduated from
the grades at thirteen. At seventeen he had advanced
through various stages of printing to a proof-readers'
position with Doubleday. Page & Company. He was the
youngest man in the country to hold so responsible a post.
Right here, when it was a problem to increase his
revenues by deserting a good proposition for the doubt-
ful, an immaterial incident threw Ruby into contact with
the heads of one of the largest film concerns. Result :
Leon J. Rubinstein, editor Film Index. Ruby set
up the claim in his specifications for the job that he
was twenty-four. He was eighteen. It is hard to put
over anything on a film man, but this difference of six
years got by and so did he. Ruby says that nobody
and Fancies About a Man
Know or Ought to Know
A Fairly Good Feature Picture.
knew much about the game
in those days, but he knew
much less. At nineteen, dur-
ing those formative days of
the Patents Company, Ruby
was the full-fledged editor who espoused everything he
was told to espouse. He attended meetings and sat in
at the doings, and led a gay and festive life. After a
time, when the independents got to going without having
to sand the track, he jumped into the new camp with
Film Reports, which was among the yellowest of yellow
journals with a yellow back and yellower contents. Film
Reports wasn't enough of a job, however, and he added
the Novelty Nezvs to his eastern activities, representing
that magazine in New York.
Not content with all this, he
wrote advertising for half a
dozen independent film
manufacturers and' included
that of the Motion Picture
Distributing & Sales Com-
pany.
Ad writing developed
other capabilities and it
wasn't long until Leon J.
was offered the position of
scenario editor of the Inde-
pendent Motion Picture
Company. With surplus
energy to burn and an in-
clination to burn it, he also
wrote advertisements for the
Powers Company and posed
Pat Powers every week as
the Dimpled Duke of the
Duplex studios.
In the meantime, fore and
aft and sideways L. J. Rub-
instein was leaning hard on
the possibility of educational
film subjects. He wanted to
break in for himself. He
had been preparing for it
right along and today he is
gratifying his only hobby.
Leon J. Rubinstein was
born in New York on the
Fourth of July and if you
are careful at figures you
will be able to find the exact year by making your own
additions or subtractions from what has been put down
here. He came out of New York's great lower East
Side ; went to school as other children go to school, but
worked hard while he was there. He has worked hard
always and works hard now. All film men work. It
isn't an idler's occupation — never. Ruby doesn't drink —
doesn't have time for cards, but smokes like a house afire.
And he is married. He can drop into any exchange in
North America and call somebody by their first name.
He brings in a wealth of sunshine, a lot of good stories
and a happy way of telling them ; all the latest gossip
and a reel or three of his latest subject, which is usually
garnished with celebrities.
394
MOTOGRAPHY
Vol. IX, No. 11
Old Story Prettily Told
The idea of a pretty country miss becoming infat-
uated with a smooth, oily city chap, has been done time
and again in pictures, but the old story loses none of its
charm in the forthcoming Crystal film, "Mary's Ro-
mance." released on June 3.
Mary is a pretty country miss. She is full of
romance, having read numerous books of that type.
John, the farm hand, gains Mary's promise to marry
him, he having been her constant companion for years.
Mary is one day enjoying the company of a very soulful
novel when Donald Belmar, who is on a hunting trip,
comes across her. He engages her in conversation and
she is fascinated by his smooth manner and clever
tongue. She makes an appointment to meet him the
next day, and is happy in the thought that at last there
is a romance in her life. She meets Belmar the next
day and a small boy who is watching them tells John.
John hurries to the trysting place and comes up just as
Belmar is crushing the willing Mary to his heart. John
thrashes the intruder and compels Mary to go home.
"Mary's Romance," Crystal release of June 3.
This she does, but refuses to talk to John, she imagining
that John has destroyed the few happy moments of her
life. Mary continues to be angry for a few days, when
later Mary receives a note from the city. It is from
Belmar and he writes that his few days in the country
were the happiest in his life, because he was with her,
and inviting the innocent girl to visit him in the city.
Mary decides to accept his invitation and late at night
she leaves her home and journeys to town. The next
day she visits the Belmar abode and is received by Bel-
mar's wife. Mary confronts her deceiver and is
astounded to learn that he is really married, that all his
protestations of love were sham and that she was but
a plaything for him. She staggers blindly from the
house and wanders homeward. Upon her return her
father orders her from the house, her actions in leav-
ing home spelling disgrace to the honest farmer and his
wife.
Mary determines to end her life and wanders to the
river shore seeking a watery grave. A youngster sees
the pathetic scene between father and daughter, runs
off and informs John. He hurries to the river and is
just in time to prevent the poor girl from throwing
herself in. He comforts her and assures her that he has
forgiven her and Mary awakens to the depths of her
own as well as Tohn's love and realizes that life's real
romance has indeed only just started for her. The
happy couple hasten to the minister and are married.
Returning home, they are welcomed back to the fold.
Miss Pearl White is Mary, and the entire thousand
feet inspires one to the thought that any role in this
young woman's hands is sure of proper interpretation.
Mr. Chester Burnett is John, which assures a strong
characterization.
Universal Barbecue Event of Year
The Universal picnic and roundup at Universal City,
California, Sunday, May 11, was without doubt the
greatest field day event in the history of picturedom.
Four thousand people, embracing representatives of both
trust and independent interests, were brought together at
the invitation of the five hundred employees of the Uni-
versal Film Manufacturing Company. From sunrise on
the roads leading from Los Angeles to the San Fernando
valley were alive with automobiles and vehicles of every
description, conveying the enthusiastic thousands to Uni-
versal City. It looked to an observer as though all of
Los Angeles had determined to attend the festival. The
demand for conveyances was much greater than the sup-
ply, and in consequence a large portion of the visitors
walked from Hollywood to Universal City. To cheer
these on their way the Universal band turned out and,
marshaling them in military formation, conducted them
in a parade to the ranch. There General Manager Aubrey
M. Kennedy of the West Coast organization, and his
numerous aides, gave all a hearty welcome as they ar-
rived, and conducted them to spacious marquees, where
refreshments were served. When most of the guests
had assembled a program of athletic and equestrian
"stunts" was put on, the like of which has probably never
previously been seen in California. The cowboys and
Indians indulged in Rodeo feats, including bucking horse
riding, lariat throwing, shooting, and feats of dexterous
horsemanship. There were gymkhana games, including
push ball and hocky on ponies ; ladies', fat men's, three-
legged and greased pig races ; auto, motorcycle, wheel-
barrow and horse races ; and fencing, with rapiers, broad-
sword and single stick; jousting and thrusting. The im-
portant events were reproduced for the benefit of pos-
terity by the fifteen directors, who entered into a picture
taking contest that was the hit of the day. The spectacle
of fifteen directors all taking pictures at the same time is
a sight that never has been duplicated, and one that
awakened the greatest enthusiasm of the thousands of as-
sembled guests.
Altogether, the Universal barbecue was some event.
Film Unites a Family
Bertie Conway, 812 State street. Apartment 8, Mil-
waukee, Wis., has been united to a father thought killed
in Mexico, through the motion picture camera, says
The Evening Wisconsin. Her father, George Conway,
left his home in New York two years ago to look over
mining properties. A revolution was at its height, and
as relatives received only one letter from him they
thought him dead, and the wife died of grief. Miss
Conway saw a picture of her father in a local photo play-
house recently, showing scenes at Atlantic City on
Easter Sunday. She wired him at the Hotel Savoy
there. He wired back, and followed with a letter.
Ramo Films now have a dog named Ramo who very
proudly trots up and down Broadway covered with a
handsome blanket with a Ramo trade-mark on its side.
May 31. 1913
MOTOGRAPHY
395
Selig Releasing Western Thriller
"Law and the Outlaw" is Most Spectacular
A3TION of an extraordinary character in every
foot of its length makes "The Law and the Out-
law," to be released on June 4 by the Selig
Polyscope Company, one of the most spectacular and
most interesting western dramas it has ever been our
privilege to witness.
Such thrilling events as the outlaw "bulldogging"
Tom Mix in the "Bulldogging" scene from Selig's "The Law and the
Outlaw." Copyrighted 1913 by Selig Polyscope Co.
a frenzied bull, which is about to gore his sweetheart;
a spectacular bull fight between two giant steers, each
the leader of its herd; a running fight between the out-
law and the sheriff, in which one plainly sees the re-
sults of the gunplay as the bullets strike the sagebrush
behind which the outlaw is concealed or knock chips from
the boulder behind Avhich the sheriff takes refuge; and
a hair-raising scene in which the outlaw is shot from the
saddle, his heel catching in the stirrup, and dragged, head
down, across the plain as his pony runs away, are only
incidents in this remarkable film.
The photography is wonderfully clear and the back-
grounds are most skillfully chosen. Some of the scenes
one can easily imagine to be Remington paintings, so
true to life and really western are they, while the dram-
atic element is sustained at all times and the story never
allowed to drag. Though one realizes, as he witnesses
the unfolding of the story, that he is being made to
champion and sympathize with the outlaw, instead of
the forces of law and order, still the undeniable merit
of the pictrue sweeps one along and unconsicously you
find yourself growing more and more to hope that the
outlaw may elude his pursuers and ultimately escape.
Whether, from the moral standpoint, this is a commend-
able trait of the film the reviewer is inclined to doubt,
but such is the undoubted result of viewing the picture
and the average man will have no hesitancy in admitting
it.
Probably much of the sympathy for the outlaw is
created solely by the splendid way in which Tom Mix
enacts the leading role in a dashing devil-may-care man-
ner. His heroism and bravery in the face of almost in-
evitable death attract one instantly and our sympathies
at once go out to him. As the picture fades from the
screen and the outlaw is led back to prison, one hopes
that the time of his release may be hurried, and that he
may soon return to pretty Ruth Watson, whose influence
has clearly done much toward softening his nature and
bringing about a determination to reform.
The synopsis of the story, in brief, is as follows :
"Dakota" Wilson, "some man," according to the
skilled inventory of western sheriffs, wearying of the
prevailing lock-step escapes from the Deer Lodge peni-
tenitary and is swallowed up by the earth for a period.
Eventually, he bobs up serenely and, having overcome the
pasty prison pallor, grown hair, and acquired "chaps"
and side-arms, he numbly hops into a job on the Diamond
S Ranch, the property of the doughty Buffalo Watson.
One fine day, a busy one on Diamond S, the idolized
daughter of the owner, Ruth Watson, observes "Dakota"
breaking horses and instantly admires him for his wiz-
ardly horsemanship. The young man is not slow in
observing this, and it starts talk all over the ranch —
despite the family protest. True love may not run
smooth ; but, it runs just the same — notwithstanding
threats of tragedy, barb-wire fence and other obstruc-
tions in a liberty land no longer free-grass. Again the
cowboys are following the drifting cattle for a round-up,
and the chuck wagon follows to cheer them on their
way. Ruth Watson, an accomplished horsewoman, thinks
nothing of a twenty or fifty mile gallop and happens
down that way, most attractively and appropriately
garbed with a flaming touch of color in a scarlet hand-
kerchief about her neck with the loose ends flying. This
dashing, fascinating figure appears to the grizzled and
tanned cow-boys as one from dream-land sent ; and the
"Dakota"
aptured by the sheriff.
color note, even dangerous in denotement, draws the
malignant attention of an outlaw steer like a response
to "a 4-11 alarm." Then spurs into the field of vision
the daring "Dakota," who rides in pursuit at top speed
and dives from the hurricane-deck of his broncho onto
the back of the steer. Fastening his muscular hands on
the frenzied beast's horns he never lets go, in what is
396
MOTOGRAPHY
Vol. IX, No. 11
technically known as "bulldogging." until the frenzied
animal is brought to a bewildered standstill and finally
thrown to the ground, completely at the mercy of his
master.
Naturally such a deed of daring, not to remark de-
votion, wins the esteem of Ruth Watson, and she is not
ashamed to express herself emphatically. "Dakota"
Wilson is at once the envy and admiration of his cow-
boy associates — the hero of the minute. Just then a keen-
eyed sheriff happens that way, well-heeled for human
game, and recognizes "Dakota" as a jail-bird, wanted by
the law. Braving the bunch and backed by the majesty
of the law, Sheriff Mathers slips the steel wristlets on
"Dakota" and starts toward the grim gray walls of Deer
Lodge, beyond the horizon, and far from the freedom
of the open where the love of life is so marked.
When the sheriff's party are riding along a mountain
roadway, "Dakota," heavily ironed, takes a chance in a
leap for liberty, and makes a fair getaway while the
cautious sheriff goes the long way around to presumably
identify his mangled remains far below. When the
daring cowboy jumps over the cliff he rolls down the
steep incline, a swiftly moving target for the sheriff's
blazing gun. At the bottom he rolls behind a sheltering
rock and, escaping injury by some miracle, dodges be-
hind a ledge. By stooping low and running, he gets out
of range, while the sheriff, swollen in the pride of his
"never-miss" aim thinks that he is dead in the shadow
of the rocks.
The prisoner, free, is still burdened with his man-
acles ; but he moves swiftly for the opening that is ever
some place for the resourceful. He comes across a
drowsy shepherd, slumbering in the shadow of his
dampened blanket, and manages to get away with a
revolver and a horse. A swift ride finds him in a lonely
place with the hateful handcuffs still cumbering him.
He dismounts and cocks the revolver with the aid of a
strap, that he undoes from the slicker, back of the saddle,
by the aid of his teeth. Then he clasps the gun tightly
between his knees and, by adjusting the strap over, the
thumb-piece, pulls it back to firing position and with
the same strap held in his teeth he pulls the trigger, the
bullet blowing the links of the handcuffs open — all as
ingenious as it is daring.
"Dakota" Wilson, having his hands free and a horse
under his knees, starts to ride out of the country — a
game man, still hunted. A long distance rifleman ob-
serves him and with the aid of his binoculars sees the
dangling steel wristlets, so he raises his sights for "drift-
age" and stuns the fleeing outlaw with a brain-bruise so
severe that it tumbles him out of the saddle. His foot
gets caught in the hickory stirrup and "Dakota" is
dragged across the prairie in view of the camera, in a
way that is thrilling and dangerous beyond comparison.
There is no lying in this picture — the bullets chip the
rocks and plow up the dust when he is rolling down the
declivity; they blast the links, and the dangerous drag-
ging from the stirrup is a hair-raising reality, all to be
seen and believed. Eventually "Dakota's" boot comes off
and he is left, bruised and battered, as his horse races
away leaving him at the mercy of his pursuers.
When he recovers consciousness after his rough ex-
perience he finds himself a prisoner once more. This is
not poetic justice, but real life. Before he is incarcerated,
to serve out his short term, he sees Ruth Watson, brave,'
and sympathetic as she is trustful, impressed by a real
man. "Dakota" tells her that the new light that has come
into his life has truly changed him, so that after a time
he will come to her again with sound heart and clean
hands. They are mated to be apart for a little while
and she bravely sobs : "Good-by, when you come back
I'll be waiting."
The cast follows :
"Dakota" Wilson Tom Mix
Monty Ray Lester Cuneo
Ruth Watson Myrtle Stedman
Betty Watson Florence Dye
Buffalo Watson Marshall Stedman
Sheriff Mathers Rex de Rosselli
Cowboys, Rangers, Deputy Sheriffs, etc.
Entertained Strange Guests
The New York Motion Picture Company enter-
tained a very queer party of guests at its offices,
Broadway and Forty-second street, New York City,
one Thursday afternoon recently, in the shape of fifteen
full-fledged Indians and their squaws from the Buffalo
Bill Wild West and Pawnee Bill Far East show, which
was then playing at Madison Square Garden. The
party, accompanied by Mr. Miles, Indian agent and in-
terpreter for the show and in charge of the general
manager, numbered ten proud and haughty Indian chief-
tains, closely followed by their squaws, and all were
costumed in various colored blankets, feathered head-
dress and war paint. This strange gathering were shown
about the offices, entertained with coffee and cake, and
were then shown several photographs of the Indians who
are working for Messrs. Kessel and Baumann in their
Kay-Bee and Broncho companies on the coast. They ex-
pressed much surprise and pleasure in looking over these
"Hearth Lights," Reliance release of May 26.
pictures and recognized among the group several friends
of various tribes. A photograph of Miss Anna Little was
shown them in Indian make-up and the party was divided
in opinion as to whether Miss Little was a genuine Indian
girl or a white girl masquerading as such. Before their
departure, they were prevailed upon to perform an im-
promptu Indian war dance around the large library table
in Messrs. Kessel and Baumann's office and did so much
to the edification of all those present. In leaving they
expressed their pleasure and appreciation of the visit
through their interpreter, Mr. Miles, and cordially shook
hands with all the employes of the company, extending
in a jargon of half Indian, half English, an invitation to
visit them at the show in return.
May 31, 1913
MOTOGRAPHY
397
Sans Grease Paint and NVig
By Mabel Condon
"S
Billv Mason.
M I L I N G
BILLY MA-
SON" — he
who plays juvenile
leads in E s s a n a y
comedies — dropped
up to the fourteenth
story the other day to
see us. Don Meaney
had him in tow and it
was entirely Don's
idea that they drop
up ; Billy's was to go
over to the west side
and see the Cubs play.
But Don, you know,
is Essanay's publicity
man and he usually
has his way about
things ; hence the
fourteen-story drop
while Billy survived
on visions of "the
grand stand rising as
one man" in the third, everybody stretching after the
seventh, and Orvie Overall saving the game in the ninth
when the bases were full and but one man to bat — and
that man, Orvie.
Oh, Billy had a beautiful mental picnic, for a full
minute. Longer than that nothing worries Billy; he
sings a little song, does a little dance, and presto! — there
is no more worry.
"Why should people worry?" Billy demanded, test-
ing the spring of the swivel chair I had offered him and
looking a series of question marks out of each china-
blue eye.
"That's right — why should they?" I returned. I
was feeling very peaceable myself, having just heeded
the advice printed on the mirror behind the soda fountain
down stairs, "You should worry when strawberry sun-
daes are only ten cents."
"It's fifty and fifty," went on Billy. "If you want
raisins, you get prunes ; if you want prunes, you get soup ;
if you want want soup, you get pie; if you discover a
good restaurant, you're not hungry, and if you're hungry,
there's not a good restaurant within three miles. My
favorite shows always went the route of the one-night
stand — I was always lucky at picking a great big sour
quince. But why fret? It's fifty and fifty and — you
should worry !
"The days I had one five-cent piece in my pocket and
I looked my shabbiest, I'd smile the biggest and say
'Good morning' to everybody I met. I tried that as an
experiment, it worked pretty well, and I've kept it up
for eight years.
"And I want to tell you something." leaning for-
ward with both yellow-gloved hands crossed upon the
silver head of his walking stick, "nobody could treat a
fellow better than the Essanay people do. Why, it's
simply home out there at the studio. We're all brothers
and sisters, and the directors are fine to work for ; they
make you feel that you have something good to offer and
that, of course, makes a fellow do his best.
"That's what I like most about working in pictures —
if you have a little talent they let you use it naturally;
on the stage, they don't. It's a case of 'Here's your
hammer and here're your nails, there's the paint and
there's the scenery — go to it !' There is no such thing as
a natural use of your talent ; you simply do as they want
you to, that's all. But in pictures you can put your heart
in your work and be yourself.
"And if a fellow's away a day — well it's worth
staying away, once in a while, just to be made a fuss
over when you come back. All the girls and chaps come
around and want to know, 'What's the matter, Billy —
y' sick?' 'Sick! me sick? No; why, have you got some
patent medicine you want to give away?' 'Oh, no, but
you were away yesterday and we thought perhaps you
were sick.'
"Work or play, it's a good time all the time," and
Billy twirled his cane between two fingers, swiveled his
chair to the furthest extent of its swivel, and his equilib-
rium, and smiled all of twenty perfectly even white teeth
into view and his famous dimples into action.
"Oh — dimples !" I suggested by way of inviting Billy
to express an opinion on them.
"Yes, oh, yes !" returned Billy, as he removed a glove
and slapped it down on the desk.
"Natural?" I wondered, remembering the case of
a girl I know who fell over a chair and the leg of it
struck her cheek and gave her a regular dimple.
"Yes — yes indeed," answered Billy as the second
glove was deposited on the top of the first. "I've had
mine all my life, unfortunately, and I'd give five hundred
dollars this minute for a dimple eradicator; but — what's
the use?" There was none, so the subject of dimples
was dropped and, as it is quite essential, when talking
with a picture actor, to ask how he happened to embark
on a film career, I put the question and Billy answered,
"Just because my hair is blondy.
"Ted Wharton, who was with Pathe then, was look-
ing for a blonde type, I was a chorus man in a New
York production and Ted claims he picked me out of
the back row. but Heaven knows I was in the front
ranks.
"My first start in show life, though, was with a
circus in Carroll, la. I wanted to see the world so left
home and got a job in a circus. I didn't have to begin
my career by carrying water to the elephants, my work
was more dignified; it was fetching the blocks that go
under the seats to hold them in place ! Then I was
promoted; they made me a clown, gave me a white suit
dipped in calsimine and I drove a white St. Bernard dog
in the parade and cried all the way up the street and all
the way back, with stage fright. I got forty cents a day
and, when the season closed, went home and worked for
the General Electric company during the winter and was
back again with the circus in the spring.
"My parents tried to make an artist of me and
sent me to Europe for one and a half years ; they tried
to get me interested in commercial life, but I liked roving
too well. I got small parts in shows in Chicago and
New York. In one show in New York I played a minor
part, dressed the star, acted as chore man and assistant
stage manager, and for all this I received forty-eight
dollars a week and began sending money home. The
398
MOTOGRAPHY
Vol. IX, No. 11
chorus was my next venture and it was then that Ted
Wharton picked me for pictures.
"After several months, I left the Pathe company
and came back to Chicago. Thought I'd try the stage
again and besides, I was lonesome for home. The day
after I returned, I met a friend who said he was playing
in Essanay pictures. He told Wharton I was in town.
Wharton sent for me and I've been at the Essanay
studio ever since. That was more than a year ago.
"And you bet I appreciate living at home after the
years I roughed it. There's never a morning in my
life that my mother doesn't bring my coffee up to bed
to me. She taps me on the shoulder, sometimes the tap
has to be a violent shake, and says, 'Son, here's your
coffee' — and she couldn't do anything I'd appreciate
more. She's the best mother a fellow ever had and thinks
Billy the best boy in the world."
"She must enjoy seeing you in pictures," I sug-
gested, but Billy's startling reply was, "She's never seen
me in any but a 'still' picture — she's a Quaker and doesn't
believe in going to shows, not even a picture show. My
dad goes, though.
"I'll say, 'Well, pop, want to see a good show?
Some dandy singing in it,' " and he'll say, 'Sh! yes, but
not so loud. And we'll go and have a fine time and
mother'll ask, the next morning, 'Did'st thou have a nice
time, last night?' and I'll answer, 'O yes,' and she'll say,
'And thy father, did he have a nice time? — I noticed he
wore his new suit.' 'O yes, a fine time — have to dress
up when you go out to see the ladies, you know.'
"My father belongs to the Quaker faith, too, but
he thinks that any place that is good for his son to go,
is good for him, so he goes with me ; but any place he
thinks isn't all right, he tells me and we don't go again.
My daddy and I have some great times together and I
please my mother by going to church at least once a
month, and 1 always intend to go, too." And Billy
swiveled lustily in commendation of his proposed church
attendance, once every thirty days, for the rest of his
natural life.
"Got any sisters?" I was curious to know, think-
ing what regular blondes they'd be if they resembled
Billy. But Billy sadly shook his head. "No — lots who
said they'd be sisters to me, though, but I don't want
that kind. Wish I had a sister !" And a little blue fellow
almost found a resting-place on Billy's brow, but was
banquished by a smile and the remark : "It's a funny
thing — my father and older brother have black hair and
mother and myself are such decided blondes; and both
my parents are Danish, were born in Denmark. My
brother and myself were born and raised in South
Dakota. My father built the first Indian school out there
and had an awful time getting his money from the gov-
ernment for it.
"Those were the days that were full of trouble and
void of money, but there were lots of happy spots in
them and no amount of money I'll ever earn could pay
my father for the first pair of long trousers he bought
me.
"O well, it's a happy world now, and I go through
it sipping a little perfume from all the flowers and feel
the better for it. Some people say I'm a nut, some say
I'm just happy; meanwhile, I have lots of joy and worry
not.
"But say — have you been out to the plant recently?
Well, you must come out and see the lawn. Perfectly
fine, with little plots of flowers all 'round the edges,
some edges." And in the midst of Billy's transplanting
the Essanay pansy-bed to the center of our office rug,
via the expressive use of his cane, Don Meaney put in
an appearance and announced, "Time's up."
"Come out some day next week and I'll tote some
golfsticks around the links for you," was Billy's going-
out-the-door injunction.
So I promised I'd go out — to see the lawn.
American Has Two Headline Stories
The week of May 26 will see the release of two
splendid stories by famous authors now writing for the
American Film Manufacturing Company. The Mon-
day release is "Ashes of Three," by Stewart Edward
White, a two reel subject. The Saturday release is a
delightful newspaper story by Richard Washburn
Child. The theaters and exchanges using "Flying A"
stories are assured an unusually good week with such a
program.
Admittance, Two Rat Tails
Several Kentucky towns have official "rat-killing"
days, during which time all citizens get busy in a gen-
eral crusade against the rodents, but the prize goes to
the mining towns of Jenkins and Burdine, in the south-
eastern Kentucky coal fields, for a new and efficacious
method of exterminating the pests. The Young Men's
Christian Associations of these two towns have inaug-
urated moving picture shows, and for a few days the
Scene from "Shep the Hero," Majestic release.
price of admission will be two rat tails. Proceeds from
the first night's entertainment at Jenkins netted two
thousand tails, with Burdine running a close second.
At this rate those interested in the destruction of the
rats hope soon to have ratless towns. Miners and citi-
zens generally are taking a keen interest in the peculiar
crusade.
New Posters for American Leads
The success which greeted the appearance of the
handsome lithographs of popular American players, has
induced the American Film Manufacturing Company to
issue a new batch. These will include a splendid litho.
of Louise Lester in her famous role of "Calamity Anne."
May 31, 1913
MOTOGRAPHY
399
The Motion Picture Exhibitors'* League
of American
General Headquarters
703 Euclid Ave., Cleveland, Ohio
OFFICERS OF NATIONAL ASSOCIATION.
President. M. A. Neff, i^ock Box 15. Cincinnati, 0. : Secretary. C. M. Chrlstenson. 703 Euclid Ave., Cleveland, O. ; TI usurer, J. J. Rieder. Jackson. Mich.; Vlce-Presidenta,
W. A. PetHs, Conneaut, O. ; Wm. J. Sweeney, Chicago, 111. ; Ferd J. Herrlngton. Pittsburgh, Pa. ; B. L. Converse, Owl aa, Mich. ; F. J. Rembusch, Shelbyvllle, Ind. ; E. W.
Waugh, Huntington, W. Ta. ; Orene Parker, Covington, Ky. ; Geo. H. Wiley, Kansas City, Mo. ; Chas. Rothschild, San Vlancisco, Cal. ; Sidney Asher, New York, N. T. ; Fulton
Brylawski. Washington, D. C. ; L. F. Blumenthal, Jersey City, N. J.; H. C. Farley, Montgomery, Ala.: A. D. Saenger, Shreveport, La.; Thos. A. Brown, Iowa City, la.;
W. H. Wasserman. Nashville, Tenn. ; T. P. Finnegan, Dallas, Tex. ; Carl Gregg, Tulsa, Okla. ; Paul LeMarquard. Winnipeg, Can. ; E. F. Tarbell. Tampa, Fla. ; Geo. Osbom,
St. Paul, Minn. ; C. H. Phillips, Milwaukee, Wis. ; Geo. F. Washburn, Boston, Mass. ; Glenn D. Hurst, Reno, Nev. ; E. Wayne Martin, HutchinBon. Kan. ; J. E. Schlank,
Omaha, Neb.; Julius Meyers, Charleston, S. C. : S. A. Arnold, Mena. Ark.; Hiram Abrams, Portland. Me.; O. T. Curtis, Pueblo, Colo.; Fred Abbley. Gulfport, Mlas. :
P. S. McMabon, New Britain, Conn. ; S. T. Merchant. Providence, R. I. ; A. B. Campbell, Sedro Wooley, Wash.
'Why Legal Censorship Is Necessary
By JI. A. Xeff.
Owing to the many editorials and misleading state-
ments made from time to time in regard to the censor
bill passed in Ohio and reasons for its existence, I desire
to make a statement. First, it is absolutely necessary to
have either a national or a state censor board, with legal
authority to censor the pictures in the state of Ohio, other-
wise, by reason of the passing of constitutional amend-
ments in that state, each city and town would have the
right to establish a censor board, and if we had not passed
a state censor bill the moving picture exhibitors might
just as well have closed their theaters, as possibly every
town would have established a censor board and any one
acquainted with the situation can well imagine what this
would mean — that every film would not only be censored
once in the state of Ohio but possibly one hundred times,
and this censor board would become a political asset con-
trolled by little, narrow-minded politicians that would
destroy the moving picture business in our state.
The Ohio censor bill passed, provides that the mem-
bers may act with any other legally constituted board and
establish a national censor congress which could censor
the pictures for every state in the union, but would not
be supported by donations from those directly interested
in having pictures passed.
In the various reports that have been made by the
many writers opposed to the censoring of pictures, not
one of them has explained the position in Ohio thor-
oughly, but have condemned all censor boards unless
they were supported by contributions, such as the national
censor board in New York, which has no legal standing
and is supported practically by the New York manufac-
turers. Now, what the exhibitors want are the facts and
here are a few of them : We first tried in every way
possible to secure a legal, national censor board, but found
it impossible to do so by reason of the fact that the
national government has no authority whatsoever to
establish a censor board to censor pictures for the indi-
vidual states. We then turned to the state for relief and
after more than a year's hard work and planning and
asking for advice from manufacturers, newspapers and
others, no one could suggest a plan whereby the emer-
gency might be met. It was then that I proposed that a
few states pass a censor bill creating a censor board and
that these few state censor boards get together and form
a national censor congress and censor the pictures for
every state in the union by securing the endorsement of
all the states to accept the censoring of the pictures by the
censor congress, which would be a very easy matter. Ohio
has passed such a bill which will soon become a law, and
we are ready to work with other states in forming a
national board and are ready to do our best to secure the
endorsement of the censor board so established and which
will be legal in every respect. Once a picture is censored
by the censor board so created, every state that endorses
this board will be freed from additional expense and the
exhibitor and manufacturer will know that there will be
no interference with the pictures when they are sent into
the various cities to be exhibited.
There is a vast difference between a self-constituted
censor board, with no authority, and a national censor
board created as heretofore stated, with absolute legal
authority. The pictures now being censored by the
national censor board are in many places being re-cen-
sored, whereas no one would dare interfere with the exhi-
bition of pictures that were censored by a legally consti-
tuted national board. It is not necessary to have forty-
eight states represented on this censor board. I believe
that all the people and the states want is to be secure,
and protected from suggestive and immoral pictures. It is
a step upwards and in the right direction, for we must
have supervision for pictures that are manufactured, not
in this country, but in foreign countries and that are
shipped to us.
The censor bill proposed in Michigan was out-
rageous ; it provided that one man and one woman should
constitute the board and that they should be paid $2.50 not
only for each film censored but also for slides. I did all
I could to kill the bill. The bill in Kansas was almost as
bad, and I did what I could to kill that bill. The bill in
Wisconsin I have not read, but I was opposed to the bill
in Iowa because it was not properly drawn and did not
make the proper provision; it was vicious, misleading,
unconstitutional and a detriment to all concerned. The
bill in California I am opposed to most bitterly, also I was
opposed to the bill offered in the state of Indiana ; in fact
I have been opposed and am opposed to every bill I have
seen so far, with the exception of the one in Ohio.
I am in favor of a national censor congress com-
posed of broad-minded, honest citizens who are paid a
stipulated salary and are under the jurisdiction of some
authority who has the right to ask for their resignation
if pictures get by that should not, or if pictures are con-
demned that should have passed. I fail to see where any
conscientious person can object to the exhibitor having
representation upon this board, and I am sure that the
exhibitors are willing to have the manufacturers and
press represented.
What we want is a censor board that means some-
thing, and will uplift the business; that will not be too
exacting or too liberal ; that will have not the least taint of
politics connected with it and that will not be for any class
or classes, but will discharge its duty fearlessly, honestly
400
MOTOGRAPHY
Vol. IX, No. II
Construction of
the Lubi
rhich wil
be destroyed in two seconds when the camera is turned on for a San Francisco earthquake
picture now being filmed.
and to the best interests of everybody. YVe are forced
into a position that we must meet, and up to date there
is not one of those who are opposed to the censor board
that has offered, in my opinion, any relief to the exhibitor
or the manufacturer, while I believe that if there is not
some kind of supervision for the picture manufacturer,
the business will soon deteriorate instead of advancing.
I am open for conviction and anyone that can show
me a better plan will be hailed with satisfaction and re-
lief. My first consideration is for the exhibitor, but to
be for the exhibitor one must of necessity be for the
people, that the exhibitor may continue to do business and
prosper.
There is one thing that impresses me in all of the
writings that I have read and that is. that the national
censor board established in New York seems to be in-
dorsed by the various writers. If some one will kindly
explain how the censoring of pictures by the national
censor board will assist the exhibitors and cause other
boards to discontinue, we will then agree that the national
censor board can handle the situation, but so long as pic-
tures must be re-censored after the national censor board
of New York has censored them, why waste the time
censoring these pictures in New York? If the state of
New York will pass a law legalizing the national censor
board, Ohio will be only too happy to either work with
them or to accept the pictures they censor without further
question.
I have just read the bill introduced in Illinois ; I am
absolutely opposed to the bill because it does not provide
that the Illinois censor board may co-operate with other
states in forming a national censor congress, and there are
other parts of it I object to that are too numerous to
mention.
Euthusiastic Iowa Convention
The second semi-annual convention of the Motion
Picture Exhibitors' League of Iowa was held at the Audi-
torium at Des Moines, Tuesday and Wednesday, May 13
and 14. The convention was a successful one in that over
one hundred members attended. Deputy National Organ-
izer W. G. Wylie, of Kansas City, was one of the early
arrivals, was met by Fred W. Young, secretary of the
Iowa State branch.
The gathering was called to order at 2 p. m. by Pres-
ident J. L. O'Brien, and everybody was welcome, as an
open meeting was called. Many exchange men were pres-
ent from Omaha, Minneapolis, and Des Moines, and all
attended the open session. National Organizer W. G.
Wylie made an excellent address and congratulated the
Iowa exhibitors on the large attendance. He also spoke
May 31, 1913
MOTOGRAPHY
401
on the system of censorship, and considered it wrong.
He claimed mothers and children were the best censors
for moving pictures. Mr. Wylie made several addresses
at the different meetings, and gave some excellent advice
to the exhibitors from knowledge he has gained from
visits to different state conventions.
A telegram was read from National President M. A.
Neff, stating: "Although I cannot be with you, brother
Wylie will fill my place. Tell the boys I send greetings to
them in behalf of thirty-eight states. May harmony and
wise council prevail and your League prosper. Best
wishes to each and every member of the League." On
Wednesday afternoon a motion picture was taken by
Julius Singer of the Capital City Film Manufacturing
Company, and was shown on the screen at 10 o'clock that
night. At night a vaudeville entertainment was given
and advance feature films were shown by the various film
exchanges, over four hundred exhibitors and friends at-
tending. The evening's entertainment wound up with a
lunch and a general good time, and everybody seemed to
be imbued with the spirit of the occasion. Secretary Fred
Young of Des Moines again demonstrated his ability in
conducting a convention and arranging for entertain-
ments. Everything went off smoothly and everyone de-
parted with words of praise.
The following delegates were elected to represent
Iowa at the New York convention : W. Ingledue, A. J.
Diebold. E. G. Fargo, H. E. Baumgartner, A. W. Mc-
intosh, I. S. Shortley, I. M. Heffner. Alternates: F. P.
Lemen.'H. A. Wolfgram, T. A. Bryan, W. G. Eddy, M.
Lince, and L. J. Tower. The next convention will be
held at Marshalltown in December, definite dates as yet
not having been decided upon. Thirty-five new members
joined at the convention, bringing the total membership
up to one hundred and fifty. This for an organization
only six months old is doing very nicely. The officers for
the ensuing year are : E. G. Fargo, of Algona, president ;
J. S. Bassett, of Independence, first vice-president ; W.
H. Dewey, Chariton, second vice-president ; W. G. Eddy,
Marengo, secretary ; J. E. Tierney, Sioux City, treasurer ;
Thomas A. Brown, Iowa City, national vice-president.
The following members attended : Fred Yound, Des
Moines ; J. L. O'Brien, Oelwein ; Thos. A. Brown, Iowa
City ; W. H. Mart, Grinnell ; M. Lince, Ottumwa ; J. M.
Heffner, Mason City; A. J. Diebold, Cedar Rapids; L. J.
Tower, Cedar Rapids; H. E. Wolfgram, Decorah ; Fred
Keyes, Des Moines; C. H. Johnston, Grundy Center; J.
E. Craven, Kellogg ; T. J. Henrehan, Nevada ; Paul Por-
ter, Lehigh ; F. R. Bandy, Britt ; Harry DeBaggio, Col-
fax; F. P. Lemen, Colfax; M. Joffe, Manning; R. G.
Hatcher, Chariton; Chas. C. Mendenhall, Stuart; E. G.
Fargo, Algona ; Ray E. Jacobson, Colfax ; Chas. Pewther,
Indianola ; M. E. Chance, Redfield ; W. C. Treloar,
Ogden ; F. M. Childs, Villisca; J. M. Anderson, Boone;
"After the Earthquake," a scene from a spectacular production now being filmed in the Lubin studio.
402
MOTOGRAPHY
Vol. IX, No. 11
W. C. Eddy, Marengo; A. W. Walton, Perry; J. C.
Tuergenson, 'Waterloo; A. W. Mcintosh, Waterloo; M.
Luke, Des Moines; A. H. Blank. Des Moines; W. D.
Ingledue, Marshalltown ; H. E. Baumgartner, Osage;
Ben B. Burns, Jr., Lake City; W. F. Smith, Clarion; C.
R. Garrett, Lake Mills ; Oval Anderson, Jefferson ; T. A.
Hanlon, Iowa City ; T. A. Bryan, Oelwein ; C. F. Hulburt,
Madrid; N. P. Hyatt, Webster City; N. Ligutti, Add;
W. H. Bowman, Oskaloosa ; J. Gerbracht, Ames ; G. C.
Bentley, Clearfield; P. E. Johannsen, Mason City; B.
Wertz, Sigourney; P. V. Meyers, West Branch; D. B.
Herrington, Paullina; W. R. Hiller, Keota; F. Bilder-
back, Earlham; H. C. Watkins, Centerville; H. O.
Beardsley, Red Oak; M. O. Smith, Clarinda; J. S. Short-
ley, Sioux City; G. F. Crawford, Des Moines; B. I. Van
Dyke, Des Moines; R. E. Pratt, Winfield; C. T. Sears,
Ames ; W. J. Bishop, Parkersburg ; H. J. Agnew, A.
Bessman, O. Bailey and H. E. Case. The following ex-
change men were also present: S. J. Berman, Omaha;
Philip Goldstone, Des Moines, Mutual ; Wm. Preller,
Minneapolis; E. H. Pearson, Omaha; C. F. Calvert, Gen-
eral ; J. Van Husan, Omaha ; Dan Lederman, Des
Moines ; W. Bryson, Minneapolis, Universal ; Wm. Hopp,
Chicago, Standard; Julius Singer, Des Moines, Union
Features, and I. Kizerstein. New York. Representa-
tives of machines : J. E. Robin, Simplex machine ; Sid-
ney Blakeley, Motiograph, Chicago; W. Hartman,
Standard, Omaha.
Virginia Exhibitors to Meet
The first annual convention of the motion picture
exhibitors of Virginia will be held at Richmond, Va., on
May 23, headquarters at Jefferson Hotel. One of the
national organizers, L. R. Thomas of West Virginia,
has been there for several days assisting the convention
committee with their plans. A great many manufacturers
of moving picture accessories have stated that they would
have exhibits at this convention and a large attendance
from neighboring states is expected. As this is the first
moving picture convention that Virginia has ever held,
every effort is being made to make it a grand success.
League Notes
The big convention to be held in Baltimore at the
Hotel Emerson on the 3d and 4th of June, is expected
to be a very large and enthusiastic one and possibly may
surpass the Philadelphia gathering in importance and
attendance, although Philadelphia is assured a big con-
vention. J. Howard Bennett and the committee at Balti-
more are showing marked ability in organizing the state
of Maryland.
At the convention to be held in Wilmington, Dela-
ware, on the 26th of May, it is confidently expected that
every exhibitor in the state of Delaware will be present,
judged by the reports being received from them.
The Indiana convention will be held on May 27 at a
place to be designated later.
The Alabama convention will be held at Birming-
ham, probably on Monday, June 9. President Neff has
sent an organizer into the state of Georgia to bring that
state to life, and the Georgia convention probably will be
held on the 10th or 11th of June.
diately started in the field to secure new members. There
was much enthusiasm. A photograph of the members
was taken and an automobile ride through the city, sight-
seeing, was much enjoyed. The delegates were enter-
tained at the different shows and at eleven o'clock at
night one of those good old-fashioned Dutch lunches was
served, where everybody enjoyed themselves immensely.
Harmony prevailed throughout the convention. The next
convention it was decided will require two days, and it
will probably be held next March or April, the date has
not yet been determined. The state of Mississippi is
thoroughly organized and has a nice little fund in the
state treasury. The officers of the Mississippi State
Branch No. 26 are hustlers in every sense of the word,
and while they are a new organization, they are right
there with the goods and propose to secure every ex-
hibitor in the state of Mississippi and at all times are
ready to protect their own interests.
The M. P. E. L. of the District of Columbia sent a
check to President Neff for $105 to assist the members
of the Ohio M. P. E. L. who suffered from the recent
flood. Although the members of the league in Wash-
ington, D. C, had contributed over one thousand dollars
previously to the general fund, they felt that they wished
to contribute something direct that would reach the
members of the league.
Reading Exhibitors Organize
For the purpose of raising the standard of the pic-
tures, for mutual protection, for the better comfort and
entertainment of patrons and incidentally to try to abolish
the word "movies" characterized as objectionable, mov-
ing picture managers of Reading, Pa., organized the
first week in May at a meeting held in the business office
of the Victor theater.
The following officers were elected : Ben H. Zerr,
president ; A. W. McKentley, first vice president ;
Charles S. Graul, second vice president; Julius G. Hans-
sen, secretary ; Harry G. Schad, treasurer ; Frank A.
Gould, publicity agent.
The Reading association will affiliate with the Mov-
ing Picture Exhibitors League of America. Clem Kerr,
official organizer, attended the session.
The members offered the mayor the use of their
screens to help with flags or announcements in the munic-
ipal housecleaning project. The Mayor accepted. The
charter members of the local organization are Carr &
Schad, Victor and Empire ; B. H. Zerr, Schuylkill Ave-
nue Moving Picture House ; J. G. Hansen, Gem ; Mc-
Kentley & Drexel, Savoy ; Edward L. Leightham, Mecca :
Charles S. Graul, Star ; Frank A. Gould, Rex.
The convention held at Jackson, Mississippi on the
8th was a splendid success. About twenty-five new mem-
bers were added to the list and an organizer will be imme-
Michigan Exhibitors to Meet
A call has been sent out for the convention of
the Motion Picture Exhibitors' League of Michigan,
Branch No. 4, to be held at Saginaw, Michigan, on June
10 and 11. The headquarters will be at the Vincent
Hotel and the convention meetings will be held in the
Auditorium. Important legislative matters will come
before the convention, also there will be an election of
officers, and delegates will be chosen for the national
convention at New York City. Besides the business
meeting there will be other things to take up the hours,
in the way of amusements. A committee has been
working in Saginaw making plans for the amusement of
the exhibitors at the convention and a jolly good time
is guaranteed, with plenty of music and plenty of good
things to eat.
May 31, 1913
MOTOGRAPHY
403
Current Kleine Comment
The Art of Cines and Eclipse
ON June 2, George Kleine will release a multiple reel
film entitled "When a Woman Loves." It is a
Cines production in three parts.
The plot of the story has afforded the producers
many opportunities to exhibit their talents in stage set-
tings, and these have been skillfully handled ; the interior
scenes of the ballroom are exceptionally noteworthy for
their grandeur and color.
The story is that of a woman's passion kindled by
her jealousy of a young and charming, yet unaffected,
girl-
The pictures portray her exercising every angle of
the game of hearts known to her, in order that her vanity
may not be ignored. The pictures also show a man, true
to his faith, yet deserving much credit for having to bat-
tle against the clutches of this enticing vampire. The
vampire is characterized by Miss Maria Hesperia, who,
aided by her own natural charms, portrays the part in a
dexterous fashion.
The story involves two political factions, one of
which is led by the Duchess Charlotte. She is greatly
beloved by Count Hubert, one of the constituents of her
party.
Marco Flamma, also a young enthusiast of the cause,
while publicly addressing a street crowd, is arrested.
Shortly afterwards, Flamma is placed on trial and among
the sympathetic spectators the Duchess is found con-
spicuously interested in his case. As Flamma makes his
impassioned plea from his cell inside the courtroom,
Charlotte becomes so enraptured with his speech and per-
sonality that she falls in love with him and determines to
secure his release. In this she is successful and later re-
quests him by letter to call upon her. Marco complies,
and during his visit she proclaims her love for him and is
very demonstrative in her explanation. He resents her
advances, whereupon she dismisses him from the house.
In the meantime the Duchess scorns Hubert's love.
Through a clever ruse she obtains a letter from Hubert
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"When a Woman Loves." Copyrighted 1913, by George Kleine.
showing Flamma had sworn to put to death the Prime
Minister. Immediately the Duchess enlists the services
of one of her male attendants, who. about the hour when
the murder is to take place, approaches Flamma from be-
hind and kidnapping him, brings him to the palace of the
Duchess, where he is confronted with the Duchess and
Luciana, his charming fiancee.
The story ends by the Duchess committing suicide
with the dagger with which Marco Flamma had intended
to put to death the Prime Minister and the uniting of the
hands of Marco Flamma and Luciana.
On May 28, a strong Eclipse drama, in one reel, will
... jj/t, 0t ■
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"When a Woman Loves." Copyrighted 1913, by George Kleine.
be released, which promises to be popular with the ex-
hibitors and their patrons. It has a strong theme and is
cleverly portrayed by a capable cast.
Florence is a charming young girl, who, through her
own discretion, falls under the influence of a gang of
marauders and thieves. While she is sitting at a table
with a friend in the Imperial Hotel, she becomes involved
in a discussion and is requested by the proprietor to
leave. Lord Ellis comes to her assistance and afterwards
escorts her to her hotel.
That night Florence receives a letter from Sharpe.
one of the gang, instructing her to join them at the Four
Oaks, as she is wanted to assist in a new scheme. Creep-
ing down the stairs about one o'clock she is detected by a
bellboy who demands the payment of her bill. Lord Ellis
coming in at that hour agrees to pay it for her and she
leaves. She meets the gang and at first opposed to their
plans, is finally persuaded to take part in it.
Lord Ellis next day proceeds to his country home un-
beknown to her. The residence which they are about to
rob is that of Lord Ellis', and as he sits and thinks of the
beautiful young girl he is greatly surprised at finding her
in his garden. Mistaking her object in coming for that
of thanking him for his assistance or perhaps for a love
adventure, he asks her in. Florence does not dare to tell
him the truth and while they are talking a noise is heard.
Ellis, drawing a revolver, goes to investigate. The rob-
bers are frightened by his shots and take flight.
Falling in love with each other, Lord Ellis and
Florence are happily married. However, their honey-
moon is short-lived, for again the grim specter of the
past appears, when one of the gang threatens her with ex-
posure providing she does not leave. Rather than return
to the other life again she prefers death, and throws her-
self over the cliff where her heartbroken lord finds her
lifeless.
404
MOTOGRAPHY
Vol. IX, No. 11
"Via Cabaret," June 7 release. Copyrighted 1913 by American Film Manufacturing Co.
Dancing on the Sky-line
While photographing Shanley's cabaret show in
Kinemacolor on the roof the the ten-story Mecca build-
ing, the Samarin troupe of Russian dancers were posed
on the three-foot parapet, 175 feet above Broadway, with
only the spires of the Cathedral and the blue sky as a
background. After the dancers had been taken in such
steps and poses as were suitable to their precarious foot-
ing, Frantz, the acrobat of the troupe, volunteered to "do
some stunts." There on the celebrated "sky-line of New
York," he did back somersaults, hand-springs and hair-
raising pirouettes, until his manager, Victor Hyde,
shouted in alarm : "Stop, Frantz ; if you fall off that
parapet you'll break your contract !"
to Los Angeles, where the "Carmen" film had been pro-
duced. There they did not appear to know the girl, a
circumstance occasioned by the wire's inquiry for "Miss
Billings" — the critic having been in error on the girl's
name. Suddenly the Los Angeles director remembered
that he had "used a Miss Francelia Billington in the pic-
ture ; she indeed proved to be the sought-for girl and a
New Rochelle wire placed her in the Majestic California
"stock" next day. When the critics' turn in the Judg-
ment Day comes, may such deeds as this be remembered
in their favor!
Critics Notice Brought Job
In a recently published notice of the Thanhouser
"Carmen," Louis Reeves Harrison, a New York film
reviewer, observed :
"I should have given a part to a girl who flashed on
the scene for a brief instant and filled the screen while
she was there, although she was only one of a group. I
took the trouble to inquire about this member of the
company who only came into view for a second and
learned that her name was and still is 'Billings.' She will
probably remedy that fault before she cuts all of her
teeth, for she has what I am compelled to designate, for
the lack of a better expression, 'picture personality,' a
valuable asset for a photoplayer."
The girl was sought out by C. J. Hite, in rush wires
Publicity Man a Musical Genius
Exhibitors the country over well know Don Meaney,
as the publicity man of the Essanay Film Manufacturing
Company, but only a few of them are aware that Don is
also the composer of a large number of popular songs
which are meeting with great favor. Among the bal-
lads which Mr. Meaney has composed, and which are
growing more popular every day, are "The Chiming
Rag," published by Charles K. Harris ; "There Is No
Little Girl Like You," published by Betts & Binner ;
and "I'd Lay Down My Life, Dear, and Die for You,"
the words of which are by Mr. Meaney, while the score
was composed by H. Tipton Steck, also of the Essanay
forces. The latter piece is to be published by Will
Rossiter." It is understood Messrs. Meaney and Steck
are now busily engaged on a piece to be called "The
Broncho Billy Tango," which will shortly be issued to
every exhibitor showing the Essanay films, as a com-
plimentary copy.
May 31, 1913
MOTOGRAPHY
405
Motion Picture Making and Exhibiting
By John B. Rathbun
CHAPTER III. CONTINUED.
AT night or in very dark weather the studios resort
to artificial lighting, this being accomplished by the
use of electric arcs or mercury vapor lamps, the
latter being the most economical. The green light given
by the mercury vapor lamps is very effective in register-
ing the image on the photographic film, and requires a
minimum of current for a given illumination. These
tubes are usually arranged in groups of six tubes per
group, and are hung either from the roof trusses or the
side of the building. Usually eight groups of lamps are
used for the illumination of a single stage setting, and
these lamps are sometimes supplemented by arc lamps
hung from the trusses. In some studios it is possible to
concentrate over 100,000 candle power on a stage.
The scene itself occupies but a small amount of
space on the studio floor, the width of the set usually
being about 14 feet, and with the enormous floor area at
the disposal of the director, it is possible to conduct sev-
eral scenes at the same time. These small spaces are
marked out on the floor, and the scenes or wall sets are
erected inside of the space, forming in most cases a three-
sided box that is open at the top for the admission of
light. When an actor is to disappear from the scene he
simply walks through the door in the set and is imme-
diately out of the range of the camera. The ease with
which a player may unconsciously disappear from a
scene in which he is supposed to be taking part requires
constant vigilance on the part of the camera man and
director.
The scenery used in the studio resembles that used
on the stage except that no colors need be used on the
canvas. Neutral tints, or plain black and white outlines
are more desirable for the reason that colors such as red
or blue give misleading color values on the film. The
walls used in interior views are only large enough to
cover the field of the camera and are built in section for
ease on handling. As the plays vary in character and
period, it is seldom that the same set can be used more
than once. This constant change in the scenery calls
for a large force of scene painters and stage carpenters.
The "property" rooms of the large film manufactur-
ers, in which the properties or appliances used in the play
are kept, contain nearly every conceivable object known
to man. Guns, stuffed animals, bottles, druggists' signs,
policemen's clubs, brass beds, wooden beds, hoop skirts,
cannon, harness, clocks, furniture of all classes and age,
and a tremendous catalogue of other things that are far
too numerous to list in the limits of this book are con-
stantly kept in stock. As can be imagined, a very con-
siderable fortune is tied up in the property room alone.
As the film shows all periods of history and every
condition of life, a very extensive wardrobe is required.
It is claimed that one studio that specializes in historical
and military subjects has over eight thousand costumes
ready for instant use. At a moment's notice the cos-
tumer can supply a small army with uniforms, equip a
tribe of Indians with their tribal costume or produce the
most modern of ball costumes for a society play. High
hats or the furs of an arctic explorer are equally in
evidence in this remarkable department.
THE PRODUCER.
The producer is the principal factor in the manage-
ment of the studio and in the production of the plays.
Fig. 34. An example of an "educational" series. The upper pictures in the center of the cut are microscopic views of the house fly showing
its tongue and feet. The balance of the pictures were taken through the glass sides of an aquarium of different forms of marine life.
406
MOTOGRAPHY
Vol. IX, No. 11
In commercial life he would be called a superintendent,
and in the theater a stage manager. From the time
that the scenario is first put to his attention until the
negative has been delivered to the developing depart-
ment, he is constantly on the job in directing the work
of the players and scenic mechanics. On the receipt
of the scenario, the producer, or director as he is some-
times called, makes such additions as he thinks necessary,
and notes the details of the scenes and properties re-
quired for the play. After the list of scenes and prop-
erties has been made, orders are given to the scenic and
property departments for the making of the various sets.
Costumes are selected and in the case of an outdoor scene,
the producer determines on the proper locality for the
action. While this work is in progress, he selects the
players and calls for a rehearsal.
If the scene to be rehearsed is a studio act, the stage
is set completely, and the actors appear in full costume.
The camera is set in position so that the operator may
become familiar with the act, and the rehearsal pro-
ceeds. After a number of additions or subtractions
made by the producer to improve the scene or to bring
it into the time limits of the film, it finally receives his
approval, and the camera is started. If any mistake is
made during the filming of the play, the film is destroyed
and the act is repeated until it meets the approval of the
producer. In the case of films that are difficult to
obtain, or expensive, two cameras or a double film camera
are used, so that there will be no chance of losing the
act through a light struck film or an accident in the de-
veloping process. When two films are taken by two inde-
pendent cameras a choice may be had between the two
films, one of which will undoubtedly be better than the
other.
In the case of out of door scenes, the play is gener-
ally rehearsed in the studio before going into the field.
This practice is always followed in the case of street
scenes, where the throngs of spectators would interfere
with a prolonged rehearsal. The time in the field is :ut
down to the lowest possible limit, for the weather is
likely to change at any moment and the expense of main-
to hire some actors for a day at a time because of the
fluctuations in the studio demands. One day, the pro-
ducer may require as high as fifty players and on the
next less than half that number, depending on the char-
cter of the play then being produced. For the leading
Fig. 35. One method of making a well known form of "trick" picture.
By laying the Ecene fiat on the studio floor, and taking the view from
an elevated position, the man will appear to the audience as crawling up
the side of the building.
taining the players in the field is much greater than in
the studio.
THE PLAYERS.
The players are frequently recruited from the thea-
ters, although there are many motion picture actors
that have been developed in the studios simply through
their association with that line of work. It is customarv
Fig. 36. "The Magic Coffee Pot" with the mystery removed. This is
an example of that class of trick picture in which inanimate objects ap-
pear to go through various evolutions of their own accord. The coffee
pot in this case is suspended by fine wires that are invisible in the finished
picture.
parts, the producing company maintains a small body
of players known as the "stock company," which are
'ept continuously in the service of the company at a
fixed salary.
The selection of the actors and actresses is by no
means an easy task for they must not only be masters
in the art of pantomime, but must look their part as well.
The camera is a merciless critic, and exaggerates every,
awkward gesture or facial peculiarity of the player, and
defects that would not be noticed on the stage are glar-
ingly apparent on the screen. It is almost impossible to
"doctor" up a character with grease paint, for the magni-
fication of the projector would make such an attempt
ridiculous. It is almost impossible for an old man to
take the part of a young man, or vice versa, and deceive
the audience. An old woman may assume the part of
a girl in the legitimate drama and succeed, but never be-
fore the camera.
Stage make-up is out of the question in the motion
picture studio for the pinks and yellows so commonly
used in getting flesh tints are distorted in color value in
the film. Any tint containing red is recorded on the
film at least in three shades darker than the original
color, for this color has practically no actinic value.
May 31. 1913
MOTOGRAPHY
407
As the areas covered by the red undergo no changes due
to the reduction of the silver in the emulsion, the posi-
tive is printed black under these transparent spots in
the negative.
In nearly all cases the face is first thoroughly whit-
ened and then tinted with yellow so that any subsequent
color that may be applied will stand out in bold relief,
and also for the reason that the face will appear white
instead of grey, as would be the case with the natural
color of the complexion. The lips and the area sur-
rounding tbe eyes are tinted with a color having
a bluish cast such as heliotrope or mauve. When seen
in the sunlight, the make up of the motion picture actor
presents a most ghastly appearance.
In spite of their extended experience on the stage,
there are but few actors that have the faculty of expres-
sing themselves in pantomime, even in the minor roles.
When an actor is discovered that possesses this rare gift
he is frequently put in the "stock company" maintained
by the producing company at a fixed monthly salary.
Should he have a specialty in which he appears to the
best advantage, he is made the "star" in some series of
films having the same title, such as the "Broncho Billy
series" issued by the Essanay Company. In a film of this
nature, the star is given a characteristic name which
appears on all of the films in the series, each issue
representing some episode in the life of the hero.
TAKING STUDIO PICTURES.
At the time arranged for the rehearsal, the company
assembles on its allotted stage and receives specific in-
structions from the producer in regard to the "business"
on the stage, how to make their entrance and exit, and
also instructions regarding the dialogue. The producer
usually goes through the principal parts of the play to
convey a general idea of his requirements before the re-
hearsal. After this demonstration the players go through
the play for the first time, the cues being given by the
producer, and if the action seems to lag, he immediately
jumps into the scene, assumes some part, and stirs things
less, for it is exceedingly difficult to keep them within
the field of the camera.
Time after time, the scene is rehearsed, little modi-
fications and additions being made each time, until the
show goes with the proper swing. Often the company
is made to go through the action a dozen or more times
before everything is satisfactory. When a scene re-
quires animal actors, the rehearsals are almost number-
less, for it is exceedingly difficult to keep within the field
of the camera.
During the last rehearsals, when the action is nearly
perfect and the rough edges are worn off of the work,
the camera man and the producer start to take the time
of the scenes. Watch in hand, they follow the work
through from end to end, noting parts of the business
that could be trimmed out, in the event of overtimed
action. When the final rehearsal is completed, the
camera man and the producer compare notes regarding
the time taken, and the time allowed on the manuscript.
Should the time be too long, the producer condenses the
action by ordering the players to make quicker entries,
or by cutting a dialogue a few seconds may be gained.
When enough has been clipped, according to the judg-
ment of the producer, the play is again rehearsed with
the alterations, and is again timed. If the scene is still
too long, further alterations and rehearsals are made
until it is made within the limited time.
All is now ready for the filming of the scene. The
players that are to be "discovered" at the opening of
the picture take their places on the stage, and the camera
man makes the necessary adjustments to his machine.
As a guide to the limits of the camera, conspicuous
"markers" are placed at the extreme edges of the scene
to be covered by the camera. These enable the camera
man to determine whether the players are "off" or "in"
the scene.
At the word "Ready," given by the producer, the
camera man starts cranking the machine and the actors
stand alert for their cues to enter. An instant after fol-
lows the order, "Start your action." From this instant,
the studio, or at least that part of it in the vicinity of
the stage is a bedlam of noises. The players jabber their
almost meaningless lines, the producer shouts his direc-
tions to the players in which he is accompanied by the
camera man. "Your out, Kelly," "Faster-faster-faster,"
"Cheer up Miss Davis," "Up in front, you with the hoop
skirts," "Not so far," "Roll your eyes," etc., etc. From
the direction of the stage come the broken fragments of
the dialogue, "I never never will leave you," "Ouch,"
"My boy," "I love you," and so forth. The players are
worked up to an exciting pitch, and the play is. at its height,
when the eye of the producer catches an error in the action
or an actor off stage. "Stop," he shouts. The camera im-
mediately stops its purring, the offender is treated to
some forcible remarks from the director, the spoiled film
is thrown out, and the play is started all over again.
This may happen several times before a perfect film is
obtained.
Onlv persistence and patience on the part of the
producer will obtain good results in a film play. The
management of the actors before the camera is a far
more exacting task than on the stage, for in the studio
every second counts. Every second means a foot of film,
and film costs money. Situations must be handled that
occur in no other branch of the amusement field and re-
quire instant judgment on the part of the producer. The
greater proportion of the actors employed are not thor-
oughly conversant with the requirements of the studio,
and are not quick to adapt themselves to the new con-
ditions under which they are working.
At the close of a successful scene, the producer
shouts "stop," as a signal to the operator to cease his
cranking.
"How many feet," asks the producer of the operator.
"One hundred and sixteen" is the answer.
If this is within the prescribed limits, the next scene
is started, that is if it is a studio scene. If there are
several intervening scenes that are exterior views, they
are omitted for the time being and the next studio scene
is undertaken. To economize in time, the next scene has,
in all probability, been set up in the vicinity of the first,
during the time in which the first was photographed. The
players now move from the first to the second stage where
the camera is again set up.
YARD PICTURES.
Nearly every firm has a fenced-in space in the vicinity
of the studio where most of the outdoor scenes are taken
that require special settings. In the "yard" will be found
reproductions of foreign and historic buildings, mimic
lakes, and miniature mountains, in fact, all scenic effects
that are too large for the indoor studio. The architecture
of the buildings in the yard is of the most varied descrip-
tion, ranging from Grecian temples to Esquimaux huts,
and from old German castles to Chinese pagodas. By
simply revolving the camera on its axis, the operator can
cover a thousand years of architectural development.
Generally the construction of the yard scenes is sim-
408
MOTOGRAPHY
Vol. IX, No. 11
ilar to that of those in the studio, except that they are of
a sturdier and more permanent type. The majority of
the buildings are provided with only two or three sides,
as with the interior scenes of the studio, and are only
high enough to cover the field of the camera, when taken
from a comparatively short distance. Roof scenes extend
only a few feet from the ground, so that the player in
leaping from the roof of a building has only a short dis-
tance to fall. By directing the camera upwardly, so that
the ground line is not shown on the film, it is possible to
obtain some very realistic effects in fire scenes.
The tank, which is included in the yard equipment of
every large plant, is one of the most useful of the prop-
erties. By suitably disposing the scenery around its
edges, it can be made to represent any imaginable body
of water from a brook to an ocean. The tank at the plant
of the Selig Polyscope Company's plant contains about
sixty thousand gallons with a depth of about three feet.
It is supplied with row boats, small bridges, and at one
end is provided with an extension that forms the mill race
for a small mill that is built near the edge.
Near the center of the yard is a cylinder about thirty
Fig. 37. A terrible automobile tragedy performed on a three foot stage
with a toy automobile. Xot all of the automobile accident films are taken
in this way, however, for in a recent release a full sized machine was run
over an embankment.
feet in diameter which is mounted on a turntable device
so that it can be rotated rapidly in a horizontal plane.
On the outer surface of the cylinder is stretched a can-
vas scene, usually of mountainous or broken country.
When the camera is placed in front of the rotating cylin-
der, the speed of the screen gives an effect of traveling
through the country displayed on the canvas. This effect
is heightened by placing a car interior scene between the
camera and the cylinder so that the latter may be seen
through the car windows.
TAKING TOPICAL FILMS.
The topical films, in which the events of the day are
shown, are fast becoming one of the most important
mediums of distributing news items. There are but few
theaters in the United States that do not display one of
the numerous "weekly reviews." While the papers may
print the news several days in advance of the release of
the film, the items are never stale when projected on the
screen, for the pictures impress the audience with en-
tirely new ideas concerning the subject. To hear about
an event is one thing, to see it is another.
The motion picture theater patron is kept in touch
with the progress of the world through the medium of the
topical film for there are motion picture operators in all
countries whose sole duty is to keep informed as to the
events taking place in their particular section of the map.
Everything from a prize fight to the funeral services of a
king are subjects for the topical, it being in fact an ani-
mated newspaper of which the camera man is the re-
porter.
The success of the film depends entirely upon the
judgment and aggressiveness of the operator in over-
coming the opposition usually raised by the police or per-
sons in control of the proceedings. The camera man
must be a diplomat, a photographer, and a producer rolled
into one. He must be absolutely fearless, for his duties
will take him from a shipwreck to a battle field or mine
disaster, with little side trips in aeroplanes and balloons.
Many a camera man has gone out on a job and never re-
turned.
Speed is a most essential item in the production of a
topical, for, as in newspaper work, one film company
tries to beat the other to the screen, or to obtain a
"scoop." Every minute that elapses between the taking
of the picture and its delivery to the theater means money
to the film manufacturer, for his efforts and expenditures
will be in vain if his rival projects the picture before he
gets it on the market. This adds another burden on the
operator, for he must not only get a favorable position for
the taking of the picture, but must also make arrange-
ments for its prompt delivery. In the isolated parts of
the world, where the topical operator performs most of
his work, prompt delivery requires careful management
and good judgment on the part of the camera man.
Another feature that adds to the difficulty of taking
topicals is the fact that there can be no rehearsal of the
action, and therefore the operator has to estimate the best
camera positions and the length of the film. To be caught
short of film in taking an important event is a calamity,
for it is not easily procured at short notice, and if the
home plant is at a considerable distance, it means failure.
An operator was sent to New York by a Chicago firm
to obtain pictures at the terminus of the cross country
flight made by the aviator Atwood. He was supplied with
only two reels of film, for it was expected that there
would only be a few hundred feet of film needed. On the
day of his arrival, a fire broke out in a tailor shop that
offered an opportunity for a thrilling picture. This placed
the operator in an unfortunate position, for he had only
enough film for one event, either that of the aeroplane or
that of the fire. He chose the latter, and was rewarded
by a most spectacular picture, in fact it was the best fire
picture that any firm had ever had the opportunity to
produce. He packed up immediately and started home,
believing that he had chosen the best course, but was dis-
agreeably surprised to find, after the development, that
the board of censorship refused to sanction the film. His
trip, of course, was a total loss, simply because of the lack
of film.
PICTURES IN THE FIELD.
The out-door scenes that form a part of nearly every
film story are the most realistic and interesting parts of
the film. When properly selected they not only add to
the atmosphere of the play, but have a certain educational
value as well. Locating the scenes among the Atlantic
fisheries or in the mining regions of the West, for ex-
ample, carries the stay-at-home show patron into inter-
esting and unfrequented places, and gives the film the
value of an industrial or travelogue. Scenes laid in the
streets of large cities are of great interest to the audi-
ence of rural theaters, and scenes of ranch life are of the
same value to the city man.
( To be continued.')
May 31. 1913
MOTOGRAPHY
409
Current Educational Releases
In the Forest of Cochin-China. — Patheplay. An
interesting study of the gathering of lumber in Cochin-
China, showing the antiquated methods by which the
work is carried on.
A travelogue that takes
Scenes in Manila. — Selig
you into the streets and homes of the interesting brown
people and gives you a better insight into their life than
any written historical sketch could possibly do.
Transportation Methods in Java. — Patheplay. A
film that takes us to far-off Java there to witness the diffi-
culties with which the Javanese have to contend in em-
barking and disembarking from the steamers ; also the
dangers of unloading cattle as there are no steamship
docks in Java, and few modern conveniences.
Mosques and Tombs of Caliphs and Mamelukes.
— Eclair. This particularly entertaining and instructive
film gives a very comprehensive idea of Arabian architec-
ture, which is entirely different from all others. The
mausoleums which the Arabians erect for their deported
rulers are most beautiful. Each one of them is an ever-
lasting monument to the Mohammedan belief of the im-
mortality of the soul. Each stone used in the construc-
tion of these tombs is inscribed with extracts from the
Koran, which is their Bible. It is in the Mosques that
the peculiarity of their art of building is most forcibly
portrayed. The roofs of these are huge domes, which
resemble an enormous inverted bowl. Stirrounding them
are countless spires or minarets as they are called. From
these the famous "call to prayer" is given by the priests.
The glorious Arabian sunsets, which are almost sub-
lime, gild the domes and minarets of the
mosques until they look like huge balls and
tongues of fire.
The Spider Which Lives in a Bubble.
— Patheplay. The spider studied in this film
is the only member of the spider family that
takes to the water, its favorite haunts being
stagnant pools or sluggish streams overgrown
with reeds. The most remarkable thing about
the water spider is its home as it lives in an air
bubble. By gathering the tiny air bubbles that
are constantly rising to the surface of the
water, the spider, by slow degrees, builds a
bubble large enough for itself to live in and
enjoy the many insects on which it preys.
The Ailanthus Silkworm. — Patheplay.
A study of the habits of the little worm that
is responsible for the fabric that delights every
woman's heart. It is interesting, it is instruc-
tive and it's new.
Manila Normal and Public Schools.
— Selig. An educational picture showing the
good work of our educational army of inva-
sion.
Night Birds.— Patheplay. This film af-
fords an opportunity to study them at close
range and to understand why they are called
wise. Forest owls, barn owls, white owls,
young owls, and wise old owls ; also there is a
corking good fight between a forest owl and
a rat. There are laughs in the picture, too,
and the exhibitor who is a wise old owl will
include this offering in his program.
'Women — Past and Present," Tune 4. Copyrighted 1913 by Selig Polyscope Co.
^ The Valley of Albula (Switzerland).
— Eclair. This film reproduces the beautiful
landscape through which the railroad passes in
the Valley of Albula. This road, built from
1897 to 1903, has opened the Haute Engadine
to International service. It may be compared
to that of St. Gothard, except that it is shorter.
Following this road, we run along the mount,
around the plain of Campi, through tunnels
and over viaducts, all of which afford a splen-
410
MOTOGRAPHY
Vol. IX, No. 11
did view of Albula and the picturesque country around it.
The City of Rouen, France (Colored). — Pathe-
play. One of the oldest cities in France with a quaint
charm that is all its own. The beautiful hand coloring of
the film makes it truly a feast for the eye.
The Manufacture of Steel. — Eclair. The vari-
ous processes in the manufacture of steel being very
clearly and entertainingly shown. The scenes in the steel
mills here shown are not only instructive, but very beau-
tiful.
The Cuttlefish. — Eclair. It is from the cuttlefish
that India ink is made by natives in certain sections.
Some very unusual scenes are shown, in which this fish
defends itself from enemies by throwing out this thick,
inky substance.
A Powerful Story
Sacrifice and sorrow and the grim evil arising from
the chance bite of a captive monkey are the primal ele-
ments of the tragedy "The Dread of Doom," released
by the Itala company. How a man hides from those
whom he loves, endeavoring to shield his sister from a
horrifying suspicion, is the narrative. For twenty years,
Ermete Zacconi, who with Novelli has shared the honors
of being Italy's premier actor, has by his art been adding
to his name and fame. In his portrayal of the part of
Doctor Guido Altieri, he is shown in the quintessence of
his consummate talents. His delineations of the death
of a man under the effect of strychnine poisoning are
histrionically masterful. Men of medicine agree that this
depiction is graphically accurate. The element of sus-
pense which keeps the spectator ever wondering what
the next foot of film will reveal is skillfully sustained.
It brings home to the mind of everybody who sees it the
issue which confronts Doctor Guido. Is the man to be
greater than the lover? The Christ long since said that
there is no greater love than the love of a man who lays
down his life for his friend. In this instance, Doctor
Guido, on the eve of marrying the woman he loves, dis-
covers that into his body there has been introduced acci-
dentally the germs of a deadly disease. He cannot man-
fully go on with his marriage knowing the physical price
of such a predestinely woeful alliance. It is for him to
disappear and wait for the death soon to come. His lot
would be alleviated if he could but tell his fiance why he
could not marry her. But there is one reason why he
must leave her unknowing that his reason for breaking
off the match was because he loved her more than love
itself. That reason is that his sister is betrothed to the
brother of the doctor's bride-elect. If Doctor Guido lets
it be known that he is consumptive, his sister's fiance may
suspect that she too has tubercular tendencies, which sus-
picion might separate them. It is, therefore, necessary
for him to seal his lips and go away under a cloud, leav-
ing it to be thought that he had backed out of his pre-
nuptial agreement.
Jack Kerrigan Makes Aeroplane Flight
Jack Kerrigan and Miss Vivian Rich, of the Ameri-
can Film Manufacturing Company, had a novel ride in
an aeroplane at Ventura, California, last week. The
flight occurred in connection with the making of a single
reel subject. The famous Gilpatrick exhibition of flying
at Ventura was utilized. This was Kerrigan's first flight.
A1TILLIAM JOHN SWEENEY, better known to exhibitors
' ' the country over as "Big Bill" Sweeney, was born in
i Chicago, August 22, 1861. Probably being born in war times had
something to do with his present ability to lead men, for that
he is a born leader every one who knows him admits. Though
aggressive and militant, when
occasion warrants, he is as a rule
extraordinarily genial' and bub-
bling over with good humor. A
chat with him will cheer the dark-
est day and his friendship is
highly prized. After the usual
schoolboy days, "Big Bill" took up
his quarters in the City Hall and
was probably the most popular in-
cumbent of the particular office
he held that the city building has
ever housed. World's Fair days
found the London Museum, a
downtown amusement place, in
charge of Manager Sweeney, and
it was then that motion pictures
first became known. A little later
with a supply of film purchased
(for this was before the days of
exchanges) from Selig and Lubin,
Mr. Sweeney began a series of
shows at halls, schoolhouses.
churches, and in "blacktops" erect-
ed at county fairs. Success
crowned his efforts, and today finds him the proprietor of one
of the most popular neighborhood theaters in Chicago's great
South Side. Naturally, he was among the first to be interested
in the Motion Picture Exhibitors League of America, and is not
only a national vice-president of that organization but also
treasurer of Illinois State Branch No. 2. He has always taken
an active part in league affairs, both local and national, and
Chicago will be much surprised if she doesn't eventually number
among her citizens President William J. Sweeney of the M P
E. L. of A. . .
13 ILOXI, MISSISSIPPI, was the birthplace of Fred Abbley.
A3 owner and manager of the New Dixie theater of Gulfport,
Miss., and national vice-president of the Motion Picture Exhibit-
ors' League. April 16, 1882, was the date. Before the fascination
of motion pictures got into his blood Fred was chief oyster in-
spector for the state, but some
seven years ago the flicker of the
films grew too strong for him to
resist and he became an exhibitor
in Ocean Springs, Miss., then but
a tiny village, and yet the enter-
prise was successful. Discovering
the possibilities of the new occu-
pation, Mr. Abbley secured a loca-
tion in his home town of Biloxi,
and there built a small but com-
fortable theater, which made him
still more successful. Ever on the
outlook for a still better location,
he was quick to seize upon the
opportunity which offered a little
later at Gulfport. Encouraged by
the growing demand for pictures
and the financial returns of the
business he erected in Gulfport
the new Dixie, which cost twenty
thousand dollars, is absolutely fire-
proof and seats four hundred per-
sons. The dollars continued to
roll in, and the name of Abbley
became known far and wide among the exhibitors of the state.
Reading of the various state leagues being organized by Mr.
Neff, Fred mailed a letter asking that Mississippi exhibitors be
similarly organized. The national president appointed him vice-
president from his state and on March 28 a rousing convention of
Bayou state exhibitors unanimously re-elected him to that office
for the ensuing year. Gulfport Lodge No. 978, B. P. O. E..
numbers him among its most popular members, while his careful
attention to the comfort of his patrons is making him scores of
new friends even- day.
May 31. 1913
MOT O G R A P H Y
411
Scene from June 5 release, "The Wishing Seat." Copyrighted 1913 by American Film Manufacturing Co.
Of Interest to the Trade
McVickers and Colonial Sold
Jones, Linick & Schaefer, Chicago's best known
picture theater and vaudeville magnates, have added two
more houses to their string. Both new houses are located
in the downtown loop district, and have a seating capacity
running into the thousands. On Thursday, May 8, a
long-time lease was signed for the historic old McVickers
theater on Madison street, and two days thereafter. Sat-
urday, May 10, the Colonial theater on Randolph street
became a Jones, Linick & Schaefer house. Both theaters
have a long and eventful history and it was long believed
could never be acquired for pictures, but the offers made
by Messrs. Jones. Linick & Schaefer were too tempting
to be refused, and so a transfer took place. The Colonial
will open under the new management on May 26, it is
understood, and McVickers will be given over to vaude-
ville and Kinemacolor pictures immediately upon the
conclusion of the present run of "Quo Vadis?" which is
now being shown there under the management of Mr.
George Kleine.
Flood Funds Distributed
The amount collected for the flood sufferers was
$553.00. This sum was divided among Ohio and Indiana
as follows ; Indiana received $100.00. however. Indiana
had received contributions direct for members of the
League from Louisiana; Hamilton, O.. received $40.00;
Pomeroy, O., received $20.00; Middletown. O., received
$10.00; Ironton, O., $20.00; Marietta, O.. $10.00 and
O. S. Finch an exhibitor in Omaha, Neb., whose theater
was totally destroyed received $25.00. The balance,
$328.00 was turned over to Dayton local number five,
and will be distributed by them. The contributors were :
The Bill-Board $100.00
O. B. Weaver 25.00
R. C. Davis 5.00
C. A. Hicks 10.00
F. J. Rembusch 50.00
Rudolph Wurlitzer Co 20.00
Pastime Amusement Co 1.00
Trevor Faulkner 1.00
Cincinnati Local, Branch No. 2 40.00
Washington, D. C, Ex. Local 105.00
General Film Co 50.00
Louisiana State Branch 48.50
C. E. Price, Mt. Vernon 5.00
J. A. Maddox, Columbus 5.00
BelknaD Bros., Columbus 5.00
Paul Stuffer, Columbus 5.00
W. R. Wilson, Columbus 5.00
Jos. Adorno, Columbus 100
F. E. Wiley, Columbus 1.00
C. C. Rector, Columbus 1-00
M. A. McGrath, Columbus 5.00
Max Stern, Columbus 5.00
John Swain, Columbus 5-00
John Pekras, Columbus 5.00
W. F. & J. Slimm, Cleveland 5.00
F. M. Kenny, Cleveland 5.00
Crouse & Kunz, Mansfield 5.00
W. H. Bailev, Mansfield S.OO
P. K. Peters, Mansfield 5.00
412
MOTOGRAPHY
Vol. IX, No. 11
Wm. Georgian, Mansfield 5.00
E. W. Ramsev. Mansfield 5.00
F. H. Staup, "Delphos 2.00
Bijou Theater, Lewiston, Mont. 7.50
Imperial Theater Co 5.00'
After the distribution committee had lunched at the
Phillips House, they met at 2 o'clock at the headquarters
of Dayton Local No. 5, in the Pruden building. Present
at the meeting to distribute the fund were : O. B. Weaver,
first vice president of Ohio State Branch No. 1 ; Herman
Lehman, secretary of Dayton Local No. 5 ; W. Raynor,
treasurer of Dayton Local No. 5, and R. J. Kastel, presi-
dent of Dayton Local No. 5. When the contributions
were first asked for, letters were sent out, asking the
members in the flood and cyclone districts to advise Mr.
Neff of those who were entitled to receive benefits and
consideration. There was also a committee appointed to
investigate, and reports were made and letters read in
the presence of the officers of Dayton Local No. 5. There
was not one hitch in the proceedings and the distribution
of funds was satisfactory to everybody present. The
committee desires to thank every contributor throughout
the country and to assure them that their assistance was
appreciated and that the funds were distributed to the
best of the committee's ability and every one that received
a penny was a member of the M. P. E. L. and deserving
of assistance.
Motiograph picture machine and double dissolving stere-
opticon outfit, and similar equipment in the new Natick
theater through the Boston branch of the General Film
Company.
Defies Death in Daring Leap
Rodman Law, hero of a hundred hair-raising adven-
tures, added another dare-devil feat to his record on
May 14. With Miss Hazel Hall as a passenger, and go-
ing at a 65-mile an hour clip, he drove his motorcycle
through the open draw of the bridge over the Shrews-
bury river at Sea Bright, New Jersey, and plunged
thirty-five feet into the waters beneath. The thrilling
feat was an incident of the taking of the new Imp photo-
play, "The Dare Devil Mountaineer," under the direc-
tion of George Hall of the Universal forces. The fact
that four other young women had previously attempted
the feat with Mr. Law only to be taken to hospitals with-
out the scene being properly filmed, did not deter Miss
Hall from attempting it, and this hardihood almost
proved her undoing. The start was made a half mile
from the river and before the police and bridgetenders
were aware what was taking place, the motorcycle
streaked by and leaped into space. A battery of moving
picture cameras was trained from every angle, and all the
details were filmed successfully. As the machine struck
the water with a resounding splash Law disengaged him-
self and came to the surface. Miss Hall did not come up
immediately, and when she did emerge she was motion-
less, although a good swimmer. Law and the director
pulled her into the waiting rescue boat, and she was hur-
ried to the office of Dr. Cobb of Sea Bright, where she
was found to be suffering from nervous shock. A vigor-
ous massage and stimulant speedily restored her and she
returned to New York, none the worse for her thrilling
experience.
Some Motiograph Installations
Bernard M. Corbett of the Enterprise Optical Manu-
facturing Company of Chicago reports the sale and in-
stallation of a 1913 model Motiograph motor-drive equip-
ment at the United States Naval Prison at Portsmouth,
N. H., through the R. D. Maison Moving Picture Com-
pany of Boston. Several other- Motiograph sales re-
ported by Mr. Corbett include the new Silvery theater
at Edgerton, Mass., in which was installed a combination
The Picture Show
By Alta May Coultas.
Cowboy girl in leather skirt,
Loves the rancher, but a flirt
Smiles at stranger in "biled" shirt;
Cattle round-up, bronchoes buck,
Stranger shows a lot of pluck,
Rancher jealous of his luck;
Horses stolen, villain's knife,
Rancher wounded in the strife;
Girl who finds him rides for life,
Brings the doctor; nurse, then wife.
Keep your seats, the picture man
Will unwind another can.
Dashing widow has a beau,
Wants to marry, son says "No,"
Bids her tell the beau to go ;
Beau, a widower, has a girl
Son of widow thinks a pearl —
Planned elopement. Plot a-whirl.
Widow chases naughty son.
Father follows with a gun.
Reconcilement ends the run,
Parson makes the whole four one.
Those who came late see next show,
Move up front as others go.
Weekly review ; Naval fleet,
Flower parade El Paso street,
Railroad wash-out; Yale track meet;
Statue, Wales, unveiled by king,
Aeroplane men practicing,
Battling Nelson in the ring ;
Latest styles at race track, France,
Hopi Indians doing dance,
Auto road race, ambulance,
Baseball teams and Captain Chance.
Thursday, in three reels, "The Fight,
"Or Cris, the Black Hand Chief."
GOOD NIGHT.
S. S. Hutchinson Returns to Coast
S. S. Hutchinson, president of the American Film
Manufacturing Company, has returned to the Santa
Barbara producing headquarters after a brief stay in
Chicago. Mr. Hutchinson expects to spend considerable
time in California this summer, directing the production
of some coming two and three-reel features.
Gertrude Robison's Life Endangered
Miss Gertrude Robinson, leading lady of the Victor
Company, is receiving the congratulations of her friends
upon her narrow escape from a peculiar accident that
threatened to result seriously. An old sea captain, a
friend of the Robinson family, in remembrance of the
days when he dandled Gertrude on his knee as an infant,
presented the popular little star with a small monkey.
As it was of a cheerful disposition, with a full, round
face, she christened it "Kelso" in honor of Mr. Kirk-
wood's assistant. Last week "Kelso" was taken to the
wilds of New Jersey to be used in the picture, "A Fair
Exchange," just released under the Victor brand. He
behaved splendidly and seemed to enter into the spirit of
the affair, being particularly interested in the chauffeur's
manipulation of the brakes and the steering gear of the
automobile. While a scene was being taken the chauf-
feur took a stroll to stretch his legs, leaving the car with
power on, and Miss Robinson and "Kelso" as the sole
May 31, 1913
MOTOGRAPHY
413
occupants. Miss Robinson, interested in watching the
scene, forgot for the moment that "Kelso" was the one
to be watched. "Kelso's" mind was intent upon the
steering wheel and self-starting lever for the manipula-
of the car. He proceeded to investigate, with the result
that the auto gave a sudden start, and darted down the
road. It was followed by the chauffeur and almost the
entire company, bent upon rescue. Miss Robinson gave
one scream, and then, too frightened to move, sank in the
rear seat of the tonneau. "Kelso," in monkey glee,
laughed and chattered, and clung for dear life to the
steering wheel. Jim Kirkwood did some excellent sprint-
ing after the car, with his assistant, Fred Kelsey, a close
second. With "Kelso" at the helm, the auto darted from
side to side of the road, until the monkey thought it
would be a good trick to auto up the trunk of a large tree
by the wayside. Needless to state the expected happened,
and the automobile turned turtle, throwing Miss Robin-
son in a muddy ditch, and "Kelso" up a tree where he
hung by his tail, screaming and chattering as the rescue
party arrived.
Thomas Comerford Joins Essanay Company
Thomas Comerford, well known in motion pictures
for his ability to handle the different characters assigned
him, has joined the Essanay eastern stock company. Mr.
Comerford, prior to his engagement with another film
manufacturing company, played in Lincoln J. Carter
productions for over a quarter of a century. Mr. Com-
erford will play heavy parts.
The Cobb Motion P icture Bureau
Offices of the Cobb Motion Picture Bureau have just
been opened on the seventh floor of the Columbia Theater
building at Seventh avenue and Forty-seventh street, New
York City, with Agnes Egan Cobb in charge. The new
concern, which has just entered the field and is now be-
ing incorporated, will handle feature films and serve as
a general film brokerage concern. The stock of the com-
pany will be principally owned and controlled by C. Lang
Cobb, Jr., and Mrs. Agnes Egan Cobb. Mr. Cobb, though
president of the new bureau, will act only in an advisory
capacity, and he will retain his position as manager of
sales and publicity for Ramo films. Mrs. Cobb will act
as manager and treasurer, being the active head of the
new company.
Watch The Building Grow
Details in the construction of Machinery Hall at the
Panama-Pacific Exposition are being recorded by a mov-
ing picture machine set to take a picture automatically
every five minutes. The camera is placed upon the roof
of the Service building, one of the completed exposition
structures, and has an inclusive view of the new struc-
ture. Under the magic influence of the picture camera a
full grown building will be conjured up, beginning with
the bare ground, and finishing in eighty minutes with a
structure completed to the topmost pinnacle. Like the
Temple of Solomon it will be built without the sound
of a hammer. The records will show ninety-six pictures
for each working day or a total of 6,912 for the three
Scene from "The Accusing Hand," Lubin release of June 6.
414
MOTOGRAPHY
Vol. IX, No. 11
months required for completing the building. When the
pictures are reproduced the reel will be run at the rate of
864 pictures per minute, or more than a week's progress
in that time. This is a new departure from the usual
custom of taking photographs of buildings at different
stages of construction, and aside from the interest of the
picture it will furnish the exposition officials with a val-
uable record of the building operations as they expect to
study the effectiveness of various methods of construc-
tion through the slower reviews of the films. Machinery
Hall will be the largest wooden building in the world;
more than seven million five hundred thousand feet of
lumber will be used in its construction, and more than
four carloads of nails ; twelve hundred tons of steel and
iron will be used. The dimensions of the building are
967 feet long, 367 feet wide, extreme height 135 feet,
with three great naves running throughout its length.
New Concern Opens Offices
Offices of the Albert C. Derr Company, the first ex-
clusively religious and educational motion picture con-
cern to invade the field of pictures, have been opened at
20 West Jackson Boulevard,
Chicago, with A. C. Derr, D.
D., Ph. D., who is president
and general manager, in
charge. The new company,
which is a $300,000 corpora-
tion, aims to supply pictures
of a religious or educational
nature to schools, colleges,
churches and universities, and
will also, upon request, pro-
vide a lecturer and a projec-
tion machine. Another fea-
ture of the new concern's bus-
iness will be a training school
for camera men, in which the
student will be thoroughly in-
structed in photography, mo-
tography, and the construction
and use of a motion picture machine. Still another de-
partment of the firm will undertake the manufacture of
films to accompany the current Sunday School lessons,
the pictures being taken in a studio that has just been
acquired on Chicago's South Side, and developed and
printed in the concern's own laboratories. Undoubtedly
much of the success of the new enterprise will rest upon
the shoulders of Mr. Derr, who is well known as an edu-
cator and doctor of divinity. He began teaching in the
public schools in 1884, entered the ministry in 1890, and
in 1893 began his lecture work which led to his interest
in motion pictures. The vast possibilities of supplying
the growing need for films of the right sort to colleges,
schools and churches led Mr. Derr to organize the new
company, and owing to his intimate knowledge of both
the educational and religious fields, as well as the motion
picture field in all its branches, success seems likely to
crown his, efforts.
DR. . ~&. C.jDEKB
Kinemacolor for Ladies Only
The Kinemacolor Company of America has arranged
with Gimbel Brothers to photograph in natural colors "La
Parisienne Elegante in Her Boudoir" — the demonstration
for ladies only of the correct manner of wearing the latest
styles of French lingerie. For this fashion display Paris
has sent her loveliest and most novel specimens of under
apparel. From boudoir caps to stays, from fichued "com-
binations" to hand embroidered "throws," everything ap-
pertaining to the fashionably dressed French woman is
displayed and applied. Women are shown the correct
method of donning a corset, while the putting on of vest,
chemise and billows of fairy-like gauzes, laces and filmy
stuffs, some of them duplex, some of them single, all of
them a mass of mysterious ruffles and fluffles and foam,
are shown by nearly a score of beautiful models. Natur-
ally such intimate displays are not for the general public
but these pictures will be supplied to theaters having the
Kinemacolor fashion service, with the understanding that
they are to be shown only at special morning matinee per-
formances for ladies only. The popularity of the "Fash-
ion Parade" in Kinemacolor proved to exhibitors that
style shows are something new in filmdon, and such a
decided innovation has already resulted in renewed de-
mand for the Kinemacolor fashion service.
"Battle of Gettysburg'" Shown
An audience of over a hundred Mutual exhibitors
and exehangemen on Tuesday afternoon, May 20, wit-
nessed the first semi-public showing in Chicago of the
Kay-Bee war spectacle, "The Battle of Gettysburg," in
five reels. The film was shown in the spacious projec-
tion room of E. E. Fulton, La Salle and Lake streets,
and an orchestra of four "played the picture" to perfec-
tion. Practically every foot of the stupendous produc-
tion is filled with action of the most vivid sort, and so
much goes on that a description of the events recorded
by the camera would be impossible. One stirring battle
scene succeeds another, as we witness charge and coun-
tercharge, an artillery duel between the batteries of the
"The Final Judgment," Essanay release.
opposing armies, and closeup fighting between the infan-
try. The closing scenes show the dedication of the monu-
ment erected on the battle field and we see Lincoln de-
livering the Gettysburg address. As the last picture
faded from the screen the room rocked with applause,
and exhibitors on all hands could be heard declaring it
the greatest war picture ever attempted.
The best is none too good for Olive Skinner's famous
dog "Shep." The collie was the center of an awe-struck
crowd in front of a Los Angeles restaurant one recent
night while he masticated a dollar and a half sirloin
steak on the front seat of his mistress' automobile.
May 31, 1913
MOTOGRAPHY
415
Brevities of the Business
PERSONAL NOTES.
Tom Carrigan shortly after rejoining the Chicago branch
of the Selig company, in one mail received twenty letters, for
the most part from fans congratulating him upon his return to
the picture world. Twelve of the twenty letters bore the post-
mark of twelve different foreign countries. Carrigan says he
will soon be able to rival "The Great Raymond" as an inter-
national correspondent.
Harrison Del Ruth, scenario writer for the Universal Film
Manufacturing Company, died at the Los Angeles County Hos-
pital on May 4 from a bullet wound received on April 17. The
shooting was done by Jesse Jones, a druggist, who mistook Del
Ruth for a burglar while the latter was peering into the shop
window. Mr. Del Ruth was much beloved by his associates in
the Universal West Coast organization, and his widow was the
recipient of many beautiful floral offerings. Besides his widow,
Mr. Del Ruth left a brother, Hampton Del Ruth, who played the
part of "Pelleas" with Arthur Maude and Constance Crawley
in the recent production of Maurice Maeterlinck's "Pelleas and
Melisande," which Mr. Del Ruth adapted for use before the
camera.
Frank Harris, manager of the Empress theater at Omaha.
Neb., was elected president of the Nebraska Moving Picture
Exhibitors' League.
Walter McNamara, author of many of the recent King
Baggot successes under the Imp brand, including "The Rise of
Officer 174" and "The Comedian's Mask," sailed for Europe on
Wednesday, May 7, on a big business deal. ■ Mr. McNamara
leaves a fine record and a host of friends behind him, and
carries with him the best wishes of the entire staff of the Univer-
sal. He was born at Lismore, County Waterford, Ireland, and
educated at St. Peter's school, Cardiff, South Wales, and since
then has played many parts, having been in turn a blacksmith,
marine engineer, elevator constructor, actor, war correspondent
and authorof several successful comedies and dramas. He has
also been impressario for some of the world's greatest stars,
having built up a very successful business in this line in London.
Allen Hale has been engaged to appear exclusively in Re-
liance films, having recently returned from Jacksonville, Florida,
where he was playing leading roles for the Majestic. Ethel
Phillips, Runa Hodges, Clifford Saums and Harry Spingler have
also been signed under the Reliance banner.
Theodore W. Wharton, producer with the Essanay eastern
stock company, has gone to St. Louis to spend a few days with
his folks, whom he has not seen for several years. Mr. Wharton
will leave St. Louis for Ithaca, New York, where he will spend
a week or so.
Hobart Bosworth is considered one of the most talented
painters in the United States, and his oils are in great demand
by art connoisseurs throughout the country. He only paints as a
pastime, however, his real work being confined to portraying
leading roles for the Los Angeles branch of the Selig Polyscope
Company.
Director T. N. Heffron of the Thanhouser company at Los
Angeles, Cal., has bestowed the title of "Mrs. Heffron" upon
Emma Luzanne Butler of Long Beach, Cal.
Miss Vivian Rich, since the resignation of Miss Pauline
Bush from the first "Flying A" company, has been playing leads
opposite Jack Warren Kerrigan.
Miss Nance O'Neil, the dramatic star, posed for Flerbert
Brenon at the Imp studio in two chosen characterizations — the
sleep-walking scene from "Macbeth," and the curse scene from
"Leah the Forsaken." The evening of the taking of the scenes
Miss O'Neil and a party of friends viewed the films at a private
showing.
Miss Bille West, formerly of the Vitagraph and Pathe com-
panies, is the new leading lady of the "Flying A" company,
number two. Robert Gray, who played with Kalem, Edison and
Pathe, is the new male lead in that company.
Irene Howley will be seen playing opposite Irving Cum-
mings in "The Eastern Cracksman," released in two reels on
May 31. Stephen Allen Reynolds is the author of the drama,
which appeared as a magazine story before it was "picturized"
under Oscar C. Apfel's direction.
Kessell and Bauman got off the train in New York just
twelve days after they had left that city for the Pacific coast.
They claim to have accomplished all they started out to in that
short period, and left Fred Mace busily engaged in making a
Majestic film for an early release.
Olive Skinner, who was away from Universal City for a
fortnight, has resumed allegiance to the Nestor Company and
will again appear before the camera under the direction of Milton
H. Fahrney.
Grace Cunard, leading woman with Francis Ford in his
pictures of Spanish-American life, was candidate for city assessor
in the election in Universal City, held on May 20. Miss Cunard
has even surprised her friends, who are appreciative of her
versatility, by the vigor with which she entered upon her cam-
paign. Miss Cunard spent a number of years on the stage, and
has been in important roles in Dora Thorne, East Lynne, Princess
of Patches and other productions.
William H. Hickey has come to New York from London,
where he holds the responsible position of general manager of
the Natural Color Kinematograph Company of England, and is
the European representative of the Kinemacolor companies of
Canada and America. When his business in New York is
finished, Mr. Hickey will visit the Dominion of Canada.
R. C. "Doc" Travers has been signed by the Essanay stock
company and will most likely sustain his reputation for perform-
ing dare-devil stunts in his famous automobile, as well as
qualifying as an expert rider, swimmer and fencer. Travers
formerly did all these things in his capacity of leading man with
the Lubin company.
Gwendolen Brooks, who recently made her debut in moving
pictures as a member of Lincoln J. Carter's company, has for the
past few years been playing ingenue parts with Douglas Fair-
banks, and under the Savage, Harris and Brady managements.
Miss Brooks is a daring rider, a skillful swimmer, and an all-
around athletic girl.
Gardner Clifford, the young heir of William Clifford, and
the youngest moving picture actor in the world, was the recipient
of a cradle from the boys of Troop A the other day at Universal
City. Upon the birth of Master Clifford on March 17, J. A.
Morante of the military company started a subscription to get
the baby a suitable present, and the gift finally took the form of a
cradle, which was accepted for the little fellow by his parents in
a clever little poem. Little Gardner Clifford made his first ap-
pearance as a picture-actor in "The Last Roll Call," and like his
daddy before him, under the direction of Milton J. Fahrney.
Director Bowman, who helped make history for the Kay-Bee
company, has annexed himself to Rollin S. Sturgeon's company
at the Western Vitagraph studio, Santa Monica, Cal. "The
Yellow Streak" will be his first production.
William C. Hedwig, superintendent of the Imp factory, has
acquired another responsibility — a two weeks' old son whom he
has named Gorden Wilbur.
Loraine Raker has left the' Wolfe stock company of Wichita.
Kas., and his role there as juvenile character man, to play kid
parts with the Selig company.
Miss Johnny Johnson, who has spent the greater part of
her stage career in musical comedy, is at present a member of
Phillips Smalley's company of the Universal. Miss Johnson has
played some of the most important roles in "The Wizard of Oz."
"Babes in Toyland," "King Dodo," and "The Prince of Pilsen."
She recently appeared with Lois Weber and Mr. Smalley in their
new picture, "The King Can Do No Wrong," and her acting
won for her the praise of all who beheld her.
Director James Kirkwood of the Victor films had taken his
company to Wharton, N. J., to complete one of the great scenes
of his new photoplay, "The Plaything." Some of the super-
numeraries that he had engaged failed to show up, and Jimnay
was "up against it." While waiting to consider the situation,
he "heard a noise a-comin'," and looking up the track he beheld
a body of men, sixty strong, marching along in straggling lines.
Inquiry elicited the information that the men were section men
out on a strike. After negotiations, the strikers consented to
appear before the camera. To add a touch of reality to another
scene, Miss Gertrude Robinson, the Victor leading lady, induced
the manager of the Wharton quarries to permit the use of sixteen
of his men in their working environment.
Director Hale of the American Film Company is planning a
two-reel French costume play to be produced in a couple of
weeks, using some of the splendid Montecito estates for settings.
Irving Cummings has made his debut as an author, having
written "Italian Love," the Reliance release of June 2, in which he
also played the lead.
Major H. Stuart Raleigh, general manager of the Victor
Company, has an honorable war record as surgeon-major of the
United States Army. As a reminder of the Philippine cam-
paign, he carries in his body two bullets received in warfare with
Aguinaldo's forces. Major Raleigh for twenty-five years was
416
MOTOGRAPHY
Vol. IX, No. 11
identified with the theatrical profession, as player, house manager
and impressario, and is one of the pioneers in the motion-picture
game. His special preference is for the scientific end of the
business, and he is credited by motion-picture authorities with
having constructed and conducted one of the best equipped
motion-picture studios that American has ever seen.
Myrtle Stedman, leading woman of the Selig Arizona Com-
pany, now located at Prescott. Arizona, celebrated a birthday
recently. The management of the St. Michaels Hotel, in Pres-
cott, acted as hosts at a party given in honor of the popular
photoplay star.
Frank Smith of the Imp stock company combines with his
other accomplishments a gift for clay modeling and sculpture.
Mr. Smith has successfully exhibited many of his works of art
in New York City.
E. J. Hudson, advertising manager of the Universal Film
Company, made the May issue of The Candlestick with an article
on "Sheridan!s Ride."
B. P. Schulberg, advertising manager for the Famous Players
Film Company, is to marry Adeleine Jaffe on June 14.
Miss Maud Fealy, one of the latest stars recruited from the
legitimate stage, has been the guest of her friend, Miss Louise
Vale, of the Pilot company.
J. Searle Dawley, an Edison director for the last six years,
is now under contract with the Famous Players Company.
Irving Cummings, leading man of the Reliance company,
and author of the June 2 release, "Italian Love," obtained his
costume for his part in that film in a very informal manner.
While having his shoes polished he decided that the clothes of the
bootblack would just fit the character he had in mind, and a
bargain was made which allowed him to carry the man's com-
plete outfit back to the studio under his arm. The young Italian
still thinks that Irving Cummings is as crazy as a tumbler pigeon.
Joseph Murphy of the Universal was elected president,
Horace Davey vice-president, Al Young scretary and Jack White
treasurer of a club which has been formed in Los Angeles for
the benefit of the assistant directors, the property men and the
carpenters and scenic artists. It is called the Punch Club.
Lillian Hayward, character and heavy woman of the Pacific
Coast stock branch of the Selig Company, has made four trips
around the world during her career behind the footlights. No
matter what character or nationality she is called upon to play,
she knows just how to dress and portray it. This comes from
a close study of the people of lands through which she has
traveled.
Adele Ray, better known as Evelyn Provost, a real society
bud and cousin to Mrs. John Jacob Astor, makes her Thanhouser
debut in a picture called "His Sacrifice."
King Baggot, leading man in Imp pictures and president of
the Screen Club, has gone to England to join Herbert Brenon.
an Imp director, and together they will pick a company and make
a series of pictures to be staged in England, Ireland, France,
Italy, Spain and other countries they may choose to visit. It
will be all of ten weeks before the popular King returns to New
York.
Misses Pauline Bush, Jessalyn Von Trump, Director Allen
Dwan, Wallace Reid and Marshall Neilan form a newly acquired
quintette out at Universal City.
Harold M. Shaw, an Imp director, has accepted the lucrative
position of head producer for the London Film Company of
Margaretta Middlesex, England, and named May 31 as the date
of his sailing.
Tom Evans of the Powers Photo Plays (Inc.) had a box at
the Auditorium, Los Angeles, Saturday night when several stars
of filmdom were asked to appear and when their pictures were
shown on the screen of this large theater. Included in the party
were Mrs. Tom Evans, Constance Crawley, Arthur Meade, Edith
Bostwick, J. Farrell Macdonald, Joe Harris, Elsie Albert, Harry
C. Matthews, Bob Ross and the Powers kids — Matty and Early.
Spread across the box was a huge banner with the words
"Powers Photo Plays, Inc."
Frank Montgomery, who was for so long associated with the
"Bison" brand of the Universal in Los Angeles, is now pro-
ducing independently. He is running a brand to be known as
the Mona films. The "Mona" stands for Mona Darkfeather,
of course, and it is at least clear that she is to be featured.
ROLL OF THE STATES.
ALABAMA.
R. H. Little will erect a $10,000 building at Tuscaloosa to be
used as a picture show. W. E. Howell will operate the theater.
CALIFORNIA.
A picture theater will be built on Washington street near
Arlington, Los Angeles, by David Fuiks. Plans for the building
which will be a two-story brick, have been prepared by Architect
F. L. Stiff.
Plans were filed for moving picture theater to be erected for
F. A. Hollowbusk at San Diego. P. Hansen has been awarded
the contract.
The Board of Works of San Francisco has recommended
to the supervisors the passage of an ordinance drafted by the
city attorney, which provides that theaters in course of con-
struction or hereafter constructed, and all moving-picture houses
with a seating capacity of 400 or more, including those existing,
shall be class A structures.
Robert M. Woodley is having plans drawn for the early
erection of a two-story store and picture theater to occupy a lot
60x150 feet on the east side of Broadway, 178 feet north of Ninth
street, Los Angeles. Mr. Woodley recently secured a lease for
the lot for a term of ninety-nine years for a consideration of
$2,000,000. The cost of the proposed theater structure is $75,000.
Architect A. C. Martin has completed plans for a one-story
brick moving-picture theater building to be erected on West
Adams street between La Salle and Harvard boulevard, Los
Angeles, for Mr. Haskell. It will be 50x150 feet.
DELAWARE.
Washington Motion Picture Company, Wilmington, Del.,,
to manufacture and deal in moving-picture films and projecting
machines; capital stock $200,000.
A permit has been issued to R. C. Tindall to erect a moving-
picture theater at Nos. 834 and 836 Market street, Wilmington,,
for the Misses A. L. and F. M. Crawford, to cost $14,000.
The Phoenix Film Manufacturing Company, Limited, Wil-
mington, Del. Capital stock $500,000. To manufacture moving
picture films for amusement and profit.
The Weiland Film Company, Wilmington; capital $100,000.
GEORGIA.
The interior of the Dixie picture theater at Moultrie was
destroyed. Loss total, covered by insurance. Building saved.
IDAHO.
Columbia park at Boise has an additional attraction this
summer in the way of a free moving picture show, which is con-
ducted by Mr. Robinson, who secured the concession fromi
Councilman Eichelberger, upon condition that only a good grade
of pictures should be shown.
ILLINOIS.
New City Theater Company, Chicago ; capital $10,000 ; con-
duct amusement enterprises ; incorporators, Arthur Rosenthal.
John A. Bussian, Joseph Strauss.
A branch studio and factory for a large motion picture
concern may be established in Freeport. It is proposed to secure
a tract of fifteen acres of land near Freeport. Upon this land
will be erected the studio and plant for the making of moving-
picture films.
The first moving picture show in the new playhouse at Dan-
ville which was recently completed in the building that replaces
the one burned last winter, has been opened to the public. The
playhouse is run by George Shof and will replace the old Air-
dome which was closed recently.
Gulf Educational Film Service Company, Chicago, $50,000;
manufacturing moving picture supplies; A. E. Nelson, W. W.
Mackay, R. P. Mitchell.
Pekin is to have another moving-picture show. J. Meyers
of Peoria is arranging to occupy the old Post-Tribune building
at the corner of Fifth and Court street. Mr. Meyers was form-
erly a member of the firm of Meyer Bros., dyers, at Peoria.
The opening of a modern moving-picture theater on Main
street, in the south end of the business district of Manhattan, by
F. M. Fehey, has rejuvenated that part of the business section
of the town.
Photo Play Company, Chicago, $1,000; moving picture sup-
plies ; J. B. Brock, R. B. Barker, J. A. Verhoeven.
INDIANA.
Don Graffort of LaPorte has opened a first-class moving-
picture show in the Stites building at New Carlisle.
The business men of Clay City give free motion pictures on
the Knox corner every Saturday night.
Plans for the remodeling of the interior of the Colonial
theater in Main street, Evansville, are being drawn by Architect
Clifford Shopbell. The cost of the improvement will be about
$5,000. The theater management wants to convert the amuse-
ment house into one of the most attractive picture houses in
the state.
Guy Mote has purchased the Lyric moving-picture show of
W. F. Nawtney at Muncie.
The Orpheum theater on East Fourth street, Marion, has
changed hands again, Elmer E. Colby purchasing the theater of
B. L. Lomax. Mr. Colby himself will be in charge of the theater.
IOWA.
Manager Hyatt of the Orpheum theater at Webster City
has begun the construction of an airdome. The new house will
be run in connection with the Orpheum.
May 31, 1913
MOTOGRAPHY
417
Complete Record of Current Films
LICENSED
Date
5-12
5-14
5-14
5-14
5-14
5-14
5-14
5-14
5-14
5-14
5-16
26
Believing the classification of film pictures by the nature of their subjects to be of greater importance to the exhibitor than classification by maker,
Motography has adopted this style in listing current films. Exhibitors are urged to make use of this convenient tabulation in making up their program*.
Films will be listed i^ long in advance of their release dates as possible. Film manufacturers are requested to send us their bulletins as early as possible.
Reasonable care is used, and the publishers cannot be responsible for errors. Synopses of current films are not printed in Motography as they may be
obtained of the manufacturers.
Date. Title Maker. Length.
5-14 Two Souls With But a Single Thought Vitagraph 1,000
5-15 Boosting Business Essanay ' 1,000
5-15 An Itinerant Wedding Patheplay 1,000
5-15 In the Long Ago Selig 1,000
5-16 Pat the Cowboy Kalem 500
5-17 Bunny and the Bunny Hug Vitagraph 1,000
5-19 By Mutual Agreement Edison 1,000
5-19 Bunny's Birthday Surprise Vitagraph 500
5-20- Buster 'Brown, Tige, and Their Creator, R. F.
Outcault Essanay 1,000
5-20 A Jockey for Love Patheplay 500
5-20 The Tattle Battle Selig 500
5-20 The Leopard Tamer Selig 500
5-20 The Amateur Lion Tamer Vitagraph 1,000
5-21 Bragg's New Suitp i Edison 685
5-21 The Letter's Mission Essanay 1,000
5-21 Counsellor Bobby Vitagraph 1,000
5-22 The Kicksville Epicure Biograph 500
5-22 Cinderella and the Boob Biograph 500
5-22 A Lady and Her Maid Vitagraph 1,000
5-23 The Black Hand Kalem 500
5-23 The Egyptian Mummy Kalem 500
5-23 Detective Dot Lubin 400
5-23 His First Experience Lubin 600
5-23 The Midget's Revenge Vitagraph 500
5-23 Going to Meet Papa ... Vitagraph 500
5-24 Exceeding the Time Limit Cines 300
5-24 The Maid and the Yarn Cines 300
5-24 Curing a Would-Be Aviator Cines 400
5-24 Cupid Through the Keyhole Vitagraph 1,000
-26 Highbrow Love Biograph 1,000
Up and Down the Ladder Vitagraph 1,000
Borrowed Plumage Cines 500
The Champion Fixer Cines 350
Doing Like Daisy Lubin 500
The Yarn of the Nancy Bell Lubin 500
Tricks of the Trade Vitagraph 1,000
Newcomb's Necktie Edison 1,000
On the Job Essanay 1,000
Cutey Plays Detective Vitagraph 1,000
Their Baby Essanay 1,000
The Widow from Winnipeg Kalem 500
The Comedv Team's Strategy Kalem 500
A Husband's Trick Vitagraph 1,000
Alkali Ike's Misfortune Essanay 1,000
One Can't Always Tell Vitagraph 500
If Dreams Came True, or Who'd Thunk It? Vitagraph 500
EDUCATIONAL.
5-6 The Ant-Lion Patheplay 500
5-6 Hatching Chickens Selig 500
5-16 The Telly Fish Patheplay 333
5-21 The Chicken Industry Eclipse 400
5-21 Big Game Eclipse 425
5-23 Night Birds Patheplay 500
5-23 The Ailanthus Silkworm Patheplay 500
5-26 Dances of the Ages Edison 1,000
5-26 In the Forest of Cochin, China (Lumbering) Patheplay 500
5-30 The Spider Which Lives in a Bubble Patheplay 500
5-30 Transportation Methods in Java Patheplay 500
SCENIC.
5-16 Along the Banks of the River Eure Patheplay 333
5-16 Sargossa Patheplay 333
5-17 Gulf of Togulio, Northern Italy Cines 500
5-20 The Citv of Rouen, France Patheplay 500
5-21 In the Tyrolese Alps Eclipse 175
5-21 Glimpses of Colorado in Winter Edison 315
5-27 In Somaliland Cines 150
5-29 Tandjong Priok, the Harbor of Java's Capital, OBatavia. Melies 500
5-29 Scenes in Manila Selig 500
5-31 Interesting Scenes Abroad Cines 1,000
TOPICAL.
5-16 With the Students of the North Dakota Agricultural
College Selig 500
5-19 Pathe's Weekly No. 21 Patheplay 1,000
5-19 Vitagraphers at Kama Kura Vitagraph 500
5-26 Pathe's Weekly No. 22 Patheplay 1,000'
5-27 Bullfight in France Patheplay 500
5-17
5-17
5-17
5-17
5-17
5-17
5-17
5-17
5-19
5-19
5-19
5-19
5-19
5-20
5-20
5-20
5-21
5-21
5-21
5-21
5-22
5-22
5-22
5-22
5-22
5-23
5-23
5-23
5-23
5-24
5-24
5-24
5-24
i:i
5-24
5-26
5-26
5-26
5-26
5-27
5-27
5-27
5-28
5-28
5-28
5-28
5-28
5-29
5-29
5-29
5-
29
29
30
30
30
30
31
31
31
31
31
31
5-12
5-13
5-13
5-14
5-14
DRAMA.
Title Maker
The Adventure of an Heiress Kalem
The Prophecy Edison
The Ranch Girl's Partner Essanay
The Padre's Strategy Lubin
A Woman of Impulse Patheplay
Lieutenant Jones Selig
The Will of Fate Eclipse
The Two Merchants Edison
Man's Greed for Gold Kalem
A Redskin's Mercy Patheplay
Her Masked Beauty Patheplay
The Stolen Loaf Biograph
Longing for a Mother Lubin
The Black Trackers Melies
A Soul in Bondage Vitagraph
John Manley's Awakening Edison
Two Social Calls Essanay
Breed of the West Lubin
A Daughter of the Confederacy Selig
His Life for His Emperor Vitagraph
The Vampire of the Desert Vitagraph
The Yaqui Cur Biograph
A Woman's Influence Cines
A Concerto for the Violin Edison
Broncho Billy's Grit Essanay
The Poet and the Soldier Kalem
The Battle for Freedom Kalem
Retribution Lubin
A Wrecked Life Patheplay
Olaf — An Atom Biograph
Into the North Essanay
The Artist's Sacrifice Kalem
Margaret's Painting Lubin
His Father's Deputy Selig
Red Wins Cines
The Good in the Worst of TJs Edison
Kidnaping Father Lubin
The Circle of Fate Kalem
The District Attorney's Conscience Lubin
The Price of Silence Patheplay
The Stolen Melody Selig
A Widow of Nevada Essanay
A Perilous Ride Lubin
Gold and the Gilded Way Melies
The Right of Way '. Patheplay
Indian Summer Selig
A Race to New York Edison
Jealousy Essanav
The Open Secret Patheplay
The Noisy Six Selig
Just Gold Biograph
The Translation of a Savage Edison
Broncho Billy and the Express Driver Essanay
The Infamous Don Miguel Kalem
Brightened Sunsets Lubin
A Woman Scorned Patheplav
The Still Voice Vitagraph
A Victim of Heredity Kalem
The Reward of Service Lubin
Wamba — A Child of the Jungle Selig
Religion and Gun Practice Selig
An Unwilling Separation Edison
The New Sheriff Essanav
The Girl and the Judge Selig
The Indelible Stain Eclipse
Captured bv Strategy Kalem
Love and War in Mexico Lubin
The Fugitive Patheplay
The Wordless Message Selig
A Dangerous Foe ". Biograph
The Romance of the Ozarks Lubin
The Foster Brothers Melies
™hheL Lies Patheplay
1 he Ex-Convict's Plunge Selig
The Only Veterman in Town Vitagraph
The Honor of a Soldier Fdison
?i'thw aJcid •••«■■■■■•, '.Lubin
1 he Woodhre at Martin s Seli<*
The Human Vulture Patheplav
His Mother's Son Biograph
An Almond-Eyed Maid Fdison
John Burns of Gettysburg Kalem
Lone Dog the Faithful ' Lubin
Jte ,?n"aw£Yln's Awakening Patheplav
The White Slave Vitagraph
COMEDY.
™e Wrong Pair Vitagraph
Willies Alarm Clock Cines
Horatio Sparkins .[[[[] .' Vitagraph
The Same Old Story Essanav
Buck Richard s Bride Seli°-
Length
1,000
1,000
1,000
1 ,000
1,000
1,000
1,000
1,000
1,000
1 ,000
2,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
500
1,000
2,000
2,000
500
1,000
l-.OOO
1,000
2,000
1,000
1,000
1,000
2,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
2,000
1,000
1,000
1,000
1,000
1,000
1 .000
1,000
1,000
1,000
2,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
2,000
1,000
1,000
2,000
1,000
1.000
1.000
1,000
1,000
1,000
2,000
1.000
1,000
1,000
1,000
soo
1,000
500
1.000
1 ,00 0
1,000
1,000
2,oon
1,000
1.000
1.000
1,000
1.000
2,000
500
780
1,000
1,000
1.000
5
5
5
5
5
5
5-27
5-28
5-28
5-28
5-29
5-30
5-30
5-30
5-31
5-31
5-31
DAILY LICENSED RELEASES
MONDAY: Biograph, Edison, Kalem, Lubin, Pathe, Selig, Vita-
graph.
TUESDAY: Edison, Essanay, Cines-Kleine, Lubin, Pathe, Selig,
Vitagraph.
WEDNESDAY: Edison, Essanay, Kalem, Eclipse-Kleine, Pathe,
Selig, Vitagraph.
THURSDAY : Biograph, Essanay, Lubin, Melies, Pathe, Selig,
Vitagraph.
FRIDAY : Edison, Essanay, Kalem, Lubin, Pathe, Selig, Vita-
graph.
SATURDAY : Edison, Essanay, Cines-Kleine, Kalem, Lubin,
Pathe, Vitagraph.
418
MOTOGRAPHY
Vol. IX, No. 11
INDEPENDENT
DRAMA.
Date Title Maker
5-18 The Three 'Comrades Great Northern
5-18 Gold and Two Men Rex
5-19 Her Innocent Marriage American
5-19 The Sergeant's Daughter Dragon
5-19 London Assurance Reliance
5-19 The Leper , Champion
5-20' A Business Woman Thanhouser
5-20' Eyes That Would Not Close (Hand colored) Gaumont
5-20 Shep, the Hero J Majestic
5-20' Stars and Stripes Forever ' Bison
5-21 The Sea Dog Broncho
5-21 Early Oklahoma Reliance
5-21 The Boy Scouts to the Rescue Nestor
5-21 Thus Saith the Lord .....Eclair
5-22 For Two Pins '.Gaumont
5-22 In Slavery Days Rex
5-22 She NeveV Knew Imp
5-22 The Stage Driver's Chivalry Frontier
5-23 The Miser Kay-Bee
5-23 In Their Hour of Need Thanhouser
5-23 Playing with Fire Lux
5-23 The Man That Failed Solax
5-23 A Mine and a Marathon Nestor
5-23 Black Jack's Atonement Powers
5-23 Good For Evil Victor
5-24 Runa and the Black Hand Reliance
5-24 The Modern Snare American
5-24 The Three Comrades Great Northern
5-24 Under Fire Bison
5-25 Legally Right Majestic
5-25 Hearts and Crosses Eclair
5-25 The Trifier Rex
5-26 Ashes of Three : American
5-26 Hearth's Lights ' Reliance
5-26 Secret Service Sam Imp
5-26 Love's Monogram Dragon
5-27 Carmen Thanhouser
5-27 The Light That Kills Gaumont
5-27 Love, Life and Liberty . Bison
5-27 Where Charity Begins Crystal
5-28 The Drummer of the 8th Broncho
5-28 A Texas Feud Reliance
5-28 A Double Sacrifice Nestor
5-28 The Faith Healer Eclair
5-29 A Problem in Reduction Gaumont
5-29 On the Border American
5-29 The Heart That Sees Imp
5-29 The Tourist and the Flower Girl Rex
5-29 A Romance of the Rails Frontier
5-30 A Child of War Kay-Bee
5-30 The King's Messenger Solax
5-30 Be It Ever So Humble Nestor
5-30 The End of the Trail Powers
5-30 The Plaything ' Victor
5-31 The Master Cracksman Reliance
5-31 Her Big Story American
5-31 The Honor of the Regiment.., Bison
6-1 The Message of the Flowers Majestic
COMEDY.
5-18 Homlock Shears Crystal
5-18 Our Willie Crystal
5-18 He Loves to Watch the Flight of Time Eclair
5-19 Hubby's Job Keystone
5-19 Twixt Love and Fire Keystone
5-19 The Twins Imp
5-19 Her Hero's Predicament Nestor
5-20 Billy Plays Poker Gem
5-21 The Amateur Highwayman Solax
5-21 The Curate's Outing Powers
5-22 The Foreman of the Jury Keystone
5-22 Petronella Wins the Steeple Chase Mutual
5-22 School Days ' Pilot
5-22 Calamity Anne's Parcel Post American
5-24 Just for Luck Imp
5-24 Hv Myer — His Magic Hand Imp
5-24 Where Wits Win Frontier
5-25 A Pullman Nightmare Thanhouser
5-25 Toodleums Crystal
5-25 Supper for Three Crystal
5-26 Toplitsky & Co Keystone
5-26 On Cupid's Highway Nestor
5-27 Her Fairy Godfather Majestic
5-27 Billy's Honeymoon Gem
5-28 The Henpecked Burglar Solax
5-28 Cheating Powers
Length
1,017
1,000
1,000
2,000
1,000
1,000
1,000
1,000
1,000
3,000
2,000
1,000
1,000
2,000
1,000
2,000
1,000
1,000
2,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
2,000'
1,000
500
1,000
2,000
1,000
2,000
1,000
3,000
1,000
2,000
1,000
2,000'
1,000
1,000
2,000
1,000
l.OTtO
1,000
1,000
1,000
2,000
1,000
1,000
2,000'
1,000
2,000
1,000
2,000
1,000
500
500
500
500
500
1,000
1,000
1,000
1,000
1,000
1,000
500
1,000
1,000
500
500
1,000
1,000
500
500
1,000
1,000
500
1,000
1,000
1,000
DAILY "MUTUAL" RELEASES
(Independent.)
MONDAY: American, Keystone, Excelsior.
TUESDAY: Majestic, Thanhouser.
WEDNESDAY: Broncho, Mutual Weekly, Reliance.
THURSDAY: American, Mutual, Keystone.
FRIDAY: Kay-Bee, Thanhouser.
SATURDAY: American, Reliance.
SUNDAY: Majestic, Thanhouser.
Date Title Maker Length
5-29- The Gangsters ., Keystone 1,000
5-29 Gontran, Apostle of Peace Mutual 500
5-30 The Dog and the Goat Lux 500
5-30 Pat the Electrician Lux 500
5-31 The Magnetic Maid Imp 500
5-31 Hy Mayer, Topical Cartoons Imp 500
5-31 Flossie Visits Bar U Ranch Frontier 1,000'
6-1 A Victim of Circumstances Thanhouser 1,000
EDUCATIONAL.
5-18 Cuttlefish Eclair 500
5-25 Anaradhapura Eclair 500
5-27 Life Among the Navahoes Majestic 500
SCENIC.
" 5-22 Rivers of Indo China Mutual 500
5-29 Glimpses of Hawaii Mutual 500
TOPICAL.
5-21 Animated Weekly No. 63 Universal 1 ,000
5-21 Mutual Weekly No. 21 Mutual 1,000
5-21 Gaumont's Weekly No. 63 Gaumont 1,000
5-28 Animated Weekly No. 64 Universal 1,000
5-28 Mutual Weekly No. 22 Mutual 1,000
5-28 Gaumont's Weekly No. 64 Gaumont 1,000
KINEMACOLOR
DRAMA.
The Scarlet Letter Kinemacolor
The Sand Man Kinemacolor
The Better Success Kinemacolor
Love in the Dark Kinemacolor
Paying the Penalty Kinemacolor
Pearls of tne Madonna Kinemacolor
Beyond Reproach Kinemacolor
COMEDY.
Mumps Kinemacolor
Mixed Signals Kinemacolor
Love and Laundry Kinemacolor
EDUCATIONAL.
Reedham Drill Kinemacolor
4,460
1,360
1,720
2,130
2,600
1,460
700
MISCELLANEOUS FEATURES.
Date.
12-15
1-15
2-15
3-15
4-15
5-15
6-15
Title.
A Living Tomb Itala
Mona Lisa (hand colored) Warner's
Saved in Midair Warner's
The Palace of Flames Itala
A Traitor to His Country Warner's
Rescued from the Burning Stake Warner's
The Great Aerial Disaster Itala
A Daughter of the Confederacy (Gene Gauntier
Warner's
The Shadow of Evil Itala
Mystery of Pine Tree Camp (Gene Gauntier)
Warner's
Tigres Itala
Mexican Conspiracy Outgeneraled (Satax)
Warner's
The Dread of Doom Itala
Their Lives by a Thread (Satax) Warner's
The Eye of a God (Pyramid) Warner's
The Fatal Grotto Itala
Maker. 1
^engrh
Features
2,000
Features
2,000
Features
3,000
Features
3,380
Features
3,000
Features
3,000
Features
2,800
Features
3,000
Features
2,000
Features
3,000
Features
4,000
Features
3,000
Features
3,000
Features
3,000
Features
3,000
Features
2,000
DAILY EXCLUSIVE RELEASES
(Independent)
MONDAY: Dragon.
TUESDAY : Gaumont.
WEDNESDAY: Solax, Gaumont.
THURSDAY: Gaumont.
FRIDAY: Solax, Lux.
SATURDAY: Great Northern.
DAILY UNIVERSAL RELEASES
(Independent.)
MONDAY: Champion, Imp, Nestor.
TUESDAY: Bison, Gem.
WEDNESDAY: Animated Weekly, Eclair, Nestor, Powers.
THURSDAY: Imp, Rex, Frontier.
FRIDAY: Nestor, Powers, Victor.
SATURDAY: Imp, Bison, Mecca.
SUNDAY: Crystal, Eclair, Rex.
VOL. IX.
JUNE 14, 1913,
No. 12
Published Bi-Weekly by Electricity Magazine Corporation, Monadnock Building, Chicago
Coming— KLEINE-CINES Feature
Released June 16, 1913
IN TWO REELS
™I Rival Engineers
(Copyright, 1913, by George Kleine)
A thrilling story of railroad life. Depicting a succession
of sensational events which hold one in
suspense to the very last.
A rival's jealousy is turned to bitterest hatred. A cowardly attempt
is made to wreak vengeance. Foul play causes a terrible railroad accident,
depicted in the film with wonderful realism.
The engineer is crazed by the horrors attending the catastrophe but
later is restored to reason through the power of love.
USE one, three and six-sheet Posters for this feature !
ATTENTION
.POSTERS guaranteed to be the best on the market,
will be supplied by your exchange and by ourselves
exclusively, commencing with the Kleine -Eclipse Special — "A Villain
Unmasked," released June 27, 1913.
Send us your name to be
placed upon our mailing
list for advance advertising
matter.
GEORGE KLEINE
166 N. State St.
CHICAGO, ILL.
fflK^
June 14, 1913
MOTOGRAPHY
A
...IMurinq Francis X_
SsKiiuthe dual/rote of
InTivo
SUSM /&/&
\2
"A BROTHER'S LOYALTY" tells a story of fraternal constancy, devotion and sacrifice that quivers with
human appeal from start to finish. Its powerful portrayal of character and its masterly presentation ot
scenes from the criminal haunts of a great city play upon the heart strings of human emotions with an eloquence ot appeal
that rends the very soul. "A Brother's Loyalty" is a genuine motion picture masterpiece— a thrilling photoplay that throbs
with strong sentiment and powerful pathos in every virile and vivid scene. New Novel Descriptive Photo-Cards, $3 A Thousand.
Beautiful One, Three and Six Sheet Posters Can Be Secured from Your Exchange or Direct irom Us.
RELEASED FRIDAY, JUNE 20th
ESSANAY FILM MANUFACTURING COMPANY
o
a
LUBIN FILMS
I 2-Reel Special
"THE ACCUSING HAND"
Released June 6th
A powerful story of the terror induced by the Silent Third Degree, causing a confession without a word of
accusation.
2-Reel Special
"THE WEAKER MIND"
Released June 18th
Bracey Curtis, an engineer and widower succeeds in reinstating Bob Glore, who had been discharged for drinking. Bob behaved
well until one day he was enticed into a resort by Reina Loeb, a reckless girl. Mary, Bob's sister and Curtis rescued him and worked a
lasting reformation. Reina Loeb's father, who was a drunkard fell and broke his neck and the girl was taken into the Curtis' home,
when Mary, Bob's sister, later gave her hand to Bracey. It made a very happy home.
June 9th
"THE LEGEND OF LOVERS' LEAP"
June 16th
"BOB BUILDS A BOAT"
An intense Indian legend
Another of Bob Thompson's blunders.
June 10th
"VIOLET DARE, DETECTIVE"
June 16th
"SILENCE FOR SILENCE"
Clever work of a female Amateur Detective.
Clever farce on Sunday morality.
June 12th
"NEARLY IN MOURNING"
June 17th
"OUT OF THE BEAST A MAN WAS BORN"
A funny farce that will be a hit.
Beautiful physiological study of man.
June 12th
"THE PROFESSOR'S PREDICAMENT"
June 19th
"A FATHER'S LOVE"
A wonderful prohibition farce.
An intense Melodrama.
June 13th
"PAPITA'S DESTINY"
June 20th
"HIS REDEMPTION"
Avery dramatic story of the Mexican borderline.
The reward of regeneration.
June 14th
"THE WINE OF MADNESS"
June 21st
"FROM IGNORANCE TO LIGHT"
The effect of the deadly drug Loco.
Very pretty Florida romance
Beautilul one, three and six-sheet posters ol our photo plays, in live colors, can be obtained from your exchange
or the A. B. C. Company. Cleveland, Ohio. Photos by the Kraus Mlg. Co.. 14 East 17th Street. New York.
LUBIN MANUFACTURING CO
PHILADELPHIA
U.S.A.
®®®®®@)®^
Justify the advertiser by saying you read it here.
Top Picture — Scene from Essanay's "The Final Judgment," released June 9. Bottom Picture — Scene from "A Brother's Loyalty," in which Francis
X. Bushman is featured.
WITH WHICH IS INCORPORATED THE NICKELODEON
CHICAGO, JUNE 14, 1913
PUBLISHED BI-WEEKLY BY
ELECTRICITY MAGAZINE CORPORATION
MONADNOCK BUILDING, CHICAGO
Telephones: Harrison 3014 — Automatic 61028
Ed. J. Mock and Paul H. Woodruff, Editors
Neil G. Caward, Associate Editor
Mabel Condon, Associate Editor
Allen L. Haase, Advertising Manager
Entered as second-class matter at the postoffice at Chicago, Illinois, under
act of March 3, 1879.
TERMS OF SUBSCRIPTION
United States Cuba, and Mexico Per year, $2.00
Canada Per year 2.50
Foreign countries within the Postal Union Per year 3.00
Single copy • 10
NOTICE TO ADVERTISERS
Changes of advertising copy should reach the office of publication not
less than ten days in advance of date of issue. Regular date of issue, every
other Saturday. New advertisements will be accepted up to within five days
of date of issue, but proof of such advertisements can not be shown in
idvance of publication.
NOTICE TO SUBSCRIBERS
Remittances — Remittances should be made by check, New York Draft
or money order, in favor of Motography. Foreign subscriptions may be
remitted direct by International Postal Money Order, or sent to our London
Office.
Change of Address — The old address should be given as well as the
new, and notice should be received two weeks in advance of the desired
change.
London Office 36 Maiden Lane, Covent Garden
S. Rentell & Co., Representatives
This publication is free and independent of all business or house con-
nections or control. No manufacturer or supply dealer, or their stockholders
■>r representatives, have any financial interest in Motography or any voice in
its management or policy.
CHICAGO, JUNE 14, 1913
TABLE OF CONTENTS
Scenes from two Essanay features Frontispiece
Editorial 419-420
Duplication of Titles 419
Selling Patented Articles 420
English Kinemacolor Studios 421-422
Motography's Gallery of Picture Players 423
Just a Moment Please 424
"A Husband's Mistake" 425-426
Motion Picture Making and Exhibiting. By John B. Rathbun. . .427-429
Edison's "Mary Stuart" 430
Remarkable Dual Role Drama 431-432
On the Outside Looking In. By the Goat Man 433-436
The Motion Picture Exhibitor's League of America 437-442
Selig Has Another Animal Picture 443-444
Current Educational Releases 445
Prominent Exhibitors 446
Who's Who in the Film Game 447
"The Rival Engineers" 448
Of Interest to the Trade 449-450
Brevities of the Business 451-452
Complete Record of Current Films 453-454
DUPLICATION OF TITLES.
AN argument one day last week between two men as
to whether "The Good in the Worst of Us" was an
Essanay or an Edison film, gave us food for thought.
Each man was positive that he was right, though one
maintained that the Edison company was the producer
of the film under discussion, while the other was equally
certain that the Essanay company was responsible for the
drama he saw. Investigation disclosed the fact that both
men were right. A film called "The Good in the Worst
of Us" was released on May 20 by Edison, and a film
with the same title was released on May 30 by Essanay;
yet their subjects were widely different.
We had always supposed that the licensed manufac-
turers had some means of checking up titles among them-
selves, so that any duplication of film subjects would be
impossible. Of course, the independents occasionally use
the same name for a film as do the licensed manufac-
turers, because, so far as we know, the two factions never
get together to compare notes. We could even under-
stand how a manufacturer, releasing through the Mutual
branch of the independents, might duplicate a title used by
some manufacturer selling his film through the Universal,
but that two licensed manufacturers should send out two
different prints bearing the same title came as a decided
surprise.
That this one instance is not the sole example of title
duplication is shown by the fact that we find Edison and
Essanay again clashing on the subject of titles, just a few-
weeks previous to the instance cited. On May 7 Essanay
released a subject entitled "The Prophecy," while Edison
followed on May 13 with a subject of the same time.
Not only is such a duplication of titles confusing to
the exhibitor in booking his program, but far more con-
fusing to the theater patron seeking an evening's amuse-
ment. Provided, as may easily be the case in any large
city, the two films with the same title are exhibited in the
same neighborhood, on the same evening, or even within
the next week or ten days, the patron who has already
seen a release with that title is very apt to pass by the
second house announcing a film with the same name.
While the real "film fan" will know that one film is an
Essanay or a Kalem or a Selig, while the other is an
Edison, a Lubin or a Cines, the great majority will not re-
call the maker's name, but merely observe, "Oh, Eve seen
that film ; it was shown down at the Picture Palace last
week," and pass by. A number of similar remarks by a
number of regular patrons of any theater would soon lead
to a decided effect upon the box office receipts of that the-
ater, and in this case the exhibitor, not the careless manu-
facturer, would be the one to suffer.
It seems quite evident, therefore, that a title clearing
bouse or bureau where titles could be recorded for the
mutual protection of the various manufacturers would
not only be a practical but a valuable asset to the film
business. At a very slight cost to each manufacturer such
a bureau could be created, we should imagine, and yet its
effectiveness would be widespread.
Such a bureau could, no doubt, be made to serve not
420
MOTOGRAPHY
Vol. IX, No. 12
only the licensed manufacturers, but also both factions of
the independents, for while no glaring instances of title
duplication are noted among recent independent subjects,
there is no assurance that tomorrow or next week won't
see as great a number as have already been chalked up
against the licensed forces.
Perhaps a better solution of the difficulty can be sug-
gested than the bureau hinted at above, but some check on
the men responsible for the titles seems necessary and the
sooner we have the means or method for putting a stop to
the title duplication the sooner the confusion can be elim-
inated.
SELLING PATENTED ARTICLES.
THE fact that the Supreme Court has recently ruled
that the retailer of a patented article is not restricted
by the terms of his license from the owner of the patent
has interested men in practically all branches of trade.
The motion picture industry is no exception, for its com-
merce includes a number of patented manufactures, most
important of which are the various models of project-
ing machines. These machines are retailed by film ex-
changes and supply houses, and an attempt is made to
maintain a definite minimum price, yielding a fair profit
to the retailer and avoiding the confusion and dissatis-
faction consequent to price cutting.
In the particular case which developed this discus-
sion, the retailer involved did not purchase directly from
the owner of the patent. Whether this fact has any
bearing on the significance of the decision is, of course,
not known. If it has not, the principle is established
that the owner of a patent cannot dictate the retail price
of the article manufactured under that patent.
It is interesting, if immaterial, to note that this
decision was rendered by the same court, with the addi-
tion of two members, that decided the famous Mimeo-
graph case a year ago. That decision, it will be remem-
bered, virtually was the reverse of the present one. In
each case the decision rested upon a single member of
the court. Seven judges decided the Mimeograph case
by a vote of four to three. These three dissenting mem-
bers, with two additional voices, decided the present
case. The arithmetical inference is that the nine mem-
bers who sat upon the present case, had all been present
a year ago, might have reversed the Mimeograph de-
cision.
The manufacturer's objection to retail price cutting
is not that he suffers any direct loss, but that his agents
who cannot afford to cut prices look to him for protec-
tion against agents who can afford to, and do, cut prices.
A retailer who handles a large variety of goods can cut
his selling price on one line to actual cost, calculating to
make it up on other goods. This has been every-day
practice with unpatented goods, and now threatens to
become so with patented articles. It plainly puts the
small retailer or the agent of a single line at a disadvan-
tage, and it does not benefit the consumer in the end, be-
cause he cannot get something for nothing. If he pays
less for one thing, he is bound to pay more for other
things — or, what is equivalent, get poorer quality.
Unless manufacturers find and adopt some legal
method of binding their agents to a definite retail price
for their wares, chaotic conditions are bound to develop,
from which the consumer may benefit temporarily but
will suffer in the end through the inevitable increase of
sharp practices, substitutions and diminutions in quality.
METHODISTS USING MOTION PICTURES.
Every day in Canada 615,000 people attend the mo-
tion picture theaters. Last year the Canadian people paid
$18,450,000 to see motion pictures, about $60,000 a day.
These figures show the importance and permanency of
this business of commercialized amusement and instruc-
tion. Mr. John Collier, of the American National Board
of Censorship, says : "A new kind of book has been pro-
duced and is being read by millions of people in America
daily." The motion picture is a book, and an acted play,
and a scenic wonder-world in one. It is more popular
today than our public libraries and it should concern the
religious and educational agencies of our country. An
idea of their work can be conveyed more vividly through
motion pictures than through printed books.
The Forward Movement Department of the Mission-
ary Society of the Methodist Church in Canada has what
is probably the finest set of missionary motion pictures in
the world. These pictures were taken in China, Japan and
the Canadian Northwest at a cost of several thousand
dollars. They show all departments of Missionary Work,
Medical, Evangelistic and Educational. Missionaries are
seen preaching on the streets in far western China, dis-
tributing tracts to the crowds that gather, performing
operations in the hospitals, etc., etc. This collection of
pictures will be shown in a series of exhibits to be held in
all the cities and larger towns from Newfoundland to
British Columbia. The pictures will be shown for two or
three days at each exhibit. This new department of mis-
sionary education is in charge of Mr. George W. Beck.
IS THE DAY OF SCENICS PAST?
A 9,500 mile trip for scenic subjects just completed
by Carl Gregory for the Majestic Motion Picture Com-
pany is demonstration that the day of "the scenic" is by
no means past. Gregory made the entire circuit of the
western states in his search for material, and stopped to
turn the wheel of his camera in Montana, Wyoming,
Oregon, California, Arizona, New Mexico and Colorado
— passing up their neighbors, principally because he
struck them when the weather and lighting conditions
were bad. He filmed Indian rain dances, Indian plain
dances, and plain Indian village life, among the Navajos
of Arizona. He snapped the little known Community
Indians — the Hopi, the Havasupai, the Moquis and the
Zunis — in their pueblos ; filmed the ruins of the ancient
cliff dwellers, too, and transported his camera and himself
by pack train and buckboard to do it ! The picture man
stuck his machine on a precipitous crag 'longside the
Grand Canyon of Colorado, and took some fine views of
that ; also of the Garden of the Gods and the Pikes Peak
region, and of a mighty storm sweeping through the
Rockies. To further show their faith in the strength of
the scenic subject, the Majestic folks expect to send
Gregory and his camera on a tour of South America in
July.
PICTURES FOR PRISONERS.
Moving pictures once a week for the convicts is an
innovation that will be introduced at San Quentin prison
located at San Francisco, next week. From their toil in
the jute mill and the stone quarry, the men serving time
will troop once a week into the large dining room of the
prison, where films depicting scenes of life that goes on
outside the high gray walls that shut them in will be un-
reeled.
June 14, 1913
MOTOGRAPHY
421
English Kinemacolor Studios
Described by Wm. H. Hickey
PLAYERS in the English Kinemacolor companies
are soon to perform their daily tasks in the new
studio located on the Charles Urban estate near
London, and William H. Hickey, general manager of
Charles Urban's Estate at Teddington, London, England.
the Natural Color Kinematorgraph Company, Ltd. of
England and European representatives of the American
and Canadian Kinemacolor Companies, who is now in
this country, gives the following interesting description
of the new studios.
"Mr. Charles Urban, the leading figure in the mo-
tion picture business in England, whose name is associ-
ated with the famous Kinemacolor pictures in natural
colors, has just acquired an estate at Teddington, near
London, where motion picture production on a scale
hitherto unattempted in Britain will be carried on," be-
gan Mr. Hickey. "The estate is just outside the gates
The Lodge.
grounds, which are over a mile in circumference, the
area being thirty acres, is devoted to Mr. Urban's private
residence, a handsome old house which has been very
artistically brought up to date. Mr. Urban, as is well
known, is American born, and evidence of his sympathy
with American ideas is to be found in many of the con-
veniences added to the mansion, and not least in the
beautiful gilded eagle that watches over the portals.
"On the south side, facing Bushey Park, the old
back fence and high hedge behind it have given place to
a red brick wall with stone coping. Double open iron
gates, in green and gold, are provided at the entrances
at each end, and a wide iron grill to correspond is placed
in the center of the wall, giving a clear view of the chest-
nut avenue in the Park from the lower rooms of the
mansion. A wide gravelled path for motor cars has also
been made from the lodge along the front of the house
to a garage at the other end of the grounds.
"The greater part of the grounds are to be devoted
to the production of dramas and comedies in the beauti-
ful Kinemacolor process and to this end has been erected
the largest and most perfectly equipped studio, if not in
of the Royal Park of Hampton and faces the renowned
Chestnut Drive, Bushey Park, which is one of the show
places in the vicinity of London. One portion of the
Campus of Charles Urban's Estate.
the world, at any rate, in Europe. Even the best of
the London theaters have not the dressing room facilities
of the Kinemacolor studios. The building that provides
accommodation for moving picture actors and actresses,
administration offices, producers' rooms, scenario edi-
tors' offices, wardrobes for the thousands of costumes re-
quired for production on a large scale, etc., etc., meas-
ures over 200 feet long and has been constructed with a
view to being artistically introduced into picture stories
when occasion requires. Included in the building is ac-
commodation for painting scene canvasses ; scenery,
however, is stored in a separate building not far away.
"There are in different portions of the studio hand-
some suites of rooms for the use of actors and actresses
respectively ; there is sufficint space for from three to
four hundred persons to affect a change of attire at one
time if required, and in the wardrobe rooms are stored
thousands of costumes representing every period of his-
tory, both classic and modern.
"In front of the studio, at such a distance as to be
422
MOTOGRAPHY
Vol. IX, No. 12
within easy call, is the stage on which, as a rule, 'inter-
iors' will be produced. There is certainly no other mov-
ing picture stage like this in Europe. It is circular in
form, is 40 feet in diameter and is constructed to revolve
on an axis. The reason for this is that, Kinemacolor
being a process which reproduces color by action of the
rays of light only, the best results are obtained when no
heavy shadows are present.
"Supposing a scene is set in the best light available
at the time, but that clouds then obscure the sun for an
hour or so, when the sun shines again part of the scene
may be in shadow. With a revolving stage, however, all
that has to be done is to move the whole erection a few
feet, when everything is as perfectly placed as it was in
the first instance. Provision of this kind, of course, is
especially necessary in England where the climate is al-
ways more or less unsettled and days of continuous
sunshine, enjoyed as a matter of course by producers
elsewhere, are of infrequent occurence.
"Another advantage of the revolving stage is that a
second scene can be set while action is taking place in one
already arranged, the new scene being turned to the light
when required. As a matter of fact on the stage at Ted-
dington, four large scenes can be set at one time. There
The Conservatory.
are other little refinements in connection with this stage.
One is a track with a substantial platform running upon it
at right angles to the stage. The camera can be placed on
this and advanced or withdrawn accordingly as close or
distant views of the scene are required.
"There is also a pit at the edge of the revolving stage
for the convenience of actors whose part requires them
to make an exit either by going downstairs or by descend-
ing into a cellar, or ascending to roof tops, etc., exigencies
which often occur.
"It will hardly be necessary to explain that although
'interiors' will be photographed on this stage, the stage
itself is not under cover but is in the middle of an open
space, unshadowed by trees or any obstructions. Beyond
the revolving screen are grounds of considerable extent
suitable for the production of plays on the very largest
scale, feature films and so on. The scenic beauties of a
lovely countryside have been considerably enhanced by
artificial means, and there are within the estate ravines,
mossy banks, lakes, rustic bridges, dells and waterfalls,
which although not nature's own handiwork, are so beau-
tifully contrived and are, many of them, of such standing
that they have become part of the natural contour of the
place. These improvements, by which infinite variety of
setting is afforded, provide the most perfect backgrounds
for motion picture stories that it is possible to conceive.
"Among other advantages of the estate are a private
electricity supply, an artesian well and a water tower, dec-
orated in a castellated fashion to be available if required
for a picture story. Every detail of equipment on the
estate, in fact, has been arranged with a view to being use-
ful in this way. Thus one finds between two portions of
the grounds a five-barred gate which will serve in some
rural story, while the gates of the mansion itself will often
be the scene of the departure or arrival of the characters
in a story of society life. In accordance with this idea,
also, sheds and outbuildings are beamed or thatched to
serve as the exteriors of country cottages as well as for
the more mundane purpose of holding stores. In addition
to a garage, there is stabling for twenty horses with a full
complement of saddles, harness, etc.
"The proximity of Mr. Urban's estate to London has
special advantages which, in fact, had not a little to do
with its choice. It is intended to use in the service of
Kinemacolor the talents of the most accomplished and
notable actors in London ; these will be able to perform as
usual in the dramatic theaters of the British metropolis in
the evenings and spend a portion of each day at the Kine-
macolor studios, being able easily to return to London in
time for the evening theatrical performances. Many well
known actors have promised their services ; by the time
these words are in print, production will have already
begun.
"An important side of motion picture production, of
which Mr. Urban has been the leading exponent for many
years, is that of the application of kinematography to edu-
cation and science. Every possible equipment for this
purpose already exists at the Kinemacolor scientific lab-
oratories at Southgate, on the other side of London from
Teddington ; nevertheless, while alterations were being
made at the latter estate, the opportunity was taken to
provide facilities for a new method of taking pictures de-
vised by Mr. Urban's scientific department.
"This is the photographing of life under water, and
for this purpose a chamber has been constructed under a
lake in the Teddington estate from which the fish with
which the lake is plentifully stocked, may be seen swim-
ming to and fro. Such pictures as an otter catching fish
under water, a snake being destroyed by the deadly water
beetle, a trout fighting for its life when hooked by an
angler, have already been secured by the new method of
taking moving pictures, and the special facilities at Ted-
dington will enable still more to be done in this direction.
"The estate has many advantages from the point of
view of facilities for scientific film production. The farm-
yard will contain rare poultry, wild birds, horses and cat-
tle of all countries ; there will be a small private menagerie
in which the animals will be housed as far as possible
amid surroundings resembling their natural habitat.
"For more general purposes, also the Thames and
especially the lovely reaches of the upper fiver, are easily
accessible and parties of actors can readily be conveyed
by automobile to the most suitable spots. There is also
a lake twenty acres in extent within easy reach of the
estate, and Hampton Court Palace and Bushey Park
are in the immediate vicinity."
Lottie Pickford with Pilot
Lottie Pickford, sister of "Little Mary" Pickford
will soon appear in a Pilot picture, entitled "For Old
Time's Sake." Everyone will welcome Miss Pickford
in the well known Pilot brand.
June 14, 1913
MOTOGRAPHY
423
Motogfraphy's Gallery of Picture Players
CHESTER BARNETT is a fit partner for Pearl
White and rollicks through thousands of feet of rib-
bon-like film straight into the fancy of Crystal film view-
ers. Such rollicking, however, is a new and recent de-
parture for the good-
looking Chester ; for
oft, and but recently,
has he played the
Shakesperian B a s -
sanio, Laertes, Orsino
and others of like
generation for Ben
Greet audiences. And
before that the wavy-
haired Chester ap-
peared opposite
Frances Starr in "The
Rose of the Rancho."
It was then that he be-
came the "cynosure of
admiring eyes," but as
Mr. Barnett had al-
ways been admired,
more or less (mostly
more), the fact of his
becoming a matinee
idol affected him not
any. After consider-
able experience with the Ben Greet Company, he essayed
the role of Pedro, the musician, in "The Climax," which
ran for two years in New York. Then his photo-play
career began in Crystal pictures.
Chester Barnett.
GERALDINE McCANN is quietly hewing a large
niche for herself in the hall of popular photo-play
ladies and when the niche is all ready popular favor will
surely place her there with three cheers and an invitation
to keep her good work
up. For that's the in-
strument with which
she is diligently hew-
ing the niche, and be-
cause she is so very
new to the world of
pictures and so very
capable of doing all
things well, success
awaits her as soon as
the Crystal pictures,
in which she appears,
are shown to picture
lovers. Though Miss
McCann is the Crystal
Company's latest ad-
dition, she comes not
e m p t y-handed, for
her's has been the ex-
perience of a versatile
legitimate actress.
From Little Lord
Fauntleroy to the
blind Louise in "The Two Orphans," Miss McCann
ascended by way of intervening roles that graduated her
from "Two Orphans" into the Tremont Stock Company.
Miss McCann is exceedingly youthful and pretty.
Geraldine McCann.
PEARL WHITE is the leading lady in Crystal "pics"
and has made herself universally known throughout
filmdom by her prettiness and by her clever portrayal of
whatever role she is cast for. Miss White and the stage
have been close com-
panions since the pret-
ty star's earliest mem-
ory, which dates back
not far at all, for
Miss White is one of
the very youngest
leading ladies in pic-
tures. Her father was
a theatrical manager
and Miss Pearl began
her stage career when
she was ten years old.
She developed her
great range of talent
while working under
many directors.
Though Miss White
is best known as a
comedienne, possess-
ing a natural tendency
toward fun- making
that brings a laugh
every time, a big num-
ber of successes, both on the stage and in pictures, have
been sensational roles in serious drama. Leading parts
with the Powers and Pathe companies outlines Miss
White's picture work before becoming a Crystalite.
Pearl White.
] OSEPH T. BELMONT is he of the aristocratic eye-
J brows, curly hair and firm chin who plays character
parts and is chief comedian of the Crystal stock company.
As soon as the Crystal powers took note of the Belmont
chin they knew that
its owner would be
asking for a director-
ship in a short time,
so they gave him that
authority immediate-
ly, and in return Mr.
Belmont turned out
most s a t i s f a c tory
slap-stick comedies,
with himself in them
as the big fun-maker.
He has made himself
so well known that his
appearance on the
screen is greeted with
an enthusiastic mur-
mur, for Mr. Belmont
never disappoints.
Fifteen years of stage
experience prepared
him for the work he is
now doing. He played
juvenile leads in rep-
ertoire shows, began his character portrayal with that of
Fagin in "Oliver Twist," played with Blanche Bates in
"Darling of the Gods" and "Girl of the Golden West,"
and as comedian for Keith's Harlem Opera House.
Joseph T. Belmont.
424
MOTOGRAPHY
Vol. IX. No. 12
Film Tells Unique Story
An intensely thrilling plot and one quite out of the
ordinary run of photoplays forms the basis of "The Gov-
ernor's Double," the Patheplay released on June 13.' The
story of this unique film runs as follows :
Governor Walter Garland, a conscientious executive,
receives a complaint from a committee of reformers that
the convicts in the state prison are subjected to inhuman
treatment. The governor decides to investigate and ac-
cordingly goes to his friend, Judge Howe, requesting the
latter to have him arrested under a fictitious name and
sentenced to five years' imprisonment, then, after thirty
days have passed, release him on a writ of habeas corpus ;
thus permitting the governor to investigate the prisons
without the officials being aware of his presence.
The governor's last executive act is the pardoning of
Pete Brown, a lifer, whose attorney, James McDonald, is
the governor's personal friend. The plan works well, no .
one knowing of the arrangement except the judge and
the governor himself. Within a short time the absence
of Governor Garland creates a sensation. No one knows
his whereabouts and the papers feature the fact that the
twenty-fifth of June is the date set for Governor Gar-
land's wedding with Miss King, who is also ignorant of
her lover's whereabouts. After the thirty days have
elapsed Judge Howe prepares to issue a writ that will free
Scene from "The Governor's Double."
the governor, but a sudden stroke of apoplexy paralyzes
his heart and he dies almost instantly. The governor in
his cell cannot understand the judge's silence after the
thirty days have passed. Brown, the ex-convict, visits
Albany to thank the governor for pardoning him. His
facial characteristics are such that he is immediately
shown into the governor's chamber and asked to explain
his disappearance. Brown is mystified but soon decides
that, if people believe him to be the governor he will not
tell them the truth. He satisfactorily explains his ab-
sence and the papers are again full of news of the Gar-
land-King wedding.
On the eve of the wedding Garland in his cell is al-
most frantic when he receives a newspaper that informs
him of Judge Howe's death. He tells the warden that
he is the governor. The warden smiled and orders him
back to work with the gang. Desperate, Garland breaks
for the open. He compels a passing chauffeur to hurry
him to the city and storms into the church in his convict
garb where, with a wild "I forbid," he halts the cere-
mony. When Garland tells his story, the best man, who
is Attorney McDonald, recognizes his former client, Pete
Brown, and the bride with the two men before her,
quickly decides which man is her lover.
While the question of censorship is keeping the film men
excited, the Trenton theater of Lynchburg, Va., a vaudeville
house, goes merrily on advertising in the Daily Advance, "Se-
lected Photoplays Approved by the National Board of Censiors."
SCENARIOS THAT ANYONE CAN WRITE.
Comedy : Railway depot. Young man waiting for train. Large lady
carrying baby enters and asks young man to hold baby a moment. Train
arrives, young man hands baby to spinster in nearby seat and rushes out.
Large lady sees his exit — follows screaming. Flash telegram offering re-
ward. Young man arrested as he arrives at sweetheart's home. Spurned.
Taken back to city. Large lady and friends attack prisoner with umbrella.
Young man explains and baby is found asleep on seat where left by
spinster. Finale shows closeup view of baby.
SUGGESTIONS FOR TALKING PICTURES.
(Line-o-type column of Chicago Tribune).
Man in a hurry eating a bowl of soup.
Lady guarding a sacred confidence.
Pawnbroker losing a nickel.
Fat man taking a nap.
Fat lady taking a nap.
J. Ham Lewis' wardrobe.
Other suggestions gratefully received. Come on, lads.
PERSONAL. Attention, The Goat Man. Animated Weekly
No. 64 is stealing your stuff. A sub-title reads "On the' Outside
Looking In." What'll we do about it?
OH, YOU ARTISTIC TEMPERAMENT!
The Austin Daily Tribune of Austin, Texas, devotes a half
column on its front page to a story of how Martha Russell, lead-
ing lady of the Satex Film Company, swung her trusty right at
the head of the president of that concern one day last week,
but succeeded only in knocking his straw "lid" into the street.
The Satex people are now looking for a new leading woman. A
question of salary is said to have been the cause of the one-
round battle.
This Al. Christie person, out at Universal City, seems to be
some popular chap. At the recent election Al. polled a total of
324 votes, which is six more than any other candidate received,
and the next closest to Christie was a suffragette. We'll bet
right now a lot of these dark-horse, would-be presidential possi-
bilities of the next political campaign are "viewing with alarm"
the sudden rise of this Christie person to fame.
WHY SCENARIO EDITORS GO INSANE.
"The enclosed scenario is my first attempt at play-writing but as I
have seen hundreds of photoplays on the screen that were not half as good
as this story I feel sure you will buy the enclosed play from me and
pay me what it is worth."
"I have just finished a course in one of the schools of scenario writ-
ing and am now prepared to write photoplays for your company. Please
tell me what you need and I will write it for you right away and get it
back to you by the next mail."
"I writ to sea if I cudn't get a job in your offis as assistant to you.
I hav bin manager of the Opra House here fur tu years and I hav seen
a lot of shows and know the hole show bizness. I hav sum good ideas
for motun piters and believ I wud be wortha grate deel to you. I will
work comparativ cheap. Let me here from you soon."
The western press agent of the Universal Film Manufactur-
ing Company bulletins us that "Lincoln J. Carter and Richard
Willis have corroborated in a series of stories soon to be pro-
duced." What's the matter, old top, forget how to spell col-
laborate?
We knew it would happen again before long. G. E. Kann,
secretary of Carl Laemmle, who pushed his hand through a glass
door last week, the press agent tell us, "gamely resumed his
duties, despite the fact that ten stitches had to be taken in his
hand." Honest, fellows, that heroism stunt is getting stale.
Think up a new one.
One of those Philadelphia convention photos that my friend
Haase brought back with him from the East shows Al squeezing
a lady's hand. Wonder what the missus will say when she
lamps it?
Maybe, though, Al won't take it home.
We know we wouldn't dare.
And we aren't henpecked, either.
N. G. C.
June 14, 1913
MOTOGRAPHY
425
"A Husband's Mistake"
First Film of New Director
T F all the pictures produced by Director Hale of the
American Film Manufacturing Company, can come
up to the standard of his first one, "A Husband's
Mistake," to be released on Monday, June 23, some ex-
cellent pictures are assured for the "Flying A" brand.
Excellent backgrounds, careful stage direction, clear,
snappy photography and the usual good acting of Ameri-
can pictures make the release in which Mr. Hale makes
his debut as an American director one long to be re-
membered, even though the story itself is nothing to
brag about. The real test of directorship comes when
one is expected to make a masterpiece out of an ordinary
story, but Mr. Hale meets the test and can rest secure
in the fact that the picture is fully up to the standard of
release turned out by the American. With a better plot
and more opportunities we expect to see him score some
real triumphs.
Advantage was taken of the proximity of the
famous Arlington Hotel of Santa Barbara to get some
stunning views of a society tea, supposed to occur in a
costly mansion. The director skillfully managed his
lighting of some of these hotel scenes, and obtained some
very pretty effects, though he was compelled to work on
unfamiliar ground, instead of surrounded by all the par-
aphernalia of the studio. Though the American com-
pany has not been particularly noted in times past for
its interior scenes, one notes with pleasure the remark-
ably pretty sets shown in this film and with stories of a
broader sort, those which get away from the western
character of the majority of former Americans, we may
expect some striking interiors, particularly now that the
new studio is nearly completed.
The story of "A Husband's Mistake" begins in the
home of Jack and Evelyn Worthington, a young married
couple of ordinary means, just as Mrs. Worthington
receives a note from her recreant brother Dick, saying
Scene from a "Husband's Mistake.
that he has just lost an excellent position through his
old failing — love of gambling, and begging her to come
to his aid. The distracted Mrs. Worthington hastens
to help her brother and, on her way to meet him, con-
ceives the idea that her Uncle Dan may be in the mood
to give Dick a job. A call at her uncle's office results
in a place being created for Dick. Evelyn then goes
happily on to inform her brother that she has found him
a new position and to exact his promise not to ever play
cards again. Dick, of course, cheerfully promises, really
Scene from a "Husband's Mistake.
intending to keep his word. Some months later we dis-
cover Dick, a trusted employee of Uncle Dan, busy about
his duties in the latter's office. His uncle sends him to
the bank with a large deposit, and on the way Dick
encounters an old friend, who invites him to join in a
little poker game just being started in a nearby club.
Dick at first refuses to accompany his friend, pointing out
that he has given up card playing, but the friend insists,
and in a later scene we behold Dick industriously deal-
ing the pasteboards, amid a group of old time acquaint-
ances.
It being Mrs. Worthington's birthday, her husband
brings home a little remembrance in the shape of a
valuable rope of pearls. Naturally the wife is intensely
delighted, and decides to wear the necklace to a fashion-
able reception and tea party that same afternoon. It is
in this portion of the film that the beautiful interiors of
the Arlington Hotel are used to advantage, as we accom-
pany Mrs. Worthington to her friend's home and see her
chatting with her wealthy hostess amid elaborate sur-
roundings.
Dick, meanwhile, has lost all the money he was to
have deposited in the bank and feels that he is again
ruined unless by some miracle he can obtain funds with
which to replace the sum he has gambled away. A re-
membrance of how his sister Evelyn saved him previously
leads him to again seek her in his time of trouble, and
he is directed to the home of the society woman where
Evelyn is attending the reception. He sends in a note
to Mrs, Worthington, asking her to meet him in the
conservatory, which arrives just as her friends are admir-
ing her new necklace and congratulating her on its beauty.
Excusing herself for a moment, Mrs. Worthington makes
her way to the conservatory and there meets Dick. His
urgent demand for money nearly overwhelms his sister,
who explains that she has done all that she well can do
426
MOTOGRAPHY
Vol. IX, No. 12
for him, and that now he will have to get himself out of
the trouble into which he has fallen. Dick pleads and
argues that if only she will help him once more he will
surely reform and never touch cards again. Mrs. Worth-
ington points out that he made a similar promise on a
Scene from ■ a "Husband's Mistake.
previous occasion, but now finds himself in a worse situa-
tion than ever.
To Evelyn's answer that she has no funds, Dick
responds by an appeal for some jewelry or some trinket
upon which he can raise some money. His eyes falling
on the new necklace, he suggests that she let him take
that. His sister explains how impossible it would be
for her to part with her birthday present, but he shows
her the desperate situation in which he is placed and
she finally yields and gives him the necklace. In grati-
tude he takes her in his arms and kisses her, promising
her once more to turn over a new leaf, and that she will
never again find him in a similar predicament. Just at
this moment the wealthy hostess, who is showing her
spacious mansion to Mr. Worthington, opens the con-
servatory door, to disclose Mrs. Worthington in the arms
of a man unknown to the husband. Hiding his embarass-
ment, Worthington passes on and later, when his wife
returns to the sunparlor, where the company are gath-
ered, he suggests that they leave for their own home
immediately, and clearly shows that he is upset about
something.
Upon their return home, the quarrel that was begun
at the teaparty has developed to a critical point. The
husband will not believe the wife's story, that the man he
saw in the conservatory was her brother, and the wife,
indignant at her husband's suspicions, refuses to explain
farther. The two part in an angry mood and the follow-
ing morning separate, the wife taking the little daughter
with her despite the husband's protests.
The months pass and Worthington grows more and
more to regret his hasty separation and to long for the
return of his wife and baby. Dick having meanwhile
used the money he raised on the necklace to make good
the sum he lost over the card table, by strict attention to
business makes a decided success of his life and is at last
able to redeem the necklace from the pawnshop where he
had taken it. With the necklace regained, he calls to
restore it to his sister, and discovers the separation of
Mr. and Mrs. Worthington. A meeting between Dick
and Worthington leads to an explanation which is more
than satisfactory to the husband, and shows that im-
petuous young man the grave mistake he made in sus-
pecting his wife. His heart torn with grief and anxiety,
Worthington engages a detective to trace the former
Mrs. Worthington and eventually she is discovered living
in a tumbledown tenement eking out a bare living by
sewing.
1 he husband hurries to her and begs to be forg'ven.
At first Evelyn thinks she has suffered too much to ever
be able to forgive and forget, but the child, awaking from
its sleep, finds "papa" there, and in her baby fashion
brings about a reconciliation, so the picture ends most
happily.
The cast is as follows :
Jack Worthington Warren Kerrigan
Evelyn Worthington ■ Vivian Rich
Uncle Dan George Periolat
Helen Worthington "Baby" Helen
Dick Jack Richardson
Dick's friend Jim Harrison
Hostess at teaparty Louise Lester
Graham Now "With Universal
J. C. Graham, for several years prominently known
as an exchange man, and identified with the Mutual Film
Corporation since its organization, has accepted the busi-
ness managership of the Universal Film Manufacturing
Company. In his position with the Mutual Film Corpo-
ration, Mr. Graham was in active charge of the concern's
exchanges and is widely known as one of the pioneer or-
ganizers of exchanges throughout the country. In his
new office with the Universal Film Manufacturing Com-
pany he will have supervision over the various business
departments of the organization, and his position will
virtually include the general managership of the com-
pany. Mr. Graham, before entering the film business,
was interested in a large central western lumber company,
operating through Missouri and other southern states.
Prior to the formation of the Motion Picture Patents
Company he entered into a partnership with Mr. Aiken,
now with the Mutual Film Corporation, and an exchange
company was organized. Following the operations of the
Motion Picture Patents Company, Mr. Graham relin-
quished his holdings in the St. Louis Exchange Company
and joined the Mutual Films Corporation, as supervisor
Scene from "The Penalty of Jealousy," Lubin release of June 6.
of exchanges. He is thoroughly conversant with the tech-
nical departments of the industry, as well as the selling
branches. His experience has been varied and broad in
scope, taking in practically every angle of the manufac-
turing of pictures, their sale and exhibition.
June 14, 1913
MOTOGRAPHY
427
Motion Picture Making and Exhibiting
By John B. Rathbun
CHAPTER III. — (CONTINUED.)
WHILE it is possible to make an acceptable street
scene in the studio or yard, with painted scenery
in which no foliage appears, no studio scene can
be made of natural objects that will in the least deceive
the audience. All hand-created scenes including trees or
shrubbery lack entirely the detail and beauty of the
original and in the majority' of cases the studio canvases
contain some incongruity that entirely dispels the illusion
for which they were made.
The demand for natural settings has resulted in the
establishment of branch studios all over the country, each
branch maintaining a corps of competent players. By
this means a single manufacturer can produce plays in
any desired natural setting with a minimum of trouble or
delay. "Westerns" are invariably taken in their proper
locale, the "supes" usually being drawn from the ranches
and towns surrounding the studio.
The great majority of the Western studios are lo-
cated in California because of the great variations in
scenic effects that can be obtained within a short radius.
The Pacific Ocean affords opportunities for marine views,
the Sierras and the Mojave Desert which are within a
few hours of the principal studios, have formed the back-
ground for many historical and scenic films. The climatic
conditions are ideal for motion picture photography, it
being possible to obtain out-door views in semi-tropical
settings during nearly every season of the year.
When the producer has selected a suitable site for
the out-door scenes, and has rehearsed the act in the
studio, the players are sent to the locality, costumed and
made up. If it is to be a street scene, great secrecy is ob-
'served until the camera has been set up to prevent inter-
ference from the throngs of spectators that are sure to
gather in the vicinity/ The players are nOw put through
their parts, as rapidly as possible under the direction of
the producer, the method of procedure being exactly the
same as with the studio pictures. Street pictures require
all of the resource of the producer in keeping the curiosity
stricken spectators from getting into the field of the
camera, or from confusing the players in their work.
Often times a dummy camera with a fake show in front
of it is used to draw the attention from the main event.
The relief company making more noise than the one act-
ually being filmed is usually successful in attracting the
majority of the audience.
Many comical incidents, themselves being worthy of
being filmed, are constantly encountered by the street
scene producer. Police interference is one of the most
common interruptions, especially with scenes of a highly
dramatic nature in which the characters enter into a
mimic combat. Attracted by the crowd and the uproar,
and not noticing the camera, the unsuspecting policeman
has often broken up the work and arrested the players on
serious charges, in spite of the explanations of the pro-
ducer. One company was held for several hours on a
charge of attempted arson before the police judge could
be convinced that he had broken up an exceedingly real-
istic photo-play.
Trick street scenes, commonly known as "stop" pic-
tures, in which some extraordinary accident occurs, re-
quire a comparatively long time for their production and,
The Wreck of the "Limited.
428
MOTOGRAPHY
Vol. IX, No. 12
therefore, must be taken on some quiet side street, or at a
time when the street is practically deserted. Pictures
that show a person being knocked down by an automobile
or being run over by a street car, are really trick pictures,
being obtained by several stoppages of the camera, dur-
ing which time a dummy is substituted for the real player.
By careful manipulation of the camera it is possible to
Fig. 38. Taking a trick aviation picture. The two toy aeroplanes sus-
pended by cords are "crossing the channel" in which two miniature ships
are floating. A rotating fan at the rear of the scene produces ripples on
the water. At the present time the full sized aeroplanes are so common as
to make this procedure unnecessary, it being an easier matter to take the
real machine in flight.
obtain very realistic illusions by taking the pictures and
shifting the object alternately.
One picture of this class was very clever both in the
conception of scheme and in its execution. At the open-
ing of the film a man was shown lying on the street car
tracks in the foreground. A car rushed pass, cut off both
legs at the knee, and tossed them into the gutter. A num-
ber of people, horrified at the accident, rushed to his aid,
but to their surprise the victim slowly raised himself from
the track, smiled calmly upon his would-be rescuers, and
beckoned to the severed members lying in the gutter.
Finally one of the legs was seen to start in his direction,
hesitate, and then attach itself to the stump in its former
position. This having been accomplished, the other leg
performed the same miracle, and to the amazement of the
spectators, the supposed cripple picked up his hat and
walked off the scene.
This illusion was obtained by using alternately a
cripple, a straw-filled dummy, and a player with the usual
number of legs. The dummy was placed on the track
and a few feet of film were run off. A signal was then
given to the street car and more pictures were taken while
it passed over the dummy, the legs being jerked into the
gutter by means of cords at the time that the car was in
the picture. As soon as the car passed out of the picture
the camera was stopped, the cripple was laid in the posi-
tion formerly occupied by his straw counterpart, and the
camera was restarted. By means of strings that extended
to the opposite side of the street, one of the party pulled
the legs up to the cripple. The camera was again stopped,
the cripple was removed from the scene, and his able-
bodied companion was put in his place. After a few feet
of film had been run, the player rose and walked out of
the picture.
Many of the train and automobile wrecks are not
faked but are actual collisions between real machines, the
occupants, of course, being removed at the moment of the
catastrophe. Many thousands of dollars have been spent
by the film companies in wrecking automobiles in front
of the camera, and thrilling pictures have been obtained
in this way. In one picture showing the results of a joy
ride, a perfectly good fifteen hundred dollar car was run
over the edge of a cliff and smashed on the rocks below.
In this film a dummy was placed in the car before it was
started on its way to destruction. In another film a loco-
motive and two freight cars were derailed and run over
an embankment at a cost of about twenty-five hundred
dollars.
Professional acrobats, high divers and aviators con-
tribute their mite to the motion picture show in pursuit
pictures, and in thrilling escapes and rescues. A recent
film in which the hero escaped from his enemies by jump-
ing offa ninety-foot embankment and into the river was
a record of an actual leap by a well known high diver.
The tumbling and grotesque feats of the "chase" pictures
are always performed by professional acrobats, for no
human being, without experience in this line, could sur-
vive the banging and whacking strenuosities of this class
of film. The collisions are real collisions and the falls
are real falls.
As the operation of an aeroplane requires consid-
erable skill and practice, the real aviator is always substi-
tuted for the character in the play before the machine
leaves the ground, although the passenger is usually one
of the players. In some cases the aviator has been coached
so that he carries the part through alone, from start to
finish, without the aid of the players, and without sub-
stitution. When the pictures are to be obtained from
above, the camera man accompanies the aviator.
TRICK PICTURES.
Motion pictures are particularly well adapted for
creating illusions. Fairy stories in which the characters
appear and disappear as by magic, lend themselves par-
ticularly well to the photographic process, and almost any
nightmare, no matter how grotesque or weird, can be re-
produced by a clever manipulation of the camera. The
French producer, Melies, who was at one time a prestidi-
gitateur, was among the first to take advantage of this
property of the camera and to make trick pictures, his
first productions being repetitions of the tricks performed
by him on the stage.
After extensive experiments with the simpler sub-
jects, he gradually evolved the well known type of pic-
ture in which tools and toy animals move about on the
screen, as if endowed with life. These were followed by
the vision scenes and spectral subjects that were produced
by means of double exposures and double printing. As
the art of motography developed the trick pictures be-
came harder and harder to produce, for the stock of sub-
jects was becoming scarce, and the audiences more sophis-
ticated and critical. This, of course, resulted in a greatly
increased cost of production, so that trick pictures are
June 14, 1913
MOTOGRAPHY
429
now seldom made unless some entirely and radically
new idea has been received by the producer.
In a general way, there are three methods of obtain-
ing illusion by means of the camera. First, by periodi-
cally starting and stopping the camera in such a way that
certain acts are performed by the subject during the time
that the camera is stopped. Second, by reversing the rou-
tine on certain portions of the film in regard to the re-
maining parts, and third, by making two superimposed
impressions on a single film. While there are many varia-
tions in taking the pictures, nearly all of them depend pri-
marily upon one or the other of the three principals, or
upon the use of faked scenery or dummy figures.
"A stop" picture, in which dummy figures are sub-
stituted for the real actors while the camera is stopped, or
in which inanimate objects are moved alternately with the
exposures, are among the most commonly used of the
effects. By this means it is possible to make toy animals
perform circus feats without apparent aid, tools can be
made to work without human supervision, or the actors
can be made to go through the most impossible or dan-
gerous feats without the least exertion or risk to them-
selves. An example of this class of picture is shown in
the figure entitled "The Magic Coffee Pot," in which the
man in the foreground moves the bottom of the coffee pot
upwardly by a series of jerks, a picture being taken di-
rectly after each movement of the cords. If he raises the
pot one-sixteenth of an inch for each picture there will be
sixteen pictures taken for every inch of movement, which,
at the ordinary rate of projection, will take one second to
reproduce on the screen. Decreasing the movement per
picture naturally increases the time of projection.
Practically the same method is used in pictures where
a character in the picture is to go through some experi-
ence that would be impossible in real life. In this case,
the action is carried along in the usual manner until the
point is reached at which the accident is to occur, or the
point where a dummy must be substituted for the real
actor. The producer now shouts to the actors to "Hold
it," whereupon all of the actors instantly stop their action
and remain motionless, in the position in which they were
caught, and the camera is stopped. The hero of the story
Cut A shows a strip of wood being crushed by a bullet issuing from the
revolver at the right of the picture.
*#4**hr*4*tt"»»«««4M
Cut B shows a bullet entering the end of a lead tube filled with water, the
top of the tube being perforated with small holes from which the water
may be seen to rise.
Fig. 39 — Photographs of projectiles moving at high velocities are taken
at the rate of 6,500 per second by means of an electric spark. When
run through the projector at the ordinary rate the bullets pass very
slowly across the screen so that every movement can be clearly seen.
is now removed from the scene and the dummy is sub-
stituted, arranged as nearly as possible in the original
position of the player. Everyone now receives the signal
to go ahead as usual with the play until the point is
reached where the player is to reappear as in life, when
the same plan of stopping the action is repeated.
Nearly everyone has seen the "reversal" pictures, in
which objects in the picture suddenly reverse their usual
Fig. 40 — Taking a scenic from the pilot of a locomotive, a rather dis-
agreeable and dangerous task for the operator.
direction of progress, or in which the characters in the
scene perform such feats as jumping over high walls or
leaping from the water to a dock. In the former case,
the motion is carried out in the usual way, but the rela-
tion between the motion and the order in which the pic-
tures are taken is reversed by means of either a "revers-
ing crank" on the camera, which changes the direction of
the film, or by turning the camera upside down. In some
cases a special printing machine feeds the negative film in
a direction opposite to that of the positive during the
process of printing, so that the relation of one portion of
the film is reversed in regard to that portion that imme-
diately precedes it.
Another interesting film of this class is that showing
the complete erection of an office building during a few
moments run of the film. The pictures in this case were
actually taken of the building while it was being torn
down, a few pictures being taken at short intervals from
the time that the wreckers started until they completed the
job. When this film is run through the projector in a re-
verse direction it gives one the impression that he is wit-
nessing a record breaking building job, for, due to the
reversal, the building line raises instead of falls.
{To be continued.)
Pilot Player in Jail
Herbert Barrington, one of the leading men of the
Pilot Company, had to walk about four blocks in the
makeup of a "hobo" last week. Barrington was very
much chagrined when a policemen arrested him for
vagrancy. After the police had communicated with the
Pilot studio, Barrington was released.
430
MOTOGRAPHY
Vol. IX, No. 12
Edison's "Mary Stuart"
The first multiple reel subject which the Edison
studios have produced in a long time will be seen when
"Mary Stuart" is released on June 21. The powerful and
pathetic story of the unhappy queen, though familiar to
Darnley Resolves to Kill Rizzio.
every schoolboy in the land, may be briefly told as fol-
lows :
The beautiful and much loved Mary Stuart,,' Queen
of Scotland, is one of the most unfortunate and pathetic
characters in history. Born in Scotland, educated at the
court of Francis II of France, whom she married at fif-
teen, queen of France at sixteen, a widow at seventeen,
beginning her reign as Scotland's queen at eighteen, mar-
ried to Darnley of the royal blood at nineteen — her life
began amid turmoil and disaster.
Her husband, Lord Darnley, who after their marriage
proves himself a vicious braggart and coxcomb, is in-
tensely jealous of Rizzio, Mary's favorite singer and
secretary. One night as Rizzio sings to the queen, Darn-
ley and his band of night hawks wait at the foot of the
narrow staircase for the singer. Down the staircase he
Unsuccessful Attempt to Kill Elizabeth.
comes, full of youth and love. Darnley's hand shoots out
of the shadow and Darnley's dagger finds its rest in Riz-
zio's heart.
Such marital dissensions, together with political fac-
tions and religious contentions, cause Scotland to rise in
arms, and the queen, in jeopardy of life and without fol-
lowers, accepts the offered hospitality of England's queen,
Elizabeth, who extends Mary an invitation to sojourn at
Kennilworth castle, in Warmikshere, until the broils of
Scottish clans subside and Mary can return to her throne.
With gratitude and haste, the Stuart repairs to Kennil-
worth, only to find herself trapped, a prisoner, by Eliza-
beth, who really fears not only the Scottish queen's beauty
and power, but her legal birthrights to the English crown.
Elizabeth, not daring to openly execute her royal sister,
tries secretly to affect her assassination, but in vain, owing
to the loyalty of Mary's servitors.
A charge of treason is then brought against her by
the English crown. She is found guilty and sentenced to
the block. Pending the signing of the death warrant by
Queen Elizabeth, attempts to rescue Mary are made, one
by a gallant and loving Englishman, Sir Edward Morti-
mer, but these only result in failure of plans, frustrated
attempts on Elizabeth's life, and deeper confinement and
unhappiness for Mary. In a meeting between the two
queens, effected after much planning, Elizabeth taunts
Mary, whose proud spirit rebels and bursts forth in de-
nunciations. After this disastrous interview and at the
urging of Lord Burleigh, the lord treasurer, Elizabeth
signs the death warrant and the martyr queen is led to
Mortimer Feigns Hatred of Mary in Elizabeth's Presence.
public execution. The Earl of Leicester has been secretly
in love with Mary, but fearing for his safety, deserts her
when the crisis comes.
There is a white haired old man who follows her,
with breaking heart, to the scaffold, and a gray haired old
woman bowed down by weeping — these, her nurse and
her physician, the remnants of her faithful followers. She
mounts the scaffold, the charges of treason are read to the
curious, hungry crowd watching. Oh, the anguish on the
queen's tired face at these false accusations. She forr
gives the headsman, offers a prayer for her too trusting
soul, and bares her white neck to the axe. The film fades
on Leicester bowed with grief and remorse on the stairs
which Mary had just ascended on her way to the scaffold.
Edison Players In Georgia
Charles M. Seay has left the Edison studio for an
extended trip through the south, where he will make his
headquarters in Rome, Georgia. With the director are
Mabel Tronnelle, Bliss Milford, Herbert Prior, Harry
Beaumont and Arthur Housman. They will make a num-
ber of films, using places of historical interest as settings.
June 14, 1913
MOTOGRAPHY
431
Remarkable Dual Role Drama
An Interesting Essanay
THAT popular actor, Francis X. Bushman, signalizes
his return to the Essanay studio by appearing in a
remarkable dual role, in a two-reel photodrama
entitled "A Brother's Loyalty," which will be released
on June 20.
Mr. Bushman has shown himself remarkably capable
on many former occasions, but the reviewer doubts verv
much whether he has ever seen him to better advantage
than in the double role of Paul and Hal, in this coming
release. Not only does Mr. Bushman appear as the two
separate characters but actually appears on the screen
at the same time in the opposite characters. At one side
of the set Bushman as Paul is seated in a big library
chair talking to his twin brother Hal, also enacted by Mr.
Bushman, who stands at the other side of the stage.
The remarkable timing of the scene, which enables
the talented actor to appear as two different characters
in the same identical scene, and to go through all the
pantomine and "business" of the drama, as though he
were playing opposite a real flesh and blood character
who could respond to his actions, instead of playing to the
empty air, first on one side of the scene and then on the
other, makes "A Brother's Loyalty" a most fascinating
photoplay to witness.
Unlimited praise is due to Director Theodore Whar-
ton who is responsible for this production and whose
careful timing of the scenes and skillful stage direction
enabled Mr. Bushman to make so much of the dual roles
he enacts. The writer has seen more than one of the fea-
tured dual-role dramas, but is quite sure than in natural-
ness of action, absolute accuracy of timing, and skillful-
ness of "business" he has never witnessed anything supe-
rior to this coming release of the Essanay company.
To make his impersonation of the two characters
still more complicated, Mr. Bushman changes roles be-
fore one's very eyes. That is, in the make-up of Hal he
shifts to the garb of Paul, Hal's brother, and while still
made up as Hal, goes on to play the part of Paul, thus
baffling the police. Of course, to carry out the necessary
mixup in identities, he has to play the role of Hal while
made up as Paul, though wearing Hal's clothing, and the
way he makes each character stand out separate and dis-
tinct— the way he gets over the little characteristics of Hal
while playing Paul, and of Paul while playing Hal, is
nothing short of wonderful.
"A Brother's Loyalty," as its name indicates, is a
story of brotherly devotion and sacrifice, in which one
brother goes even to the penitentiary for the sake of the
other brother, and to spare the wife and child of the other
from disgrace.
The playlet opens in the happy home of Hal, the erring-
brother. Through the persuasion of a friend Hal is led to
frequent a poolroom of questionable character and even
to play for money. Paul, Hal's brother, who is a clergy-
man, is summoned by Hal's wife and told how Hal is tak-
ing the first steps on the downward path. Upon Hal's re-
turn, Paul cautions him against evil associates, but Hal
disregards Paul's warning and revisits the poolroom. That
day Hal plays pool with a young man, unknown to him,
but who in reality is a counterfeiter, and in making
change, in settlement of the bets on the game, is handed
some of the "phoney" money.
Hal passes some of the "queer" upon a merchant of
the neighborhood, who discovers that the money is coun-
terfeit and summons the police. A description of Hal is
given to a detective and the clues lead first to the pool-
room and then to Hal's home. Meanwhile a friend of
Hal's, who had been present in the poolroom when the
detective called, warns him that an officer is on his trail.
In fear Hal seeks the advice of Paul. Paul suggests that
the two exchange identities — that Hal don the clergyman's
dress and pretend to be Paul, while Paul himself shall as-
sume the clothing of Hal and pose as the latter.
Hal, at first, is reluctant to allow his brother to as-
sume his name and dress, but, believing that the latter can
perhaps discover something that will aid him in proving
his innocence, finally consents, and goes into an adjoining
Paul in the Prison Shop.
room to change his garb. Just as Hal returns, dressed as
Paul, and Paul goes into the bedroom to assume Hal's
clothing, the detective calls. Hal, disguised as Paul, meets
him and at first denies that his brother is in the house. A
moment later Paul, in the suit of Hal, steps into the room
and is at once arrested by the officer. Paul is subsequently
tried, convicted on circumstantial evidence, and sent to
prison. Hal assumes the duties laid down by Paul and in
the course of time stumbles upon a clue as to the hiding
place of the counterfeiters. Seeing a poolroom lounger
disappear in a small backroom he follows, and discovers
a trapdoor leading into the basement.
Laying his suspicions before the police, Hal is given
every assistance in running down the counterfeiters and
432
MOTOGRAPHY
Vol. IX, No. 12
leads the police to the basement of the poolroom, where
a complete counterfeiting plant is exposed. In the battle
with the police the young man who had played pool with
Hal and passed him the "queer" money in making change
is badly wounded and, fearing that he is near death, con-
fesses that it was he who gave Hal the counterfeit money,
Hal tears off his clergyman's garb and stands forth as
himself. The arrest and conviction of the real counter-
feiters, of course, leads to Paul's being pardoned and to
his resuming his old duties. The closing scenes of the
picture show Paul preaching in the St. Francis Mission,
with Hal and his family among those present. As the lit-
tle throng kneel in prayer the films fades from the screen.
The cast is as follows :
Hal and Paul, twin brothers Francis X. Bushman
Hal's wife Miss Beverly Baine
A young counterfeiter Norman Fowler
Proprietor of poolroom Frank Dayton
Detective E. H. Calvert
Hal's child Margaret Steppling
As special advertising for "A Brother's Loyalty,"
Don Meaney, press agent of the Essanay Film Manufac-
turing Company, has issued a handsome two-color folder
descriptive of the big scenes in the photoplay and calling
attention to the clever manner in which Mr. Bushman as-
sumes the dual roles. Inclosed in the folder, as it is
mailed to the exhibitors of the country, is a photocard
bearing on one side a splendid portrait of Francis X.
Bushman, and on the opposite or reverse side, a short
synopsis of the film and three small halftones of the prin-
cipal scenes. Doubtless exhibitors will find these photo-
cards very helpful in arousing interest among their patrons
The Raid on the Poolroom.
over the showing of "A Brother's Loyalty," owing to the
fact that every dyed-in-the-wool film fan will want to
take home so good a picture of Mr. Bushman and a little
description of the feature in which they saw him.
Convict Ship In Pictures
While making a picture dramatization of "Half a
Chance,"- the well-known novel by Frederick Isham, Pro-
ducing Manager J. V. Ritchey of the Reliance found him-
self face to face with a difficulty that seemed impossible to
overcome. The story deals with events that took place
during the era when Great Britain was exiling prisoners
to Australia and part of the action is on board one of the
old convict ships of that period. Manager Ritchey was
just about despairing of finding a ship that could be made
to look like the genuine article when he located a real
"hell-ship" at his very door. The "Success," which lies
moored in the Hudson river, is an old convict ship which
The Convict Ship, "Success."
carried thousands of the one hundred and sixty-five
thousand convicts that left English ports while that dis-
graceful system of transportation lasted, a ship which in
the days of her activity carried eighty pairs of hand-cuffs
and three hundred basils with chains to torture the mis-
erable convicts who were forced to make the entire voyage
in irons.
The convict ship "Success" is said to be one of the
oldest boats afloat, as her timbers were laid down in
Moulmain, British India, in 1790. She is built of teak
wood throughout and, in spite of her 123 years of active
service, made the voyage across the Atlantic last year —
under her own canvas — a trip which took ninety-six days.
The weird old hulk with its rows of gloomy dungeons and
its paraphernalia of punishment and torture fitted into the
Reliance dramatization of "Half a Chance" as if the book
had been written with this very ship as a background. The
picture will be presented in two reels on Saturday, Tune
14th.
New Player Is Engaged
Mrs. Clara Reynolds Smith began her public career
as a reader, being well known on the Lyceum platform
twenty years ago. She held the chair of oratory in
Deland College, now Stetson University, Deland, Florida.
She began her stage career in the Broadhurst farces, her
first part being Mrs.. Goodly in "What Happened to
Jones." Since that time she has played a wide range
of grande dame and character parts, thus proving her
versatility. Fler stock experience has been wide, she
having played stock engagements in New York, Buffalo,
Cleveland, Indianapolis, Minneapolis, St. Paul, Duluth
and Denver. She has supported such stars as William
Collier, Amelia Bingham, Victor Moore and others. For
the last few years she has been identified with new pro-
ductions in New York, her last part being the German
mother in "When It Comes Home." At the close of the
engagement of the last named play, she decided to enter
the moving picture ranks, and has joined the forces of the
Essanay eastern stock company at Chicago.
June 14, 1913
MOTOGRAPHY
433
On the Outside Looking In
By the Goat Man
SAM TRIGGER, ten reels for
ten cents Sam, resents the im-
plication that the New York
exhibitors are a bunch of rough-
necks, or something akin to that.
He resents it relentlessly and to the
point of saying over his own sig-
nature that the Goat is a low-brow
and stinks to heaven. He also in-
timates that Mayor Gaynor was ter-
ribly peeved about something or
other that had been printed in this
vicinity. Frank Tichenor is also
nursing a grouch because we can't
fall on the necks of New York ex-
hibitors and call them blessed.
When I was roaming among the
rocky crags of Manhattan island
there was a general complaint that
the committee having charge of the
flood benefit entertainment hadn't
acted in good faith. No one, it
was alleged, had seen a report of
receipts and expenditures. The list
of contributors was the sacred
property of the committee. The
howl that greeted my ears could
not have been from a satisfied
group. I would like to know why — -
not that it is any of my business,
but if a thing doesn't appear to be
regular, the exhibitors can correct
the misapprehensions by making
their balance sheet do the talking.
How much did the New York thea-
ters give up — that's the question.
* * *
We all know the sum given
to Mayor Gaynor went through the regular relief chan-
nels. We also know that the amount raised through the
New York exhibitors exceeded by hundreds of dollars
the amount handled by the National League, which is
easily explained by the timeliness of the New York
effort. The National League got in too late. Every-
body had given through other channels. It isn't credit-
able for the New York exhibitor to say, "Look what we
did," unless they are ready to show where all the money
came from and what became of it. This holier than
thou attitude used to go in Gotham, but we live in a
show me country.
Another thing Sam Trigger gave out that hasn't
been down in the printed matter, to-wit : I can have
every convenience at the third convention to be held in
July. I can have a place to hang my hat and a desk
and a stenog (when Alf Saunders gets through) and a
cuspidore and an umbrella fack and extra pencils, paper,
telegraph blanks, etc. And it won't cost me a cent!
Why, New York exhibitors will take up a collection out
of their own pockets rather than have me go without
these privileges ! Konnen sie es uebertressen? You
can understand why I'm the goat, can't you, when I
have to let Sam Trisrg-er talk to me like that? And
It has been known for a long time in
inner picture circles that Maude Fealy,
the stock star, had signed for motion pic-
tures— not for a single special film, either,
but a regular engagement. C. J. Hite,
president of Thanhouser Film Corporation,
confirms the report with the formal an-
nouncement that he holds a contract with
Miss Fealy and that she will be seen in
the coming Thanhouser production of
"Iolanthe," a multiple-reeler. Maude Fealy,
during her stage career has supported such
stars as Sir Henry Irving, E. S. Willard,
William Gillette, Richard Mansfield, Wil-
liam Collier, Nat C. Goodwin and Robert
Hilliard.
St. Patrick's day, asking me to help
sell floor space. Sam Trigger says
if I do it I will have the thanks of
the New York State Branch No. 11.
including W. B. F. Rogers, coun-
sellor.
% % %
I'm rather "het up" over this
whole thing because the New York
exhibitor is putting himself and his
forthcoming show up front in the
glow of the stage lights. He calls
it the "First International Exposi-
tion of the Motion Picture Art."
After all, it is the third annual con-
vention of the M. P. E. L. of A.
The convention will be held at the
New Grand Central Palace and the
dates will be July 7 to 12. After
the show is over it will go down as
a grand affair, no doubt, but it will
still be the third annual convention
and that is all. Then the lack of
foresight, or the predominance of
hindsight, or something, mixes us
all up in one fine mess. This is un-
fortunate, because there should
come a time when the men of the
film industry will attend their own
business and employ other men to
do things for them. Pulling off a
great convention isn't a showmen's
job. There are men in New York
who would do a specialist's job at a
a price and they would do it with
neatness and dispatch. Last year the
Chicago exhibitors pulled off some-
thing of a convention and the com-
mittee having it in charge rose as one man and said,
"Never again." That is the way it will end in New York.
Film men haven't learned the art of hiring the other
fellow to do it.
# * *
There is no doubt in my mind that the third annual
convention of the M. P. E. L. of A. will be a whale of a
show. If I didn't think that I wouldn't be shoving aside
an occasional nickel or a dime to make the trip. I'll be
there, but I won't promise to stop at the Victoria, be-
cause that special rate schedule is the regular rate — it
isn't a concession. And because it isn't I can't take the
Motion Picture Trades Exposition seriously.
* * *
In other words, soft soap don't grease the wheels
of this publication. It has developed to the present point
by the slower process of feeling its way, much as a blind
man does. There are in this business hundreds of vol-
unteers who tell me just how Motography might be-
come a veritable gold mine over night. I must do this
and -I must do that. I appreciate all of this friendly
suggestion but a Goat is very apt to do as it pleases.
If you have been following the career of this little journal
to the trade you will have been impressed that it doesn't
discriminate. It has never, even in a subtle way, tried
within the past week I got another circular letter, dated to influence its readers except for the betterment of the
434
MOTOGRAPHY
Vol. IX, No. 12
motion picture as an entertainer. It is the one journal
that lets you run your business as you please. It never
presumes to say a thing is so unless it can prove it. In
no department do we practice commercialism in its nar-
^^^Hf
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Virginia Westbrook and Irving Cummings in "A Madcap of the Hills."
Reliance release of June 7.
row sense. We do try to give our subscribers their
money's worth and by the same practice we boost our
advertising friends, because we believe in them as they
believe in us. We are not playing favorites. I can
shake Sam Trigger's hand without any malice, and when
1 meet this man Tichenor I will have him tell it to me
instead of to Haase. Cheer up, you New Yorkers.
Billy Home is angel to his son Pliny. Seltagraph
Films belong to the Home family. I always felt that
Billy Home would get in, eventually.
# % ^
I saw another rotten one a few days ago — lots of
gaudy paper and viciously suggestive stills in the lobby.
It was worth a dime to me, for I caught it about two-
thirds through the first reel, and stuck through the second
and for five minutes of the third, by which you will
know it was a feature. And all the time I looked I
wondered what I would have done had I been the censor.
For it is a pity that a film like this one ever gets going.
Bad in its conception, it should have been stopped there,
for it costs money to make 'em, no matter whether good
or bad. They called this "Driven from Home, or the
Wages of Sin." And they got away with every bit of it.
The photography was as bad as the plot was old. There
was papa, mamma and the five-year-old child and the
villain. The villain was papa's friend ; freedom of the
home stuff ; one of those friends we read about but
never meet. This guy looked the part and he acted it
from the jump. Papa had to know all the time that he
was flirting with a snake ; because the villain said so by
the first shrug of the several hundred that was to come.
Of course he made love to the missus; took her to the
matinee on papa's tickets — papa being pressed at the
office — one of those $8 desk offices with the hat rack out-
side. At the show the missus weeps and the villain
sneers, but that was what those scenes were for, that
and padding, and then these two go back home and are
caught by the tired old hubby who had looked at his
watch and told Dolly it was a day's work. I say, the
loving father came home and found the friend-of-the-
family embracing the mother of his heir. There was
blood in his eye and vengeance in his heart. He fired
his villainous friend and then, in spite of mamma's child,
he fired the missus — Driven from Home — you get that?
Mamma put on her furs and gathered up her purse and
slushed out — to be met by the trouble-maker who had
loitered outside. He takes the mamma to a hotel but
she escapes from the room, locking up the bad man and
her purse. It gave him a chance to shrug and sneer
some more. But the missus goes to a restaurant and
eats a big meal before she discovers her lack of funds.
Nothing to it. The owner steps to a street door and
calls a Bull who hikes the lady to the lock-up. The desk
sergeant orders her to a dungeon, but in stalks old sneer-
face. He explains and away they go. How wonderful
are the works of the producer-man ! Well, from that
time on the thing gets worse. We see the lovely wife
and mother hanging to a bottle of booze — her drunken
consort as a yegg and the final killing by the missus.
She goes to a hop joint and sees visions of her former
happy home; her husband kissing her photograph; her
baby girl. And then she staggers out into the street to
find that same home and those old and happier scenes.
Presumably she dies when she gets back. I didn't stay
to the finish. I couldn't. I can't be made to believe
such rot. I can't conceive why such films find a market
or an audience. I don't know how the censor lets it
get by. I know it is wicked to have a film like that for
, mm
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Runa Hodges, Child Star of Reliance Company.
exhibition purposes. And if I should depend on such
film filth as advertising substance I'd starve to death.
I have a nice long letter from Phillips Smalley. I
June 14, 1913
MOTOGRAPHY
435
hope he sent a carbon copy of it to Carl Laemmle and
Bill Swanson. * * *
Allen Lee Haase came limping into Chicago the first
of June, winding up a pilgrimage that has taken him
Ann Drew of the Majestic Company in "The Fraternity Pin."
all over eastern territory — representing Motographv. I
guess he saw nearly everybody and told them there was
another journal to the trade, that got its mail outside of
New York. Al looks like he had seen hard service and
lots of promises. In the meantime, here's another num-
ber of the book. If your advertisement isn't included,
maybe you forgot to send your copy or make your peace
with the bookkeeper. For around here we believe in
keeping good company or none.
^K ^ ^
Haase tells me that Zukor was in, but he was too
busy to see him. Adolph is a regular little joke-smith,
don't you think? When he travels 2,000 miles to see
me, I'll see him, don't you worry.
^ ^ ^
Every little while some one wants to know what I
The Submarine Studio for Kinemacolor in England.
know about the film business. Must I tell you again
that I know nothing at all about the business? I'm
going to have the Peerless Piano folks cut a record that
will tell you that and then you can play it during inter-
missions. But at that, some of those weak-minded
friends of mine tell me that they will never be happy
till I do this thing for 'em every week. Patient, you
fellows, the signs are brightening. 1 may be tempted to
try it — maybe as soon as July.
:fc :fc %
Pop Rock doesn't like water. He went to Philadel-
phia, but it rained and he wouldn't go to Lubin's banquet.
*fc '£ ^
If it cost my old friend Jules Brulatour four thou-
sand dollars to run over Frank Smith, what will the rest
of his grief cost him? A vegetable diet doesn't appear
to pave the way with roses.
*K ^ ^
Another thing we do around here, by way of keep-
Charley Manley, the "Grand Old Man" of the film
Powers Photoplay, Inc.
Xow with
ing out of mischief, is printing "Motographv's Hand
Book and Film Record." All of our subscribers have
already been supplied with the newest edition of this
book and we are sending them out at the rate of a thou-
sand a day, every copy carrying a green certificate to
pay the cartage. There are 96 pages and a cover. The
record of the films grows with the ever increasing out-
put. Forty-two manufacturers are listed, including their
releases between April 1, 1912, and March 31, 1913.
The exchanges are listed and there is much other inform-
ing matter for the exhibitor of films. We aim to supply
every exhibitor in North America with a copy of this
indispensable little booklet and at no cost to him. If he
will need more than one copy it will be sent for ten cents.
Got yours yet ?
% ^ ^
Most of the state conventions are over. It is all up
436
MOTOGRAPHY
Vol. IX, No. 12
Scene from "Marine Law," American release of June 21.
to New York to beat Chicago's effort of last year. Let
us all pull for the big show.
* * *
And to think that not a whisper has followed Pat
Powers getaway. There is always a calm before a
storm. Keep your mufflers closed.
Herb Miles says it takes a wise one to get through
these days, with enough extra for silk socks.
Universal City to Have Zoo
A new series of jungle pictures are to be filmed at
Universal City, Cal., in the near future. This is made
possible by the recent purchase by the Universal Film
Manufacturing Company of a trainload of lions, tigers,
bears, pumas, leopards, jaguars and other wild denizens
cf the tropical forests. The zoo arrived at the Providencia
ranch on May 23 and was immediately installed in new
quarters that had been prepared for it.
New Diffusion System
A new system of light diffusion for outdoor motion
picture studios that is deemed revolutionary by experts
has just been invented in the Universal City studios. It
is the achievement of Edward Wortham, head stage car-
penter of the Universal west coast studios. The process,
it is said, eliminates entirely all shadows, and does away
with the many posts used under the present system to
hold up the diffusers. The Wortham device is worked
with pulleys and rolllers the same as the present method.
although in a different manner. On a stage forty feet
square there are to be twenty diffusers, any number of
which may be used as the scene requires. They will do
away with the stationary cloth top of the studios, for there
are always enough to cover the top entirely or in part as
needed. They may be folded up at night, much as are
the leaves of a book, when it is standing on its side. One
diffuser can be lapped over another, making it absolutely
impossible for the least ray of light to penetrate the scene.
Photoplay Magazine Revived
The Photoplay Magazine, the publication which was
devoted to stories of the Independent films and portraits
of the players in the Independent ranks, but which ceased
publication some months ago, is shortly to again make
its appearance on the news stands. The first issue of
the new publication will be dated July, though it is under-
stood copies may be obtained about the middle of June.
Independent exhibitors will doubtless welcome the return
of the magazine.
Marc Mac Dermott No Sailor
Marc MacDermott's first message after arriving in
England is one of despair. Wonderful actor though he
undoubtedly is, he is a rank failure as a sailor, for poor
MacDermott was deathly sick. All went well the first
day out, but then he "ate something that did not agree
with him" (we have heard that one before, Marc), and
prayed for sudden death all the rest of the way over.
MacDermott wrote that he had always loved his native
England but it never looked so good to him before.
June 14, 1913
MOTOGRAPHY
437
The Motion Picture Exhibitors' League
of American
General Headquarters
703 Euclid Ave., Cleveland, Oh/o
OFFICERS OF NATIONAL ASSOCIATION.
President. M. A. Neff, i-ock Box 15. Cincinnati. 0.; Secretary. C. M. Chrlstenson. 703 Euclid Ave., Cleveland. O. ; Tt lsurer. J. J. Rieder. Jackson Mich.; Vice-Presidents.
W. A. Pettis, Conneaut, O. ; Wm. J. Sweeney, Chicago, 111.; Ferd J. Ilerrington. I'lttsburgli. Pa.; Ii. L. Converse, Owl aa, Mich.; F. J. Rembusch, Shelbyvllle. Ind. ; E. W.
Waugh. Huntington, W. Va. ; Orene Parker, Covington. Ky. ; Geo. H. Wllej. Kansas City, Mo.; Chas. Rothschild, San 1 .'ancisco, Cal. : Sidney Asher, New York, N. Y. ; Fulton
Brylawski. Washington, D. C. ; L. F. I'.lumenthal. Jersey City, N. J.; H. C. Farley, Montgomery, Ala.; A. D. Saenger, Shreveport. La.; Thos. A. Brown. Iowa City. la.;
W. H. Wassennan, Nashville, Tenn. ; T. P. Finnegan, Dallas, Tex. ; Carl Gregg, Tulsa, Okla. ; Paul I.eMarquard. Winnipeg, Can. ; E. F. Tarbell. Tampa, Fla. ; Geo. Osbom,
8t. Paul, Minn.; C. H. Phillips, Milwaukee, Wis.; Geo. F. Washburn, Boston. Mass.; Glenn D. Jrlurst, Reno, Nev. ; E. Wayne Martin, Hutchinson. Kan.; J. E. Schlank,
Omaha, Neb. ; Julius Meyers, Charleston, S. C. ; S. A. Arnold, Mena. Ark. ; Hiram Abrams, Portland. Me. ; O. T. Curtis. Pueblo, Colo ; Fred Abbley, Gulfpon, Miss. :
P. S. McMahon, New Britain, Conn. ; S. Y. Merchant. Providence. R. I. : A. Ii. Campbell, Sedro Wooley, Wash.
Rousing Philadelphia Convention
You all remember the lines of the song which run
"Sister got a job with a burlesque show. Sister couldn't
sing or dance you know, but sister's there," and whether
you spell Clem Kerr with a "C" or a "K" he's there. As
a convention organizer Kerr is a wonder ; he got dona-
tions from breweries for the up staters who would be in
Philly, from the meat packers whose sales would in-
crease for the two days, from the Central Market for the
vegetarians who were coming, and from the manufac-
turers on account of the large number of film consumers
who were expected, and that's what makes a convention a
success. The second annual state convention of the Penn-
sylvania members of the Exhibitors' League of America
was a success. Over 250 members from all parts of the
state were present, serious and business-like.
The program for the two days was :
TUESDAY, MAY 27.
10:00 a. m. All exhibitors and families meet at the Continental
Hotel to register. Short business session. Adjourn until
1 p. m. <r
1 :00 p. M. Grand concert and Cinematograph Exposition Re-
view.
1 :30. Convention assembles. Address of welcome by the Hon-
orable Rudolf Blankenburg. Response by President M. A
Neff. Adjourn.
2:30. Visit to Lubin Manufacturing Company's studio.
7:00. Free Cinematograph, musical and cabaret entertainmeni
at Continental Hotel Roof Garden.
WEDNESDAY, MAY 28.
9:00 a. m. Meet at the Continental Hotel. Parade up Marlon
street, around Citv Hall, down Chestnut street to Sixth to
Curtis Publishing Co.'s building, where a motion picture was
taken of all exhibitors and their families.
10:00. Trip through Curtis Publishing Co.'s plant.
10 :30. Convention called to order.
1 :30 p. m. Convention reconvenes.
7:00. Banquet for members of league, wives, mothers, sisters
and guests.
The convention committee, which consummated the
arrangements for the convention, was composed of the
following Philadelphia motion picture exhibitors : E. A.
Jeffries, chairman; M. J. Walsh, first vice president;
Charles Segall, second vice president; J. Hesser Wal-
raven, secretary; J. W. Pierce, financial secretary, and
George H. Roth, treasurer.
The entertainment committee consisted of J. Wein-
rich, chairman; A. R. Cavanaugh, John Smith, C. L.
Bradfield, G. W. Pierce, Charles Buehler, of Philadel-
phia; C. E. Smith, Henry Poke and F. J. Herrington. of
Pittsburgh; Benjamin Zerr, of Reading; L. Sablosky, of
Norristown; George M. Kruppa, of Lancaster; C. B.
Linck, of Williamsport ; H. W. Musser, of York ; V.'. L.
W. Jones, of Coatesville ; M. Krohn, of Easton; Harry
Davis, of Milton; Louis Matule, of Carbondale; William
Eyre, of Bangor; E. Super, of. Bristol; I. Greenburg, of
Chester; H. W. Shaeffer, of Columbia; C. R. Milkman,
of East Stroudsburg, and G. C. Miller, of Plymouth.
The banquet committee was composed of the follow-
ing: E. A. Jeffries, chairman ; J. Hesser Walraven, Wal-
ter Steumpfig, Jay Emmanuel and Julius Hansen.
President M. A. Neff of the National League called
the convention to order and delivered a strong apppeal to
Group of Exhibitors at Pennsylvania State Convention Held in Philadelphia May 27 and 28.
438
MOTOGRAPHY
Vol. IX, No. 12
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Banquet of Delegates to Pennsylvania State Convention, M. P. L. of A., Held in Continental Hotel, Philadelphia, Pa., May 28.
the exhibitors for harmony and co-operation. In part
he said :
"What we want is for Congress to pass a bill creat-
ing a National Congress of Censors, this body to be com-
posed of persons from all walks of life, the merchant, the
manufacturer, the social reformer, newspaper men, pa-
trons of the motion picture houses, and some of our own
representatives.
"Then let this board, once provided for by Congres-
sional legislation, be divided into small boards which are
apportioned out to the various states, and let each state
body be supreme in its decision as to what pictures may
or may not be shown ; and moreover if a picture is passed
or discredited by any state board which is a member of
the National Congress of Censors, let this decision be-
effective in all states.
"Now that the motion picture industry has grown to
such an extent, and since there is apt to be so much criti-
cism as to the nature of the plays produced, let us take
that criticism out of the hands of a self-appointed board,
which has not a clear grasp of the situation, let us pre-
vent that censorship from getting into the hands of bicker-
ing politicians who will use it to foster their own selfish
ends, and let us place it or cause it to be placed in the
hands of a competent representative body of men who
will conscientiously give their best judgment to the sub-
ject at hand."
Mr. Neff attacked the efforts of certain municipalities
to legislate against the motion picture industry, and de-
clared that there would be no objection to such legisla-
tion if it were not ultimately injurious to the industry,
because of the ignorance of the legislators.
"This league," he said, "is trying to uplift the mo-
tion picture industry not only in Pennsylvania and other
states, but throughout the world. We have never evaded
the law, but we have protested against municipalities
legislating against us, because they do not know any-
thing about our business."
The assembled delegates were welcomed to the city
in the absence of Mayor Blankenburg by Director of Sup-
plies Herman Loeb, who praised the industry and cau-
tioned the manufacturers to keep from evading the law
for a paltry sum of money. He predicted that the time
was coming when the public school systems all over would
find it more profitable to discard certain text-books and
replace them with moving pictures.
In the afternoon on Tuesday the exhibitors paid a
visit to the Lubin Manufacturing Company's large fac-
tory and studio in North Philadelphia. They swarmed
into the yard and corralled the entire staff of executive
officers of the plant. Siegmund Lubin, Ira M. Lowry,
Tom Cochrane, Tom Hopkins, H. A. D'Arcy and a dozen
others were pressed into service to show the crowd the
beauties and mysteries of the big film plant. All work
was suspended for a couple of hours to make way for
the throng who show pictures for five and ten cents and
wanted to see how and why they cost from $5,000 to
$25,000 to make. The directors were all alert, Arthur
Hotaling and his company came up from Atlantic City
to assist in entertaining. A score of photographs of the
crowd were made in the plant yard, one of which we re-
produce herewith. Among the visitors was W. T. (Pop)
Rock, president of the Vitagraph Company of America.
The evening was devoted to the exhibition of various
makes of films. A Biograph Famous Players and Ramo
film being roundly applauded. A Universal film also re-
ceived favorable comment, although rather long for an
entertainment of this kind.
On Wednesday the parade was abandoned on ac-
count of the rain, but a photograph of the venturesome
ones who visited the Curtis Printing Company plant was
secured which we show elsewhere.
During the afternoon a spirited executive session was
held, various party states being put forward, but an amic-
able termination was reached by the election of the fol-
lowing :
E. A. Jefferies, president ; Walter Steumpfig, national
vice president ; A. C. Kleihm, first vice president ; G. C.
Miller, second vice president; Harry E. Reiff, secretary;
Benjamin Zerr, treasurer.
Herrington, one of the defeated candidates, brought
the exhibitors to their feet with a masterful address for
which he was cheered to the echo.
The banquet in the evening is not very faithfully re-
produced by the photograph which appears elsewhere.
Over 200 exhibitors and guests attended. The meal itself
was a revelation, being rather better than most banquets
offer.
Thomas Cochrane of the Lubin Manufacturing Com-
pany introduced Clem Kerr, national organizer, as the
toastmaster, who, in turn, called on H. Hoffman of the
moving picture press for a short address. Mr. Hoffman
June 14, 1913
MOTOGRAPHY
439
confined his talk to a complaint that the
League of America was excluding reporters
executive sessions. Inasmuch as reporters
admitted to executive meetings of the League,
always being given to the press by some
exhibitors '
from their
are never
the results
authorized
person, it was the consensus of opinion that the ad-
dress was in bad form and ill timed.
F. J. Herrington, of Pittsburg, was requested to tell
something about woman's suffrage. This was bait enough
and Mr. Herrington rose to it like a hungry trout. For
the next twenty minutes a most respectful quiet was the
compliment offered to Mr. Herrington's elocution and his
little side lights on and comparisons to American history
brought him a tremendous ovation when he sat down.
Clay M. Greene, of the Lubin Manufacturing Com-
pany, gave a short address on the moving picture from
the manufacturer's standpoint. Arthur Johnson, one of
the most popular leads in moving pictures and a member
of the Lubin stock company, was asked for a short talk
from the player's viewpoint. Mr. Johnson graciously de-
clined the honor in favor of Miss Lottie Briscoe, who was
indisposed to further his remarks.
M. A. Neff closed the speechmaking with an address
pointing out the importance of team work by the league
members, which was well received. Another exhibition of
popular Ramo, Universal and Lubin films was made,
bringing the convention to an end.
Those who had exhibits at the Philadelphia conven-
tion were : Precision Machine Company, exhibiting Sim-
plex projecting machines, in charge of J. E. Robin; Nich-
olas Power Company, exhibiting Power's No. 6A project-
ors, under care of Will C. Smith; Enterprise Optical
Company, exhibiting Motiograph projectors, in charge of
Fred A. Clark ; Standard Motion Picture Machine Com-
pany, in charge of Eric Morison ; Thos. A. Edison, Inc..
exhibiting new model Edison projecting machine; New-
man Manufacturing Company, exhibiting frames and
lobby displays, booth in charge of W. J. Neman, manager
of New York branch, and E. C. Newman, of Cincinnati;
Manhattan Slide Company of New York, in charge of
Frank Tichenor; Directors Film Corporation of New
York, exhibiting Ramo films under direction of C. Lang
Cobb, Jr., sales-manager; Cobb Motion Picture Bureau
of New York, represented by the vice president, A. E.
Cobb ; Interstate Film Exchange of Philadelphia, repre-
sented by V. R. Carrick, showing Universal films; Uni-
versal Film Manufacturing Company of New York, rep-
resented by Joseph Brandt; The Ohio Blower Company,
exhibiting theater ventilators, in charge of Amos P. Fisk ;
Westinghouse Electrical and Manufacturing Company,
exhibiting Ozonizers, in charge of M. G. Vincent; Mag-
nesia Covering Company, exhibiting theater curtains, fire-
proof booths, etc., in charge of Chas. H. Stringer; Scarlett
Motion Picture Company of Philadelphia, exhibiting cam-
eras, in charge of Mr. Jones ; Aschenbach & Miller of
Philadelphia ; exhibiting Sanozone disseminators for per-
fuming air, exhibit in charge of Hugo Krause; G. W.
Bradenburgh, exhibiting perforating machines, printers,
etc., in charge of C. G. Meek; Globe Ticket Company, ex-
hibiting ticket rolls, in charge of C. Elliott ; Automatic
Ticket and Vending Company of St. Louis, in charge of
Mr. Moore, manager of the New York branch ; General
Electric Company, Schenectady, N. Y., exhibited a line
of arc lamps and mercury rectifiers.
Those signing the register were Gilbert A. Miller, Lyric,
Plymouth, Pa.: Jacob DuBois, Empire Palace, 2844 Frank-
ford avenue, Philadelphia; Geo. H. Roth, Star theater, 2713
North Fifth, Philadelphia; R. Saunders, New York; A. A.
Conn, Hudson Fulton theater, Broadway and 136th street,
New York; Wm. Hilkemeier, Jefferson theater, 813 Myrtle
avenue, Brooklyn, N. Y. ; W. J. Smith, Union Amusement
Co., 2711 Germantown avenue, Philadelphia, Pa.; Geo. M.
Krupa, Hippodrome, Lancaster, Pa.; J. W. Emrig, Dream-
land, 43 N. Queen street, Lancaster; H. B. Schroeder,
Colonial, 5037 Baltimore avenue; Philadelphia; John Sewell
Stewart, Grand, 508 Penn street, Huntingdon, Pa.; Al
A Group of Exhibitors Visiting the Lubin Plant in Philadelphia.
440
MOTOGRAPHY
Vol. IX, No. 12
Lichtman, Famous Players Film Company, New York; J.
Weinreich, Fairyland, 1319 Market, Philadelphia; J. J.
Stevens, 1931 S. Third, Philadelphia; Jos. F. McCartney,
Empire, 4804 Baltimore avenue, Philadelphia; Abraham
Carlos, Savoy, 3425 Third avenue, New York; J. Lewis
Breitger, 3531 N. Broad, Philadelphia; Geo. N. Wheeler,
49th and Cedar avenue; HefHnger, Leader theater, 4102 Lan-
caster avenue, Philadelphia; Jno. J. Mannix, Bijou Dream,
Wilkesbarre, Pa.; W. S. Wilson, Hippodrome, Plymouth,
Pa.; M.. J. Stiefel, Crystal Palace, 2236 N. Front, Philadel-
phia; P. J. Demas, Minerva, 319 Fifth avenue, Pittsburg;
Henry Poke, Shiloh theater, Shiloh street, Pittsburg, Pa.;
Globe Ticket Co., Philadelphia; Jack Delman, Cayuga the-
ater, 4400 Germantown avenue,- Philadelphia; Lan O'Laugh-
lin, Cayuga theater, 4400 Germantown avenue, Philadelphia;
C. L. Bradfield, Philadelphia, Pa.; H. Schoenstadt, 1811 Mar-
shall street, Philadelphia; Chas. Roth, Jr., 802 West Erie ave-
nue, Philadelphia; A. L. Schulz, 2256 North Twenty-first
street, Philadelphia; Siegmund Lubin, Philadelphia; W. M.
Rock, New York; G. H. Lemhurby, Cincinnati, Ohio; C. G.
Powell, Royal Palace, 935 Broadway, Camden, N. J.; C. R.
Fischer, Colonial, 516 Market, Camden, N. J.; A. Guerby,
Camden, N. J.; Arthur M. Taylor, Colonial, 5039 Baltimore
avenue, Philadelphia; Wm. T. Stewart, American Seating
Co., Philadelphia; John J. Flynn, Am. Seating Co., Phila-
delphia; Alfred H. Saunders, The Motorcycle; Carl R. Jones,
Garrison & Forest, Baltimore, Md.; Arthur Hegman, Mirror
Theater, 1332 South Fifth, Philadelphia; A. L. Haase, Mo-
tography, Chicago; V. R. Carrick, Interstate Film Co.,
Philadelphia; Jos. Brandt, Universal Film Co., New York;
Eric Morrisohn, Standard Motion Picture Machine Co., New
York; J. E. Robin, Precision Machine Co., New York;
Will C. Smith, Powers Co., New York; G. H. Leathurby,
Wurlitzer; W. S. Bond, Wurlitzer; F. J. Herrington, Pitts-
burgh; E. J. Kuhn, Kuhn Theater, 605 Main street, Lan-
caster, Pa.; Mrs. E. J. Kuhn, Seventh Ward Theater, Duke
and Chester, Lancaster; Morris S. Piers, Royal Palace, 275
Girard avenue, Philadelphia; J. Hesser Walraven, Temple
Theater, 1205 North Fifty-second, Philadelphia; Chas. F.
Rear, Opera House, Sunbury street, Minesville, Pa.; Edw.
A. Jefferies, Royal Theater, 5236 Ridge avenue, Philadelphia;
D. Baylinson, Crystal Palace, 334 South street, Philadelphia;
Walter Steumpfig, Germantown Theater, 619 Lincoln Drive,
Germantown; Benj. Zerr, Schuylkill Avenue Picture House,
649 Schuylkill avenue, Reading; Frank A. Gould, Rex The-
ater, 1731 Cotton street, Reading; Wm. Schaefer, Lyric,
Boyertown, Pa.; Agnes Egan Cobb, Cobb Motion Picture
Bureau, New York; John S. Greenbaum, Philadelphia;
Chas. Segall, Princess, 508 South street, Philadelphia; J.
G. Hanson, Gem, Tenth and Spring, Reading; J. M. Pierce,
Aurora and Norris Theaters, 2033 North Thirteenth, Phila-
delphia; A. G. Resnick, New Casino, 2033 Fernon, Philadel-
phia; Abraham H. Nace, Broad, Quakertown, Pa.; Wm. H.
Rosenhagen, Theater, Seventh and Arch streets, Perkasie,
Pa.; Algernon R. Cavenaugh, Lyceum Theater, 6053 Ridge
avenue. Roxboro; M. J. Walsh, Iris, 3146 Kensington avenue,
Philadelphia; E. A. Walsh, manager of Iris, 3146 Kensington
avenue, Philadelphia; C. Lang Cobb, Ramo Film Co., New
York; G. R. Thomas, Wheeling, W. Va.; Walter N. Jacobs,
Broad Street Casino Theater, Philadelphia; Marcus A. Benn,
Benn Theater, Sixty-fourth and Woodlawn, Philadelphia;
John J. Connor, Erie Theater, Marshall and Erie avenue,
"Philadelphia; Clem Kerr, 644 Creighton avenue, Dayton,
paid $2; Fred J. Herrington, 219 Southern Coliseum, Pitts-
burgh, Pa.; J. A. Nagle, Manor, Pa.; Frank A. Tichenor,
Manhattan Slide Co., New York; Chas. H. Hicks, Baltimore,
Md.; H. Moorhead, Grand Theater, Baltimore, Md.; Jos.
Brodin, New Brodin Theater, Baltimore, Md.; J. J. Hart-
love, Crescent Theater, 1110 St. Charles, Baltimore, Md.;
Nat B. Keen, The Leader Theater, Baltimore, Md.; C. B.
Cunningham, Mutual Film Corporation, Baltimore, Md.; O.
J. Allenbaugh, 963 Frederick avenue, Baltimore; F. H.
Drakee, Colonial and Palace Theaters, Baltimore, Md.; Geo.
S. Benjamin, Jr., Alcazar, 121 North Howard, Baltimore,
Md.; A. Anderson, Majestic, Baltimore, Md.; A. S. F. Barker,
Casino, Frankford, Pa.; Bernard Depkin, New Pickwick,
Baltimore, Md.: Harry Berman, Princess, 508 South street,
Philadelphia; Geo. H. Chapman, Orthodox, 1616 Orthodox
street, Philadelphia; Chas M. Ropopul, Grand, Seventh and
Snyder, Philadelphia: Jay Emanuel, Ridge Avenue, 1734
Ridge avenue, Philadelphia; W. R. Fulghum, Camden, N.
J., talking machine salesman; H. A. Victor, Savoy, McKees-
port. Pa.; Thos. J. Barbin, Barbin Theater, 515 Grand ave-
nue, Millvale, Pa.; H. C. Kliehan, Lawrence, 3407 Butler
street, Pittsburgh; W. J. Newman, with Newman Manufac-
turing Co., New York; D. B. Wilson. General Electric Co.,
New York; W. A. Johnson, Exhibitors' Times, New York;
Harry E. Rieff, Lyric, 21 Boggs avenue, Pittsburg and Chas.
K. Campbell, Philadelphia.
Convention Notes
Why not take a moving talkie of Fred Herrington in action?
His "Smoke and Grime" speech compares favorably with Grape
Juice Willy's "Cross of Gold and Crown of Thorns" oratorical
effort.
"Pop" Rock says to "Pop" Lubin, "You promised to stay out
at the farm as long as I did, and not leave for anything." Says
"Pop" Lubin, "I didn't leave ; I had to come back on business."
Mr. and Mrs. C. Lang Cobb spent their honeymoon visiting
the convention exhibits. Cobb insisted that the Ramo films shown
were the best at the convention and we agreed, because Cobb is
bigger'n us.
Weiland and Megowan of Pittsburg slipped your correspond-
ent a two-spot, fearing to miss a single issue of this honorable
magazine. They make smart men in Pittsburg and the aforesaid
W. and M. are two good samples.
Al. Lichtman brought his wife the second day. Al. was pass-
ing out Zenda postcards and wanted the missus to help. Bet a
cookie his expense account shows he employed high-class talent
for distributing.
Joe Brandt had to leave before the blow-off. Another boy,
Joe? .
A quartette of boosters annoyed the meeting by shouting:
"Who makes the best films ? Ramo ! Who makes the best ma-
chines? Simplex! What's the best moving picture magazine?
Motography !"
Pop Lubin took us all out in his Packard when the streets
weren't crowded. Thanks, Pop.
Vernon Carrick came to the eats in soup and fish clothes.
Best looking man at the banquet 'cept one. That lets you out,
don't it?
Old Miller, of Plymouth, wearing a chef's cap with Ramo on
the band looked like a man-o'-war's man.
Eric Morison bought some flowers. I wish Eric would
square me with the boss. How about it, Eric?
Billy Home of L. A. and Bill Sweeney missed this one again.
I always opined that bills were *the chief part of any convention.
Pop Rock says he's going to sign a contract. It's in the mails,
Pop. He's got a new scheme back of that Corona-Corona. He
was lugging around the inventor of the monotype typesetting
machine. Next thing you hear Pop Rock will be printing his posi-
tives on a dinky little typewriter with lead actors.
What is this thing about Saunders and a motorcycle, any-
way:
Lottie Briscoe and Arthur Johnson graced the banquet with
their presence.
Everyone forgot the ladies who favored the banquet. Here's
a line for the girls. For the thin ones, may your shadow never
grow less. For the stout ones, may your hopes materialize. For
'em all, God bless you.
Clem Kerr and Freddie H. slipped me two bucks each and
I spent 'em. I didn't keep any notes on the convention. Now
how'll they get their subscription, anyhow?
The Cobb Motion Picture Bureau had two slides that were
novelties. One of their novelties was that they wouldn't go in
the stereo-slide until Cobb's bay had been massaged down. The
years add weight as well as dignity. Didn't Mrs. Cobb look fresh
and bright?
Al. Lichtman had a nice collection of snakes to show us. The
tinting was beautiful, the photography fine but I don't know any-
thing about snakes. I drink shulkill — Skulekyl or Skukill when
I'm in Philadelphia.
D'Arcy played host to me at Lubin's factory. First time T
ever knew of a manufacturer that gave his employees free meals
June 14, 1913
MOTOGRAPHY
441
Scene from "The Rival Engineers." Copyrighted 1913, by George Kleine.
but they tell me it's a regular thing at Lubin's. Is it any wonder
the boys and girls have made Pop a regular cup defender?
Hotaling has a new yellow car just the color of Motography,
which he reads regularly. Ain't it great to be popular?
W. J. Hanley is now with Kinemacolor.
card for a line. Here's the line, W. J.
He slipped me his
Walter Newman says it's a cinch to sell Newman lobby dis-
plays, but not to tell anyone, as he was going to hit for a raise
on account of its being a hard job. Mum's the word, Walter.
The Wurlitzer people sold their entire exhibit. There ought
to be enough profit for me to get an ad now. (Business of making
a mental note.)
I thought that girls usually got married to get away from
business, but our cute little correspondent at Pat Powers' old
place proved an exception. She's bossing the sales-manager for
Famous Players now. Am I right, Rose?
Smiling Coles of the Simplex didn't come down, but with two
like the Robins on the job he felt sure he'd get the right kind of
representation. They had a new model head to exhibit. One
where the zincopete revolves around the duflicker. Do you fol-
low me?
Virginia Exhibitors Organized
Kissing is an innocent diversion, and moving-picture
reels in which kissing and similar scenes are shown should
not be censored, except in extreme cases, according to M.
A. Neff, president of the Motion Picture Exhibitors'
League of America, who attended the organization of a
Virginia branch at the Jefferson Hotel, Richmond, Va., on
May 23. Mr. Neff strongly urged that if the moving pic-
ture is to retain its dramatic and educational value, it must
show life as it is, and he believes that censorship should
be neither prudish nor prejudiced.
The morning meeting of the delegates was open to
the public. An address of welcome was made by Attorney
D. C. O'Flaherty, and President Neff made the response.
In the afternoon the meeting got down to business, and
the Virginia branch of the national league was formally
organized and officers elected. Delegates to the national
convention to be held in New York July 15 and 16, and
alternates, were also chosen.
In the evening a banquet was given at the Jefferson,
when speeches were made by L. R. Thomas, organizer of
the Virginia branch, President Neff, C. E. Tandy, W. C.
Smith, M. L. Hofheimer and others.
President Neff spoke at some length upon the subject
of the national board of censors, saying in substance, that
it was ineffectual because it was self-constituted, and has
no authority over local censorships, and that it is ineffi-
cient because most of its members know nothing about
moving pictures. He unfolded a plan for a national con-
gress of censors, in which all of the States were to have a
part. He also attacked the injustice of high license for
442
MOTOGRAPHY
Vol. IX, No. 12
Scene from "The King Can Do No Wrong," Rex release of June 12.
moving picture shows, asserting that they are placed on a
par with whisky, as though they were merely a dissipation,
their high educational and moral value being entirely
overlooked.
H. C. Stradford was elected national vice-president,
C. E. Tandy, of Richmond, was elected president of the
state branch ; C. A. Turner, of Portsmouth, first vice-
president ; A. H. Campbell, second vice-president; D. P.
Wine, of Harrisonburg, treasurer; E. J. Sparks, secre-
tary; and A. F. Parrish, of Richmond, sergeant-at-arms.
Delegates to the national convention are Mrs. A. E.
Thorpe, of Richmond ; C. E. Tandy, of Richmond ; J. W.
Myrtle, of Staunton ; J. C. Boss, of Norfolk, and W. T.
Crall, of Norfolk. The alternates are M. L. Hofheimer,
of Richmond; J. Weinberg, of Lexington; D. P. Wine, of
Harrisonburg; J. T. Hill and R. B. Holstein, of Peters-
burg.
Members of the grievance committee elected were I.
T. Hill, C. A. Turner, Mrs. A. E. Thorp, M. L. Hof-
heimer and J. W. Myrtle.
The convention also adopted a constitution and by-
laws and chose Norfolk as the place of the next conven-
tion.
Hall. Meetings, as usual, will be held on the first and
third Mondays of each month. A member ofthe'execu-
tive committee as well as the secretary will be present at
headquarters daily from 11 to 4, and exhibitors desiring
to join the League will receive every courtesy.
Delaware Elects Officers
The convention of the Motion Picture Exhibitors'
League of America was held at the Dupont Hotel, Wil-
mington, Del., at which officers were elected as follows :
National vice-president from Delaware, James N. Ginn,
Majestic theater, Wilmington; president of the Delaware
league, Charles I. Beckett, Grand Opera House, Wil-
mington; first vice-president, David R. Sablosky, Pick-
wick theater, Wilmington ; secretary, Mark E. Clune,
Gem theater, Wilmington ; treasurer, Nikolas A. Jones,
Savoy theater, Wilmington.
L. R. Thomas was the national organizer and worked
hard to make this convention a success and it is due pri-
marily to his efforts that the meeting was held.
Illinois Headquarters Open Daily
Sidney Smith, secretary of the Illinois Branch, No. 2,
of the Motion Picture Exhibitors' League of America, ad-
vises that the new headquarters of the League of Illinois
is located at Room 1422, Masonic Temple, Chicago, Ilk,
and the new meeting place Room 412 of .the Royal League
American Offers New Service
The American Film Manufacturing Company is now
in a position to offer to exhibitors cuts of popular players,
glass slides containing pictures of Kerrigan, Richardson
and Miss Lester, handsome lithos of all players, a matrix
service where desired, weekly press sheets, etc. Exhibi-
tors are invited to take advantage of the service.
June 14, 1913
MOTOGRAPHY
443
Selig Has Another Animal Picture
"Alone in the Jungle"
NO miracle apparently is beyond accomplishment for
those engaged in filming the jungle series being pro-
duced by the Selig Polyscope Company. In times
past it has seemed the acme of thrill and action had been
reached in these jungle pictures. We have seen help-
less heroines pursued through dense thickets by hungry
man-eating beasts, we have witnessed thrilling encounters
between the wild animals and the players whom they at-
tacked, and have seen a rescue made just in the nick of
time, but in "Alone in the Jungle," the latest animal pic-
ture to be made by the house of Selig and which is sched-
uled for release on June 14, all previous attempts are out-
done. We, therefore, naturally hesitate to declare that the
limit has yet been reached, for, perhaps, tomorrow may
show us something even more thrilling and spectacular,
though such a contingency seems, now, impossible.
Certainly we can't imagine Miss Bessie Eyton, the
leading woman who has in times past taken her life in her
hands on numberless occasions, or Wheeler Oakman be-
ing placed in any more dangerous situations than they vol-
untarily assume during the taking of this latest two-reel
thriller. Both Miss Eyton and Mr. Oakman are clearly
seen on the screen to be pursued by huge man-eating lions
and each is, later, discovered to be lying, apparently help-
less, in the very paws of the shaggy beasts, and yet our
common sense tells us that even the wealth of Colonel
Selig couldn't induce these players to
actually play with death in the manner
they seem to be doing. Though trick
photography is doubtless resorted to k! ' ('
in making these realistic films, we must
give all praise to the skill and science
which has made such clever trickery
possible rather than blame the producer for fooling us.
The very knowledge that we are being fooled, but
that the trick is so cleverly accomplished that we can't,
though we watch ever so carefully, determine at just what
point the realism ends and the trickery begins, tends to
make us enjoy these two-reels of film even more than
would be possible were we to believe that the players
really were in the extreme peril in which they appear.
The plot of "Alone in the Jungle" was conceived by
"Big" Otto Breitkreutz and produced by Director Colin
Campbell, who was responsible for the other animal fea-
tures released by the Selig company. It runs as follows :
The Browns are a prosperous family of refined En-
glish people who have settled on an isolated plantation in
the jungles of South Africa. The family consists of the
Hon. John Brown and his wife, two handsome, sturdy
boys, Harold and Billy, and a beautiful daughter named
Helen. Jack Arden, the son of another English planter
living some miles distant from the Browns, frequently
comes over to visit the boys and hunt with them. Jack
and Helen fell deeply in love and as Jack is a successful
construction engineer, with a bright future ahead of
him, the match seems all that could be desired. But, Papa
Brown, considering that Helen is too young to think of
matrimony discourages the
The young engineer, with a
lovers very emphatically.
true understanding of the
parental o b j e c -
tions, gracefully
agrees to wait for
Helen. This is
satisfactory to
Mr. and Mrs.
Brown and Arden
continues his
story
Thrilling Scene from "Alone in the Jungle." Copyrighted 1913 by Selig Polyscope Company.
444
MOTOGRAPHY
Vol. IX, No. 12
opens with the receipt of a letter from Arden stating
that he is about to forego the monotony of the rail-
way construction camp for another week-end of jungle
shooting with the Brown boys. Arden is received cor-
dially by the men and Helen's shy delight is noticeable.
Rescued from the Jaws of Death.
On the afternoon of his arrival Arden sees Concho, a
villainous half-breed overseer, in the act of horsewhipping
one of the slaves. Arden takes a hand in the brutal pro-
ceeding and knocks the overseer down, taking away from
him the snake-whip with which he is accustomed to as-
sert his authority. When Jack informs the Browns of
his action, it is heartily approved. This incurs Concho's
enmity. Concho, for some time past, has been casting
covetous eyes on Helen, although his daring inclinations
are not suspected by any of the family, least of all Helen
herself.
One of the most thrilling incidents in the entire story
is the spectacular lion hunt organized in honor of Jack's
visit. After a long and only fairly successful trip through
the jungle, the party is returning homeward by the river
route. Slowly polling their raft around a bend in the
river they suddenly come upon a huge lioness drinking
at the water's edge. The startled animal sees the ap-
proaching party and starts to bound into the jungle. While
in mid-air Jack, with one well directed shot, brings the
ferocious beast down. Another shot, a few quick stroke-;
with the raft pole, and the huge animal is brought aboard
the improvised hunting boat. The hunt over the party
returns to the plantation with the trophy of the chase.
That night Jack once more seeks Papa Brown's permis-
sion to marry his daughter but is again told to wait.
The next day Jack leaves for his own home, Helen,
unbeknown to the rest, rides out a little way into the
jungle with him in order to say the final farewells. Con-
cho, who has been nursing his grudge in silence, oversees
their departure and, hoping that this will offer an occasion
for the revenge which he seeks, follows them. Helen ac-
companies Arden to the river, where Jack's raft and slaves
are waiting. After saying good-bye she starts to return
homeward leisurely. Noticing some wild flowers by the
trail she dismounts from her horse and starts to pick
them. While engaged in this occupation her attention is
attracted by a little lion cub which scampers past and dis-
appears in the dense growth of the brush beside the trail.
She ties her horse to a tree and follows the lion cub into
the jungle. She is followed and accosted by Concho. At
the moment when she seems to be at the complete mercy
of this half-breed brute, a leopard leaps from the under-
growth and attacks the villainous overseer.
While the half-breed fights desperately with the
ferocious beast, Helen makes good her escape. She man-
ages to make her way back to the spot where she left her
horse but, upon reaching the edge of the clearing, dis-
covers a huge lion devouring the mangled remains of her
animal. Terror-stricken she runs aimlessly into the jun-
gle where she is soon followed by the lion and its mate.
Concho, in the meantime, has managed to escape
from the leopard. He crawls back to the plantation and
accounts for his wounds by maliciously declaring that
Jack Arden had abducted Helen and made off with her,
despite his, Concho's, effort to save her. Brown and the
boys are highly alarmed and start off in pursuit of the
alleged kidnapper on horseback, carrying with them arms
and ammunition. Mrs. Brown is left at home, terror-
stricken.
The posse overtake Jack, only to discover that they
had been tricked by the malicious half-breed. Jack, be-
side himself with a lover's grief, returns with the party to
organize a searching expedition. In the meantime Helen
has been chased to the banks of the river by the frenzied
lions. In her mad flight she falls from a cliff into the
stream below. She frantically swims through the turbu-
lent waters to the opposite bank and once more rushes into
the dense brush. The maddened lions follow her through
the water toward the opposite shore. The searching party
are coming down the river at this time on rafts. Jack
Arden's raft rounds a bend in the stream just in time for
him to see the lions plunge into thicket on the bank. Sim-
ultaneously he hears a scream and realizes that it eminates
from Helen, who lies at the mercy of the blood-thirsty
beasts. His rifle springs to his shoulder and two shots ring
forth. Shots reach their mark and Helen is saved just
before her life is crushed out by one of the wild beasts.
When Jack reaches her side the huge lion is found dead.
lying over the girl's writhing body. When the huge brute
is dragged from her mangled form by the lover, it is
found that Helen has, in reality, sustained but slight
wounds.
The players are cast as follows :
Bob Arden, a young English plantation owner. .Thomas Santschi
Hon. John S. Brown, another plantation owner. .. .Frank Clarke
Mrs. Brown, his wife Lillian Hayward
Harold Brown ) , • "I Eddie James
Billy Brown f tneir SOns f Willie Scott
Helen Brown, their daughter Bessie Eyton
Concho, a half-breed negro overseer Wheeler Oakman
Sam. a half-breed negro Scott Dunlap
They Call Him "Thanhouser"
Theaters have been named "Thanhouser," so have
Kids and Kidlets, but a Toledo, Ohio, bulldog of that
name is indeed by way of novelty. The houn' is the prop-
erty of Dorothy and Virginia Ashbrook, daughters of H.
R. Ashbrook, manager of the Superior Film & Supply
Company of Toledo, and may any day be heard barking
like a two-reel feature at the Ashbrook home on Summit
street. "Thanhouser" is a genuine English bull, but
doesn't mind being named after an American film.
. Kessel Buys a Yacht
Adam Kessel, Jr.. president of the New York Motion
Picture Corporation, has become a yachting devotee. He
has purchased a veritable floating palace, named "Orson,"
and intends cruising with her up to his summer home on
Lake Champlain this summer.
June 14, 1913
MOTOGRAPHY
4-15
Current Educational Releases
Ice Skating at Murren, Switzerland. — Kinema-
color. Society assembled at Murren for the winter sports.
Some notable figures are photographed, including Mrs.
Asquith, the wife of the prime minister of the United
Kingdom, and her children. In the opening picture a
snow plough is seen clearing the ice ready for the skaters.
A magnificent expanse of ice is revealed as the snow
plough passes. Circling the ice is a lovely background
of mountains and villas. The skaters adjust their skates
and an exhibition of the art is given. Mrs. Asquith and
her son take a ride in a chair, fitted with runners, and
then we see the two children skating. Various displays
of fancy skating are then given. A long line of people
skate hand in hand, two people waltz, and two children
in fancy costumes give a sprightly display. The film
is notable for beautiful and perfectly realistic reproduc-
tion of the snow clad district, and also for the interest-
ing presentation it gives of the graceful art of skating.
Catholic Cathedral, is a building somewhat at variance
from Indian styles of architecture; but nevertheless very
imposing.
At Cawnpore, we are shown an impressive memorial
of the mutiny. A beautiful canopy has been placed over
the well in which a great many European women and
children were consigned to death. The memorial is pre-
served with the utmost care and vigilance.
A Market in Kabylia (Algeria). — Patheplay. A
film that is a personally conducted tour through a far-oft"
land, showing everything of interest therein.
Pyramids and the Sphinx, Egypt. — Edison. The
works of man seem trivial and short lived until we see
these great piles of rocks which have endured over 3,000
years. Glimpses of picturesque native life in the vicinity
of the Pyramids add greatly to the interest of the film.
Grand Canyon of Arizona. — Edison. A splendid
scenic subject. From the brink of the most famous chasm
in the world, we gaze across thirteen
miles of space to the giant walls op-
posite. Then descending 3,000 feet,
we come to the turbulent river which
has carved this mammoth bed out of
solid rock. One of Mother Earth's
great wonders superbly photographed.
Dredges and Farm Implements
in the West. — Patheplay. In this
film we see canals being dug by travel-
ing dredges and engines. Also there
is a dredge, conceived by a genius,
which digs up the beds of dried up
creeks, extracts whatever gold the dirt
contains and drops the refuse be-
hind it.
Gaya, Allahabad and Cawn-
pore.— Kinemacolor. This district of
India, celebrated as the center of some
of the most thrilling incidents of the
Mutiny of 1857. Gaya is a city of
50,000 inhabitants, and contains many
interesting and famous temples. The
first ones shown in the film were erect-
ed in 500 B. C. Close views are given
of the Hindu gods, Ganesh and Hanu-
man, who are represented in a col-
lection of gods at the workshop of a
native maker of images.
Market and street scenes in Alla-
habad are next given. This city is
situated on the bank of the Jumma ;
on the wedge of land between it and
the Ganges. The gateway of the city,
here shown, is an ornate and hand-
some structure. A native school in
progress is seen, and next is given a
picture of the Queen Victoria me-
morial, in the form of a fountain.
Khusru Bagh is a notable mauso-
leum at Allahabad. The Roman
Tobogganing in Switzerland. — Kinemacolor. This
is an interesting and exhilarating picture of the sport
of tobogganing as practiced on the
mountain slopes in Switzerland.
The high speed rushes down precipi-
tous inclines make the spectator catch
his breath, so realistic is the impres-
sion conveyed by the film. In the
opening scenes those taking part in the
sport are journeying by funicular rail-
way as far as that curious means will
take them ; the rest of the journey is
made on foot. One of the first parties
to make the descent has labeled itself
"Rag-Time," a concession to the
mountain craze. The toboggans dash
past the camera at high speed, being
kept to the track by the banks of snow
which line the course.
Tananarive (Madagascar). —
Patheplay. An old, old town in Mad-
agascar showing the customs of the
natives, their principal industries and
some very exciting horse races held on
a feast day.
The Fly, a Menace to Public
Health. — Edison. A film that every
person should see, for it shows in a
striking and convincing way the dan-
gers to which we are all exposed as
long as the fly is permitted to pursue
his filthy course undisturbed.
"A Rose of May." Selig.
Tamil Types, Southern India.
— Kinemacolor. The Tamil-speaking
races inhabit the greater part of the
southern portion of the Indian Em-
pire. The higher castes amongst them
are indicated by a "V" shaped mark
on their foreheads, and this will be
noticed in several sections of the film.
The picture opens with a wonderfully
clear and picturesque scene, in which
native women are washing clothes in
446
MOTOGRAPHY
Vol. IX, No. 12
a pool. A scene in a village market follows, and in the
course of this close views are given of two attractive
native girls. Native women are seen carrying water, and
weavers are working at carpet making. A typical native
bullock cart is photographed, and portrait groups of high
caste native children show the caste marks on their
foreheads.
Birds and Animals of Brazil. — Patheplay. The
strange birds and animals that inhabit Brazil are the
subject of this interesting film. Red and blue parrots
are shown and then follow crocodiles, half a dozen of
them in characteristic attitudes, a forty-foot boa con-
strictor, the largest and most powerful of the snake
family, and specimens of the various monkeys that com-
prise the Cebu species.
Army and Navy Series. — Universal. Permission
was granted by the secretaries of the Navy and War
Departments at Washington, D. C, to the Universal Film
Manufacturing Company to take moving pictures of the
maneuvers of the Atlantic fleet and the evolutions of the
United States Army on the Eastern coast. Cam Von Hoff-
man, a former lieutenant in the Russian army, an expert
cameraman, was detailed to this duty. His first assignment
was with the fleet at Guantanamo, Cuba, and on its return
north to Hampton Roads. He obtained pictures of the
fleet under full steam in column formation in the open
sea, and engaged in target practice at Tangier Sound on
the eastern shore of Virginia.. Many of these films were
of scenes that previously never have been taken. At the
Plattsburgh Barracks, Von Hoffman took 1,000 feet of
film, treating all phases of barrack life in the United
States army, as posed by the Fifth infantry; and at Fort
Ethan Allen he was given an opportunity to portray the
cavalry evolutions, including equestrian feats of a start-
ling nature performed by officers and men of Troop C.
A sham battle between the Reds and the Blues, and some
lively and intricate musical drills, marches and counter-
marches are also shown in this intensely interesting edu-
cational series. ■
Shooting the Rapids of the Pagsanjan River
in the Philippine Islands. — Selig. A film showing one
of the wonder spots of these interesting islands.
Man's Best Friend. — Kinemacolor. Here are some
valuable prize dogs, rightly described as man's best
friends. They are : The little Yorkshire terrier, whose
value is in inverse ratio to his weight. The large St.
Bernard perhaps deserves our title of Friend of Man
more than any other dog, since he has earned his repu-
tation for philanthropy by his prowess in saving human
life in the snows of the Alps; for which purpose it is
trained by the Monks of St. Bernard. A very fine speci-
men of a prize Collie. This golden coat and white ruff
are marks of great beauty. The instinct of the Collie
in retrieving sheep almost amounts to reason. The Yiou-
rouk, a famous sporting dog bred by the peasants of
Smyrna, and used in hunting the wild boar. Here are
five little toy terriers, at present on their best behavior.
Meal time is approaching and they know that if they
are not good they will get no breakfast. One is a Pe-
kingese terrier, one of those supercilious little animals
who turn up their noses at everything. They have be-
come permanently turned.
CTOCKHOLM, SWEDEN, was the birthplace of Christian
^ Marcus Christenson. The date was December 5, 1875. When
but three years of age Christian Marcus brought his parents to
this country and settled in Canton, Ohio, but a few years later
moved to Akron, where he at-
tended the public schools. After
graduating from business college
he took a position in the Jones
railroad ticket office and after-
wards worked in ticket offices in
Akron, Pittsburgh and Cleveland.
Finally " he went into the ticket
brokerage business for himself in
Cleveland, so he comes quite
naturally by his ability to seil
tickets, be they railroad or theater
tickets. Along in 1906 he entered
into partnership with Eugene
Cline of Chicago and opened a
film exchange in Cleveland, which
was the first one in Ohio. Octo-
ber of the same year saw Mr.
Christenson the manager of the
Broadway theater at Broadway
and Fifty-fifth street. In 1908 in
partnership with Edward Kohl.
the United Film Exchange Com-
pany was formed, which in Sep-
tember, 1910, was sold to the Gen-
eral Film Company. At the first national convention of the
M. P. E. L. of A. held in Cleveland in 1911, Mr. Christenson
was chosen national secretary, which position he still holds. He
is owner of the Broadway theater at 4628 Broadway, president
of the Bronx Amusement Company, which owns and operates
the Bronx theater on East Ninth street, secretary and treasurer
of the Dreamland Amusement Company, which owns and operates
the Dreamland theater on Euclid avenue, besides being on the
board of directors of other concerns outside of the motion
picture industry. His position as national secretary of the ex-
hibitors' organization makes him one of the best known men in
the game, but he keeps on adding new friends daily.
The new lighting plant of the Ramo studios consists
of seven overhead Cooper-Hewitt banks of eight tubes
each, diffused with three-quartz lamps, also five floor
banks of eight tubes each.
JE. HIPPLE is a publisher as well as a theater magnate. He
• owns and edits the daily and weekly Capital Journal of
Pierre, S. D., as well as operates the Bijou theater, Pierre's most
popular playhouse. In between, he finds time to act as national
vice-president of the Motion Picture Exhibitors' League. Born
in Pennsylvania, July 20, 1865, he
moved to South Dakota and soon
became state auditor. About the
time the Hippie Printing Company
was formed, J. E. equipped the
Bijou theater for a partner. That
gentleman graduated into the
legitimate show field and Mr.
Hippie was forced to get into the
picture game. He made good with
a vengeance, though, and last fall
made a successful fight for the
opening of Sunday shows. The
State law prohibits Sunday shows
in which dramatic films are shown,
but Mr. Hippie decided that the
exhibition of scenic, educational
or industrial pictures was not pro-
hibited, and, after some contro-
versy, the attorney-general of the
state agreed with him. On Janu-
ary 30 at a meeting of exhibitors
from all over the state he was
chosen national vice-president of
the state organization, then
formed, and led the fight which resulted in the obnoxious bill then
in the legislature being killed. Mr. Hippie is a member of the
Pierre Blue Lodge, Chapter and Commandery, and a Past Grand
High Priest of the Royal Arch Masons. He believes implicitly
that the day will come when motion pictures can be made univer-
sally acceptable to all classes on all days, and owing to his popu-
larity and high standing in his own community we judge the
time is near at hand when he will make this possible.
June 14, 1913
MOTOGRAPHY
447
Who's "Who in the Film Game
THIS, then, will be con-
fined to the Ra in
Ramo — W ray Bart-
lett Physioc. This young
man was born down south
on a bleak winter's day four years prior to Chicago's
World's Fair. Considering his youth, his activities have
been startling. Born at Columbia, S. C, his early educa-
cation was acquired in the public schools of that city
and this was followed up at the Washington-Lee Univer-
sity of Virginia. In 1905 he entered the Art Stu-
dents' League of New York and shortly afterwards
went abroad where he applied himself to art for two
years in the more important schools of Europe.
W h i 1 e attending his
studies in New York he
painted all the scenery and
settings for "The Lion and
the Mouse." Henry B. Har-
ris was so thoroughly pleased
with this work that he urged
young Physioc to confine his
life work to art. And to
encourage this spirit, he en-
gaged the services of this
new scenic star to take full
charge of all his big produc-
tion scenery. Physioc was
seventeen when he received
this assignment and he ap-
plied himself vigorously.
But his schooling in
Europe developed a new idea
which he has employed con-
sistently ever since. Film
making in Paris was pretty
well developed before Phys-
ioc left there, and the big
film plants and the great op-
portunities they suggested
to artists had a charm for
him that could not be shaken.
He returned to New York
and engaged with Pathe
Freres as technical director
of production. He continued
with this concern for two
years before he accepted a
similar position with Eclair. il,ere isnt a Lazy
In January, 1913, Mr. Physioc was successful in pro-
moting his own company, the Directors' Film Corpora-
tion. He is the present vice-president and general man-
ager, but he doesn't loll in a tufted chair and whisper
into a dictograph, or anything like that. As a product
of the south he had the true southern "raising," alright,
a colored mammy to trundle him ; but the environment
was lost long ago. Physioc is tall and slender and dark-
haired. There isn't a lazy bone in his body. He is vice-
president but he is much more than that. His training
in art and its technique has fitted him for more important
things than lolling. His knowledge of the world and
its people; his familiarity with amusement enterprises;
his experience with the big makers; his tremendous
energy and irresistible enthusiasm for the things he does
or is doing, all lend value to his present occupation. Very
Facts and Fancies About a Man
You Know or Ought to Know
There Isn't a La
few men in the film business
write the scenario, paint the
scenery, make the properties,
direct the production, oper-
ate the camera, develop the
negative, print the positive, cut and assemble, project and
inspect. Physioc has done all these things — not with a
single reel but time and again. Not that he does it all
now, all the time, but under pressure he might do it,
because he knows how.
There is much of sameness in the stories of film
men. You will have discovered that they are extremely
busy. None are idlers. The film business is a horse-
race in the stretch. Railroad and newspaper men are
not the only ones who vie
with time. Release dates are
imperative and expense
never lets up. But at that
W. B. Physioc is a fan on
outdoor sports, excepting
none and patronizing every-
thing but the ball games in
winter. Given his way he
would own two or three
Betzwoods — for the atmos-
phere for pictures ! His
baby days were spent on a
tobacco plantation and he
was nourished on goat's
milk. Maybe that had some-
thing to do with it.
Wray Physioc is the
kind that believes in his own
success. He looks you
straight in the eye and asks
for your business on a
strictly merit basis. If he
can get your patronage at all,
it will be on the presumption
that you will get your
money's worth. He won't
offer you any apology — he
hasn't the time and doesn't
owe it. Not that he is of
the over-cockedsure type, not
that, but he won't start at all
unless he can start square.
The only buttons he wears
Bone in His Body. are those utility contraptions
that hold his clothes on or fastens his watch. He isn't
a fraternity man or a society man. His endowment
rests with his middle name — a heritage of the family.
The rest is an inclination to toil and make himself
useful to his associates.
But he is a "nut" for the great out-of-doors. He
has run the whole gamut of open air sports from pull-
ing his oar at skulls to holding down the bag at third.
In tennis or yachting or skating on wood or ice, or swim-
ming or flying, it's all the same. For you will please
remember that W. B. Physioc is young yet — he will be
twenty-four on the twenty-third of next November. It
isn't so remarkable, after all, when you think of that.
It is the stamp of early influence that you meet when
you fetch up to this young man — right there and then.
448
MOTOGRAPHY
Vol. IX, No. 12
"The Rival Engineers
A Thrilling Kleine-Cines Drama
m
THRILLS seem to be what the people like and thrills
in abundance are promised in the Kleine-Cines spe-
sial feature, "The Rival Engineers," to be released
on June 16. The film is a two-reeler, and as the title im-
plies, deals with a story of railroad life. Joe Caletti and
Pierre Brazon are engineers in the employ of the same
railway company. While Pierre is a general favorite
with both his fellow workmen and the officials, Caletti,
on account of his surly manner, is unpopular. He is
bitterly jealous of his more favored rival, and is deter-
mined to find some way of injuring him. One day an
opportunity presents itself. While Pierre is under his •
engine in the act of cleaning it, in preparation for a run,
Joe backs his engine, bumping it against Pierre's, caus-
ing it to run over the unfortunate driver. When dragged
out, Pierre is found to be terribly injured and is carried
to the hospital. Joe is caught in the act of running away
and is at once taken off to prison, where he receives a
sentence of six months for his crime. While serving
his time Joe's hatred for Pierre grows more intense and
when released he becomes more determined than ever
to gain revenge upon the rival, whom he also blames for
his punishment. About the time of Joe's release, Pierre
recovers from his injuries and, amid the congratulations
of his mates, resumes his duties.
One day Caletti visits the railway siding where he
knows Pierre's engine will be standing, and finds no one
about. Knowing that Pierre is just about to take the
engine out, to be attached to a passenger train in the
station, he creeps into the cab and files the handle of the
brake in such a way that it will prove useless. Having
finished his dastardly work, he hurries away unnoticed.
Later Pierre drives his engine into the station. After
being coupled to the crowded passenger train, the journey
is begun. A few miles away a section gang are busy
repairing the rails. As the train speeds along, Pierre,
unsuspicious of danger, sees a flag warning him to slow
down. He attempts to apply the brake, but to his horror
it fails to act and the train dashes along with unabated
speed right amid the imperiled workmen.
Some manage to save themselves but others are
knocked down and two are apparently killed, while the
train continues on its journey. This is a most astonish-
ing and daring bit of realism. When the train is at last
brought to a standstill Pierre is discovered in the cab in a
state of utter collapse. The horror of his experience has
driven him mad. The engine is examined and the dam-
aged brake discovered, thus betraying the cause of the
accident.
When Joe learns how well his nefarious scheme has
worked, he is at first exultant, but the death of the work-
men comes as a shock to him and, conscience-stricken, he
seeks the first opportunity to end his existence. His
natural instinct draws him to the railway, and mounting
a bridge, he hurls himself in front of an approaching
express train. Meanwhile, Pierre is placed in an asylum,
where every scientific means is used to restore his reason
but without avail. Finally a suggestion is made that as
a last effort his wife and child be brought to him, in the
hope that the power of love may drive away the demon
of insanity. The plan works admirably and his mind
slowly comes back to its normal state.
To Stage Another Thriller
Rodman Law is on his way to St. Johns, New Bruns-
wick, where he will find the highest spot above the St.
Johns' Falls from which he can slide down a rope and
plunge into the raging waters as the hero of a coming Re-
liance drama. Edgar Lewis, with a company of Reliance
players and four camera men, will join him there in the
near future.
All Star Juvenile Cast
Director Lawrence McGill, of the Reliance Com-
pany, is making a specialty of children and dog stories.
"The Dream Home," released on June 16, has the follow-
ing interesting juvenile cast : Runa Hodges, Rosanna
Logan, Clifford Perry, Viola Siddons, Helen Conelly,
Gladys Eagan and Hasel and Alberta Perry, all well un-
der the ten-year mark, with the two rival dog actors,
Peggy Apfel (Rowdy) and Gypsy McGill, well in the
foreground.
Scene from "The Rival Engineers." Copyrighted 1913 by George Kleine.
June 14, 1913
MOTOGRAPHY
449
Of Interest to the Trade
Can Make Your Own "Juice'"'
Owners and managers of moving picture theaters
have their share of tribulations, and the obtaining of
suitable electric current at reasonable prices is not the
Brush Electric Lighting Set.
least of their troubles. Alternating current is not well
suited for moving picture work, and under many con-
ditions is almost intolerable, especially in the lower
cycles, with its ceaseless flicker, as well as in the large
number of instances in which the regulation is poor.
Direct current with good regulation, at the proper volt-
age, and at a reasonable price, is ideal, but almost never
obtainable. In most of the smaller cities, and many of
the large ones as well, the station equipment is inferior
or poorly looked after, and the result is a variation of
from 10 to 20 per cent in the voltage. This is particu-
larly true of those stations which furnish electrical
energy for street car and power service. So much for
regulation. As to proper voltage, a moving picture lamp
requires only forty to fifty volts at the arc. Allowing for
resistance, an input of sixty volts is ample; but the cur-
rent supplied by lighting companies is never under 110
volts, and from that up to 220 volts, so that from one-
half to three-quarters of the current paid for is wasted
in the rheostat. This is a serious question. One of the
principal items of expense of a moving picture theater
is the electric current. The attitude of lighting com-
panies in most towns, both small and large, towards
the moving picture theater is most aggravating. They
figure, with much shrewdness, that the theater must have
electric light, and usually push prices up to the last notch.
It is not unusual to find a theater using 1,000 to 1,500
k. w. monthly, charged at the rate of 12 to 15 cents a
k. w., while an auto garage, saloon, or butcher shop a few
doors away is paying from 3 to 5 cents per k. w. on a con-
sumption of one-tenth as much. In very many of the
the inability to get current in the day time, which cuts
into his possible revenue to the extent of 20 to 40 per
cent. Revolting against these conditions, many owners
smaller towns, a serious loss to the show owner lies in
have within the past year or so put in
their own electric light plant, thus cut-
ting the cost of current materially ; but,
as most of the plants consist of the or-
dinary type of gas engine, the regula-
tion is not improved, because the stan-
dard type of gas or gasoline engine is
not suitable for this work, and will not
regulate closely. Besides, these are
usually put out with dynamos of 110
to 125 volts, so that half of the current
is wasted in the arc lamp. Again,
these equipments, consisting of a gas-
oline engine belted to a dynamo, re-
quire a great deal of floor space, which
is not always convenient or obtain-
able. Further, if the show be a travel-
ing one, the standard engine of even
medium capacity weighs, with dy-
namo and equipment, from 2,500 to
6.000 pounds, invloving much extra
labor in handling on cars, or ex-
pensive wagon and team equipment.
In the Brush electric lighting set, all
the difficulties referred to in the
foregoing are overcome. The 100
page catalogue issued by The Charles
A. Strelinger Company, Bates Street,
Detroit, Mich., is undoubtedly the
most complete work on small isolated electric lighting
plant ever printed, and gives a mass of information of
great value to users of electric light and power. This
catalogue is sent free to any address, and will be found
invaluable, even to those who do not remotely expect to
make their own electricity.
Lobbies Should Be Attractive
"I wonder how many theater managers can step on
the outside of their theater, view the lobby critically, and
be able to truthfully say, 'My lobby display is as attractive
as it can possibly be made?' " queries S. J. Newman, sec-
retary and treasurer of the Newman Manufacturing
Company, of Cincinnati and New York. The lobby is a
vital asset to every theater. From it is meted out success
or failure. First of all, the lobby must be plain and neat,
and above all, it must be utilized to the best advantage. It
is a lamentable fact that the majority of theater managers
little realize the great value of an attractive lobby display ;
but a new era is now presenting itself, and managers are
awakening to the fact that their best asset — the lobby —
has heretofore been abused instead of taken advantage of.
Live exhibitors do not slap up posters on the wall or
in cheap wooden frames. For a very insignificant sum a
very attractive display can be made in neat and inviting
brass frames and easels. The accompanying illustrations
show a few of the many designs of brass poster frames
and easels which are now being used by thousands of
theaters throughout the country. Six easels and six
frames could be used by every theater having a lobby
large enough to accommodate that many, as three posters
450
MOTOGRAPHY
Vol. IX, No. 12
of photo-plays showing and three posters of plays coming
might easily be displayed in the lobby. Displaying posters
of coming reels is very necessary, as it keeps up the inter-
est of the patrons and causes many of them to await with
expectancy the picture plays coming. When the lobby is
too shallow to accommodate six easels and frames, then
brass frames hung up on the wall form attractive adver-
tising mediums.
An interchangeable tile letter program sign for an-
nouncing today's and tomorrow's program is making a
demonstrations by obliging persons, willing to take strych-
nine in order that an actor may take notes on their dying
agonies for the benefit of art. Understanding this strange
reticence of healthy people to stay on this side of the
Styx, Zacconi, before the film was taken, spent several
weeks with hospital physicians waiting for ambulance
calls from persons who accidentally, or purposely, had
taken strychnine. Not altogether did he gamble on the
possibility of there not arising such emergency calls, he
having learned that there existed in a minor Italian city
a suicide club whose members seemed to dote on strych-
nine as a means of departing this life. Accordingly, dur-
ing his several weeks' quest in this district of mortality,
he twice was "in at the death," so to speak. A sense of
delicacy refrained him from toting a motion picture
camera and taking it down "throe by throe." Directors
of hospitals, the nation over, astounded by Zacconi's re-
markable acting, have made inquiries regarding showing
this part of the film at clinics and at lectures on the sub-
ject of poisons.
State Rights Selling Fast
H. M. Russell, manager of the Golden State Moving
Picture Company, is en route for New York and London
for the purpose of selling the state and foreign rights to
the six-reel feature film entitled "One Hundred Years
of Mormonism," which has been made at a cost of
approximately $50,000. Three companies operating in
the states of California, Utah and Nevada have played
to nearly one-half of this first cost, and are still doing
business at the fifty-cent scale of prices. Contracts have
been let with one of the eastern firms for a big edition
of four-color work, and arrangements are under way for
^^ opening up a foreign office to exploit the European,
Asiatic and Australian fields. Mr. Russell closed con-
tracts in Chicago for a number of the Western states,
operating from the Sherman Hotel, and will be registered
at the Waldorf-Astoria in New York City.
hit with hundreds of exhibitors who realize that it pays
to keep the public posted. Lost space within the lobby
can be placed to an excellent advantage. For instance,
pilasters or columns can be provided with either square
or curved brass poster or photo frames at a small cost.
Curved or straight three sheet size brass poster frames
can be placed at each front corner of the lobby and make
a good showing; especially for special features.
Frequently one sees disorderly crowds pushing, shov-
ing and pulling in an effort to purchase tickets. There is
nothing better than a brass railing in front of ticket office
to keep them in line. Now, a little improvement of that
kind will help the theater more than the manager realizes.
There is no questioning the fact that considerable busi-
ness is lost because many women will refuse to enter a
throng which is disorderly, to purchase tickets, and many
mothers undoubtedly refuse to permit their children to
purchase tickets when there is such possibility of their be-
coming injured in the jam.
Zacconi's Artistic Thoroughness
Gruesome though his method, and gruesome the re-
sult as evidenced in the three-reel "Dread of Doom,"
chilling one's blood into rivers of red ice, most amazing is
the artistic thoroughness of Ermente Zacconi in seeking to
see for himself how men die from the effects of strychnine
poisoning. An opportunity is not often afforded of seeing
"No Transferring To Majestic
Because of the placing of "Billy" Garwood, long a
Thanhouser player, with the California Majestic Com-
pany, by C. J. Hite, a rumor has been circulated that a
general transfer of Thanhouser players to the Majestic
banner was contemplated. As a matter of fact Than-
houser players remain Thanhouser players, and Majestic
players were recruited from other sources. Besides Gar-
wood there was just one other Thanhouserite who joined
Majestic. This was Miss Ann Drew who, having inter-
ests in California, received Mr. Hite's permission to make
the change. She made her Majestic debut in the leading
role in "The Fraternity Pin," released Sunday, June 1.
Hudson Accepts New Position
E. J. Hudson, editor of the Universal Weekly, and
one of the most popular of the eastern publicity men, has
resigned his position with the Universal Film Manufac-
turing Company to assume a still more important position
with a new educational concern which is dispatching ex-
peditions to all parts of the world to secure negatives of a
unique sort.
Prizes for Scenario "Writers
A new idea of Don Meaney, the Essanay publicity
man, is to offer two hundred dollars worth of prizes for
scenarios written by amateur writers. This will be done
through the columns of a Chicago daily newspaper.
Further details will be given at an early date.
June 14, 1913
MOTOGRAPHY
451
Brevities of the Business
PERSONAL NOTES.
Fritzi Brunette makes her debut in Reliance pictures in the
film "Annie Laurie." Miss Brunette comes from the Victor studio,
where she was Miss Lawrence's successor.
Crane Wilbur is another new and notable addition to the
Reliance studio. He has been with the Pathe company for some-
time, having been featured in a number of splendid productions.
William H. Hickey of the Kinemacolor plant in England is
in New York making himself heard in the interest of the color
picture company.
Charles A. Pryor has returned from his two months' trip to
the coast and brought back with him about 45,000 feet of him,
part of which is devoted to the Marion Motor Car Company's
plant, the Tonopah Alining Company and the Solona Irrigated
Farms.
Frank Bates, of the Eclipse Film Company of London and
Paris, is in New York making and renewing acquaintances.
F. F. Feist, of the advertising department of the Kinemacolor
Company, is in Chicago and, judging from results, he is glad he
came.
F. S. Converse is building a finely constructed photo-play
house, to be opened July IS, at Nekoosa, Wis.
Miss Pearl White, the well-known star of Crystal films, has
just concluded a trip through the east, appearing in theaters show-
ing films in which she appears. Miss White was accorded a great
reception at the Olympic Theater, Leominster, Mass., where she
played an engagement of three days. An enormous crowd was at
hand to greet the popular little star at every performance. Miss
White will make another tour in the near future.
Mark Dintenfass has assumed supervision of the Coytesville
studios of the Universal Film Manufacturing Company, with
Philip Singer assisting him in looking after the details. Director
Sidney Golden has assembled a company of eminent actors and
actresses, taken directly from the legitimate stage, and is putting
on a series of pictures dealing with Russian life. Among these
are the features: "Nihilist Vengeance," a two-reel subject, and
"The Sorrows of Israel," a three-reel feature.
Joe Brandt, of the World's Best Film Company, upon his
return from the Des Moines Exhibitors' convention, brought the
Gay White Way a tender and unsophisticated Iowa duck. The
bird was the Universal mascot at the Hawkeye gathering, and
is temporarily ensconced in the Mecca Exchange, where it is
performing similar service. "Raspberry Sprig," the duck, ad-
justs himself easily to any environment in which he is placed,
and it is "dollars to doughnuts" that New York will assimilate
him soon.
Lois Howard and Harry Fisher, after a two weeks' vacation,
are again back in harness under Director Curtis. Both say they
enjoyed their rest and are ready for any sort of picture, from
drama to farce comedy. Harry spent most of his time at the
beaches, while Miss Howard took advantage of the fine weather
for motoring.
Clara Williams, native daughter of golden California, and
former leading woman for the Lubin Company, is now a fixture
with the Universal Company in pictures depicting western life.
Miss Williams in addition to being a clever rider, is also an
enthusiastic motorist, swimmer and tennis player.
Joseph Singleton, author, lecturer, traveler, actor and all
round good fellow, is at present doing character leads for
Director Otis Turner in pictures of the famous Rex brand.
Mr. Singleton's first appearance in moving pictures was in the
role of the American engineer in "The Tarantula," with Miss
Jeanie Macpherson. Mr. Singleton, before joining the ranks of
the moving picture stars, was well known on the stage in Eng-
land. Australia and America.
William J. Cavanaugh, of the Imp studio, has acquired a
new title since May 17. It is that of "Papa," conferred upon
him by the advent of a lusty heir at his home.
General Manager A. M. Kennedy, mayor-elect of Universal
City, was given a warm welcome by his many friends at the
Photoplayers' club on election night. Instead of "Hello, Ken-
nedy," it was "Hello, Mayor."
R. C. Smallwood, expert cameraman of the Universal west
coast organization, and his wife, who in the world of motion
pictures is known as Ethel Grandon, have arrived in New York
City, having been called East by the very serious illness of Mrs.
Smallwood's mother, Mrs. Edward S. Grandon, who has rallied
wonderfully since her daughter's return. Both Mr. Smallwood
and Miss Grandon expect to work around New York this summer
for one of the Universal eastern companies.
G. E. Kann, confidential secretary to Carl Laemmle, and
newly elected member of the board of directors of the Universal
Film Manufacturing Company, celebrated his advent to the new
dignities by severely lacerating his left hand. The accident oc-
curred when Mr. Kann pushed his hand through a glass door,
thinking it unlocked.
Lincoln J. Carter, who has been producing some of his
dramas in picture form at the Universal, was in Chicago last
week, where he joined Mrs. Carter, who had been visiting in
that city for several weeks. They have both returned to Cali-
fornia.
Miss Constance Crawley has taken a cottage at Hollywood.
Miss Crawley is enthusiastic about it and says that it reminds
her of an old English vicarage and that there is a gorgeous place
on top where one can lie around and look at the sky and
things. There is a garden for Mike, too, and some real nice
trees for Mike to climb about in. Mike is Miss Crawley's pet
monkey and about as intelligent a monkey as ever lived.
Director Harry Matthews of the Powers Photo Plays, In-
corporated, has finished his productaion of "Sleeping Beauty,"
in three reels and a fine picture it is, too. This, with the pictures
which precede it, stamp Mr. Matthews as probably the best
producer of fairy stories in the business.
Eddie Lyons, the Nestor's clever juvenile comedy man, soon
will be back in New York to greet his many friends. He left
Universal City for Beardstown, 111., his boyhood home, where
he will visit his mother for a period before going east. This is
his first vacation since he came to the Universal west coast studios
sixteen months ago.
Miss Rose Evans, character woman of the Chicago studios
of the Selig Polyscope Company, is an author of note, having
more than a score of special published essays and short stories
to her credit.
"Baby" Lillian Wade plays the principal role in a juvenile
comedv drama entitled "When Lillian was Little Red Riding
Hood."
Phillips Smalley, the Rex Company's director, was absent
from work for a week recently, by his physician's orders.
James Gordon, actor and director, late of the Edison Com-
pany, will support Mrs. Fiske before the Famous Players' camera
in "Tess of the D'Urbervilles."
Charles M. Seay has taken a group of Edison players south
to make their headquarters in Rome, Ga. Mabel Trunnelle,
Herbert Prior, Bliss Milford, Harry Beaumont and x\rthur
Houseman comprise the caste which will make a number of films
with historical settings.
Margaret Steppling, the four-year-old daughter of John
Steppling, of the eastern Essanay company, is making her name
and face pleasantly familiar to the picture world. For so young
an actress, her work is exceptionally good.
Lottie Pickford, sister of "Little" Mary Pickford, has signed
with the Pilot company. She has had several years of stage
experience and is especially capable in pictures, the work she
claims to have permanently adopted.
General Manager W. H. Bell, of the J. D. Williams Film
Exchange, Australia, has arrived in San Francisco for a stay
of indefinite length.
J. Stuart Blackton, secretary of the Vitagraph company,
and commodore of the Atlantic Yacht Club, has returned from a
sketching tour through Europe, in company with Carl J. Blenner.
Harold M. Shaw and W. Arthur Northam have sailed for
England to put into active being the London Film Company,
which will produce pictures at their studio at Margaretta, Middle-
sex. Mr. Shaw is to be chief producer.
John Arthur, who has had an honorable career on the legiti-
mate stage, is a member of Director Sidney Golden's companay
at Coytesville. He recently took part in the forthcoming pic-
ture, "The Sorrows of Israel," assuming the part of the Russian
police spy, who, disguised as a Greek archbishop, incites the
ignorant peasants to massacre the Jews.
Herbert Blache announces that he has severed all connection
with the Gaumont Company, and that hereafter he will have no
connection with that corporation.
J. D. Tippetts, manager of the Union Feature department of
Edison films. She has had much previous experience on the
legitimate stage.
Miss May Abbey is a new personage to delight lovers of
the Eclair Film Company, resigned on June 1.
Thomas Comerford, who played in Lincoln J. Carter's play
for more than twenty-five years, has become a member of the
Essanay eastern company.
452
MOTOGRAPHY
Vol. IX, No. 12
ROLL OF THE STATES.
ARKANSAS.
Verner Story will shortly leave for Malvern, where he will
become manager for a motion picture theater. He formerly was
connected with the Colonial theater in Argenta.
Manager Saul S. Harris, of the Gem and Royal theaters,
Little Rock, announces that he and another Little Rock man have
purchased the interests of Abe Stiewel in the two moving picture
theaters. Mr. Harris said that neither he nor his associate are
interested in any local motion picture theater or proposed theater.
CALIFORNIA.
The Grand theater at Visalia will be remodeled at a cost of
$3,000. Thompson Brothers are the managers.
ILLINOIS.
It is probable that Minonk will have a new picture show, as
J. E. Williams is considering starting one if a large building be
erected by Isaac Wright, of Peoria.
Brott & Heppa have opened up a new theater on the site
formerly occupied by the West Chicago theater at West Chicago.
J. B. Stine has opened his moving picture show on East Main
street, Hoopeston. This makes two picture shows for Hoopeston
with a Watseka man looking over the ground with the eye on a
piece of property on which to erect another theater.
Rex Brown and B. B. Horton have ordered a moving picture
machine and will open a moving picture theater in the new opera
house at Rockford.
INDIANA.
A motion picture theater is to be built at London and Thir-
tieth streeets, Indianapolis, by W. S. Barrett, who has submitted
plans for the building to T. A. Winterrowd, city building inspec-
tor, for approval. The building will be 50x110 feet and one-story
high. Exterior walls will be of dark, hard burned brick and the
floor of cement. Charles E. Bates is the architect.
IOWA.
Weber & Sanders, of Vinton, recently closed a deal by which
they become the owners of all three Maquoketa picture shows and
took immediate possession. They expect to run the Pastime
strictly as a picture show house. At the Lyric they will run pic-
tures and vaudeville and the opera house will be used mostly for
theatrical attractions.
J. C. Innes of Sutherland has made arrangements for open-
ing a moving-picture theater at Orange City.
William Ritter of the Majestic motion-picture theater at
DeWitt has rented an airdome and will operate same during the
summer.
The Grand theater was sold recently by J. D. Banning to
E. P. Shipley of Corydon, who took immediate possession. Mr.
Shipley expects to make some improvements and will conduct an
up-to-date moving-picture show and theater.
The plans and specifications for the new picture house which
Butterfield & Heiman, the proprietors of the Majestic theater,
will erect across the mill race on Bridge street, Waterloo, are
nearing completion and the announcement was made that actual
building operations will be started June 1.
The Columbia theater at Waterloo after being closed for
about one week, has reopened, and with the many improvements
and changes which have been made, it presents a most attractive
interior. Manager Jergerson is now in charge of one of the
finest theaters in this section.
Wilson Bender has opened his new picture theater at Ida
Grove.
Toronto is having moving pictures again this summer. R. H.
Stoecker of Lowden, who has a new machine, arranged with the
management to put on a first-class show of four reels of moving
pictures every Sunday night.
Parties from Ravenna, who have been operating a picture
show there, will operate a show at Cairo this summer, putting
on shows three evenings each week. They have installed an
electric plant in the basement of the opera house for use in
running the machine.
KANSAS.
Excavation has been commenced at Waterville for a new
building 28x89 feet, to be used by I. L. Miller's moving-picture
show.
Clark McConaughey is fitting up the airdome at Concordia
and will open it in the near future for a motion picture show.
Walter Bell of Wichita, who is connected with the Interstate
Amusement Company, with headquarters in Chicago, has made
arrangements for the establishment of another electric theater
at McPherson.
A fire caused by the burning of two reels of pictures in the
operator's booth at the Majestic theater at Hutchinson scorched
the machine and destroyed two feature films valued at $70 each.
The Oread nickel theater opened some months ago by
Nelson Stephens at Lawrence is now being operated by E. E.
Plank as manager for Guth & Ohlfest of Topeka, who have a
string of theaters. It is the expectation to make the Oread
second to none.
The new Martin theater, just north of First avenue in Main
street, Hutchinson, is the prettiest motion-picture house in the
city. It seats more than 800 people, having a balcony, and it is
fine in appearance inside.
KENTUCKY.
M. Switow is building an addition to the rear of the Crystal
motion-picture theater in Pearl street, Louisville, and is also
arranging to build an addition to the Grand theater in Market
street. The New Albany Amusement Company is arranging
to remodel the large building in High street, between Pearl and
State, recently purchased for a motion-picture theater.
LOUISIANA.
Another motion-picture theater, The Orpheum, probably the
largest in the city, has been opened in New Orleans, to remain
open only during the summer months. Manager Jules F. Bistes
stated that it would be the policy of the theater to offer a high-
class program, consisting of the latest motion pictures and one
or two subjects of the Edison talking pictures, with a good
orchestra.
Attending the picture show in the open air under the arms
of giant oaks promises to become a fad this summer for the
Audubon Park Association at New Orleans, which is staging free
moving pictures in the park every Tuesday, Thursday, Saturday
and Sunday nights.
MASSACHUSETTS.
Plans are being drawn for a new theater for moving pictures
to be erected by John R. Graham, president of the Bangor Rail-
way & Electric Co., at Bangor. The site will be on an interior plot
owned by Mr. Graham bounded by buildings on Central, Harlow
and Franklin streets and Kendusleafi Stream. The new building
will be of concrete, fireproof and will cost about $30,000. Mr.
Graham will probably lease it. Bangor now has three motion-
picture theaters, two vaudeville houses and a large motion-picture
house in course of construction.
MICHIGAN.
Negotiations are under way for the sale of the Star theater,
at 1110 Ludington street. Escanaba, to a Chicago moving-picture
concern. Only high-class pictures will be shown at the new
house, giving the people at all times a show with nothing lacking.
Battle Creek is to have another moving-picture theater. If
is to be located at 97 West Main street, a district that has noi
been invaded by amusements of this class.
B. C. Whitney has taken a lease of the Avenue theater, 80
Woodward avenue, Detroit, from Drew & Campbell for two
years and 11 months, dating from June 1, next. Mr. Whitney
takes the lease as an investment and may use the theater as a mo-
tion picture house.
MINNESOTA.
Contrary to recommendations of both eighth ward aldermen
and the license committee, a motion-picture theater license was
granted Green & Agnew for the Lake theater, Minneapolis, by a
narrow margin of two votes.
MISSOURI.
J. B. Rice, who has been conducting the moving-picture show
at Clarence for several months, has sold out to Charlie Culver.
The management of the opera house at Rock Port has
changed moving-picture machines, having secured a man and
outfit from Omaha. Pete Ames, who has been putting on the
pictures at the opera house, will have a show elsewhere in town.
So there will be two motion-picture shows hereafter.
NEBRASKA.
Another convention has been secured for Grand Island for
the coming year, that of the Nebraska Moving Picture Exhibitors'
League, and which will insure at least the attendance of 200
delegates for a two or three days' session.
Harry Spirk and Chas Tinker of Crete are putting into shape
the Doede Smith building on South Main street for the purpose
of installing a new and strictly-up-to-date picture show.
The Orpheum at Omaha has become a moving picture house
for the summer. The pictures, which will include Edison's new
talking movies, will be shown from noon till 11 p. m.
NEW YORK.
Wedepict Motion Picture Corporation, Manhattan — Motion
picture business; capital, $115,000. Incorporators: W. Dinwiddie.
W. Schultes, C. W. Bliss, New York City.
Mrs. Margaret McCoy, of Oswego, who recently leased the
Betts Opera House at Pulaski and rechristened it the Majestic
theater, has subleased it to Arthur C. Williams, of Oswego, who
will continue it as a moving picture show.
Present plans materializing, Fulton will soon have another
moving picture theater. Thomas Lewis, of New York, who
spends several months each year in Fulton, is planning to erect a
brick structure on the site of the old Garrett livery stables.
June 14. 1913
MOTOGRAPHY
453
Complete Record of Current Films
Believing the classification of film pictures by the nature of their subjects to be of greater importance to the exhibitor than classification by maker,
Motography has adopted this style in listing current films. Exhibitors are urged to make use of this convenient tabulation in making up their programs.
Films will be listed us long in advance of their release dates as possible. Film manufacturers are requested to send us their bulletins as early as possible.
Reasonable care is used, and the publishers cannot be responsible for errors. Synopses of current films are not printed in Motography as they may be
obtained of the manufacturers.
LICENSED
DRAMA.
Date Title Maker Length
5-26 A Victim of Heredity Kalem 1,000
5-26 The Reward of Service Lubin 1,000
5-26 Wamba— A Child of the Jungle Selig 2,000
5-26 Religion and Gun Practice Selig 1,000
5-27 An Unwilling Separation Edison 1,000
5-27 The New Sheriff Essanay 1,000
5-27 The Girl and the Judge Selig 1,000
5-28 The Indelible Stain Eclipse 1,000
5-28 Captured by Strategy Kalem 1,000
5-28 Love and War in Mexico Lubin 2,000
5-28 The Fugitive Patheplay 1,000
5-28 The Wordless Message Selig 1,000
5-29 A Dangerous Foe Biograph 1,000
5-29 The Romance of the Ozarks Lubin 1,000
5-29 The Foster Brothers Melies 500
5-29 White Lies Patheplay 1,000
5-29 The Ex-Convict's Plunge Selig 500
5-29 The Only Veterman in Town Vitagraph 1,000
5-30 The Honor of a Soldier Edison 1,000
5-30 Faith of a Girl Lubin 1,000
5-30 The Woodfire at Martin's Selig 1,000
5-30 The Human Vulture Patheplay 2,000
5-31 His Mother's Son Biograph 1,000
5-31 An Almond-Eyed Maid Edison 1,000
5-31 John Burns of Gettysburg Kalem 1,000
5-31 Lone Dog the Faithful Lubin 1,000
5-31 The Squawman's Awakening Patheplay 1,000
5-31 The White Slave Vitagraph 2,000
6-2 The Ranchero's Revenge Biograph 1,000
6-2 The Bandit's Child Kalem 1,000
6-2 A Woman's Heart Lubin 1,000
6-2 What God Hath Joined Vitagraph 1,000
6-2 When a Woman Loves Cines 2,500
6-3 The Irony of Fate Cines 1,000
6-3 Right for Right's Sake Edison 1,000
6-3 Let No Man Put Asunder Essanay 1,000
6-3 A Jealous Husband Lubin 1,000
6-3 The Flag of Two Wars Selig 1,000
6-4 When Fate Decrees Kalem 1,000
6-4 The Savong Lie Patheplay 1,000
6-4 The Law and the Outlaw Selig 2,000
6-4 Woman — Past and Present Selig 1,000
6-4 A Modern Psyche Vitagraph 1,000
6-5 The Last Shot Essanay 1,000
6-5 What the Good Book Taught Patheplay 1,000
6-5 The Suwanee River Selig 1,000
6-6 Mercy Merrick Edison 1,000
6-6 The Terror of Conscience Kalem 1,000
6-6 The Penalty of Jealousy Lubin 1,000
6-6 The Accusing Hand Lubin 2,000
6-6 The Butler's Secret Vitagraph 1,000
6-7 A Timely Interception Biograph 1,000
6-7 The Ring Cines 750
6-7 When John Bolt Slept Edison 1,000
6-7 Broncho Billy's Capture Essanay 1,000
6-7 The Tragedy of Big Eagle Mine Kalem 2,000
6-7 The Great Pearl Lubin 1,000
6-9 The Final Judgment Essanay 2,000
6-9 The Legend, of Lover's Leap Lubin 1 ,000
6-9 The Bachelor's Baby Vitagraph 1,000
6-10 Two Little Kittens Edison 1,000
6-10 The Shadowgraph Message Essanay 1,000
6-10 Violet Dare, Detective Lubin 1,000
6-10 Dad's Little Girl Selig 1,000
6-11 The Pawnbroker's Daughter ... : Kalem 1,000
6-11 The Rose of May Selig 1,000
6-11 His House in Order Vitagraph 1,000
6-12 The Well Biograph 1,000
6-12 The Stolen Chain Melies 500
6-13 Brought to Bay Kalem 1,000
6-13 Papita's Destiny Lubin 1,000
6-13 The Governor's Double Patheplay 2,000
6-13 The Jealousy of Miguel and Isabella Selig 1,000
6-13 An Infernal Tangle Vitagraph 1,000
6-14 Death's Marathon Biograph 1,000
6-14 Apples of Sodom Edison 1,000
6-14 The Ranch Fued Essanay 1,000
6-14 The Gypsy's Brand Kalem 1,000
6-14 The Wine of Madness Lubin 1,000
6-14 Alone in the Jungle Selig 2,000
COMEDY.
5-27 Borrowed Plumage Cines 500
5-27 The Champion Fixer Cines 350
5-27 Doing Like Daisy Lubin 500
5-27 The Yarn of the Nancy Bell Lubin 500
5-27 Tricks of the Trade Vitagraph 1,000
5-28 Newcomb's Necktie Edison 1,000
5-28 On the Job Essanay 1,000
5-28 Cutey Plays Detective Vitagraph 1,000
5-29 Their Baby Essanay 1,000
5-30 The Widow from Winnipeg Kalem 500
5-30 The Comedy Team's Strategy Kalem 500
5-30 A Husband's Trick Vitagraph 1,000
Date.
5-31
5-31
5-31
6-2
6-2
6-3
6-3
6-4
6-4
6-4
6-5
6-5
6-5
6-5
6-5
6-6
6-6
6-7
6-7
6-7
6-7
6-9
6-9
6-9
6-9
6-9
6-9
6-10
6-10
6-11
6-11
6-11
6-11
6-12
6-12
6-12
6-12
6-12
6-12
6-12
6-13
6-14
6-14
5-23
5-23
5-26
5-26
5-30
5-30
6-3
6-3
6-4
6-5
6-6
6-6
6-12
Title Maker. I.
Alkali Ike's Misfortune Essanay
One Can't Always Tell Vitagraph
If Dreams Came True, or Who'd Thunk It? Vitagraph
Professor William Nutt Edison
When the Circus Comes to Town Selig
Bunny As a Reporter Vitagraph
Three to One Vitagraph
Delivering the Goods Eclipse
Don't Worry Edison
The Value of Mothers-in-law Essanay
Slippery Sam Repents Biograph
Just Kids Biograph
Bob Builds a Chicken House Lubin
Kate, the Cop Lubin
The Heart of Mrs. Robins Vitagraph
Phillip March's Engagement Essanay
An Embarrassed Bridegroom Selig
When Women Are Police Kalem
Percy's Wooing Kalem
Get-Rich-Quick Billington Patheplay
The Forgotten Latchkey Vitagraph
Jenks Becomes a Desperate Character Biograph
Red Hicks Defies the World Biograph
Othello in Jonesville Edison
The Rube and the Boob Kalem
The Scheme of Shiftless Sam Smith Kalem
Sweeney and the Fairy Selig
Max's First Job Pathe
Cutey Tries Reporting Vitagraph
Beau Crummel and His Bride Edison
The Star Essanay
His Lordship's Romance Patheplay
A Regiment of Two Vitagraph
Cinderella's Gloves Essanay
Nearly in Mourning Lubin
The Professor's Predicament Lubin
The Artist's Dream Patheplay
The Fate of Elizabeth Selig
His Tired Uncle Vitagraph
Capers of Cupid Vitagraph
The Mysterious Stranger Essanay
For Mayor — Bess Smith Patheplay
Does Advertising Pay Vitagraph
EDUCATIONAL.
Night Birds Patheplay
The Ailanthus Silkworm Patheplay
Dances of the Ages Edison
In the Forest of Cochin, China (Lumbering) .... Patheplay
The Spider Which Lives in a Bubble Patheplay
Transportation Methods in Java Patheplay
Dredges and Farm Implements in the West Patheplay
A Market in Kabylia, Algeria Patheplay
The Armadillo Eclipse
Native Industries of Java Melies
Birds and Animals of Brazil Patheplay
Manila Normal and Public Schools Selig
The Birth of a Butterfly Selig
SCENIC.
5-21 In the Tyrolese Alps Eclipse
5-21 Glimpses of Colorado in Winter Edison
5-27 In Somaliland Cines
5-29 Tandjong Priok, the Harbor of Java's Capital, jiatavia . Melies
5-29 Scenes in Manila Selig
5-31 Interesting Scenes Abroad Cines
6-4 Some Spots In and Around Los Angeles, Cal Edison
6-6 Tananarive, Madagascar Patheplay
6-7 Orbetello and Environs Cines
6-10 The Chateau of Chenonceau, France Patheplay
6-12 Views of Samarang Melies
6-13 Along the Nile Edison
6-13 Athletics in France Patheplay
6-13 Places of Interest in Colorado Patheplay
TOPICAL.
5-19 Vitagraphers at Kama Kura Vitagraph
6-2 Pathe's Weekly No. 23 Patheplay
6-9 Pathe's Weekly No. 24 Patheplay
ength.
1,000
500
500
1,000
1,000
500
500
500
640
1,000
500
500
500
500
1,000
1,000
500
500
500
1,000
1,000
500
500
1,000
500
500
1,000
700
1,000
1,000
1,000
1,000
2,000
1,000
500
500
1,000
500
500
500
1,000
1,000
1,000
500
500
1,000
500
500
500
500
500
500
1,000
500
500
500
175
315
15G
500
500
1,000
350
500
250
300
500
1,000
500
500
500
1,000
1,000
DAILY LICENSED RELEASES
MONDAY: BiogTaph, Edison, Kalem, Lubin, Pathe, Selig, Vita-
graph.
TUESDAY: Edison, Essanay, Cines-KIeine, Lubin, Pathe, Selig,
Vitagraph.
WEDNESDAY: Edison, Essanay, Kalem, Eclipge-KIeine, Pathe,
Selig, Vitagraph.
THURSDAY: Biograph, Essanay, Lubin, Melies, Pathe, Selie.
Vitagraph.
FRIDAY: Edison, Essanay, Kalem, Lubin, Pathe, Selig, Vita-
graph.
SATURDAY: Edison, Essanay, Cines-KIeine, Kalem, Lubin,
Pathe, Vitagraph.
454
MOTOGRAPHY
Vol. IX, No. 12
INDEPENDENT
Date
6-1
6-2
6-2
6-2
6-3
6-3
6-3
6-3
6-4
6-4
6-4
6-4
6-4
6-5
6-5
6-5
6-5
6-5
6-5
6-6
6-6
6-6
6-6
6-6
6-7
6-7
6-7
6-8
6-9
6-9
6-9
6-9
6-9
6-10
6-10
6-10
6-10
6-10
6-11
6-11
6-12
6-13
6-14
6-14
6-14
5-31
6-1
6-1
6-1
6-1
6-1
6-2
6-2
6-2
6-2
6-3
6-4
6-5
6-5
6-5
6-6
6-6
6-7
6-7
6-7
6-7
6-8
6-8
6-8
6-8
6-8
6-9
6-11
6-12
DRAMA.
Title Maker
The Fraternity Pin Majestic
Italian Love Reliance
When Luck Changes American
Comrades Dragon
The Battle of San Juan Hill .- . Bison
Mary's Romance .■. .-. .• ■. . .-. ..-. .'Crystal
The Caged Bird Thanhouser
Queen of the Sea Nymphs Majestic
The Idol ■ of Bonanza Camp ...'.::. ".Nestor
Why? .Eclair
A Dixie Mother . .• Broncho
Faithful Shep ............ .......... Reliance
Blood and Water Solax
Self Accused Imp
The World, at Large Rex
The Pillar I of Peril Frontier
A Passing Cloud -. , . . . . Gaumont
The Wishing Seat ■ American
The Power of the Sea ■ ...-, ..Pilot
Owana, the Devil Woman. .. ...Nestor
The Kidnapped Train Victor
A True Believer Kay Bee
The Runaway Thanhouser
By the Aid of Wireless Lux
The Spirit of the Flag Bison
Via Cabaret American
The Madcap of the Hills Reliance
The Shadow Rex
His Uncle's Heir Reliance
The Ace of Hearts Dragon
The Comedian's Mask Imp
The Spring in the Desert Nestor
Hearts and Flowers Gem
While Her Baby Slept Thanhouser
The Message of the Flowers Majestic
The Honor of Lucrece Gaumont
The Grand Old Flag Bison
False Love and True Crystal
An Indian's Gratitude Broncho
The Helping Hand Ramo
Gregory's Shadow Solax
The Man Who Tried to Forget Nestor
When Light Came Back Eclair
Men Were Deceivers Ever Gaumont
When a Girl Loves Pilot
Hearts and Horses American
The Higher Law Imp
The King Can Do No Wrong Rex
The Call of the Angelus Frontier
The Boomerang Kay Bee
His Sacrifice Thanhouser
Engulfed Lux
Mother's Picture Solax
The Strength of the Weak Powers
Sincerity Victor
Half a Chance Reliance
The Reward of Courage American
The Capture of Aguinaldo Bison
COMEDY.
Where Is Doggy Great Northern
Clancy, the Model Crystal
Hooked Crystal
He Ruins His Family's Reputation Eclair
All on Account of An Egg Eclair
The Boob Rex
Just a Fire Fighter Imp
A Mix-up in Bandits Nestor
Billy in Armor Gem
Barney Oldfield's Race for Life Keystone
When the Leopard Laughed Gaumont
Dolly and the Burglar Powers
Passions He Had Three Keystone
Help ! Help ! Hydrophobia , Keystone
Willy and the Captain's Horse Mutual
Why Grand-Daddy Went to Sea Powers
The Hopes of Belinda Solax
Pen Talks by Hy Mayer Imp
The Count Retires Imp
The Ranch Girl and the Sky Pilot Frontier
The Suffragettes Great Northern
Miss Mischief Thanhouser
Mimosa's Sweetheart Majestic
The New Typist Crystal
Black and White Crystal
He Could Not Lose Eclair
The Hansom Driver Keystone
Mrs. Lacey's Legacy Powers
The Speed Queen Keystone
Length
1,000
1,000'
1,000
1,000
3,000
1,000
1,000
1,000
1,000
3,000
2,000
1,000
2,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
2,000
1,000
1,000
2,000
1,000
1,000
1,000
1,000'
1,000
2,000
1,000
1,000
1,000
1,000
1,000
2,000
1,000
1,000
1,000
1,000
1,000'
2,000
1,000
1,000
1,000
1,000
3,000
1,000
3,000
1,000
1,000
1,000
1,000
1,000
2,000
1,000
2,000
DAILY "MUTUAL" RELEASES
(Independent.)
MONDAY: American, Keystone, Excelsior.
TUESDAY: Majestic, Thanhouser.
WEDNESDAY: Broncho, Mutual Weekly, Reliance.
THURSDAY: American, Mutual, Keystone.
FRIDAY: Kay-Bee, Thanhouser.
SATURDAY: American, Reliance.
SUNDAY: Majestic, Thanhouser.
Date.
6-12
6-13
6-1-4
6-14
6-14
6-15
6-15
6-3
6-5
6-8
6-9
6-9
6-12
6-14
5-31.
6-4
6-4
6-4
6-11
6-11
6-11
Title. Maker. L
Gontran, Snake Charmer Mutual
The Knight of Her Dreams Nestor
An Unwelcome Wedding Gift. ........... .Great Northern
Hy Mayer's Cartoons .'. , Imp
The Twins of Double X Ranch Frontier
The Head of the Ribbon Counter Thanhouser
The Pen Mark Majestic
EDUCATIONAL.
The Problem of Aviation Gaumont
A Child's Day Mutual
The Spider Eclair
California Poultry American
Feeding Time Keystone
Gathering Tea in Indo-China Mutual
The War of the Beetles Imp
SCENIC.
Loch Lomand, Scotland Great Northern
TOPICAL.
Animated Weekly No. 65 Universal
Mutual Weekly No. 23 . .- Mutual
Gaumont's Weekly No. 64 Gaumont
Animated Weekly No. 66 Universal
Mutual Weekly No. 24 Mutual
Gaumont's Weekly No. 65 Gaumont
ength.
500
1,000
953
500
1,000
1,000
1,000
500
500
500'
1,000
200
500
500
243
1,000
■ 1,000
1,000
1,000
1,000
1,000
KINEMACOLOR
DRAMA.
Parson Jim's Baby Kinemacolor
Dr. Jekyll and Mr. Hyde Kinemacolor
COMEDY.
The Carbon Copy Kinemacolor
His Wife's Birthday Present Kinemacolor
EDUCATIONAL.
Tamil Types, Southern India Kinemacolor
Man's Best Friend Kinemacolor
SCENIC.
Ice Skating at Murren, Switzerland Kinemacolor
Gay a, Allahabad and Cawnpore Kinemacolor
Tobogganing in Switzerland Kinemacolor
2,570
1,450
1,350
690
525
685
750
MISCELLANEOUS FEATURES.
Date. Title. Maker. Length.
2-15 The Great Aerial Disaster Itala Features 2,800
Sarah Bernhardt in Queen Elizabeth Famous Players 4,000
A Daughter of the Confederacy (Gene Gauntier
Warner's Features ' 3,000
The Kentucky Feud (Satax) Warner's Features 3,000'
3-15 The Shadow of Evil Itala Features 2,000
Mystery of Pine Tree Camp (Gene Gauntier)
Warner's Features 3,000
The Wife of Cain Helen Gardner Features
The Mystery of the Corner House Great Northern Special.. 3,000
4-15 Tigres Itala Features 4,000
Mexican Conspiracy Outgeneraled (Satax)
Warner's Features 3,000
5-15 The Dread of Doom Itala Features 3,000
Their Lives by a Thread (Satax) Warner's Features 3,000
The Eye of a God (Pyramid) Warner's Features 3,000
6-15 The Fatal Grotto Itala Features 2,000
James K. Hackett in Prisoner of Zenda Famous Players 4,000
The Man in the White Cloak Great Northern Special 3,000
Zingomar III Union Features 3,000
Cleopatra Helen Gardner Features 5,000
Satan Ambrosio Feature 3,000
When Men Hate (Gene Gautier) Warner's Features 3,000
In the Claws of the Vulture Ambrosio Feature 3,000
DAILY EXCLUSIVE RELEASES
(Independent)
MONDAY: Dragon.
TUESDAY : Gaumont.
WEDNESDAY: Solax, Gaumont.
THURSDAY: Gaumont.
FRIDAY: Solax, Lux.
SATURDAY: Great Northern.
DAILY UNIVERSAL RELEASES
(Independent.)
MONDAY: Champion, Imp, Nestor.
TUESDAY: Bison, Gem.
WEDNESDAY: Animated Weekly, Eclair, Nestor, Powers.
THURSDAY: Imp, Rex, Frontier.
FRIDAY: Nestor, Powers, Victor.
SATURDAY: Imp, Bison, Mecca.
SUNDAY: Crystal, Eclair, Rex.
VOL. IX
JUNE 28, 1913.
No. 13
EXPLOITING
Published Bi- Weekly by Electricity Magazine Corporation, Monadnock Building, Chicago
LEAH GIUNCHI
KLEINE-CINES
The KLEINE-ECLIPSE Feature
(IN 2 REELS)
A VILLAIN UNMASKED
RELEASED JUNE 27
A charming story with a "kick.93 You will like it— and,
what's more to the point— so will your audience.
The Son objects to his mother's choice for a second marriage. Strange
actions on the part of the would-be groom excite his suspicions. How he
follows a clew through the devious paths of the story — how he untangles the
skein of destiny and works the links of evidence into a chain of guilt — makes
a delightful tale of love and adventure.
THE SETTINGS ARE TYPICALLY "ECLIPSE"— and that means a
succession of the broadest vistas — the daintiest bits of landscape in all beauti-
ful France — mighty valuable "touches" to the exhibitor awake to the sense
of a critical public! Splendid photography and convincing acting help to
make "A Villain Unmasked" the
vast exception in multiple reel
subjects.
1, 3 and 6-sheet POSTERS
'with this subject
George Kleine
166 N. State St.
CHICAGO
Q
a
June 28, 1913
MOTOGRAPHY
RAMO
THE NEW FILM OF QUALITY
STUDIOS
102 West 101st St.
New York City
'The Worth of Man" Released June 25
COMING RELEASES
June 25— "THE WORTH OF MAN" - -
July 2-"FM NO COUNTERFEITER" -
July 9— "MAN and WOMAN" (2-reel)
July 16— "A DOG-GONE BARON" - -
July 23— "THE SILENT HOUSE" - - - - Drama
Drama
Comedy
Drama
Comedy
Copyright 1913 Wray Physioc
Memmmpm^m^eeeooois
LUBIN FILMS
2-Reel Special
"THE PENALTY OF CRIME"
Released June 30th
A powerful melodrama In which an attractive girl influenced by a couple of crooks engages in a job to rob a jewelry trunk on the train, but falls in love
with the victim. She however, is forced by her companions to continue the plot, but it turns out to be a failure. The robbers' auto is pursued by the jeweler
and others and chased down the enbankment of a river, Fielding, the jeweler, rescues the girl, one of the crooks is instantly killed and the other confesses
the whole plot, also tells of the girl's opposition to the job. and her love for the jeweler. Who in turn forgives and makes her happy.
2-Reel Special
«6
A HERO AMONG MEN"
Released July 9th
A powerful melodramatic picture telling a story of cross purposes at love and the terrors of a strike at a big Ammunition Plant. Many realistic and ex-
citing scenes of the madness of the strikers are enacted including the burning and blowing up of the executive building of the corporation. Thrilling rescues
are made and deeds of heroism bring out the better nature of the men, whose passions had overruled judgment. In the end both masters and men realize
their wrong and a beautiful betrothal end the dramatic story.
June 23rd
"RUSTIC HEARTS"
June 30th
"HER ATONEMENT"
A false marriage and sad consequence, with eventual reward.
A pathetic story of squaw love.
June 24th
AT THE TELEPHONE"
July 1st
"HER HUSBAND'S PICTURE"
Two
June 24th
men try to work the phone and get in a mixup.
"THE ZULU KING"
A tale of the Studio, very pretty.
The awful exDerience of a henDecked husband.
July 3rd
'THE ANGEL OF THE SLUMS"
June 26th
"THE OTHER WOMAN"
A lovely girl finds her right affinity.
A good lesson to an extravagant wife.
July 4th
"THE WAITER'S STRATEGY"
June 27th
"BOB BUYS AN AUTO"
The waiter does a clever piece of work.
June 27th
Another good Bob Thompson's job.
"THE BEAUT FROM BUTTE'
July 4th
"THE WRONG HAND BAG"
A picturesque cowboy is unmasked.
Two handbags cause an unfortunate complication.
June 28th
"THE LOVE TEST"
July Sth
"HIS NIECE FROM IRELAND"
A very dramatic Western story.
The lucky outcome of a big mistake.
Beautiful one, three and six-sheet posters of our photo plays, in five colors, can be obtained from your exchange
or the A. B. C. Company, Cleveland, Ohio. Photos by the Kraus Mfg. Co.. 14 East 17th Street, New York.
LUBIN MANUFACTURING CO
PHILADELPHIA
U.S.A.
Tell the advertiser you saw it in MOTOGRAPHY.
WITH WHICH IS INCORPORATED THE NICKELODEON
CHICAGO, JUNE 28, 1913
PUBLISHED BI-WEEKLY BY
ELECTRICITY MAGAZINE CORPORATION
MONADNOCK BUILDING, CHICAGO
Telephones: Harrison 3014— Automatic 61028
Ed. J. Mock and Paul H. Woodruff, Editors
Neil G. Caward, Associate Editor
Mabel Condon, Associate Editor
Allen L. Haase, Advertising Manager
Entered as second-class matter at the postoffice at Chicago, Illinois, under
act of March 3, 1879.
TERMS OF SUBSCRIPTION
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Single copy 10
NOTICE TO ADVERTISERS
Changes of advertising copy should reach the office of publication not
less than ten days in advance of date of issue. Regular date of issue, every
other Saturday. New advertisements will be accepted up to within five days
of date of issue, but proof of such advertisements can not be shown in
idvance of publication.
NOTICE TO SUBSCRIBERS
Remittances — Remittances should be made by check, New York Draft
or money order, in favor of Motography. Foreign subscriptions may be
remitted direct by International Postal Money Order, or sent to our London
Office.
Change of Address — The old address should be given as well as the
new, and notice should be received two weeks in advance of the desired
change.
London Office 36 Maiden Lane, Covent Garden
S. Rentell & Co., Representatives
This publication is free and independent of all business or house con-
nections or control. No manufacturer or supply dealer, or their stockholders
jr representatives, have any financial interest in Motography or any voice in
its management or policy.
CHICAGO, JUNE 28, 1913
TABLE OF CONTENTS
Scene from Essanay's two-reel feature, "The Forbidden Way". .Frontispiece
Editorial 455-456
The Three Reel Problem 455
"Quicksands" Is Scenically Beautiful 457-458
Motography 's Gallery of Picture Players 459
Just a Moment Please 460
A Drama of the Underworld 461-462
On the Outside Looking in by the Goat Man 463-465
Current Kleine Comment 467-468
Motion Picture Making and Exhibiting. By John B. Rathbun 469-472
Current Educational Releases 473-474
Sans Grease Paint and Wig. By Mabel Condon 475-476
The Motion Picture Exhibitors' League of America 477-480
A Diamond S Potpourri 481-482
Who's Who in the Film Game 483
Prominent Exhibitors 484
Of Interest to the Trade 485-486
Brevities of the Business 487-488
Complete Record of Current Films 489-490
THE THREE-REEL PROBLEM.
AT the second annual convention of the Illinois State
Branch No. 2, of the Motion Picture Exhibitors'
League of America, held in Chicago on Thursday, June
12, a resolution was passed to bring to the attention of
the national convention of the League, when it meets
in New York, the second week in July, the three-reel
problem.
The wording of that resolution is simplicity itself,
yet it means a whole lot. It means that the members
of the Illinois branch have seen the handwriting on the
wall — that they can already dimly foresee what will
happen to the exhibition end of the motion-picture in-
dustry if present conditions continue, and Illinois ex-
hibitors in their eagerness to fight their competitors
keep adding first one and then another reel to their
already long programs.
For months the length of programs has been slowly
but surely increased in Chicago, although things in the
great metropolis of the Middle West have not even yet
reached the sad state known to exist in certain other
portions of the United States, in some at least of which
it is said exhibitors are so shortsighted as to be running
as high as ten reels for ten cents.
The program of three reels for five cents, which used
to be the standard show in Chicago, and which seemingly
was perfectly satisfactory to the patrons of the various
picture houses, is now the exception and not the rule,
for gradually another reel has been added, and then an-
other, until many of the local exhibitors find themselves
booking as high as five reels for a single evening's
program, and still the admission price remains at five
cents.
The first man who added the extra reel thought
that it was necessary for him to do so in order to com-
pete with the man across the street, who had a house
with a larger seating capacity and so was able at all times
to care for the throngs who dropped in for an hour's
amusement. The man with the big house discovered
that the man across the street was showing four reels,
instead of three, for five cents, and, instead of relying
upon the quality of his program and trying to raise his
entertainment to such a high level that the other fellow
couldn't hope to equal it, he went downtown, talked
things over with the manager of the exchange and ar-
ranged to book five reels a night instead of three. The
exchange was foolish enough to permit this exhibitor to
cut his own throat and go a long way toward bankrupt-
ing himself, merely because it meant a few more dollars
per week to it.
The man with the small house naturally found
himself in a pretty bad way when the exhibitor with the
larger seating capacity not only met his competition of
four reels for five cents, but even went him one better
by offering five reels for five cents. Since he couldn't
stand the added expense of putting on more reels of film
than the other fellow, and since he had to, or at least
thought he had to, meet the length of his competitor's
program, he began to book films of older release dates,
456
MOTOGRAPHY
Vol. IX, No. 13
and it wasn't long before the larger part of his entertain-
ment consisted of "junk" reels.
Business naturally began to drop off when the
quality of the program was allowed to suffer, for in these
days of much film publicity the public is wise enough to
know when films are below a certain standard. Many
theater patrons can even tell whether a film is first,
second or third run, and they quickly cease to attend
the theater which runs "commercials." Then, too, the
public only seeks about so many minutes of entertain-
ment and then is anxious to again be on the move. Peo-
ple will sit quietly through and thoroughly enjoy a high-
class three-reel program, but when they are invited to
witness five reels, and as is usually the case under such
conditions, run the chances of seeing films repeated
which they have seen several weeks before at another
house, they quickly tire, and the lure of the pictures
ceases to attract them. After such an overdose of pic-
tures as some houses are nightly offering it may be weeks
before the patron again feels the irresistible desire to
enter a picture theater, and if again compelled to sit
through a long and wearisome program, it may hazily
occur to him that pictures are getting rather tiresome,
anyway, and that "they don't seem to be as good as they
used to be."
Hence, we find that the foolish exhibitors have been
responsible for "killing the goose which laid the golden
eggs" — that they have turned former friends of the
pictures into enemies instead of making new ones for
the silent drama. The harm that thus results cannot be
directly estimated in dollars and cents, but that it is
alarmingly large and steadily increasing is clearly shown
by the comments one overhears among spectators at one
of these film orgies, where a program of five or six reels
is offered.
As time passes and both the exhibitors we have
already referred to begin to feel the strain of the bitter
competition, the fellow with the smaller house probably
decides he can only lose money by longer continuing the
fight, and so begins to look about for a possible buyer
for his house. At last he finds a man who will purchase.
To be sure, the man has never managed a theater before,
but then it looks easy, and his friends all have assured
him that exhibitors of pictures get rich easily and
quickly.
The small house changes hands, therefore, and the
new manager assumes control. He is surprised to find
the box office receipts below his anticipations, but decides
it is probably due to the fact that he isn't offering more
pictures than the man across the way, so he adds an-
other reel to his program — this last one necessarily a
little older and more nearly "junk" than any of the
others.
Grown desperate over the sad state of affairs and
feeling sure that there is no chance of a return to
former conditions, the fellow with the big house decides
that he, too, will sell out. He knows that it is going
to be hard to find a buyer when the box office nightly
shows a loss, but he hopes to temporarily stimulate busi-
ness by adding a cheap vaudeville act to his already long
program. In that way, perhaps, he can for a few nights
anyway pack his house to the doors and so hoodwink a
prospective buyer into believing that business is pros-
perous.
The vaudeville act is staged and the crowds arrive,
even as the exhibitor had foreseen. When the sale was
finally made, however, he discovered that the long con-
tinued losses had been so heavy that he was retiring with
a loss despite the sale of the house.
Meanwhile the man across the way and the new
manager of the big house go merrily along the road
which leads to ruin, and at last, both bankrupt, closed
the theaters for good and all. The owner of the build-
ing remodels the theater for store purposes, and a temple
of the silent drama in that neighborhood ceases to exist.
Perhaps the above illustration seems overdrawn and
exaggerated, but alas, it is all too true. Similar incidents
are frequently happening and will surely grow more and
more frequent, unless a halt is called by the wise ex-
hibitors who are working with might and main to uplift,
instead of degrade, the film business. How different
might conditions have been had each exhibitor been
satisfied to give but three reels of pictures to his patrons,
and striven to make those three reels the best that could
be obtained. Had each striven to make his house cleaner,
better ventilated, better lighted, and more comfortable,
his music of a higher grade and his pictures real films
de luxe, they both could have made money. New
patrons would have naturally been attracted, learned to
appreciate the pictures and become steady patrons in-
stead of infrequent or chance visitors.
LATEST WONDERS OF GAUMONT STUDIOS.
On June 5 there was given in the Thirty-ninth
Street Theater in New York City, by arrangement with
Mr. Frederick C. Beach of the Scientific American, two
demonstration performances of talking pictures and mov-
ing pictures in natural colors as perfected by M. Leon
Gaumont of Paris, France. As early as November 17,
1902, M. Gaumont gave a demonstration before the
French Photographic Society of talking moving pictures,
in which there was complete synchronism between the
phonograph and the cinematograph. These records were
made simultaneously. Besides talking pictures, M. Gau-
mont has been working for some time at the problem of
producing moving pictures in natural colors. About a
year ago he succeeded in accomplishing this in a simple
and direct manner.
The method of obtaining these pictures is that used
in the well-known three-color process, viz., the making
of three separate negatives through transparent color fil-
ters of the three primary colors and the projecting of
the corresponding positives through their three respec-
tive color filters in superposition and accurate register
upon the screen. The rate of projection of the pictures
is as usual sixteen per second, they being arranged in
groups of three on the film, which is moved far enough
each time to bring another group before the triple lenses.
The last issue of the Scientific American says : — The
exhibition was opened with chronochrome pictures of
flowers in vases on a revolving table, followed by out-
door scenes. The first picture showed the flowers in
black and white, but with a remarkable stereoscopic ef-
fect, the result of there being three distinct pictures su-
perposed on the screen instead of but one. The second
picture showed the same flowers in all their natural
beauty, while the views that followed, depicting farm
scenes in the south of France and glimpses along the
Riviera, were entrancing in their naturalness. A photo
play taken under artificial light was shown, in which the
colors of the costumes and decorations were perfectly
rendered. The facial expression of the actors was re-
produced with a naturalness and softness that was won-
derfully lifelike, and there was nothing lacking in detail.
There followed beautiful studies in nature of mounted
specimens of butterflies in which the varying sheen on
'the wings when viewed from different angles was ex-
tremely beautiful. Words can hardly express, too, the
magnificent nacreous luster on some specimens of sea
shells that were shown.
June 28. 1913
MOTOGRAPHY
457
" Quicksands " Is Scenically Beautiful
Backgrounds All Well Chosen
SCENIC backgrounds of wondrous beauty, clever
work by the principals, skillful stage direction, clear
cut photography and an interesting story, all go to
make "Quicksands," the American two reel subject to be
released on June 30, one to long be remembered.
In this feature one is taken from the offices and
home of a wealthy stock broker, in a big city, to a tropical
Scene from "Quicksands," American two reel feature.
island and the humble home of a missionary, in a dis-
tant land. Warren Kerrigan is seen both in the rags
and tatters of a listless, indolent resident of the tropics,
and in a modern business suit, while both Charlotte Bur-
ton and Vivian Rich are given an opportunity of playing
leading roles opposite him.
Though striking and beautiful views are scattered
throughout the two thousand feet of film, the closing
scene, in which Kerrigan returns to his tropical paradise
and is seen rejoining his island sweetheart, against a
background of dashing waves, is as magnificent as any-
thing recently shown in motion pictures. The big rollers
come dashing in across the broad Pacific and break in a
spectacular fashion against the rock-bound coast, making
a background for the love scene that is seldom equaled.
The story tells how Frank, who is employed in the
Hubbard brokerage offices, is in love with his employer's
daughter, Helen, and in order to present her with costly
gifts and entertain her in the style to which she is accus-
tomed, is living far beyond his means. A letter from his
own father advises Frank that money is badly needed at
home, if a financial disaster is to be avoided, and the
son sends his father every penny he has about him and
then decides to play the market to recoup his own for-
tunes. Unfortunately, however, Frank, through a mis-
take of his own, gets the wrong "tip" on the market and
loses instead of wins. In order to raise money with
which to speculate, Frank has stolen funds of his em-
ployer and, when he learns of his loss, writes Helen that
he is going away to a distant land to begin life anew,
but that, some day, he hopes to return.
Making his way to the seafront, Frank secures work
on a schooner sailing for the South Pacific. During the
voyage a mutiny breaks out, and, though Frank and the
captain resist the mutineers valiantly, they are, at last,
overpowered and marooned in a small boat. After some
till nightfall. Passing the Hubbard offices, he chances
to see a man enter the building in a stealthy manner and
follows. Tracing the intruder upstairs, he watches him
days of hardship, the captain expires, leaving Frank,
alone, in the little boat, adrift upon the broad Pacific.
Some hours afterwards, the boat grounds upon the shores
of a tropical island and Frank is found and cared for by
a missionary and his daughter, Ruth.
A man, plus a girl, plus a tropical paradise, usually
equals love, and such is the result in Frank's case. Mean-
while Helen has been grieved and shocked when she
learned of her sweetheart's departure, but is even more
humiliated when she learns that he has stolen from her
father. In order to clear his name, the girl pawns the
valuable presents which Frank had given her in times
past, and, with the money, makes good the sum Frank
had stolen from her father. She still eagerly awaits
Frank's return, though Warren, Frank's successor at the
office, is making violent love to her.
A year passes, and Frank has begun to weary of the
exotic life of the tropics. Ruth, who has never known
any other life, can scarcely understand Frank's longing
for home. The semi-annual visit of the trading schooner
makes Frank more than ever eager to return to his
home, especially, in view of the fact that, by trading in
pearls, he has now raised a sum sufficient to make good
the amount he stole. Ruth, finally, overcomes her love
for him to the extent that she urges him to go back, if
such is his desire, telling him that she will be happy in
his happiness and that, perhaps, some day he will wish
to return to her.
Frank leaves, though it breaks Ruth's heart, and
finds his debt paid and Helen engaged to Warren. Broken
in spirit and, now, as homesick for his island, as he was,
when there, for his home, Frank wanders about the city
Scene fron
'Quicksands," American two reel feature.
enter the Hubbard offices, and later sees him open the
safe and take out a package of money.
Springing into the room with a drawn revolver,
Frank captures the supposed burglar and, keeping his
man covered with the weapon, telephones for both the
police and Mr. Hubbard. After the alarm has been
given, Frank notes that the burglar's hat has slipped back
from his face and, for the first time he recognizes the
458
MOTOGRAPHY
Vol. IX, No. 13
man as Warren. The latter explains that he has been
stealing from the firm in little driblets, for months past,
and has been losing the money in unlucky speculations.
Realizing that Helen will again be broken hearted,
should she discover that her second lover, like her first,
is a thief, Frank tells Warren to take the revolver and
Scene from Quicksands, American two-reel feature.
that the two will change places — that Warren is to pre-
tend to have captured him instead of it being the other
way around. Warren, reluctantly consents to this de-
ception, just as the police and Mr. Hubbard arrive.
Frank has made up the deficit in the safe with the money
which he raised by his pearl investments, so Hubbard
never suspects Warren of having taken any of the firm's
cash.
Helen's pleadings — for she suspects that Warren and
not Frank is the guilty man — lead Hubbard to send the
police away and later to order Frank out of his sight
forever. Frank goes — back to his tropic paradise and
Ruth — and there we see him being warmly welcomed
upon his return, as the last scene fades from the screen.
The picture was produced by Director Hale and the
cast is as follows :
Frank, in love with Helen Warren Kerrigan
Helen, in love with Frank Charlotte Burton
Ruth, missionary's daughter. Vivian Rich
Warren, employed by Hubbard Jack Richardson
Hubbard, Helen's father George Periolat
Sea Captain Chas. Morrison
Gus, a seaman James Harrison
American Secures New Director
Lorimer Johnston, the new director of the first com-
pany, has arrived from Los Angeles and will immediately
assume charge of the department. Mr. Johnston was for
six years in the American diplomatic service at various
foreign ports. Later he engaged in the regular theatri-
cal field, and had direction of some very big productions.
A year and a half ago he decided that the moving pic-
ture field was very promising. In order to acquaint him-
self with the best methods he went abroad and studied
with the Pathe Freres in Paris, the Itala at Rome and
later with the Great Northern in Copenhagen. He re-
turned to this country and for nine months was with
Selig in Chicago. He came West four weeks ago. Mr.
Johnston enjoys an excellent reputation as producer and
with the splendid opportunities that Santa Barbara af-
fords, it is safe to say that the American productions
will be placed on the top notch.
Mr. Johnston is a southerner, a native of Kentucky.
He is a grand nephew of General Albert Sidney John-
ston, the Confederate commander who was killed the sec-
ond day of the battle at Shiloh. He is specially en-
thusiastic over the Mountain Drive and its possibilities
in moving pictures.
"There is no kind of a picture story that cannot be
made in Santa Barbara," he declares. "Every known
period of the world can be shown. I even found a loca-
tion today I shall use for a Druid story. . I have been
especially pleased with the class of people Mr. Hutch-
inson has surrounded himself with here. I know of no
company that can equal them as ladies and gentlemen."
Cat Ends a Feud
Miss Gene Gauntier is featured in the latest release
of Warner's Features which is entitled "When Men
Hate." The story deals with a feud between the Morri-
sons and the Westons, and Miss Gauntier plays the role
of Ruth, an only daughter of Jem Morrison, who returns
from the convent to nurse her father who has been
wounded in a renewal of the feud. J. J. Clark, as Don-
ald Weston, kidnaps Ruth and forces her to marry him
at the point of a gun, thus revenging himself for the
Scene from "When Men Hate," Warner's features.
killing of his own father by a Morrison. A black cat
plays an important part in this three-reel drama and
proves to be the means of eventually ending the feud,
and restoring its mistress to the man who had won her
by force. Sidney Olcott directed the picture from Miss
Gauntier's own scenario and the finished product is said
to be a most excellent' piece of work.
"Playerposters" Popular
"The Playerposter" is what Thanhouser are calling
the colored lithographs of Thanhouser players in one-
sheet size, and name and litho are said to have caught
on with crowd. The "crowd" in this case are the chaps
who run the picture shows throughout the country. Post-
ers were made of photos of Maude Fealy, Marguerite
Snow, James Cruze, Flo La Badie, Mignon Anderson
and the Thanhouser Kid, and announcements placed in
motion picture and theatrical journals. That the picture
showmen liked the notion was proven conclusively and
immediately by rush orders on the Thanhouser concern,
that used up the entire initial "playerposter" supply.
All of which might go to prove that the public — who
regulate all amusement things — like the idea of a coterie
of film stars of their very own, and like to see posters
of them, too.
June 28, 1913
MOTOGRAPHY
459
Motography's Gallery of Picture Players
LOIS WEBER is the accomplished wife of Phillip
Smalley and is named as one of the cleverest mem-
bers of the Universal's many. The Rex is the particular
company in which she is seen ; and she not only takes
leads but writes
many of the scenarios
used and helps her
a c t o r-director hus-
band in their produc-
tion. A beautiful
woman, is Miss Lois,
with a wealth of
black hair and a state-
liness that has had
much to do with her
successful interpreta-
tion of impressive
roles. She takes the
keenest pleasure in
her work and gives to
it a devotion that has
brought the reward
of general liking.
Two years with the
Gaumont Talking:
Pictures, as leading
woman, passed her
into Rex pictures and
before that, the legitimate stage was her "prep" school
for screen work. "The Pretender," a comedy, and "The
King Can Do No Wrong," a film full of dramatic possi-
bilities, are among her latest photoplays.
Lois Weber.
VX7 ILLIAM CLIFFORD is one of the heaviest heav-
"" ies in Universal "pics" and is the especial protege
of Francis Ford's Bison company. A Canadian and a
medal winner in the Shakespearian drama class, having
been a member of
Robert Mantell's
c o m p a n y, he later
played leads with
Walker Whiteside
and took the title role
in Shipman's "Pris-
oner of Zenda" com-
pany. His experience
in picture work has
been considerable and
he is noted as a mas-
ter of makeup and ex-
pression. It was with
the Pathe company
that he first silent-
dramaed and, after a
somewhat lengthy
stay, moved his trunk
over to the Kalem
studio w here he
worked and played
until he announced a
moving day and took
up quarters with the Melies people. After a year and a
half the lure of the west brought him into the Universal
camp where he became one of the original "Bison 101"
company.
William Clifford.
PHILLIP SMALLEY and the name Rex are synony-
mous ; for the tall, good-looking, dignified man who
shows his ability in his handling of leading roles for the
Rex company, began a public demonstration of good
judgment when h e
chose Miss Weber for
his wife and, by his
able directorship ' of
Rex films continues
to demonstrate h i s
possession of the good
judgment quality, to
the further honor of
himself and the king-
ly company he repre-
sents. Twenty years
of stage experience
gave Mr. Smalley his
training for a success-
ful film career. Three
of these twenty years
were spent in a com-
pany headed by Mrs.
Fiske, three with the
Savage management,
one with the Shu-
berts, one with H. B.
Harris and one with
Liebler and Company. Six months with Reliance, five
with Kalem and eighteen with Gaumont Talking Pictures
preceded this popular man's work with Rex as both actor
and director.
HELEN CASE is a Hoosier and takes pride in the
fact, especially on the occasions of her being cred-
ited with "having been endowed by nature with beauty
and a sweet disposition." Furthermore she is gracious
and graceful ; nature,
Chicago and New
York being respect-
ively credited. Comic
opera was her first
step in stage work,
soubrette parts being
assigned her in mu-
sical comedy and, la-
ter, in grand opera.
Her artistic dancing
and pleasing voice
made her a favorite
and she went from
company to company,
playing with Ray-
mond Hitchcock,
Charles Myers, Sallie
Fischer and Jack
Barrymore. Then a
serious illness took
her from the stage
and put an end to her
dancing. But she
"came back" by way of dramatic stock and the Vitagraph
company in New York. Being an expert horse-woman,
she was sent west and later connected with the "101"
Bison company where she is charming in leading roles.
Helen Case.
460
MOTOGRAPHY
Vol. IX, No. 13
Simple Story Prettily Told
A simple little tale of two motherless youngsters
and the adventures into which they fell forms the theme
of the Ramo release of June 18, entitled "The Call of
the Road." The story, in brief, is as follows: One day
when Old Bill was away drinking at the village saloon,
an official from the Children's Aid Society entered Bill's
wretched home with an order from the court to take his
two motherless children to the poor-house. The kiddies
escaped from the officious official and, like the babes in
the woods, wandered away.
Towards night, when they had traveled far, far
away from the village lights, they grew tired and hungry
and could go no farther, and as the night came on they
became frightened and cried. 'Way down in Tramp
Hollow, three knights of the road heard their sobs.
Virtue, in the opinion of these knights, consisted in re-
nouncing all the conveniences and comforts of life.
They clothed themselves in rags, disdained to live in a
house, ate nothing but what was coarse and wandered
about the country with a stick and knapsack. These
fellows decried all the arts as either useless or danger-
ous. Now, these philosophic tramps heard the kiddies
Scene from Ramo's "The Call of the Road."
crying up there in the dark woods and brought them
back to their camp. They set out to look for a place for
them to sleep. They discovered an old barn and placed
the tired children there, and it wasn't long before the
children fell fast asleep. In the morning farmer Brown
and his wife discovered the children and having no chil-
dren of their own, adopted them for life. A few months
later farmer Brown moved and Old Bill, unable to find
the children joined the tramps. One night, unknowingly,
they enter farmer Brown's new home. Pauline hears
them and drops from the bedroom window to the ground
right into the hands of one friend tramp. She recog-
nizes him and appeals to him for help. He calls the
others off. Old Bill escapes before the children see him,
and finding them happy, harkens to the call of the road
and passes out of their lives forever.
Not a Snap, After All
Mary Alden, leading lady with Ramo films, in a two-
reel production finished last week, changed her costume
fourteen times in one day. This did not necessitate a
change of make-up, but will serve as an illustration to
those ambitious young women who want to become lead-
ing ladies, "because you don't have to work so hard."
That "Frank Chance Day" film, made recently by Selig,
isn't very popular with the Cub team. The Cubs thought they
had received all that was coming to them when the bush league
team of Muscatine, Iowa, walloped them recently, in an exhibi-
tion game. The evening after the game the manager of a Mus-
catine theater is said to have invited the Cubs to attend his
house, and the feature of his program was the film showing
Frank Chance, former Cub, as the captain of the New York
American League team. The photography was excellent but the
Cubs thought this was "rubbing it in."
Speaking of baseball, we lamp by the dance program pre-
pared by the Solax baseball club that H. Z. Levine is umpire for
the Solax team. We always used to imagine that the press gent
had worries enough of his own, but Harold seems to just be
looking for trouble. Lettuce hope that his decisions are satis-
factory to both teams.
SCENARIOS THAT ANYONE CAN WRITE.
Melodrama: Tramps talking outside of country home. Plot to
wreck passenger train. Pretty girl, unseen listener. "I must warn the
train." Hundred-yard dash to R. R. tracks. Seen by tramps, captured,
bound to rails. Doomed. Faithful Fido to the rescue. Unties ropes.
Girl takes off red petticoat and dashes up tracks waving it. Engineer
sees danger signal. "Faithful old dog." Train saved. Tramps pursued
and captured. Purse made up for girl which she declines. "I only seen
my duty and I done it."
Now the old valve-handle wheeze has hit the . film game.
American is the guilty party this time. The busy press agent
of that concern sends out a special delivery letter, announcing
that one of the directors is leaving to accept a position with
another concern, and then in a telegram enclosed in the same
old special delivery letter, denies — but, pshaw, what's the use?
You all knew the story in childhood days.
OUR BURG.
Geo. Kleine, one of our leading cits, is spending a few weeks in
Europe viewing new pictures. Rumors floating about State St. would
indicate that when G. K. returns to the Windy City, he will bring with
him some features that will make "Quo Yadis?" look like a split reel.
Aaron Jones, who owns several opera houses in dif. parts of the Vil-
lage, the N. Y. papers say is going into partnership with Sullivan &
Considine and Marcus Loew. If they all get together this Village will
probably get better shows than ever.
A lot of our prominent cits are packing up their celluloid collars
and toothbrushes getting ready to go down to the big meeting and Fair in
N. Y. the early part of July.
O. F. Doud got himself a new job last wk. Omer used to write
pieces for the papers about American fillims, but now he is writing about
Cines and Eclipse pictures and has his office over to 166 N. State St.
LOOK OUT FOR THIS CHAP, LADS.
Bert Ennis of the New York Motion Picture Corporation
is authority for the story of a man who recently entered the
offices of the New York concern and asked for the scenario
editor. The caller produced a script from his pocket which he
declared would make a great Broncho feature. When the over-
worked editor glanced hastily through it he discovered that
among other minor "props" it called for the use of the Panama
Canal, the New York Public Library and the United States
Mint. The caller was considerably surprised when the editor
handed back the script, and voiced his opinion that scenario
writers are badly handicapped by a lack of co-operation on
the part of the producer.
Down in Kentucky you can get into the picture shows upon
the presentation of two rat tails at the box office, says a recent
newspaper story. Lord help the poor exhibitors ! Perhaps a
Chink could get by on that kind of an income but we can't
imagine a member of the M. P. E. L. of E. doing it.
ATTENTION, COLONEL.
"I've got Teddy R.- licked to a frazzle. My only offense in the booze
line was in taking two tablespoonsful of Brown's Iron Bitters in 1885.
"CHAS. A. STRELINGER."
Speaking of the weather, is it hot en
Oh, very well, we won't say any more about it.
It's all of that though.
And then some.
N. G. C.
Tune 28, 1913
MOTOGRAPHY
461
A Drama of the Underworld
Latest Multiple Reel Subject from Essanay's
ON Monday. Jul}- 7, the Essanay Film Manufactur-
ing Company will release a special multiple fea-
ture, entitled "The Forbidden Way." The scenes
which have been given extraordinary care and which
cost no small sum to produce are what the author has
emphasized as "true to life." E. H. Calvert, well known
for his versatile dramatic ability in Essanay photoplays,
portrays the character of a master thief, in other words,
Calvert plays the role of an up-to-date society "Raffles."
Some of the thrilling scenes that help to make this fea-
ture a box office attraction are the caving in of a street.
the police raid, the expose of the master thief and the
scene where the master thief's sweetheart is told of his
true character. Intense interest, admiration, anger, hate,
agitation, tenderness, compassion, excitement, pathos,
sympathy — one feeling follows another in such rapid
panorama that the audience is fairly deluged by the steady
torrent of events that crowd every scene of this melo-
drama of the underworld. Following is a synopsis, to-
gether with cast of characters :
THE CAST.
Phil Masters, a master thief E. H. Calvert
Red, the tool Frank Dayton
Other members of the gang :
Artful Whitney Raymond
The Rat Peter Fellman
Big Babe Mr. Windrow
The Doll Juanita Dalmorez
Cora Lillian Drew
Jimmy, police reporter (one of the gang) Norman Fowler
Helen Alden Beverly Bayne
John Alden Joseph Allen
Mrs. Alden Helen Dunbar
Detective Wm. Walters
Chas. Emery Bryant Washburn
PART I.
Phil Masters, a master crook, with Red, his tool,
enter the Alden mansion, and are about to rob the safe
when Helen, the daughter of the millionaire, enters and
Scene from "The Forbidden Way," Essanay.
turns on the electric lights. In that instant Phil recog-
nizes her as a beauty and is overwhelmed. Red is about
to strike the fair girl when Masters interferes, and knocks
the brute down. Masters escapes. The officers arrive
and take Red to police headquarters, where he "squeals"
on his pals. Another member of the notorious gang,
passing himself off as a newspaper reporter, and turn-
ing his back toward Red, so as not to be recognized, over-
hears Red telling the whereabouts of the master thief's
rendezvous. Masters returns to the headquarters of the
thieves and tells them of his experiences. Jimmie, the sup-
posed reporter enters and tells them that Red has
squealed. Masters suggests that they disperse for a year
and live honestly. They are not inclined to do so at first,
but through persuasion they finally consent. The boot}" is
divided and they are about to make their exit, when they
hear the police trying to break down the door. Masters
and Cora exit through a trap door, which leads into the
sewer. The police enter. Red tells them of the secret
passage which they decline to believe, on finding no visi-
ble trace of any such passage. Red is taken to jail to
serve his sentence of one year.
Later, Masters forges a recommendation, which se-
cures him a position with the Alden Manufacturing Com-
pany. He later discovers that he is wrorking for no other
than the man he had tried to rob a few days previous.
Cora secures a position as stenographer with a reputa-
ble concern. Masters meets the "cub" reporter and is
informed where Cora is working. He also informs Cora
where Phil is working. On several occasions Masters is
thrown into the company of Helen Alden, whom he now
loves better than his life. One day, Mr. Alden calls Mas-
ters into his office, hands him some securities, and re-
quests him to deliver the same to his home. Masters
meets Helen again at her home, where he delivers the
package in good order. His heart goes out to the girl,
but fear and conscience
stricken, he is afraid to
speak. Cora, still work-
ing, is offered a raise,
which she refuses. She
is given money to de-
posit in the bank. Cora
telephones Masters and
tempts him with the
money, but true to his
promise, he refuses to
aid, compelling Cora to
deposit the money as in-
structed by her em-
ployer. She tries to dis-
cover the combination
of the safe and much
to her enjoyment — it
works.
PART IT.
Red's time is up.
With revenge in his
heart, he starts out to
find Masters. Just at
this time, when the year
had elapsed, the old
Sfang meet again, and
Masters informs them
462
MOTOGRAPHY
Vol. IX, No. 13
that he is going to remain on the level. He is about
to make his exit through the secret passage, when he
is informed by one of the gang that the wall is cracked
and might fall and kill him. Masters leaves by the main
door. Cora, a vampire of the underworld, who claims
to love Masters better than his life, follows him to the
home of the girl he loves.
Feeling that he had lead a straight life for a year,
and determined that he would continue to do so always.
Masters proposes to Helen. Cora brushes aside the but-
ler, rushes into the house and — when she discovers her
sweetheart in the arms of another woman, she tells all
she knows about him. Masters confesses. Helen rushes
from the room with a broken heart. Cora returns to her
old haunts to be followed shortly by the master thief.
Red enters at this juncture and is about to quench
his revenge by taking the life of the man who had left
him to be taken by the police. Phil turns, sees Red in
a state of anger and offers him his hand, telling him and
the rest of the gang that "it's no use, a crook cannot be
honest." Red buries his thoughts of revenge in his
breast and determines to start all over again, with the
master thief. Cora tells Masters that the place she had
been working in, would be a "soft" one to rob, gives him
the floor plan, combination of the safe, etc. Masters is
working hard at the combination when, in a spirit of re-
Scene
Essanay's "The Forbidden Way.
venge Cora informs the police. The newspaper reporter
calls Masters up at the office he is robbing and tells him
to "make his getaway," that Cora has "squealed."
Masters escapes through the open window and down
the fire escape. He finally reaches the street, where he
removes the cover from a manhole, and enters the dark
sewer passage. He is about to reach his destination, when
the street caves in. Cora, hearing the gigantic crash,
breaks in the secret panel of the trap door. She dis-
Masters lying under the debris. She manages to get
him cut and lay him on the couch, just as the police
enter. Cora now realizes what she has done. The spark
Scene from Essanay's "The Forbidden Way."
of womanhood awakens in her breast. She cries to the
police to stop where they are, that the master thief be-
longs to her — and he dies in her arms. Miss Beverly
Bayne as Helen Alden, demonstrates her dramatic abil-
ity in this feature. Miss Lillian Drew (a newcomer in
photoplays) gives the role and characterization of Cora
the "punch" which every successful play requires.
The last week of June the Essanay Film Manufac-
turing Company will release "Re-Tagged" and "A Drum-
mer's Umbrella," two splendid comedies on one reel.
On July second "The Strongest Link," dramatic fea-
ture. The third, "The Life We Live," a Western drama,
the fourth, "What's the Matter With Father?" a side-
splitting comedy, and on the fifth, a Western dramatic
feature, entitled "At the Lariat's End."
"Flying A" Quartet a 'Winner
Charles O'Connor, E. and H. Wennestrom and
Ernest Jurgenson, all employes of The American Film
Maufacturing Co., are popular figures in Chicago theaters
using "Flying A" pictures. The boys have formed a
quartet and are obtaining remarkable prices from local
picture houses. Incidentally, they are billed as "The
Flying A Quartet."
June '28, 1913
MOTOGRAPHY
463
On the Outside Looking In
By the Goat Man
WHEN Chicago and the rest
of the exhibitors from
within easy radius of the
Windy City hit New York, that old
town will know that it is to have a
really-for-sure convention. Plans
have been completed to run a train
or "two out of Chicago on the morn-
ing of July 5th, to arrive at New
York the following day. Exhibi-
tors, most of them, will be accom-
panied by their wives. And the
Chicago crowd will boost for two
things all the time they are in New
York, viz.. Big Bill Sweeney for
league president and a minimum
of three reels for five cents. Any
Chicago exhibitor, his wife, or
representative of affiliated inter-
ests, who does not favor Chicago's
platform and Chicago's candidate
will be lonesome on Chicago's spe-
cial train. It is a short and sweet
program without any frills. Two
little things to remember — only
two. Hot weather and a generally
hot time wont seriously blot out
what Chicago is going to New
York for. There is just enough
in the program to lend enthusiasm
in two directions. Three reels
stands for Sweeney and Sweeney
stands for three reels. Even un-
der stress of other matters, these
offerings do not confuse; they are
easily understood and its a cinch
they are backed with a tremendous amount of enthusiasm
and energy. Keep your eye on Chicago's contributions
to the third annual convention of the Motion Picture Ex-
hibitors' League of America.
Into this department they shove everything that
doesn't fit elsewhere. I don't know whether being the
goat is worse here than it is away from here. I have
Miss Theby with her
chin up, just the ween-
tiest little bit; Sid
Smith's Doc Yak and
Miss Bayne with her Al-
kali Ike dolly ; besides
other interesting peo-
ples and things, I am al-
most wholly surrounded
with a galaxy as pleas-
ing as one might care
for. Incidentally, the
Sid Smith who drew
Doc Yak is no kin to
the Sid Smith who will
lead the Chicago crowd
to New York the day
after the 4th. Doc Yac.
will perform for Selig.
Watch small bills, her-
Popular Rosemary Theby, who has been
appearing in Vitagraph releases for the
past two years, has joined the Reliance
Stock Company to play opposite Irving
Cumrnings, under Oscar C. Apfel's stage
direction. Miss Theby is an actress of
recognized ability and has thousands of
admirers all over the civilized world. She
should be a valuable asset to the Reliance,
which will confine its three releases a
week to high-class drama, producing a
feature at intervals of two weeks.
Jr/SPA
Selig's Old Doc Yak.
aids, the inside back advertising
cover, posters, ones, threes, sixs,
and more for further particulars.
And bye the bye, that Essan-
ay girl with her right arm around
Augustus Carney, over on the next
page, is the official picture and pos-
ter to be used in exploiting the
novelty now being introduced by
the maker of the Indian Head
Brand. None genuine without it.
News around New York in-
cludes the announcement that the
Vitagraph players have returned
from their trip around the world.
What a glorious opportunity for
Pop Rock to give another dinner !
When their initials are E. J.
I can usually see 'em. Which re-
minds me that Earl J. Hudson has
vacated his old desk at the Univer-
sal offices for a job that promises
better. Not that his old job wasn't
all right, not that, but it was such
a little room they gave him ! But
E. J. has jumped over to the Can-
dler building and will do certain
things for Centaur. He won't ex-
actly dwell in the mountains of
Thessaly, but he promises to go
there before he will be satisfied.
Besides doing for Hudson and
Centaur, he plans so many things,
I'll have to sharpen a new pencil before I can tell them.
Anyhow, here's luck.
* * *
With Hudson out of Universal, then what? Buzz,
buzz, two rings — one jump and Joe Brandt back on the
job. Joe has been upstairs, just one flight, ever since
he did that job before. He wears larger glasses now
and he sees more.
^ ^ ^
The Telegraph, speaking of that other Quo Vadis
film says : "The most remarkable scene is the one por-
traying the stoning of St. Stephen." Which is evident-
ly true. To stone St. Stephen in any film would make
it remarkable. Which recalls my sidewalk visit with
Hollander, who, with tears streaming down his face,
said he he had lost a customer that took him two years
to land. And during those tears, his paper was print-
ing a half page for this same customer that Hollander
had lost. Such is a solicitor's woe!
^ $ $
That little yellow-backed compendium which we dis-
tribute twice a year for the good and glory of the game —
Motography's Hand Book and Film Record — is now
quite generally distributed. We have been burning up
postage stamps in fifty dollar bundles just to show the
film industry that our heart is in the right place — that
we believe in thorough work and that we are here to
stay. A one hundred page booklet — twenty thousand
464
MOTOGRAPHY
Vol. IX, No. 13
copies — free to every m. p. exhibitor, including prepay-
ment, and all for the complete record of an industry
too busy with its own affairs to care a lot about us. But
we should worry on a hot day.
Pathe's Weekly twice a
weekly and be done with it ?
week. Why not a semi-
The government's case against the Patents Com-
pany has been postponed again — this time to July 7.
Sam Trigger ought to get that for the third annual m. p.
convention ; or will Samuels swipe it for his international
exposition?
* * *
Speaking of woe, where is the saccharine sachem of
the Universal right this minute? It happens that I wasn't
in New York on Monday, June 16th. That may or may
not have been important, but it was supposed to be the
day when there was
J/L A something more do-
- ^ ing with Universal.
Jy* You see that organi-
zation didn't get off
™ IKr on the right foot.
And instead of it be-
ing a hurdle race as
everybody thought, it
was a quarter mile
dash. That in itself
w a s embarrassing.
But it got going, as
everybody knows and
when the goal was in
sight they changed it
to a sack race. There
they were, all getting
on fine, when the
trouble started.
Somehow they can't
finish the race, no
matter what they call
it and about the time
it is all over, or at
least you are made
to think so, the guy
who had dropped out
gets back in again.
It's a real enough re-
lay race, as well as
the others. If it
hadn't lasted over six
days, we might have
called it that, but now
it has settled down to
straight endurance.
And mercy, how
those fellows do hold
out. The newest
phase of it -- that
which is printed for
new. is reallv old
stuff, for Pat Powers
has had that Horsley
option for ever and
ever so long. Fancy
Pat Powers slipping
y,^^T -Ain-.. Dave Horslev 167,-
holding famous Alkali r\r\r\ i • '
ike doll. U00 beanennos with
Beverly Bayne
$54,000 of it real money. I fancy that $2,000,000 bou-
doir of Dave's, with the grease spots over there on the
north wall, had a cheery look that night ! But what I
don't get at this long range is why David is so fond of
money. Why sell it twice? However, it must be great
to have the banks stay open nights just to receive your
May Hately, Lubin Star in her auto.
coin ! Think of the little clothier of Oshkosh making a
New York bank go out and fetch, just to cash his check.
These are the great days when film makers are losing
money. Carl Laemmle was the man who broke the
Greenwich Bank — nearly — and broke also, an automo-
bile, just to get $97,000 of long green into Bayonne to
the credit of Dave Horsley. It's certain Dave had some-
thing that somebody wanted. At rough calculation he
has sold his interest in the Universal company for $340,-
000 of real and near-real coin of the realm. Fairly good
afternoon's recreation for a poor man at that. Dear old
Nestor, how do you do ?
^ ■%. ^
Then there is the doubt of it all. What did they do
at that climaxy Monday meeting? It is a pity that we
are always going to press when there is or there isn't
something stirring. You know though, most of you,
that when Pat Powers sold his interest in Universal
that he started doing so many things — little simple di-
versions, strictly in accord with his ideas — that a lot of
folks were puzzled. It's an open secret so I'll tell it.
Pat couldn't and wouldn't get along with Carl Laemmle.
So he, Pat, took the short cut and got out. He started
right off to get Carl's hide. He wanted it for a souvenir
or something, and he's been after that same hide ever
since. Carl seems to want his own hide for himself,
which is perfectly natural. One's hide is essential, at
least part of the time. It is convenient to swathe it on
a hot day and pour a teaspoonful of iron bitters and a
pint of buttermilk into when you're in trouble. Carl
wants his for his future film activities which promise
June 28, 1913
MOTOGRAPHY
465
much if Pat keeps after him. You see as a little safety
device. Carl fixed up a pool which tied up his own and
the stock of his near friends. Pat had some that was
running around loose and Horsley had about a fourth
of the whole, he with his friends, and that was all the
stock that could get out into an open meeting and vote.
So Pat got an option on Horsley's stock and has tried
to vote it when the signs for voting were good. When
he bought and paid for the Horsley stock, Carl got the
notion he should do the same thing. Pat has been the
bear in the Universal market so long that what he does
the other fellows are apt to do. If he wants to pay
8167,000 for a quarter interest. Carl wants to pay $172,-
000 for the same thing. And what is more, he does it.
He even breaks an automobile to do it, and he would
break a leg if needs be!
^ ^ ^
That's the politics of the Universal, or part of it.
The disappearance of an officer and his seventh under-
secretary and the stock books and mere details of this
sort have little bearing on the case. The books have to
come back for the business of the concern goes on. The
Universal is a film factor of big proportions. There are
so many subjects and so many points and so many cus-
tomers and so many exhibitors. The scheme is sound
and the business prospers. If there is stock to be had
and stock that can't be had and somebody wants con-
trol and can't get it at one trial, the scribblers will have
to go ahead and spin the yarn in the absence of anything
better.
% % ^z
Miss Mabel Condon, associate editor of Motog-
raphy, will invade Gotham the morning of June 23 and
Death Knell." Itala feature.
we shall want all the fellows to be on the lookout for her.
For Miss Condon is a tiny little miss who wants to
break into the executive offices and studios of film plants
and to get acquainted with those folks who are not overly
anxious for publicity, but who are always pleased to
have it when it rings true and hasn't any strings tied to it.
So we shall ask Spedon, and the McChesneys and Hoag-
land and Brandt and Gunning and Adler and Cobb and
Linn and all the other dopesters and their bosses to
be on guard for the card that Miss Condon will present.
In the meantime, be sure to get your copy in for
the first of Motography'-j two big numbers in July.
~
-a— ^ \ $£-
4
•■' «gr.-."
^i&w
r
&
Jl"1
h
» laHfl
■
%
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"* ■ :J^B** ikJv- *"■•!■
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4
— — -: ..
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Scene from Lubin's "A Hero Among Men," July 9 release.
Copy for the pre-convention edition should reach us by
July 1. That number will tell you all about the edition
to follow. But don't forget the date. Remember, last
year, how exhibitors grabbed for Motography? They
are all alike — New York will be as keen as Chicago. If
you are a live one, start your space reservation letter
now.
Hudson Leaves Universal Company
Earl J. Hudson, who has been head of the Universal
Film Manufacturing Company's publicity department for
nearly a, year, and editor of the Universal Weekly for
the greater part of that time, resigned on June 7, to be-
come general manager of the Centaur Film Company,
with offices on the ninth floor of the Candler Building,
220 West Forty-second street, New York city. The
new concern, of which Mr. Hudson has just become
manager, will make a specialty of educational and in-
dustrial pictures, and an expedition is even now start-
ing for the South Sea Islands, there to obtain some
twenty thousand feet of scientific and educational film.
The Centaur Company will find its market among the
schools, churches and fraternal organizations of the
country and arrangements have already been made for
a wide distribution of the films now on hand. A studio
and factory at Bayonne. New Jersey, which has a capac-
ity of 125,000 feet of film per week is a part of the
466
MOTOGRAPHY
Vol. IX, No. 13
Centaur Company's equipment, so they are prepared to
handle large quantities of negative rapidly. In addition
to the general management of the Centaur Company, Mr.
Hudson will continue to supervise the operations of his
own company, the Exhibitors' Publicity Company, of
143-145 West Fortieth street, New York city, an organi-
zation suplying theater programs to exhibitors through-
out the United States. During his long connection with
the Universal, Mr. Hudson made hundreds of friends, all
of whom wish him unbounded success in his new under-
takings. The desk at the Universal, vacated by Mr.
Hudson's departure, will once more be occupied by Joe
Brandt, who occupied it prior to Mr. Hudson's joining
the Universal staff.
Rodman Law in New Thriller
A plunge over the Stillwater Falls, on the Penob-
scot river, Maine, in an open boat, is Rodman Law's
latest feat, performed during the production of a com-
ing Reliance release. Edgar Lewis and a company of
Reliance actors left New York on Decoration Day and
met Rodman Law at St. Johns, New Brunswick, where
he was to have made a trip over the St. Johns Falls.
They found that the location of the St. John Falls
was not in keeping with the situation called for
in the drama, while the Stillwater Falls were bet-
ter suited to the action of the story. The fact
that only one man had ever gone over the Still-
water Falls alive, and was rescued in the rapids
below, a raving maniac, did not cause Law to even
hesitate. Director Lewis placed one camera above
the falls, one directly over them, and one about
fifty feet below, so that none of the thrills would be
missed. Law pushed off from shore in a small boat,
paddling with a single oar as calmly as a college boy in
a birch-bark canoe. The plans had been carefully laid
and every possible movement of the boat figured out to
a nicety, but the action of the water at the bottom of
the falls caused the little skiff to perform a surprising
feat. It shot straight down in a vertical position, stood
up on the point of its bow for several seconds, and, spin-
ning completely around, landed right-side up, without
shipping more than two buckets of water.
Law managed to stay in the boat until it had almost
reached the bottom of the falls, when he shot into the
whirlpool like a cannon ball. For several seconds, which
seemed like hours to the watchers on shore, he did not
appear. His hand and arm then became visible, and
Director Lewis heaved a sigh of relief as he saw that
his dare-devil actor was not only alive, but swimming
strongly with the swift current. A boat put out from
shore and approached the rapids as closely as possible,
but Law quickly measured distances with his eyes, and
swam toward his own boat which, although almost
swamped, was still capable of sustaining his weight until
the worst part of the rapids had been passed, and he
could be taken in charge by the rescuing party. Although
the Stillwater Falls are particularly dangerous because
of the large number of rocks into which the immense
volume of water pours, Law had scarcely a scratch or
bruise on his body. But a thing which he is at a loss to
explain is the fact that a number of his teeth had been
badly loosened.
The Marshal's Capture, June 24. Copyrighted 1913, by Selig Polyscope Co.
June 28, 1913
MOTOGRAPHY
467
Scene from "A Villain Unmasked," Kleine-Eclipse feature.
Current Kleine Comment
The Art of Cines and Eclipse
TWO splendid feature releases are booked by George
Kleine for early release ; two features worthy of
the name and both made by Eclipse. Multiple reel
features of genuine merit are scarce. Naturally enough
the story is not the only consideration in the extra reel
subject for the public is already educated to expect some-
thing in addition — something elaborate in the way of
staging; great gatherings of people or expensive and
beautiful interiors. These things have come to be con-
sidered almost a necessity to the really successful mul-
tiple reel film and in nothing pertaining to pictures do
"the European makers so far transcend our home manu-
facturers. With the largest and most representative of
foreign manufacturers constantly turning out an ever
increasing number of extra reel stories it is small wonder
that George Kleine. the world's greatest importer of
pictures should be in a position to place the choicest of
these before his audiences. Quo Vadis is fairly repre-
sentative of what the foreign manufacturers can do with
the multiple reel feature.
On June 27 the two-reel subject. "A Villain Un-
masked," will be released, a story thoroughly satisfy-
ing and backed by that brilliant photography which the
critic describes as "stereoscopic." There are many
handsome exteriors and a number of charming interiors.
The story is well told, the acting convincing and the plot
devious enough to prove highly interesting, yet so un-
raveled as to be easily followed.
The story opens in one of the large hotels at the
seashore. Robert West makes the acquaintance of a
beautiful widow, Mrs. Foster. Attracted by her charm-
ing manner, Robert pays her marked attention, and the
two are soon inseparable. A fortnight passes. One
morning, while strolling in the casino gardens together,
Mrs. Foster receives a telegram from her only son, Gil-
bert, saying that he will join her the next day. With a
smile she hands the message to Robert, whose face dis-
closes that he is none too pleased with the news. Robert
asks Mrs. Foster to be his wife and she promises to
marry him; she loves her handsome cavalier and be-
lieves he will make her happy.
Gilbert Foster arrives the next dav. He is a hand-
468
MOTOGRAPHY
Vol. IX, No. 13
some youth of about twenty years, and the mother and
son are devoted to each other. Later Robert sends a
magnificent bouquet of flowers to Mrs. Foster's room,
and Gilbert, reading the card attached, asks his mother
who the sender is and hears the story of the love which
has come into her life. At first Gilbert is inclined to be
Hesperia, Leading Lady with Kleine Cines Co.
jealous, but his better nature triumphs and he goes down
to dinner prepared to meet his future step-father. The
introduction is duly performed and the little party dine
together.
Later, as Gilbert wanders through the gardens, he
overhears a strange conversation between Mr. West and
a shabbily dressed man. A package is given to West,
which he places carefully in his breastpocket. A few
days pass and Gilbert's suspicions are aroused in several
ways and the young man is convinced that his mother's
fiance is not quite straightforward. He follows Robert
one night and discovers that his prospective step-father
is the chief of a gang of forgers. This explains the
source from which flows his apparently unlimited wealth.
Gilbert is in a difficult position. He cannot expose
Robert without breaking his mother's heart, but he can-
not let her marry a criminal. At length he determines
to appeal to Robert, and calling on him, tells him of his
discovery. Robert laughs at the young man, and denies
the whole matter, but Gilbert will not be put off and
declares he will take further steps to prove his guilt
unless all ideas of marriage with his mother is given
up. As Mr. West utterly refuses this request, Gilbert
employs detectives to assist him.
It is the wedding eve and Mrs. Foster is holding a
reception. Robert, her fiance, stands by her side, con-
fident that all will now go well. Mrs. Foster is radiant
with happiness and has never looked more beautiful.
Suddenly a group of men enter the room, led by Gilbert.
Gravely they advance and two of their number take
Robert by the shoulders, arresting him on a charge of
distributing counterfeit money. Gilbert supports his
mother, who is in a half-fainting condition, and leads
her from the room. When she realizes the truth, she
turns from her son and will not be comforted. How-
ever, time heals all wounds, and although it has been a
terrible shock for her to bear, she is consoled by the
devotion of her son, whose love is better and nobler than
that of which she was deprived.
"The Statue of Fright," booked for release July 11,
is another two-reel subject of extraordinary power. The
story is highly sensational and the unfolding of the plot
holds the attention from start to finish.
The sculptor, Paoli, is obliged to go abroad and be-
fore leaving eutrusts the care of his beautiful daughter
Flora to his old friend, Dr. Felvon.
The doctor takes his charge to the seashore and one
day Flora goes canoeing alone. In a sudden squall the
canoe is upset and Flora thrown in the water. Robert
Montenay, who is spending his holiday at the seashore,
sees the accident and plunges into the surf, returning a
few moments later with the still conscious Flora. In
the dreamy days that follow Flora gives her heart to
Robert. He, however, is insincere and looks upon the
matter in the light of a summer flirtation. He is finally
called away and leaves a letter for Flora which convinces
her of the light nature of the affair with him. She re-
turns home and her father, the sculptor, is so impressed
with her grief and the strange beauty of her face that
he hews a perfect image of her from the stone. Flora,
however, is inconsolable, and one day escapes to the sea-
shore, where she dies with Robert's farewell letter in
her hand. Her body is taken to her father's home, and
Paoli is so grief stricken that he induces his friend, Dr.
Felvon, to embalm the body and say nothing about it.
Meanwhile Robert Montenay has married and
takes his bride with him to visit the studio of Paoli while
on their honeymoon. He has heard of the famous
statue and when he sees it is struck by its remarkable
resemblance to Flora. He offers to buy it, and Paoli
on hearing his name realizes that this is the man who
caused the death of his beloved Flora. He agrees to
bring the statue that night. Montenay is giving a great
reception when the famous sculptor is announced and
the guests assemble to see the wonderful marble about
which Montenay had told them. Paoli enters amid a
hushed silence and lays the marble across a couch.
Then he draws the veil from over the face, showing to
the horrified guests the embalmed body of his daughter
Flora. Thus Paoli, in the terrified scream of Robert,
obtained revenge for his daughter's death.
Karr's Car Is No More
Darwin Karr, Solax leading man with the smiling
dimples, ran into a Madison Avenue car recently and
attempted to derail it. Unfortunately, however, his own
car weighed about a ton less than the Madison Avenue
street car and the force of the collision had the opposite
effect. Mr. Karr is now nursing several injuries be-
sides an injured reputation as a chauffeur. Accounts do
not tell how the leading man spent the evening or morn-
ing before the accident but he has made an affidavit to the
effect that he has been on the water wagon for the last
two weeks. He has also an alibi : His wife was with
him on the eve of the accident.
June 28, 1913
MOTOGRAPHY
469
Motion Picture Making and Exhibiting
By John B. Rathbun
CHAPTER III CONT'D.
Ghost pictures, or pictures in which a vision or
dream is shown, are obtained either by exposing the neg-
ative twice before the development or by double-printing
with two negatives on a single positive film. In either
case two separate stage settings are used, one containing
the scenery and the principal characters, and the other
showing the ghost or vision. When the latter scene is
superimposed on the other it appears as a thin, vaporous
impression that strongly suggests the ordinary idea of a
ghost or the intangibility of a dream. The fact that the
furniture or furnishings of the room show through the
outlines of the ghost, as if it were transparent, greatly
heightens the illusion. Only light colored or white figures
can be used with good results, since dark figures would
obscure the surfaces that lay immediately behind them.
In taking the picture the first exposure is made of
the scene and the "material" characters in the ordinary
way, with practically the same exposure in order to bring
out the details. When this is completed the ghost is
placed on a stage that is set in dead black, so that there
will be no record of anything but the ghost. The film is
now rewound and is again passed through the camera
until the point is reached where the ghost is to appear.
The diaphragm is now slowly opened, with the camera
running, so that the image of the ghost gradually gains
in strength until the full illumination is gained, which of
course, gives the audience the impression that the ghost
has developed out of the empty air. After the ghost has
gone through with its "business" the diaphragm is slowly
clased, causing the ghost to gradually fade away.
Vision pictures are more complicated than the ghost
pictures, the majority of this type including scenery or
interior acts as well as the players. This necessarily re-
quires a blank surface for its projection, such as a wall or
a panel, as the outlines of any part of the first scene
would detract from the clearness of the vision. Scenes
in which a number of men are tossed about in an explo-
sion are usually obtained by a double exposure of the
negative, the first exposure being taken of the men in the
desired attitudes, and the second of a puff of white smoke
that is backed by a black background. Superimposing
the two pictures gives a print that shows the players en-
veloped in the smoke clouds.
Substituting small scale models for the actual sub-
ject has been followed in still photography for so long
that its application to the moving pictures will be dis-
missed, the figures that accompany this chapter giving a
clear idea of the general methods employed. While this
system has been used extensively in showing accidents
that would ordinarily be impossible with full size appar-
atus, it does not follow that all sensational films are pro-
duced in this way. In many cases locomotive collisions,
automobile accidents and aeroplane "stunts" have been
carried out with full scale machines, productions that
have cost many thousands of dollars.
By employing black backgrounds that destroy all
sense of perspective, and by putting the different parts of
the scene at different distances from the camera it is pos-
sible to produce the midget fairy pictures that have been
so popular. The small figures that perform on a table top
in the presence of a "full sized" audience are produced
by putting the audience in the immediate foreground
while the players are thrown back of the stage far enough
to reduce their height to a few inches, the level of the
stage being arranged so that the feet of the players coin-
cide with the top surface. Since there are no connecting
lines between the players and the figures in the fore-
ground, due to the black drop, there is no apparent per-
spective, and, as a result, the players appear to be in a
direct line with the figures in the foreground.
The same result may be obtained by the use of mir-
rors instead of a black drop, the players in this case be-
ing placed in front of the stage and beside the camera.
The mirror is placed in a suitable frame or panel in line
with the audience. When light is thrown on the players
Fig. 32. Taking a "yard" scene in the rear of a film manufacturers' studio. The nature of the buildings and scenery may be seen at the right.
The "tank" used in producing aquatic scenes is in the middle foreground at the left.
470
MOTOGRAPHY
Vol. IX, No. 13
the image is reflected back into the camera, by the mirror,
much reduced in size, since the effective distance of the
player is increased by the length of the light beam from
the stage to the mirror and thence to the camera. When
the lights are extinguished on the stage, the players dis-
appear from the scene, leaving the figures in the fore-
ground at the same intensity. They may be made to fade
away by gradually dimming the light, instead of cutting
it off suddenly.
CHAPTER IV. THE SCENARIO.
In order to proceed intelligently with the making of
a photoplay, the actors and director are provided with a
synopsis or outline of the action which is known as a
scenario. The scenario not only contains a condensed
outline of the plot but also gives the list of characters, a
description of the various scenes, and a list of the "prop-
erties" used. Provided with this manuscript, the director
selects the actors that he thinks would be suitable for
the characters, and in the case of out door plays, deter-
mines on a desirable locality for the action. From the
same source, the costumer and property men receive the
information for the making of the costumes and various
"props" entering into the picture.
During this period of preparation, the actors are
studying the parts assigned to them so that they will not
only become acquainted with their own work, but with
the spirit of the play as well, so that the individual parts
will be in harmony with one another. When these pre-
liminaries are completed, the director calls for a re-
hearsal, at which the players are put through their parts
until they are able to successfully express themselves in
pantomime. In plays having complicated situations es-
pecially in historical plays, or pageants, the rehearsal may
extend over several weeks before everything is ready for
the camera.
As a one reel play is generally limited to 1,000 feet,
it is the duty of the director to regulate the speed of
the acting and the length of the scenes so that the action
will be accomplished within the length of the film, a
period of about twenty minutes. If the play has many
scenes, some must be shortened or others lengthened so
that the total time amounts to twenty minutes or less.
In arranging the "schedule" of the scenes, the director
is guided both by his watch and by the register on the
camera that records the number of feet exposed.
During the rehearsal, the players are either assigned,
or assume a dialogue that corresponds in a rough way to
the pantomime. While the speech is not reproduced by
the projector, it is a great aid in attaining the correct
facial expression, and makes the picture much more
natural.
WRITING THE SCENARIO.
To write successful scenarios, the writer should be
a regular attendant of the motion picture theater, and a
subscriber to the better class of the motion picture trade
journals, for through these mediums the prospective
scenario author can study the possibilities of scenic con-
struction, and the attitude of the public in regard to the
different classes of pictures. By consulting the trade
journals in regard to past and current releases he may
be saved the humiliation of duplicating some play that
has already been produced. In addition to this the pa-
pers publish comments on the strength and weakness of
the various films that should be of great advantage to the
beginner.
The daily press abounds in suggestions for unusual
or comic scenarios, for there are no more interesting or
ridiculous situations than those that occur in our every
day life. At the very start, the beginner should train
himself to see the possibilities of a story among the
newspaper items, and when one is discovered, it should
be clipped and filed away for future reference, in a suita-
ble scrap book. Never trust any little idea that may occur
to you to memory, but jot it down in a note book that
is devoted to your scenario "dope." If such an item is
June 28, 1913
MOTOGRAPHY
471
not sufficient in itself for a complete story, it may be
found useful in connection with some other work.
Manuscript titles are of the greatest importance, for
an attractive or unusual title has the same commercial
value as a catchy advertising phrase, and often will as-
sist in the marketing of an indifferent scenario. Com-
monplace titles, such as "Loved and Lost," or "Asleep
at the Switch," so popular with the cheap melodramas,
are not popular with scenario editors who are becoming
more and more particular in this respect. A short title
is the best, and should not in any case exceed five words
in length.
Photoplays should contain no murder scenes, nor
should they touch upon subjects that suggest crime, for
films that are of a morbid nature are not wanted, either
by the manufacturers or by the board of censorship.
Films that have suicides or robberies for their motive will
not be permitted by the censors. If a man is to be killed
in your play, it should be explained in the subtitle and
not shown to the audience. Any wrong that is committed
in the play should be accompanied by prompt and ade-
quate punishment, so that it will be a warning against
any similar attempt at such an act. The tendency to-
wards cleaner plays is the direct result of the constantly
increasing attendance of women and children at the
moving picture shows, which of course makes it inad-
visable to run the old form of blood and thunder melo-
dramas.
Pictures showing animals are always of interest, es-
pecially to children, but as there are but few manufac-
turers that are capable of producing such subjects, the
amateur playwright should avoid introducing animals
other than the dog, horse or cow. Wild animal stories
are generally written at the studio of the producing com-
pany so that they will fit the resources of their menagerie.
Stories that require the special training of an animal to
perform some particular "stunt" are especially to be
avoided. Semi-industrials, or pictures in which the plot
is involved with a mill or factory are interesting but are
often difficult to take and expensive to produce, for the
owners of the mills are seldom enthusiastic about turn-
ing their plants into studios.
It is best to concentrate upon the affairs of every day
life, rather than to soar in the clouds with complicated
and difficult subjects. A story with the scenes set in a
city or an every day home is of more interest to the
average audience than one set in a foreign country that
is unfamiliar to the average man. The picture theater
patron is seeking instruction as well as amusement as a
rule, and to keep his patronage he must be shown pictures
that he can understand.
It is due to this fact, principally, that "Westerns"
are so popular, for the characters portrayed by this class
of film belong to a class that is familiar to every working
man patron of the show. The scenes are homely and are
equivalent to the ordinary farm surroundings in more
familiar sections of the country. Don't attempt compli-
cated plots, nor introduce an unnecessary number of char-
acters or scenes.
Historical pageants and plays requiring a great num-
ber of people are generally prepared by the scenario de-
partment of the producing company, as are dramatiza-
tions of well known books. Don't try to rehash the plots
contained in standard works, such as Vanity Fair, Treas-
ure Island, or Oliver Twist. Make your story original.
The fewer the scenes, the better, for a play having twenty
scenes or more is not only expensive to produce, but is
confusing to the audience as well. Ten scenes are more
than enough for any photoplay, and five are still better.
Write you story in the present tense, and avoid the play
of the "twenty year afterwards" type.
Comedies are the most popular type of film, for
the average person attends the theater for the purpose of
being amused, and the more laughs that he obtains for
his money, the better he likes it. If the writer has a
sense of humor and has the ability to place his concep-
tions in concrete form he is more certain of success than
a dramatic writer of great ability. One laugh is worth
fifty sobs in a film.
Real comedies are hard to find, and are correspond-
ingly valuable to the manufacturer. The "chase around
the block" pictures, and the films exploiting slap stick
humor are rapidly becoming a thing of the past, and the
so-called comics in which an actor in an outlandish cos-
Fig. 31. Studying the strength of a fly. An example of an educational
film subject.
tume knocks down everything in his path receives but
scant attention from an audience that has had the oppor-
tunity of witnessing a modern type of picture.
A true comedy differs from a merely comic picture
in having a series of incidents that build up to a climax,
or in other words the comedy possesses a plot similar to
that of a story. A comic picture, on the other hand, has
a principal comic incident around which a series of events
of a more or less disconnected type is woven.
The drama is second in importance to the comedy in
photoplays, both in respect to its popularity and its mon-
etary value to the scenario writer. It is in this class
of scenario that the playwright must be particularly care-
ful to avoid the restrictions placed on the several sub-
jects tabbooed by the censors. This form of play has
been so thoroughly worked over and exploited by the
"legitimate" theater that the scenario writer will experi-
ence great difficulty in obtaining a thoroughly original
theme for his story.
In the tragedy form of the drama there is always a
cause, a deed, and an effect. In a photo-drama, the film
must create the impression among the audience that they
are witnessing the three elements of the action, unknown
to the characters of the play. They should be put in the
position of being at the "knot hole in the fence" at every
stage in the play.
The application of the three stepping stones of the
tragedy form may be had from the following conversa-
tion in which a man has a friend and informs him of a
disturbance that is taking place around the corner. As
they run to the scene, the friend asks, as indicated by a
subtitle :
"Why are they fighting?"
"Because one of them was abusing his horse."
(Cause.)
After reaching the scene, one of the men strikes his
opponent a terrific blow that sends him to the sidewalk.
(The deed.) During the uproar caused by this act, a
policeman appears upon the scene, and places the men
under arrest. The horse which has been standing unat-
472
MOTOGRAPHY
Vol. IX, No. 13
tended up to this time, now runs down the street caus-
ing further confusion. (The effect.)
In this homely illustration, which one would hardly
call a tragedy in the ordinary sense of the word, we have
not only the cause, deed, and effect, but the foundation
(introduction) the climax and the catastrophe as well.
As a check to the factors just named, the story will be
complete when it answers the questions, when, who,
where, what, how and why. If, when going over your
work, you find that these six questions are answered, you
may be sure that you have at least completed the formal
outline. After this the work consists, of filling out or
ornamenting the outline, the extent of the latter being
limited only by your ingenuity.
In writing a scenario, it should be remembered that
action is the life of the film story, and that the characters
should be kept moving continuously, or the thread of the
story will be lost. Let every movement be logical, that
is, keep the action close to nature. Make each character
do the things that you would do under similar circum-
stances, and not what you think would produce a the-
atrical or sensational effect, that would be at variance
with the natural inclinations of the character. To avoid
impossible or ridiculous situations, write about that class
of people that you meet in your every day life, and not
those of whom you have only a reading knowledge.
Be true to your details, for a critical audience, and
there are many of them now, will hold the story in con-
tempt unless the minutest details in regard to characteri-
zation and properties are correct. In dramas of a par-
ticularly somber hue, strength is added to the play by
introducing a few bright comedy touches at intervals.
This contrast not only enlivens the play, but accentuates
the effect of the theme. In introducing the comedy fea-
tures care should be taken that no characters are used
that are "lugged into the play" simply for this reason.
Such characters instantly destroy the illusion that the
playwright seeks to attain.
It is absolutely necessary that an idea of the scenes
be given to the producing company in the scenario manu-
script, for it is usually impossible to expect that the di-
rector will be as well informed in regard to the character
of the surroundings as yourself. Describe the period of
the play, whether modern or ancient, and give the local-
ity in which your characters live. In indoor scenes, give
an idea as to the nature of the building, the location of
the doors and windows. Tell in a few words, the cos-
tumes used, both in regard to the period and their con-
dition.
Describe when and where the characters are to en-
ter the scene, giving the entrance, or the direction. If
they are to be in the scene at the beginning of the film,
state that they are "discovered," and give their position.
Avoid the use of unusual furnishings if possible, for
this means additional expense to the producing company,
which will of course reduce the chances of having the
manuscript accepted. Remember that the camera has a
very limited field of view, about ten feet in the fore-
ground. If a very great number of people are in the
scene the camera must be moved back in order to cover
the scene, with the result that the figures will appear very
small on the screen. Try to condense the scenes so that
the characters will appear full size in the projection.
A thousand foot film runs only twenty minutes, and
the play must be arranged so that it will be completed
within this time. To approximate the time required to
go through the various scenes, go through the play by
yourself, scene by scene, timing each act by your watch.
With the information gained by this method you will be
enabled to make an estimate as to which scene must be
"trimmed" or lengthened. The results will probably sur-
prise you, for nearly every writer underestimates the
length of his production. If you don't clip it, some one
else will.
Should the action be very unusual, or the story al-
together out of the ordinary, it would be well to briefly
describe some of the "business" or movements of the
players. With stories of ordinary life the players are in
a better position to do this than yourself. Don't allow
some little detail or incident to lead you astray from the
main theme of your story. Stick to your story and don't
ramble.
Be consistent in both your scenes and action, don't
introduce wireless telegraphy ih a story of Christopher
Columbus, nor have a biblical character take snap shots
of an aeroplane. While these illustrations may sound
greatly exaggerated the writer has seen films that were
fully as bad in regard to the relation between the period
and action. Even the customary watchfulness of a cer-
tain director failed to stop a scene that connected George
Washington and a pair of rubber boots.
Write your plays so that the pictures will explain
themselves without the use of a great number of sub-
titles. The audience came to see pictures, not to read
about them. In the few subtitles that are used, make the
reading matter short, don't use a superfluous word. Avoid
in particular the use of a long "leader" that gives a synop-
sis of the play; if your play is good it is not necessary
to warn the spectators.
Subtitles must be used to show messages, and must
also be used to tell the time elapsed between one scene
and the next. Outside of the subtitles used for this pur-
pose do away with as many as possible.
Do not write out of door plays in the wrong season
if you wish to realize on your manuscript immediately,
for it is impossible for the producing company to take
toboggan pictures in June, or harvest fields in February.
Interior pictures are; always seasonable, for they can be
taken in the studios regardless of the weather conditions.
If you have an idea for an outdoor play that is out of
season, write it, and file it away for use at the proper
time.
Many of the larger companies have players and stu-
dios both in the east and in the west (the western studios
are nearly always located in California). If your sce-
nario treats of the Atlantic Coast, the Middle West, or
the Pacific States, the producing company can stage it
in that particular locality. As a rule do not show your
characters in widely separated localities. If it is neces-
sary to indicate that a man is in a foreign country, and
at home in the same film, arrange the foreign scene so
that it can be produced in the studio with artificial set-
tings. This is possible when interiors are indicated, such
as the interior of a hotel or office. Exterior foreign
views should be avoided.
To be continued.
Sporting editors of the various Los Angeles papers
and a few invited guests were present at Home's Theater
on Spring street to witness the first run of the Majestic
picture entitled, "One-Round O'Brien Comes Back," pro-
duced and played in by Fred Mace, who was the original
"One Round O'Brien" in last year's Biograph release of
that title. Among the principals in this picture were
Walter Monahan and "Bull" Young, the well-known
heavyweights.
June 28, 1913
MOTOGRAPHY
473
Current Educational Releases
Athletics in France. — Patheplay. The Interna-
tional Congress of Gymnastic Sports, recently held in
France, provided an opportunity to make an unusually
fine film, showing the sensational drill of the Paris fire
department, featuring a race up the side of a house
without any assistance from ladders or ropes or any-
thing of the kind. Then in the women's class upwards
of a thousand of the expert gymnasts go through their
various exercises in perfect unison. In the men's gym-
nasium class the feats are more difficult and more daring.
There are other scenes, too numerous to mention, but
which combined with those already recorded make as
interesting a picture as one would wish to see, not to men-
tion its educational value.
carried at the head of a procession followed by gloriously
colored banners on which are inscribed the dead man's
many virtues. The edibles and objects that he loved are
buried with him and his family pay their farewell re-
spects.
Pennsy's Pageant. — Kinemacolor. First Annual
Athletic Pageant of the University of Pennsylvania on
Franklin Field, Philadelphia, Pa., April 24, opens with a
parade including the track team, football squad, baseball
team, crew and gymnastic classes, the film shows sports
and contests of all kinds, and amusing relay races.
Antibes (France) and Its Environs. — Patheplay.
The views of the old town at which Napoleon disem-
barked on his return from Elba in 1815. It is from this
city that one may secure an idea of the beauties of the
sunsets on the Mediterranean.
Places of Interest in Colorado. — Patheplay. A
travelogue of Colorado, showing the most interesting fea-
tures of the city of Denver and concluding with a short
and delightful trip through the Royal Gorge, a beautiful
specimen of Nature's handiwork.
The Burial of a Rich Chinaman. — Patheplay.
For the very many people who have never witnessed the
burial of a Chinaman this film will prove remarkably in-
teresting entertainment. The deceased in this case hap-
pens to have been very wealthy and as a result no expense
is spared to make a stupendous showing. The cortege is
Gathering and Preparation of Tea in Indo-
China. — Eclair. The leaves are gathered four times a
year, the tea prepared from the first or spring gathering
being the most delicate in color and flavor. The leaves
are heated in frying pans, then rolled by hand on a
wooden table, and at the end of three or four hours they
are tossed about and beaten by the hand until they become
soft. The two classes of tea, green and black, are each
Scene from Essanay's, "A Flurry In Diamonds," Released July 1C.
474
MOTOGRAPHY
Vol. IX, No. 13
subdivided into a variety of kinds, known in commerce
by particular names.
Monuments and Cascades of Rome. — Patheplay.
A visit to the beautiful monuments and waterfalls of the
capital of Italy.
The Chateau of Chenonceau (France). — Pathe-
play. A fine specimen of Renaissance architecture which
has the added attraction of being built on stone piers
across the river Cher.
Scorpions. — Eclair. An exhaustive and scientific
treatise on this species of reptile, making for a most
fascinating film study.
Rhodes (Asiatic Turkey). — Patheplay. The lit-
tle city of Rhodes, the capital of the island of Rhodes,
where the French inhabitants live among the landmarks
and now ruined reminders of former Turkish magnifi-
cence.
Orbetello and Environs. — Here you are shown
panoramic views of the towns and the embankments, the
ancient walls which surround them, and the Port of
Ercole with Mount Argentario in the background. It is
altogether a most interesting series of landscapes.
Famous Kentucky Derby. — Selig. The famous
Kentucky Derby, the great international sporting event
which is held every year at Churchill Downs, in Louis-
ville, Ky., this season attracted over three hundred thou-
sand lovers of the sport for which the blue grass state
is famed. The release is a full reel topical picture show-
ing intimate scenes of the race and its audience.
A Tour Through Touraine. — Patheplay. This
film is a personally conducted tour through beautiful
Touraine, France, showing the various examples of ar-
chitectural splendor which were built by the various
Kings of France from the fifteenth century to the revo-
lution. It shows the chateau of Villesavin, the Chateau
of Cheverny, the Court of Honor which is adorned with
a very pretty Italian fountain, the chateau of Chaumont
(lying in the beautiful valley of the Loire river), and
many others which make the film interesting, of great
educational value and pleasing to the eye.
Coming Champions. — Kinemacolor. Annual Ath-
letic Games of the University of Pennsylvania, Franklin
Field, Philadelphia, April 28th, 1913. Opens with an
event of interest to athletic America, the One Mile High
School Championship Relay Race, showing The Start ; —
Second Man Off;— Third Man Off;— Last Man Off.
The finish shows W. Moore of De Witt Clinton High
School winning, and the Winning Team from De Witt
Clinton High School, New York, — time 3 minutes, 35
seconds.
Second : — Erasmus Hall High School, Brooklyn.
Other Events Are : One hundred twenty odd hurdle
race; pole vault trials; putting sixteen pound shot trials;
running high jump trials.
The film concludes with a panorama of the Field,
and the Pennsylvania students singing.
The Zoological Gardens at Rome. — Kinemacolor.
It is apparent from this very fine Kinemacolor subject
that every endeavor is made in the Zoological Gardens
at Rome to preserve, as far as possible, the natural sur-
roundings of the animals kept there, and to allow them
the utmost freedom of movement. The result is a "zoo"
of extreme interest and picturesqueness. The film gives
an idea of the extent and beauty of the Gardens, shows
Grey Seals, beautiful creatures disporting themselves in
the water ; a Zebra Ass hybrid, this queer-looking ani-
mal has the stripes of the zebra on its legs only ; its body
is just like that of an ass; Waterfowl, a series of charm-
ing pictures shows swans, pelicans, flamingoes, and small-
er birds ; a Jaguar at play ; Tigers and Lions ; Polar
Bears fighting and splashing about in their pond of
water; Riding Camels, Yak, etc., these animals are sad-
dled and ridden ; a Llama flock ; Chimpanzee ; Hippopo-
tami, these enormous, unwieldy creatures are swimming
in a pond ; Giraffes in their enclosure, craning their necks
with the apparent intention of browsing off the flowers
on the hats of the lady visitors.
Remarkable Camera Work
More than a few of the film manufacturers have
been putting on dual role dramas, those in which one
player enacts two roles, and appears twice in the same
scene. The cleverness of timing and stage direction
which made it possible for one actor to appear both as
himself and another has been quite remarkable, and
makes one almost believe that there is no limit beyond
which the camera cannot go.
The Edison directors and cameramen have, how-
ever, gone a step farther than any other manufacturer
P^^jR
™Aj
Augustus Phillips Shaking Hands With Himself.
in their production of "The Twin Brothers," for in this
photoplay one beholds Augustus Phillips not only play-
ing the role of both twin brothers, but even sees him
in one scene snatch a photograph out of his own hand,
and in another we see him shake hands with himself. An
enlargement from the film showing the latter incident
is reproduced herewith.
Kessel Heard It All
Two youthful caddies were busy as bird dogs on the
Forest Park golf links, at Brooklyn, N. Y. An animated
discussion arose on the merits of moving pictures. One
budding Jerome Travers held stoutly to the opinion that
Broncho films were par excellence, while the other loudly
and with characteristic language extolled the virtues of
the Kay-Bee films. And the funny part of this incident
was that the man whom they were tracing the elusive
golf ball for was Adam Kessel, Jr., owner of both these
brands.
June 28, 1913
MOTOGRAPHY
475
Sans Grease Paint and Wig
By Mabel Condon
Winifred Greenwood
Miss Winifred
Greenwood
would be
down in one minute,
so I sat on the stiff-
backed bench, just
without the railing
that incloses the
switchboard and pri-
vate desks, out at the
Selig plant, and im-
proved the shining
minute by wishing
that Evanston dust
w a s not. Then a
lovely lady with the
bluest of blue eyes,
wavy blonde hair,
and the most languor-
ous walk I had ever
seen, appeared and
told me in a clear,
musical voice that she
was Miss Greenwood.
Immediately I forgave Evanston its dust, and accom
panied the lovely lady to her dressing-room, where she
invited me to occupy the chair with the cushions, seated
herself in front of her dressing table and. in answer to
a soft, warm breeze that made swells and hollows in the
pmk-flowered curtains, remarked, "What lovely weather !
I'm so glad, for the children are coming home next week
and I can hardly wait."
"The — the children?" I puzzled, and she laughed.
"Why, yes; didn't you know I had children? Two of
them, a girl and a boy — here's a picture of my little girl ;
it was taken in the hospital, several years ago, just after
an operation — only a kodak picture but I like it." And
she handed me a small red leather frame from out of
which looked a little childish face, smiling from a back-
ground of pillows, and giving promise of some day look-
ing very much like her mother.
"My boy is younger," continued Miss Greenwood,
replacing the little red frame on her dresser. "His name
is Alonzo — the girl's is Reine, and they both play in pic-
tures out here when they're home. They love it, too.
Alonzo never took any special part, but Reine has taken
the lead in several child plays, and the producers have
told me that she has real talent. She has taken several
important parts on the stage since she was six years old.
They are both in a convent boarding-school in Kalamazoo,
and — next week seems so far away."
There was a dreamy look in Miss Greenwood's eyes
that bespoke Kalamazoo. As I would have hated to be
the one to bring her abruptly back to Chicago, and her
dressing-room surroundings, I said nothing, and just as I
did, there was a violent rap on the door and Miss Green-
wood was back. "Come in," she invited and I saw the
rim of a white straw hat and heard a man's voice say,
"I didn't know you had a caller — no, thank you, I won't
intrude. I just wanted to show you something, but I'll
show you after a while," and the white straw rim and
the voice retreated with the closing door.
"Tell me about your start in pictures," I suggested,
and Miss Greenwood replied that it had been more than
two and one-half years ago. "Miss Kroell and myself
played the first leads out here in the new studio," she
reflected as her fingers creased a little fold into the soft
silk of her skirt. "I had played stock for two years
before that, in South Bend, and was all tired out from
the strain of ten performances and learning a new show
each week.
"A theatrical man I had formerly known passed
through South Bend and I happened to meet him. He
said he was with the Selig people and asked if I had ever
thought of doing picture work. I hadn't but he said
he'd see about it, and in a few days I got a long-distance
call to go to Chicago and see Mr. Selig. I went and did
a scene from something in front of the camera, caught
the train back to South Bend in time for the matinee,
and within a week received a contract from the Selig
company.
"I closed in 'Girls' on Sunday night, started work
at the Selig studio the next morning, and wouldn't go
back to the legitimate now for any consideration I can
think of. Film work I think ideal. There are lots of
risks and we work hard but I like it and there are so
many advantages. I can have my own apartment, my
evenings to myself, my children with me whenever I
want them, and get ever so much out-of-door life.
"I have been on the stage since I was ten years old,
and before my little girl was one year old had traveled
from coast to coast with her, playing one-night stands
and taking all the care of my baby myself. I often won-
der now how I did it. But I was young and strong then,"
she laughed, and added, "I was married when I was
fifteen."
"Eloped?" I guessed, and she said, yes, that her
husband had been on the stage, too, and that, though she
is "Miss Greenwood" again, she doesn't regret any of the
experiences that have contributed to the joys and sorrows
of her busy life. A real optimist, the pretty lady who
has made for the popularity of so many "Diamond S"
films and among whose latest successes are "Belle Boyd"
and "Pauline Cushman," both war stories and both
favorites of Miss Greenwood, because she loves to play
in war pictures and gallop madly away after somebody
or something, on a horse.
"Mr. Twist said I was to show you the animals,"
she volunteered and I replied that I was more than
anxious to see Anna May, the one-and-one-half-year-old
elephant that understands German-spoken instruction,
only — so Mr. Twist's press sheet informed. Miss Green-
wood expressed surprise at learning of this accomplish-
ment to the credit of Anna May, so we set off across the
big yard toward the animal house to investigate.
In a cage near the door were two little bears, six
months old the keeper said, and when they saw they had
an audience they performed by doing the variety of dance
named after them. One, especially keen for applause,
straddled a horizontal bar at the top of the cage, but
was unable to get off when he wanted to, so made a
very graceless descent when the keeper pulled the bar
from under him. Miss Greenwood is friends with the
little shaggy fellows and visits them every day.
"We want to see Anna May," she told the keeper,
so he led the way past two Bengal tigers and a water
buffalo, and unbolted a door further along the row of
cages, remarking meanwhile, that he and Anna May
476
MOTOGRAPHY
Vol. IX, No. 13
weren't on very friendly terms just then, as he had
seemed to displease her somehow that morning, and she
couldn't forget it.
The door swung open and showed Anna May, about
The door swung open and showed Anna May, about
May," invited the keeper. The invitation was repeated
in several tones of voice and to the accompaniment of a
variety of gestures, but Anna May remained disdainful.
"Mr. Twist says she'll do anything for a lump of
sugar," I suggested from a safe distance, wondering why
the keeper didn't talk to her in German.
"Yes, please come out, Anna May," Miss Green-
wood coaxed, displaying much bravery by standing in
what would be the direct path of Anna May if she did
come out.
The keeper stepped within the cage and Anna May
resented this infringement of her rights with a trumpet-
ing many times bigger than herself. The keeper prodded,
pulled and pushed; Anna May kept her four feet firmly
planted, extended her trunk straight ahead and emitted
awful and unearthly noises, the more awful and the
more unearthly as the keeper succeeded in pushing her
doorward.
In vain I assured him that I had made as much of
Anna May's acquaintance as I wished to make, and even
Miss Greenwood remarked that she guessed Anna May
didn't care to come out and be sociable. But Anna May
came, nevertheless, and when the keeper had finally man-
aged to push her outside the door, he considered the
victory his, pushed her back again and locked the door.
Anna May feelingly extended the end of her trunk-
above the boards at the top of her inclosure. Miss
Greenwood offered a piece of paper, picked up from
the floor, the gift was accepted and peace again reigned
in the animal house.
"I think it must take an abundance of nerve to work
in pictures with wild animals," Miss Greenwood said
as we walked back toward the studio. I agreed with her,
still wondering why that keeper didn't talk German to
Anna May.
I intend to ask Mr. Twist the next time he visits us.
Selig Plant Being Enlarged
Mr. William N. Selig, president of the Selig Poly-
scope Company, returned to Chicago last week after a
prolonged visit to the Selig studio and wild animal farm
in Los Angeles. Before departing from Los Angeles he
made public some of his plans for a greater studio and
zoo in the southern California metropolis. These plans
include provisions for extensive tracts of land, enlarged
and completely equipped studios, the largest zoo in the
world, and an elaborate outlay of rare plants and foreign
vegetation, which will be imported to this country at
great expense.
The present Los Angeles properties consist of the
studios, carpenter shops, plant, artificial lake, etc., which
are located at Edendale, a suburb of the city, and the
320-acre wild animal farm adjoining Eastlake park,
which is to Los Angeles what Central park is to New
York and Lincoln park is to Chicago.
During his recent visit to Los Angeles, Mr. Selig
spent much of his time negotiating with local attorneys,
real estate agents, and landscape gardeners with the re-
sult that his big project has been set in motion. He, first
of all, purchased outright several tracts of land immed-
iately adjoining the Selig wild animal farm. These pur-
chases will more than double the present size of the farm
and when he closes additional options which he has se-
cured, his realty purchases in Los Angeles will reach
a sum of approximately one half million dollars. This
includes the grounds upon which the Edendale plant and
studios are located. The real estate just purchased
alone represents an outlay of $200,000.
The present zoo at the animal farm contains a col-
lection of animals also valued at upward of $65,000 and
two more shipments of animals are now enroute from
Hagenback's, in Hamburg, Germany, which will cost
in the neighborhood of $50,000. The Selig Polyscope
Co.'s traveling purchaser who is now abroad, has been
instructed to make further purchases of this nature and
it is safe to say that before the summer has passed over
$200,000 worth of jungle carnivora will be housed at this
immense zoo. Landscape gardeners have already started
in to beautify the enlarged grounds of the farm. A
model studio will be erected on the premises and thous-
ands of dollars worth of rare tropical plants, trees and
jungle growth will be added to the already picturesque
effect which prevails in this unique picture making
ground.
The Suffragettes 'Win
The suffragettes were victorious in the election held
at Universal City on May 20. The "Votes for Women"
party elected eight of their candidates as against five
Democrats and one Progressive. There were no Re-
publican candidates. The pre-election activities kept Uni-
versal City in a constant state of excitement for in so
small a municipality, where all the inhabitants have a com-
munity of interests, as they are all employed by the Uni-
versal Film Manufacturing Company, campaigning was
naturally of a personal order. The presence of the suf-
frage ticket further complicated the situation. The re-
sult of the election, together with the number of votes
polled by the winner in each case, was as follows : Mayor.
Aubrey M. Kennedy, Democrat, 219; corporation counsel,
James Dayton, Democrat, 260; auditor, R. L. White,
Democrat, 243 ; health commissioner, Otis Turner, Dem-
ocrat, 243 ; park commissioner, Al E. Christie, Democrat,
524; tax collector, R. M. Granville, Progressive; 249; city
treasurer, Phyllis Gordon, Suffrage, 224; assessor, Grace
Cunard, Suffrage, 224; chief of police, Laura Oakley,
Suffrage, 305 ; police court judge, Jeanie McPherson,
Suffrage, 215; alderman, Edna Maison, Suffrage, 275;
fire commissioner, Margarita Fischer, Suffrage, 318;
street commissioner, Jessalyn Van Trump, Suffrage, 208 ;
board of censorship, Mae Costello, Suffrage, 260.
Perfects Developing Device
Charles A. Ziebarth, factory superintendent of The
American Film Manufacturing Company, has perfected a
device to automatically time development of positive
prints so as to obtain a perfect print. Under the old
system the developer was compelled to gauge his own time.
The device in question, however, does away with any pos-
sibility of error and the result is a print timed to the frac-
tion of a second and therefore perfect. The American has
ever been in the vanguard of manufacturers aiming at
clear, stereoscopic photography and its reputation will
doubtless be further enhanced by the automatic timer.
Mr. Ziebarth is the inventor.
Two Features Per Month
In future a two-reel feature of more than usual
merit will be issued every other Monday by the American
Company. With these releases will be marketed one,
three and six sheet posters. Also single page heralds or
dodgers.
June 28, 1913
MOTOGRAPHY
477
The Motion Picture Exhibitors'1 League
of American
General Headquarters
703 Euclid Ave., Cleveland, Ohio
OFFICERS OF NATIONAL ASSOCIATION.
President,
W. A.
Waugh,
W^'lT Wassermanf Nashrtlle'.' Tenn.'; "iTp" MnieYan7l>riTaV Tex". ': Carl ' Gregg? "tSmTouI" P«d LeMarquardV Winnipeg," cEn^E. B\ Tarbell. Tampa, Fla: Geo. Osborn.
St Paul Minn.: C H Phillips. Milwaukee, Wis.; Geo. F. Washburn, Boston, Mass.: Glenn D. Hurst, Eeno, Nev. ; E. Wayne Martin. Hutchinson, Kan. ; J. E. SchlanK,
Omaha Neb ; Julius Meyers, Charleston, S. C. ; S. A. Arnold, Mena, Ark. : Hiram Abrams. Portland, Me. ; O. T. Curtis. Pueblo. Colo. ; Fred Abbley, Gulfport. Miss. ;
P. S. McMahon. New Britain, Conn.; S. Y. Merchant, Providence, B. I.; A. B. Campbell. Sedro Wooley. Wash.
Illinois Holds State Convention
More than two hundred exhibitors from all parts
of the state attended the second annual convention of
Illinois State Branch No. 2, of the Motion Picture Ex-
hibitors' League of America, which was held in the
Royal League Hall, 412 Masonic Temple, Chicago, Illi-
nois, on Thursday, June 12. The convention was called
to order by Julius A. Alcock, who acted as temporary
chairman and at once proceeded to elect William J.
Sweeney, of Chicago, chairman, and Sidney Smith, sec-
retary. Chairman Sweeney announced that the conven-
tion had been called to elect delegates to the national
convention to be held in New York City July 5 to 12, in-
clusive, and the gathering at once proceeded to ballot,
with the following results :
Delegates — W. J. Sweeney, Chicago; Robert Levy,
Chicago; Julius Alcock, Chicago; C. C. Whelan, Chi-
cago; Aaron Jones, Chicago; A. Balaban, Chicago; M.
Choynski, Chicago; John Miller, Chicago; H. A. Ru-
bens, Joliet; F. W. Hartman, Chicago; R. O. Proctor,
Chicago; S. Katz, Chicago; I. Gilder, Chicago; G. Henry,
Chicago; A. Zahler, Chicago; I. Natkin, Chicago; and
A. B. Boughan, Chicago.
Alternates — M. Hyman, Chicago; S. Levin, Chi-
cago; F. Thielan, Aurora; R. Navagato, West Pullman;
Miss I. Mertsky, Chicago; A. Powell, Chicago; Mrs.
Fitch, Chicago ; R. C. MacMullin, Joliet ; Charles Abrams,
Chicago; L. H. Frank, Chicago; F. O. Nielson, Chi-
cago; W. Cadoret, Kankakee; J. McNarney, Chicago;
C. H. Foster, Chicago, and H. A. Hill, Chicago.
In the cut which appears on this page all these dele-
gates and alternates are shown with the exception of
the following, who were unable to be present when the
photograph was taken : Aaron Jones, S. Levin, Max
Hyman, F. Thielan, F. O. Nielson and W. Cadoret.
Officers of Illinois State Branch, M. P. E. L. of A. Reading from left to right, sitting: Sidney Smith, Recording Secretary; Miss Sarah Col-
son, Financial Secretary; Julius Alcock, President; Robert Levy, Vice-President; William J. Sweeney, Treasurer, and Andrew B. Broughan,
Council. Standing, left to right: Members of the Executive Committee, C C Whelan, chairman; I. Natkin, M. A. Choynski, J. D. Rose, H. A.
Rubens, and F. O. Nielson.
478
MOTOGRAPHY
Vol. IX, No. 13
Illinois Delegates and Alternates to New York National Convention of M. P. E. L. of A. Front row, left to right: I. Gelder, Mrs. E. Fitch,
John Miller, George Henry, J. A. Alcock, Robert Levy, Wm. J. Sweeney, Mrs. 1. Mertsky, A. Balaban. Middle row, left to right: C. H. Foster,
R. Navagato, A. Zahler, Sara Katz, I. Natkin, M. A. Choynski, F. W. Hartman, C. C. Whelan, H. A. Rubens, R. O. Procter. Top row, left to right:
George Moore. A. Powell, J. J. McNarney, L. Frank, Charles Abrams, H. A. Hill, A. B. Boughan and R. C. MacMullin.
Before adjourning two resolutions of importance
were unanimously adopted. The first, which voices the
choice of the Illinois State Branch for president of the
League, read as follows :
Resolved, That brother W. J. Sweeney, national vice-presi-
dent of Illinois and treasurer of the state branch, receive the
unanimous and hearty support of the state delegates as a candi-
date for national president of the Motion Picture Exhibitors'
League of America, and that we further pledge ourselves to use
every honorable method to secure his election.
The second resolution has to do with the length of the
programs given by league members and read as follows :
Resolved. That our delegates use their utmost endeavors to
bring before the convention proper the three-reel problem, con-
sidered to ;be of vital importance to our League and members,
and one of 'the principal objects of the state delegates' mission.
In discussing this second resolution with officers of
the Illinois branch it was learned that the Illinois dele-
gation is going to stand solidly for a three-reel show as the
maximum limit for the house charging an admission of
five cents, and hopes to get the national convention to take
some action pending to fix this as a limit all over the coun-
try, as a continuance of the present policy of four, five,
six and in some instances even ten reels for a nickel is
sure to quickly sicken the public of pictures and result in
the ultimate downfall of the business.
The Illinois delegation has arranged for a special
train consisting of pullmans, buffet, dining and observa-
tion cars, which will leave the LaSalle Street depot
Saturday morning, July 5, at 10:30 over the Lake Shore
road and is due in New York City Sunday afternoon
at 3 :30. Large delegations from Minnesota and Wiscon-
sin are expected to join the Illinois delegation in Chi-
cago for the trip and other delegations will be picked up
at South Bend, Elkhart, Toledo, Cleveland, Erie, Buffalo,
Rochester, Syracuse and Utica. The special train will be
profusely decorated, according to the present plans of
the executive committee, which consists of C. C. Whe-
lan, chairman ; J. D. Rose. I. Natkin, F. O. Nielson, M.
Chovnski, Tohn A. Duffin and H. A. Rubens, and all
delegates will be provided with badges, banners and pen-
nants. A large electric sign reading "M. P. E. L. of
Illinois Special" is being prepared for the train and a
rousing good time is looked forward to, both on the trip
to New York and returning. The Illinois delegation is
expecting to stop at Niagara Falls, returning, as well as
at other points of interest.
\^ant Light Rate Lowered
The majority of Chicago exhibitors find themselves
unable to compute their electric light bills with any
degree of accuracy or even to determine how the book-
keepers of the Commonwealth Edison Company figure
them, after they get the bill. The rate they are paying at
present the most of the exhibitors believe to be highly
exhorbitant, and an effort has been on foot for some
time to effect a reduction. The latest move in the fight
for a lower rate comes from Illinois State Branch No.
2, which mails out to its members a letter, which the
recipient is asked to sign, and remail to his alderman, in
the hope that the Chicago city council may be induced
to take some action. The letter reads as follows :
The Moving Picture Exhibitors' League of America con-
sists of about six hundred members engaged in exhibiting moving
pictures as a business in Chicago. We are all users of electricity,
both for lighting and power, to a greater amount proportionately
than any other line of business, and under the method in use for
charging for the consumption of electricity by the Common-
wealth Edison Company we pay an excessive and exorbitant rate
as compared to other users.
We would like you to use your best effort and endeavor to
see that the rates are so adjusted that we may have an equitable
and just rate as compared to other consumers.
We would suggest that the maximum demand rate as applied
to moving picture exhibitors should be eliminated, as under its
use we pay proportionately three times as much as any other con-
sumers in Chicago.
Thanking you kindly in advance for the efforts that you
will take to remedy this defect, as it affects the moving picture
exhibitors, we remain.
Yours truly,
June 28, 1913
MOTOGRAPHY
479
Convention Activity
From the number of letters being received by the
national president it seems evident there will be a large
representation from every organized state in the Union
and Canada to the big national convention to be held in
New York City beginning Tuesday morning, July 8,
and closing Saturday night, July 12. The coming con-
vention promises to be one of the big events to take place
in New York this year and while New York is the
second largest city in the world, the exhibitors are be-
coming so enthusiastic that the people of New York
are beginning to sit up and take notice, and it has just
dawned upon them what a big advertisement it will be for
their city. Thousands of exhibitors will be there, and
Grand Central Palace will entertain some of the most
distinguished ladies and gentlemen of America and from
abroad.
The address of welcome will be delivered by either
Governor Sulzer or Mayor Gaynor and responded to by
President Neff. Governor Jas. M. Cox of Ohio will
deliver an address, also Senator Foraker, national coun-
sel for the League, and Associate Counsel John J. Lentz.
While this is the first exhibition of the arts of mo-
tion pictures ever given in this country, it will be com-
plete in every detail and will be one of the big features
of the convention.
This convention is expected to be one of the most
pleasant and important ever held, on account of its mag-
nificance, splendid entertainments and efficient, effective
organization. The New York local committee is work-
ing hand in hand harmoniously with the national execu-
tive committee ; it having everything prepared for the
comfort and pleasure as well as business of the visitors.
The ladies especially will be entertained. Committees
have already been appointed to give the ladies special
attention and provide pleasant entertainment for them.
No one will be over-looked.
It is proposed on the last night to give a grand ban-
quet and reception at Coney Island, right down where -
the waves of the sea come rolling in.
President Neff left Cincinnati last Friday, June
13, for New York, where he takes up his headquarters
at the Imperial hotel, suite 423 and 425, on the parlor
floor, where the latch string will be out to all exhibitors
until after the big convention. Mr. Neff is in New York
on the ground early, to help out the committees and as-
sist in arranging to make everybody feel at home. All
communications to the president should be addressed
to the Imperial hotel, Thirty-second and Broadway, New
York City, until after the convention.
Maryland Organized
The new Maryland branch of the Motion Picture
Exhibitors' League of America met at the Hotel Emerson
in Baltimore Tuesday and Wednesday, June 3 and 4,
and was permanently organized. At the head of the
new organization is Marion S. Pearce of the firm of
Pearce & Scheck, which now operates several motion
picture theaters in Baltimore. Conspicuous at the ses-
sions was M. A. Neff, national president, who gave val-
uable counsel to the infant organization, which gives
promise of sturdy growth.
From all parts of Maryland came delegates — 300 in
all — some with their wives and daughters, and when they
left for their homes Thursday it was with a much firmer
grasp of the ideals of the motion picture business and
with a determination to work for those ideals. Phila-
delphia, Wilmington (Del.) and Washington, D. C, also
sent delegations.
The election of Marion S. Pearce was not unex-
pected, for he was practically the pioneer in the motion
picture business in Maryland, and is not only popular
but a man of great executive ability.
J. Howard Bennett was elected national vice-presi-
dent, and the remaining offices were filled as follows :
Oliver J. Allenbaugh, first vice-president; James J.
Hartlove, second vice-president; Frank H. Durkee, sec-
retary; Harry Moorehead, treasurer, and S. I. Rosen-
burg, sergeant-at-arms. All are Baltimore men, except
Mr. Rosenburg, who conducts a theater at Annapolis.
Following the election an installation of officers
The New American Studio, at Santa Barbara, Cal., Now Nearing Completion.
480
MOTOGRAPHY
Vol. IX, No. 13
took place, previous to a banquet on the roof garden of
the Emerson, Wednesday night. Mr. Neff presented
President Pearce a charter for the State organization.
This entitled the Maryland association to be represented
by six delegates and as many alternates in the National
Convention, which will be held in New York, July 7 to 12.
The following delegates and alternates were then
elected :
Delegates — I. Wertheimer, Cumberland ; George
List, Frederick ; Isaac Ulman, Salisbury, and A. Ander-
son, Marion S. Pearce and William Fait, all of Baltimore.
Alternates — T. J. Bohannan, Bernard Depkin, Jr.,
William Kalb, Joseph Brodie, Harry Lewy and George
Benjamin, all of Baltimore.
A committee, consisting of Marion S. Pearce, J.
Howard Bennett and A. Anderson, was named to draw
up by-laws and a constitution for the State league. The
adoption of these will complete the organization, which
was practically effected on June 4.
At the banquet Congressman J. Charles Linthicum
spoke on "Motion Pictures From the Educational Stand-
point," and pointed out the many ways in which the
films tend to further and disseminate education more
than any other medium.
National President Neff, who had created great en-
thusiasm on the opening day with a frank talk on the
ideals of the business, supplemented his statements of
Tuesday with good effect. Mayor's Secretary Robert E.
Lee responded to the toast, "The City of Baltimore," and
J. Thomas Lyon spoke on "Good Fellowship."
While the delegates to the congress gave much of
their time to the transaction of business, the social end
of the program was not overlooked.
On Tuesday the delegates and their wives gathered
before the courthouse, where motion pictures were taken.
They then entered waiting automobiles and were taken
for a spin through picturesque Druid Hill Park and the
suburbs.
At night there was a cabaret show and picture en-
tertainment on the roof of the Emerson. On Wednesday
morning the visitors were taken on a trolley trip to Bay
Shore Park, on the Chesapeake, where animated views
of individuals and groups were taken by Harry Lewy,
whose Baltimore weekly films are winning favor rapidly.
Bromhead Succeeds Blache
Mr. A. C. Bromhead, who has been managing di-
rector of the Gaumont Company of London since its
inception, that is fifteen years ago, has been appointed
by the board of directors of the Gaumont Company of
New York, vice-president and general manager of that
company, to succeed Mr. Herbert Blache, who recently
tendered his resignation from that position.
The Advance Motion Picture Company on Saturday
last closed a contract for 4,000 foot educational film to
be made for the Society for Electrical Development.
This society has for its aim the bringing to the attention
of the public at large of the many utilities in the elec-
trical field which have been developed. The Society is
maintained by subscriptions from the various manufac-
turers of electrical devices and central station plants
throughout the United States.
The Tangled 'Web
The scenario for "The Tangled Web" was written
by Garfield Thompson as a vehicle in which to introduce
Rosemary Theby as a Reliance star. Her clever work as
'Leone St. Regis" is said to fulfill every expectation.
Scene from Reliance's "The Tangled Web."
Miss Theby plays a designing woman who weaves a web
about a boy when he is still in college ; causes him to be
expelled, lures him away from his mother's influence and,
later, when he wants to cast her off, she shoots herself
and, the shot merely grazing her temple, accuses Hugh
of attempting her life. Convicted, he is sent to prison.
Escaping from jail, he meets and marries a good girl,
to whom he never tells the story of his past life. Leone
meets him again and recognizes him. She schemes to get
him into her power again by threatening to tell his wife
what he has been. She meets the wife and accuses Hugh
before her. But he tells the girl the truth and she be-
lieves in her husband. Leone works herself up into a
frenzy and notifies the police, but before she can fulfill
her object an attack of heart failure seizes her and realiz-
ing that she is very near death, the good that is in the
worst of us comes to the fore and she writes her con-
fession vindicating Hugh in the eyes of the world. Di-
The Great Northern Film Company has removed
from 70 Fourteenth street to the World's Tower build-
ing at 112 West Fortieth street.
Scene from Reliance's "The Tangled Web."
rected by Oscar C. Apfel, this picture is a notable strong
production. Irving Cummings as Hugh, Miss Virginia
Westbrook as Ruth, Ralph Lewis as her father and Sue
Balfour as Hugh's mother, all do excellent work.
June 28, 1913
MOTOGRAPHY
4S1
A DiamoncUS Potpourri
Interesting Items from Selig's
Novel Series of Animated Cartoons
For some months past the Chicago studios of the
Selig Polyscope Company have been engaged upon the
production of a novel series of pictures which will de-
pict, in unique manner, the famous comic supplement
character, "Old Doc Yak," specially drawn by his crea-
tor, Sydney Smith. Many attempts have previously
been made to adequately show pen drawn cartoons in ani-
mated form, but the majority of these attempts have been
far from successful. The Selig people are said to have
perfected a method by which these results can be ob-
tained. The series will be known by the title of "Selig-
ettes" and will be numbered consecutively. For the pres-
ent the series will be devoted to animated cartoon com-
Sidney Smith of the Chicago Tribune, creator of "Old Doc Yak."
edies drawn by Sydney Smith. If the series proves as
popular as is anticipated, several of the country's fore-
most comic supplements artists will contribute to it. "Se-
ligettes No. 1," the first subject in the series, will be re-
leased on July 8, as half of a comedy split reel. The
title of the individual picture will be "Old Doc Yak."
YVe are shown the artist Smith at work in the art de-
partment of a modern city newspaper. We see close-up
views of his deft hand as it draws and rapidly inks in
different views of the famed goat. Then we see "Doc's"
face come to life, as it were, and go through a laugh pro-
voking series of facial antics. Other views show the goat
pursued by a persistent bee. The method by which "Doc"
exterminates the insect furnishes many a laugh. These
and many other agreeable surprises are contained in the
animated part of the picture, and the whole is climaxed
by a finis scene which can be readily called unique.
Thousand-Dollar Camera Wrecked
While Tom Mix, Selig star, was attempting to bull
dog a steer, as an incident in a thrilling two-reel feature
being filmed week before last by the Diamond S com-
pany, a thousand-dollar camera went to smash. The oper-
ator had placed his camera in one corner of the corral
and Mix ran into the picture, lassoed the steer and then
grabbed him by the horns in his attempt to bulldog the
beast. The bull started straight for the camera with Mix
clinging about its neck, head down. The operator made
a frenzied attempt to save himself and his camera, but
things were happening too fast for him to evade them
all. When the dust had cleared away, Mix, the operator,
and the bull disentangled themselves and the camera was
found to be totally wrecked.
Just to show that he still had some nerve left, Mix
again chased the bull into a corner and, after a little, was
able to bulldog the resisting animal, while the hushed
onlookers held their breath. A new camera was immedi-
ately ordered by telegraph and the picture was completed
upon its arrival.
Council Favors Selig Zoo
Work on the enlarged "Selig Zoo of America," as
it will be known, has already started in Los Angeles and
the mammoth project is now an assured fact. The few
obstacles that, for a time, threatened to stand in the way
of successfully carrying out W. N. Selig's $1,000,000
venture, have been overcome, and the Los Angeles city
council has placed its official stamp of approval upon
the motion picture magnate's project. No sooner had
Mr. Selig concluded his vast reality purchases attending
the extension of the present grounds of the wild animal
farm, near Eastlake Park, and had he engaged several
expert landscape gardeners, then certain residents in the
vicinity began a war which boded ill for the great project.
While Mr. Selig was en route to Chicago, a petition was
presented to the city council which sought to stop, not
only the proposed enlargement, but also to exterminate
the present zoo and farm. It seems that some of the
nearby residents (possibly those who had not been able
to'sell their property to Mr. Selig), took exception to the
jumble of noises that sometimes eminate from animal
zoos. The city council gave the bill of complaint it's
immediate attention and for a few hours it was an un-
pleasant outlook for an investor who had dropped over
a half million dollars into that vicinity and had con-
tracted for larger sums. But the council committee, af-
ter a thorough investigation, brought to light the fact
that the proposed zoo and jungle land, when, completed.
will far surpass anything of its nature ever attempted
in this country. As practically every city on the Pacific
coast had made alluring propositions to Mr. Selig in an
effort to obtain the zoo for their locality, the council was
not long in recognizing its worth to the municipality, and,
consequently, a clean bill was presented to the progress-
482
MOTOGRAPHY
Vol. IX, No. 13
ive picture maker. The plans of the Selig Polyscope
Company, in this connection, entail the erection of several
studio stages on the farm in addition to spacious dressing
rooms, carpenter shops, dark rooms, etc. At least two
complete acting companies with competent directors will
be quartered at this producing center under the general
direction of a superintendent. This means that here-
after the majority of Selig films will be produced at the
Edendale studios and the animal farm studios on the
Pacific coast.
Selig Releases for "Week of June 30
Away back in the venturesome days of the early
forties when that ambitious argonaut, James W. Mar-
shall, first discovered gold in the rivers of unexplored
California, John Sutter, owner of "Sutter's Fort," was
a power in the land. It was he who backed Marshall's
successful expedition. "The Beaded Buckskin Bag,"
which will be released by the Selig Company on June 30,
is a tale which incorporates these two historic characters.
Hobart Bosworth plays the role of "Sutter."
A house divided against itself was one of the most
common tragedies of the Civil War. In "Songs of
Truce" the sentimental story of this period which the
Selig Company release on the first day of July, the
theme treats of two brothers who enlist in opposing
armies. One dons the uniform of grey, the other wears
the blue. They part in anger. A year later they meet on
the same battlefield under a flag of truce. Later one
returns home with the laurels of the victor, the other
ill in the bitterness of defeat. It remains for their sweet-
hearts to arrange a. life long truce. This is finally ac-
complished and each starts to carve out a new fortune
for his particular family.
On July 2, the Selig Company will release another
of the now popular "Arabia" stories, under the title
of "Arabia and the Baby." This occupies the first part
of a split reel, the latter half of which is devoted to an
educational subject entitled "The Sultan of Sulu," which
shows this interesting potentate as he appears at home.
In the first subject, "Arabia — The Human Horse" is
shown in a remarkable series of equine accomplishments
which are all interwoven in comedy drama.
What is more welcome, during the intense heat of
July's tropical sun, than a photoplay of the Yuletide?
"In God We Trust" is the title of Selig's release of July
3. It is a strong drama of the Christmas season in which
a starving man is taught the moral which lies behind
these words, "In God We Trust."
An appropriate release for the Fourth of July is
that of the Selig Polyscope Co. who have selected for
this purpose a western drama 'entitled "Sallie's Sure
Shot." Tom Mix, William Duncan, Lester Cuneo and
Myrtle Stedman combine to make this thrilling tale of
dynamite and devotion strongly interesting.
The Pilot Company with head offices and plant at
120 School street, Yonkers, New York, has just opened
a branch office in the Candler Building, 220 West Forty-
second street, New York City.
In God We Trust, Selig Release July 3. Copyright 1913.
June 28, 1913
MOTOGRAPHY
483
Who's Who in the Film Game
THERE would never be
any pictures on this
page or any palaver
running up and down the
columns if it was left to the individuals whose portraits
you see. This is a publicity business, only inasmuch as
it pertains to the crowd out front waiting, with a coin
or a ticket, to make the next show. There are many
shrinking violets in the film firmament. Men identified
with film activities are interested more largely in the
films and the people who are to see films than they are
in themselves. This is even true with the Germans, who
believe in sticking together rather than to be stuck alone.
And John R. Freuler isn't an
exception in any of these
particulars. In other words,
when you see 'em here, it
means that they have been
taken by the scruff of the
neck and dragged in.
For this is a play to a
different audience — a crowd
that is more interested for
the moment in the men be-
hind the films than they are
in the men in the films. This
audience is not being held
out for the next show. The
show is on here and now.
The exhibition is John Ru-
dolph Freuler of Milwau-
kee, U. S. A.
John Rudolph is west-
ern and wolverine in equal
parts. He was born in Wis-
consin and with one brief
exception he has always
lived there. The exception
came when he established
himself in Chicago and New
York simultaneously and got
all balled up in chasing back
and forth between those two
places. His home was trans-
ferred to the packing space
under the rear seat of his
automobile and it wasn't
nearly ample enough for
John, let alone the rest of his family. Living in a car
that had to be parked on La Salle and Wall streets didn't
fit into the scheme at all
what he was losing.
Mr. Freuler — the name rhymes with oiler — got the
hunch to stick around in 1906, when he made a small in-
vestment in an "electric theater" in Milwaukee. The
subject of film service was brought to his attention with
a bang. He felt that his service needed something done
to it and a closer view proved it. So he promptly set
himself up as the Western Film Exchange. His idea of
film service became popular and consequently profitable.
Within a year he branched out with another exchange by
the same name in St. Louis, and a little later, still another
at Joplin, Mo. If you know anything about film rental
business you know that a string of exchanges — western
exchanges — would tax the energies of more than one
Facts and Fancies About a Man
You Know or Ought to Know
full sanction and all that-
The Name Rhymes With Oiler.
so Milwaukee gave him back
man. Mr. Freuler was hold-
ing them off, but some crept
into his organization, never-
theless; those being with his
but he sold St. Louis about
now to take on all of Joplin, which he moved to Kansas
City. That left him both K. C. and the famous burg
you've heard about. They were doing a regular land
office business ; or rather, something that beats it — a regu-
lar film exchange business.
In January, 1910, J. Rudolph bought the Calumet in
Chicago and in August he had to determine whether he
would run his own business or let somebody else run it.
These were the days when
G. F. was forming and de-
cisions had to be made in a
hurry. Mr. Freuler elected
to run his own business and
among the first moves he
made was to get into the
manufacturing end of it. He
was active in forming the
American Film Manufactur-
ing Company, Chicago. It
was then that the names of
some of his associates began
to appear in print. The
American film was on the
market September, 19 10,
which may have interest for
those who have heard of the
flying dutchman. And right
there the western exchanges
began buying independent
films, playing heavy on the
Flying A brand.
The following February
Mr. Freuler and his western
braves invaded New York
with a Western Film Ex-
change. That was carrying
coals to New Castle, but they
have been nice bright coals
and would burn if you toyed
with them. New York got
a number of good western
men through this modest
opening.
It would be difficult to list Mr. Freuler's various
official titles. He's pretty much the whole show with his
exchanges ; he signs the checks at the American plant
when Sam Hutchinson is'nt there ; he is field marshal! and
aidedecamp of the Mutual Film Corporation ; something
or other with the Precision Camera Company and what
more you will have to guess. For Freuler is there, if it
started out west. He is one of the red-blooded if there
are any and his hair is a beautiful blonde with a kink
in it if he's excited.
John Rudolph Freuler was born November 17th,
1872, at Monroe, Wisconsin, but his school days were in
Milwaukee. At thirteen he went to work, but he at-
tended evening schools for five years, gathering in all
sorts of credit marks and awards of merit and come-on
certificates. What he wanted was what he got — -all the
learning possible with work plus. He finally wound up
484
MOTOGRAPHY
Vol. IX, No. 13
in a blaze of glory with a solid day year at the Spencer-
ian Business College. As early as 1893 he engaged in the
storage, transfer and warehouse business and in 1900 he
was doing a brokerage and real estate business. Mr.
Freuler was married to Miss Augusta J. Golz in 1897
There are two daughters, Gertrude R. and Loraine M.
Mr. Freuler is a member of the Chicago Association
of Commerce; the Elks; Kilbourn Lodge, A. F. and A.
M. and the Milwaukee Automobile Club.
The New Life Target
As one of the features of the coming International
Exposition of the Motion Picture Art, to be held in New
York City, July 7 to 12, inclusive, a new device, called
the life target, -recently brought to this country, will be
exhibited.
In the new and intensely interesting target shooting
the marksman takes aim and fires in the usual manner,
though at moving figures on a motion picture screen.
In order to enable him to ascertain the exact accuracy
or otherwise of his aim the picture is instantaneously
arrested, and a spot of light appears where the screen was
pierced by the bullet. After a few seconds the indicating
spot disappears and the target screen moves on until the
next shot is fired.
This result is secured by a most ingenious electrical
and mechanical equipment, the chief part in which is
played by a Kramer-Kapp relay (as used in automatic
train signalling). A telephone transmitter, placed above
the firing line, catches the sound of the rifle shot and
actuates the Kramer-Kapp relay, which in turn controls
a magnetic clutch and band brake on the kinematograph
projector. The progress of the film through the ma-
chine is thus abruptly arrested, and there continues to
be shown on the screen the identical picture (or, possibly,
the next one, which is not sensibly different) at which
the marksman fired.
The target-screen consists of two bands of stout
paper mounted between vertical rollers and a third sheet,
forming a stay, carried between horizontal rollers. The
horizontal screen is shifted, by hand, once a day, or
oftener if necessary, but the vertical screen is displaced
by a fraction of an inch after every shot.
Simultaneously with the stoppage of the film in the
projector, there is set in motion a timing dashpot which
(after a regular period, usually ranging from five to
ten seconds) releases the projector band brake and
closes the circuit of a solenoid-rack feed which shifts
the vertical target-screen. The indication of the last
shot is thus obliterated, and the film continues to move
forward through the projector, until, by another shot,
the above cycle of events is repeated.
The light shining through the screen perforation
during the indicating period is provided by flame arcs
or other lamps mounted behind the screen, and out of
the line of fire.
It is well known that, if the film be held stationary
in the "gate" of an ordinary motion picture projector,
for even a few seconds, it will catch fire, and to prevent
this contingency in the present case, a motor-driven com-
pressor is used to deliver a blast of cold airon to the film
while it is in the gate. This precaution may be supple-
mented by the automatic lowering of a color filter (which
acts as a heat screen) behind the film while the latter is
stationary, but recent experiments show that even better
results can be secured by the use of a fine wire gauze
heat-screen.
TREASURER of the Motion Picture Exhibitors' League of
America is the title which J. J. Rieder now wears, though
early in life he was satisfied to be an humble pedagogue. Mays-
ville, Ohio, was his birthplace on August 27, 1854. Early in life
music became his favorite hobby,
and to this day he holds a teach-
ers' certificate, issued by the Col-
lege of Music of Cincinnati. Back
in the days when he taught band
music J. J. was so small in stature
as to be almost a curiosity. On
one occasion a rival bandman
asked who the leader of a certain
band might be, and, pointing to
Rieder, a bystander replied, "Oh.
the little devil with the red neck-
tie." On another occasion when
Rieder's band, then but eighteen
months old, won a prize away
from a twenty year old band, a
riot nearly resulted. Rieder's
fame spread, and many years ago
the Edison people offered to lease
him a traveling motion picture
outfit if he would take the road
with the new amusement device,
but the offer was ignored, a fact
which Mr. Rieder regrets to this
day, as he sees clearly now that
he might have been reaping the benefits long years ago of being
a pioneer in the new amusement field. Manager Rieder was the
proprietor of the first picture show in Owosso, Michigan, and
within a year he had five competitors. He was a charter member
of the Michigan State Branch of the League, and a delegate to
the first national convention, where he was chosen national
treasurer of that organization. Today he proudly asserts that
he has done far more for the advancement of education with his
pictures than he was able to accomplish during the years he
spent as a school teacher, and every exhibitor will readily agree
that this is easily possible.
J. Rieder.
T EE DUNCAN BALSLEY first saw the light of day in Boone
JL/ county, Kentucky, in 1877. After the usual schoolboy trials
and tribulations he became a member of the sales force of the
International Harvester Company, working out of the Spring-
field, Missouri, office. An inti-
mate friendship with H. M.
Thomas, manager of the Aladdin
(picture) and the Jefferson
(vaudeville) theaters of Spring-
field, resulted in his resigning his
position to become manager of the
Aladdin theater, and there in 1911
he obtained his first experience in
the motion picture game. A few
months later Mr. Balsley helped
to form the Aladdin Theater Com-
pany, which operated the Aladdin
(picture), the Jefferson ^vaude-
ville) and the Landers (legiti-
mate) theaters, all located in
Springfield. Naturally the crea-
tion of the M. P. E. L. of A. in-
terested Mr. Balsley, and at the
present writing he is treasurer of
the Springfield local and vice-
president of the Missouri State
branch of the organization. Since
April 1, 1913, he has been con-
nected with the advertising de-
partment of the International Harvester Company's Chicago
office, where much of the publicity work is done through the
medium of motion pictures, though he still retains his Missouri
interests. In the theaters conducted by him no cries from the
candy butcher are heard, no smutty songs sung, and no low
grade vaudeville sandwiched in between the films, for he doesn't
believe in that sort of thing. To his notion the smutty songs,
the poor projection and the bad orchestras need censoring far
more than do the reels of film shown the patrons of our picture
theaters. Mr. Balsley is a member of Elks Lodge 409 of Spring-
field, as well as a leading spirit of the Masons and Shriners
orders of the "Show Me" citv.
Lee D. Balsley.
June 28, 1913
MOTOGRAPHY
485
Of Interest to the Trade
These Bought Kalem's Biblical Masterpiece
The General Film Company announces the following
list of purchasers of state rights for Kalem's Biblical
masterpiece, "From the Manger to the Cross" in five
reels :
Arizona and California: W. H. Chine, 829 Van
Nuys Bldg.. Los Angeles. Cal. Colorado, Idaho, Iowa,
Kansas, Missouri, Montana, Nebraska, Nevada, New
Mexico, Oklahoma. North Dakota. South Dakota, Utah
and Wyoming: A. D. Flinton, 205 Commerce Bldg.,
Kansas City, Mo. Florida and Georgia : Montgomery
Amusement Company, Jacksonville, Fla. Illinois : W.
W. Watts, 216 S. 5th St., Springfield, 111. Indiana and
Michigan : Indiana & Michigan Amusement Company,
114 S. Michigan Street, South Bend, Ind. Wisconsin:
Hall & Lynch, (E. R. Lynch), 112 N. La Salle St., Chi-
cago, 111. ; Maine, New Hampshire and Vermont : S. B.
Leland, Montpelier, Vt. ; Oregon : Globe Theater Com-
pany, Portland, Ore.; Texas: E. T. Peter, 1709 Main
Street, Dallas, Texas. Washington : Clemmer Theater
Company. Seattle, Wash. Minnesota: Paul Brown, c|o
Rogers Hotel, Minneapolis, Minn. North Carolina, Ten-
nessee and Virginia : S. A. Lynch, Atlanta, Ga. Ala-
bama and South Carolina : Montgomery Feature Film
Company, Jacksonville, Fla. District of -Columbia : A.
Brylawski, Cosmos Theater Bldg., Washington, D. C.
Kentucky: Gem Theater Company (Mr. Sherman Arn
and T. D. Buckley), Maysville, Ky. Louisiana: Gen-
eral Film Company, 840 Union Street, New Orleans, La.
O. F. Doud Joins George Kleine
Omer F. Doud, for the past two years connected in
various capacities with The American Film Manufactur-
ing Company, severed connection with that company last
week to assume new duties as publicity manager for
George Kleine. Mr. Doud is
well known to the trade.
While in the American's em-
ploy he had charge of public-
ity, was editor-in-chief of the
scenario department and han-
dled much other work. He is
an ex-newspaper man and
brings a splendid reputation
and experience to George
Kleine. Mr. Doud was a re-
porter on the Chicago Inter
Ocean, Kansas City Star and
St. Louis Republic and also
edited several trade papers,
including The American Flo-
rist. Chicago Banker and Ag-
ricultural Advertising, pub-
lished by the Taylor-Critch-
field Advertising Co. In ad-
dition to representing Eastern
papers in Chicago, in an advertising way, Mr. Doud
opened and had charge of The Sherman & Bryan Ad-
vertising Agency, was a copy-writer for that concern,
and was a constant and well known contributor to such
advertising periodicals as Printers' Ink and Judicious
Advertising.
Many Edison Installations
The following Edison installations were made during
the week ending May 31 : Three Underwriters' Model
"B" to Kleine Optical Co. ; two Improved Exhibitions to
Kansas City Mch. & Supply Co. ; one Exhibition to R.
F. Long, Doland, S. D., through General Film Co., Min-
neapolis, Minn. ; one Underwriters' Model "B" to Gen-
eral Film Co., St. Louis, Mo.; one Underwriters' 1913
Model to Mutual Film Corporation, Spokane; two 1913
Models to Mutual Film Corporation, Grand Opera House,
8th Ave. and 23rd St., New York City; two 1913 Models
to General Film Co., Omaha, Neb. ; one Underwriters'
Chicago Model to General Film Co., Minneapolis; one
Improved Exhibition Model to Elite Theater, Mansfield,
La., through Wagner Film Amusement Co., Shreveport;
one Model "B" to Present and Caesar, Chippewa Falls,
Wis., through General Film Co., Minneapolis, Minn. ; one
Exhibition to Mutual Film Corporation, Cincinnati; two
1913 Models to Kansas City Mach. & Supply Co.; one
Model "B" to Mutual Film Corporation, Atlanta; two
1913 Models to Kleine Optical Co. ; one Underwriters'
Chicago Model to George Breck ; one 1913 Model to
Kansas City Machine & Supply Co.
Feature Film Purchasers
Arthur Wirtenberg of Schenectady, who is showing
"The Great Aerial Disaster" in New York State, is nego-
tiating for "The Shadow of Evil." The Attractive Fea-
ture Film Exchange of Philadelphia have begun well
with "The Dread of Doom" and have also obtained many
bookings on "The Fatal Grotto." The Monarch Feature
Film Company of Kansas City, Mo., will show "The
Dread of Doom" in their territory. E. T. Peter of Dallas,
Texas, has purchased another print of "The Great Aer-
ial Disaster." A. Bradley of Chicago has purchased
rights on "The Great Aerial Disaster" for Wisconsin
and nearby states. Sol Lesser, of the Golden Gate Film
Exchange, while in New York, renewed his standing
order with Itala for all of their features. W. B. Schram
of Detroit, Mich., encouraged by his success with "The
Palace of Flames," has purchased rights for Michigan
on "The Great Aerial Disaster." L. R. Frank, one time
with the Gaumont Co., now with the Sedig Feature
Film Company, is negotiating for the purchase of
"Tigris" rights in Minnesota, North and South Da-
kota, and C. Lalumiere of Montreal will rent Itala's
The Shadow of Evil" in Canada.
Pathe's Weekly Twice a "Week
Licensed exhibitors throughout the country will be
interested to learn that Pathe's Weekly will be issued
twice a week in the future, beginning with the week of
June 23. There will be a Weekly on Monday, June 23,
and another on Thursday, June 26, although this double
service will not be inaugurated west of the Mississippi
until the week of June 30. The St. Louis exchange will
be considered in the eastern territory because of the fast
and frequent train facilities thereto. After the first
week, of course, all exhibitors will be able to get the
two Pathe's Weeklies every week. Pathe Freres have in-
stalled a printing plant of their own and will supply the
exhibitors with posters for the Weeklies, direct. These
posters will be mailed on a three months' subscription
486
MOTOGRAPHY
Vol. IX, No. 13
basis and the posters will be based on a sliding scale,
varying according to quantity. This new poster service
applies only to the two Weeklies. The A. B. C. Company
will continue to make the posters for five Patheplays
every week. The addition of a second Weekly reel will
increase the output of Pathe Freres to seven reels per
week, exclusive of multiple reel subjects. Besides giv-
ing the exhibitors an opportunity to book two Weeklies
every week, Pathe Freres say, the new arrangement is
particularly attractive for all concerned because the news
of the world in both reels will be three and four days
earlier than was previously possible. To successfully
carry out this new policy the staff of cameramen em-
ployed on the Weekly has been doubled and now com-
prises some twenty-four expert photographers so that
there will be no dearth of interesting items for both
Weeklies.
Mary Garden 'Writes for Doll
Mary Garden has
written for an "Alkali" Ike
doll. Not the Mary Gar-
den we all know, but never-
theless, a Mary Garden.
The Mary Garden we
speak of is a little girl, sev-
en years old, who lives in
Bangor, Me. Her mother
read her a story in one of
the Bangor papers, in
which the child learned that
the Essanay Film Manu-
facturing Company was
selling "Alkali" Ike dolls
on horses. Mary became
very enthusiastic and wrote
to the film company, ex-
plaining that she had saved
sixty-three cents and would
like them to send her an
"Alkali" Ike doll. The
company has forwarded to
this little photoplay fan a
doll mounted on a horse, gratis. The Essanay Company
hope that Mary will receive as much enjoyment out of
the doll, as they did in receiving her beautiful letter.
George Kleine Now in Europe
Mr. George Kleine, the world's greatest importer of
pictures, is now in Europe where he is arranging for a
line of foreign subjects which, it is hinted, will make
"Quo Vadis?" seem one of the many, instead of being
the present "last word" in Motion Pictures. Mr. Klejne's
plans are a secret and no advance information as to
names of the subjects he expects to release this year is
obtainable, but his intimates are well enough informed
to expect some tremendous things from the present trip
to Europe.
Kinemacolor Elects Officers
At a meeting of the Kinemacolor Company of Amer-
ica, held on June 12, Henry J. Brock was made chairman
of the board of directors, and A. P. Barnard, at present
chairman of the executive committee, was elected presi-
dent and general manager. W. H. Hickey, general man-
ager of the Natural Color Kinematograph Company of
London and London representative of the Kinemacolor
Company of America, who has been in New York for the
past four weeks, will shortly return to London. Plans
which have been for some time under way for the for-
mation of a large Kinemacolor producing company, which
shall produce Kinemacolor pictures for Kinemacolor
companies throughout the world, have been practically
consummated, and Mr. Brock will return with Mr.
Hickey to London in the interests of this project.
Lieblers and Vitagraph Unite
A deal has been consummated whereby the Vita-
graph Company of America and the Liebler firm, for a
long time important theatrical producers, will join forces
to make motion pictures. The new company will be in-
corporated as the Liebler-Vitagraph Company and will
start work at the Vitagraph studio in Flatbush as soon
as practicable. This deal is an important one both in the
moving picture and theatrical field. It combines the
skill, resources and experience of one of the world's
largest film companies, a firm which is a member of the
Motion Picture Patents Company, and one of the fore-
most producing concerns of America. Neither company
will abandon its present work. The Vitagraph Company
will keep right on making pictures and releasing them
through the General Film Company and the Lieblers will
keep right on in the theatrical business. But all plays
controlled by the Lieblers which are thought suitable for
motion picture purposes will be turned over to the Vita-
graph Company for production as soon as it is felt that
the gross income from the play in question will not be
lessened by putting it in motion pictures.
Among the first plays to be filed will be "The Chris-
tian," in which Viola Allen is expected to take part. "The
Daughter of Heaven" and "Joseph and His Brethren"
are also well adapted for motion picture work, but the
last mentioned attraction will probably be presented on
the stage next year and not be turned over for pictures
so soon.
The length of the films it is understood will depend
on the need of each play produced. They will probably
run from two to six reels. It has not yet been decided
whether the coming films will be released through the
General Film Company, sold on a special basis under
a licensing agreement with the Motion Picture Patents
Company, or put out as a theatrical attraction and booked
as such.
Some New Wrinkles
Two of the companies releasing through the Mutual
program present some innovations in their latest releases
which, if judged by the enthusiasm with which the ex-
hibitors greeted them at the first showing in Chicago,
are going to be exceedingly popular both with exhibitors
and with the public. Thanhouser's "Snare of Fate"
opens with a view of James Cruze and Florence LaBadie
as they look in real life which dissolves into a view of
these tAvo popular players made up for the roles they
are to play in the following two-reel subject. Reliance
adopts a new sort of sub-titles in their "Half a Chance"
and as the play goes along and new characters are intro-
duced we are informed through short sub-titles just who
the new people are and the names of the players who
enact them. Both of these innovations caused much com-
ment among the exhibitors and all of it seemed to be of
a favorable sort. Doubtless the manufacturers will con-
tinue the new sort of announcements and sub-titles, as
a regular thing, when they discover how popular it is.
'une 28, 1913
MOTOGRAPHY
487
Brevities of the Business
PERSONAL NOTES.
SIX years ago Frederick A. Keller was spending his evenings
calling on the motion picture exhibitors of St. Louis, Mis-
souri, and his days as office manager for the O. T. Crawford
Film Exchange Company, but all that hard work he put in was
not wasted, for on May 12 of
this year he opened the St.
Louis office of the Mutual Film
Corporation as its general man-
ager. Fred was born on April
12, 1877, and leaving grammar
school at twelve years of age,
became office boy of the Con-
tinental Printing Company.
The ambition that was even
then stirring within him led
him to take a business course
at night school, and four years
later he might have been found
as a city salesman for the Fred-
erick Printing and Stationery
Co. Later he went into adver-
tising work and established a
highly successful business. The
position of manager of the
Crawford Film Exchange fol-
lowed some few years later
and after making that concern
one of the most profitable and Fred'k A' Keller'
largest in the United States, he was appointed general man-
ager of the company, and later resigned to act as director
of the various O. T. Crawford theatrical enterprises. The
many personal friends and acquaintances whom he made in those
days are today numbered among the customers of the corporation
with which he is now identified, and he daily goes on adding
new ones. Mr. Keller is a member of the Masonic Order, West
Gate Lodge No. 445. also of the Royal Arcanum, Chevalier
Council, and one of the most popular exchangemen of the country.
H. Z. Levine, on his "boosting Solax" trip west, spent a
day in Chicago and found time to pay a visit to Motography'.-
editors.
C. Lang Cobb, Jr., and Agnes Egan Cobb postal regard'
from Boston, together with the information that they are tour-
ing in their new Reo car.
E. M. Roskam, who ever has something new to relate about
the Commercial Motion Pictures Company, dropped in Saturday
from New York with a bona fide invitation for Motography's
advertising manager to share a box with him at the Cubs' game.
Carl Ray, picture king of Muskegon, Mich., has disposed
of his five large picture houses in Muskegon and will betake
himself to his favorite state, that of California, where he already
has large real estate interests. Mr. Ray says it is possible that
he may enter into the manufacture of picture films in Los
Angeles — but more of that later. The Paul J. Schlossman Com-
pany was the purchaser of Mr. Ray's Amuse, Elite and Majestic
theaters in Muskegon, and the Lyruc and Orpheum houses were
disposed of to Joseph A. Richter.
John Steppling's avoirdupois and big smile will be missed
by his friends at the Essanay studio, for John has taken him-
self and his talents to the Famous Players' studio, where he has
started work in the company, supporting Mrs. Fiske in "Tess
of the Durbervilles."
Edward Lux, formerly of the Universal Exchange at Wash-
ington, has taken full charge of the Buckeye Film Exchange at
Cincinnati.
Agnes Egan Cobb has taken exclusive charge of the Union
Features department at the Eclair office and will distribute
features far and near.
Herbert Blache is now in partnership with his wife, Madame
Alice Blache, and the Solax Company will hereafter have the
benefit of their joint guidance, under which they expect to re-
lease one feature a week instead of one a month.
W. L. Roubert of the Vitascope Company received a rous-
ing welcome from his son Matty of the Powers Company when
he arrived recently at_ the Pacific Coast studio where Roubert
senior went on a business trip.
Frank M. Wiltermood, a member of the Universal's scenario
department, probably has solved the problem of harmless ammu-
nition, which at the same time will appear realistic in motion
pictures.
Baby Earlv. one of the two famous "Powers" Kids, who is
acting under Director Harry C. Matthews at the Powers Photo
Plays, Inc., studios at Hollywood, has always been with Mr.
Matthews. She is six years old and has been playacting for
three years. The other day Early was inattentive and Mr.
Matthews told her to imagine she was sweeping a room and
had to throw a broom down and run right into the scene so as
to be natural. Early looked around and cried: 'Well, why don't
you get me a broom. I can't work without atmosphere."
W. Hanson Durham, the scenario editor at the Western
Vitagraph, has sufficiently recovered from his accident to go
to the studios each day. He has not the full use of his leg yet,'
and will long remember his first visit to the Photoplayers Club,
for it was whilst entering the door to the club that he stumbled
and fell.
Douglas Cooper celebrated his taking charge of the Canadian
Kinemacolor offices by signing contracts for exclusive service
with the Imperial theater, Montreal, and the new house in St.
Johns, N. B., to open on July 1.
Walter Parr, a capable member of Director James Kirk-
wood's Victor Company, and brother of Albert Parr, the well-
known tenor, died after a two weeks' illness. Mr. Parr was a
large, athletic man, and the picture of robust health. When he
caught a slight cold during the recent filming of "The Kid-
napped Train," at Dover, N. J., he laughed at the solicitude of
his friends. However, pneumonia developed and despite the
efforts of the attending physicians he died. His loss will be
keenly regretted by a host of friends.
Glen White has returned to America after a six months'
sojourn in Europe. He comes back to the Universal banner
under contract to head the new Eastern Powers Stock Com-
pany, which will have its headquarters at the Coytesville studios.
Mr. White has a great following among patrons of the silent
drama, gained through his excellent work as leading man of the
Gem brand.
Miss Clara Joel, general understudy during the past season
for "Within the Law," and who will assume the leading role for
one of the touring companies of that production in the fall,
signed a contract with the Northern American Feature Film
Company whereby she is to be featured in pictures by that
concern during the summer.
Miss Constance Crawley, who is taking the leads with
Director J. Farrell Macdonald's company at Hollywood, is a
great lover of the water. She was born and brought up at
Chiswick on the river Thames and spent much of her time in
either a boat or a punt. Miss Crawley's mother still lives at
Chiswick and Miss Crawley runs over every once in a while to
see her. At one time Miss Crawley and seven other young ladies
formed a "ladies' eight" and used to go out on the river regu-
larly. They never raced; just did it for a pastime.
Miss Leah Baird has resigned from her position as leading
woman with the Vitagraph Company, to join King Baggot of
the Imp Company in Europe, where she will play opposite Mr.
Baggot in a series of pictures which will be produced in Eng-
land. This series will take up in detail much of the important
history of the British Empire, and will be staged in localities
where salient events of the English dynasty of the last two
hundred years actually occurred. Herbert Brenon will direct
the taking of the pictures.
Jay Morley, who is acting under the direction of J. Farrell
Macdonald at the Powers Photo Plays, Inc., was with Sells
Fapaugh for one season, and says that he can never get away
from the curious lure of the circus, the ever changing scene and
the variety of it all. Mr. Morley has put in a lot of time with
stock companies and has appeared in vaudeville.
Stuart Holmes has been added to the Ramo stock company.
Mr. Holmes comes from the Kalem Company and will be seen to
his best advantage in two forthcoming Ramo releases.
Harold Lockwood, who played the leading role in "The
Capture of Aguinaldo," has been nicknamed "the Claude Eclair
of the Universal forces." In the scene where he leads the
American scouts up the rocky canyon sides he looks just like
the hero pursued by Desperate Desmond.
Miss Rose Evans, who has become well known through her
many appearances in Selig Photodramas, is now a regular mem-
ber of the company playing character parts.
Mack Sennett handles his new "smoke buggy" like he
would a refractory "extra." The other day the blamed thing
refused to move and Mack spoke kind and gentle words to it
such as he is wont to_ whisper in the ear of one of his supers
when they display particularly rare intelligence.
William H. Hickey, European representative of the Kine-
macolor companies of America and Canada, and general manager
of the Natural Color Kinematograph Co., Ltd., of England, is
488
MOTOGRAPHY
Vol. IX, No. 13
in New York arranging a schedule of productions for the allied
corporations. .
"Doctor" Robert Leonard, the popular leading man oi Di-
rector Otis Turner's company, is showing his versatility and
administering first aid to the injured. When a candidate for the
Universal team, which is being formed to enter the Southern
California League, is injured he is rushed to "Doctor" Leonard's
dressing-room hospital where the "Doctor" and his assistant,
Harry Weil, rub the bruised spot with alcohol and cover the
bruises with benzoine.
E. J. Martin, scenic artist of the Pilot Company, is now
prepared for summer sport. He has just bought a 22 ft. 5 H. P.
motorboat. Some class, eh?
Courtney Foote of the Vitagraph Company was declared to
be the handsomest and most competent actor seen on the screen
by the students of the Allen Academy of Arts, Hartford, Conn.
A vote was taken and Mr. Foote was a winner by 806 out of
1.007 votes.
Ned Burton, formerly a member of the vaudeville team,
Burton and Brookes, has become a member of the Pathe com-
pany and will play a line of comedy character parts with that
stock company.
Tames C. Young, Clara Kimball Young, Maurice Costello,
Georgia Maurice (who is Mrs. Costello off the screen), William
V. Ranous, the director, Mrs. Ranous, Steve Smith, business
manager, Harry Keepers, camera man. Gene Mullin, scenario
expert, and the Costello children are home again after a six
months' tour of foreign ports where a number of films were
procured. . A longer stay was planned on, but a telegram sent
from the home office called them home and back to Flatbush they
came.
C. Lang Cobb, Jr., is the busy man here, there and every-
where throughout New York. He can't get around town quickly
enough so he rides — rides in a big red car and gets the orders.
Larry McGill of Reliance has returned from a short trip
to Mauch Chunk, Pa., which he calls "The Switzerland of
America." Larry found some beautiful scenery and succeeded
in getting a coal mine explosion that was realistic enough even
to satisfy his leading man, Alan Hale.
Anna Little and Snowball, the beautiful white horse of the
Broncho and Kay-Bee outfit, are inseparable. Her command
over the animal is really remarkable and they make a pretty
picture, appearing in practically all the Kay-Bee and Broncho
pictures.
L. S. Williams, for twenty-three years photographic expert
of the United States Department of Agriculture in Washington,
D. C, is now head of the Universal new educational department.
Mr. Williams will continue to make his headquarters in Wash-
ington, where he is assured the fullest co-operation of the
United States Government in his new work.
H. Kohler, the man in charge of the laboratories of the
Powers Photo Plays, Inc., is very proud of his department. He
has superintended its fitting and states that he has everything
that man could wish for in order to insure successful work.
Mr. Kohler worked for four years for Seligs and was with the
Universal in the East for one year, and has served with the
Reliance and the Bison, all of which experience has fitted him
for his position.
D. F. Whitcomb, scenario writer, has left the Universal to
write as a free lance. Mr. Whitcomb has turned out excellent
work for the Universal and also for Lubin, and he carries the
good wishes of his companions with him.
Joe Burke, the comedian with Director Harry C. Matthews,
is an old vaudeville actor and is known wherever sketches have
been presented. Everyone who sees the well-known "Powers
Kid" pictures knows Joe Burke, who is generally a forlorn father
or a misjudged man of some sort. Joe is a great story teller
and can keep a company going all by himself.
J. W. Hartman, who has been playing in an all star cast
at the Lyric theater, New York, in "Arizona," is back again
with the Pilot Company.
Theresina D'Angelo, who has the leading woman's part in
"The Fatal Grotto," is a new member of the Itala company.
Issuance of two Itala films instead of one a month has caused
the Turin Company to enlarge its company. Forthcoming fea-
tures will show a number of new faces and conspicuous by her
beauty and dramatic merit as well as by her unfamiliarity to the
screen is Signorina D'Angelo, who has one of the proudest
names in Italy. Her family owns one of the most beautiful
villas on Lake Como. The signorina is independently wealthy
and gives to charity the money she earns in motion picture work.
George A. Magie, salesman for the Pilot Company, is making
a trip to different exchanges throughout Pennsylvania and
District of Columbia, boosting the "Pilot" brand.
Joseph Singleton, author, lecturer, traveler, actor and all
around good fellow, is at present doing character leads for
Director Otis Turner in pictures of the famous Rex brand. Mr.
Singleton's first appearance in moving pictures was in the role
of the American engineer in the "Tarantula," with Miss Jennie
MacPherson. Mr. Singleton before joining the ranks of the
moving picture stars was well known on the stage in England,
Australia and America.
Miss Myrtle Stedman, the leading woman of the Selig
Colorado-Arizona Company, recently sang at the funeral of a
well-known and much-liked. young miner, who had been crushed
to death in one of the mines near Prescott, Ariz. Some time
previous to this Miss Stedman, who possesses a rare contralto
voice, obliged the management of the mine by singing in the
open air to the employees of the mine. The miners were so
pleased that they shortly afterward presented her with a unique
present. When the young miner was crushed in a shaft slide
in the mine he was told that he would not be able to live more
than forty-eight hours. He then sent for Miss Stedman and
asked her if she would sing at his funeral.
Douglas Cooper has been appointed manager of the Kine-
macolor Company of Canada, Ltd., with general offices at 94
Bay street, Toronto, Ont. Although a native of Ogdensburg,
N. Y., Mr. Cooper is a pioneer picture man in Canada, having
opened the first Laemmle film exchange in Montreal, and after-
wards representing George Kleine. He was manager of the
Ontario district for the General Film Company, and afterwards
handled Kinetograph interests in Toronto. Mr. Cooper has-been
suppliyng Canada with pictures since 1898 and believes that
Kinemacolor will be the cap sheaf to his harvest in the Dominion.
Miss Lillie Barrington of the Pilot Company, who sailed
for a four months' tour of Europe, returned to America on the
17th of June, on account of the sudden death in Berlin of her
traveling companion, Mrs. W. A. Wright, of 12 West Seventy-
first street, New York City.
Edwin Wallock, an actor of long experience and wide ac-
quaintance, had been engaged to play leading heavy roles and
character parts in Selig's Chicago company.
Frank D. Ormstom, head scenic artist of the Universal,
and his assistants recently scored a big success in depicting the
body of a drowned man floating in the main sewer of a big city.
A hole was dug in the ground and covered over with a darkened
arch, the top of which was painted to represent the bricks of a
sewer. A manhole in the arch allowed sunlight to be reflected
inside from a mirror. The ground-hole was filled with water,
the actor simulated a floating body and the sunlight was thrown
on his face, making a highly realistic picture.
Miss Alma Russel and Miss Harriet Notter are two recent
additions to the Selig Company. Miss Notter will appear to
good advantage in several new pictures in which she essays the
ingenue parts.
Lottie Pickford, now with the Pilot Company, decided to
spend Decoration Day automobiling through the country. Ac-
cording to her schedule she was to be at home again at 11 p. m.
of that day. A "blowout," however, changed this schedule just
twelve hours and Miss Pickford barely managed to get her
makeup on for work at 1 p. m.
J. H. Brinnell of B. B. Pictures, Glasgow, Scotland, came
to America to learn American methods of the film game. He is
in Chicago at present, where he has made an inspection of the
loop picture theaters and found them model specimens of their
kind.
Supply Sales Dept., Kleine Optical Co. F. I.. Hough, Mgr.
June 28, 1913
MOTOGRAPHY
489
Complete Record of Current Films
Believing the classification of film pictures by the nature of their subjects to be of greater importance to the exhibitor than classification by maker,
Motography has adopted this style in listing current films. Exhibitors are uiged to make use of this convenient tabulation in making up their program*.
Films will be listed us long in advance of their release dates as possible. Film manufacturers are requested to send us their bulletins as early as possible.
Reasonable care is used, and the publishers cannot be responsible for errors. Synopses of current films are not printed in Motography as they may be
obtained of the manufacturers.
LICENSED
Date
6-7
6-7
6-7
6-7
6-7
6-7
6-9
6-9
6-9
6-10
6-10
6-10
6-10
6-11
6-11
6-11
6-12
6-12
6-13
6-13
6-13
6-13
6-13
6-14
6-14
6-16
6-16
6-16
6-16
6-16
6-17
5-17
6-18
6-18
6-18
6-18
6-18
6-19
6-19
6-19
6-19
6-20
6-20
6-20
6
6
6
6
6
6
6
6
6
6-23
6-23
6-23
6-23
6-24
6-24
6-24
6-25
6-25
6-25
6-26
6-26
6-26
6-26
6-26
6-27
6-27
6-27
6-27
6-27
6-28
6-28
6-28
6-28
6-28
6-28
6-9
6-9
6-9
6-9
6-9
6-10
6-10
6-11
6-11
DRAMA.
Xitle Maker
A Timely Interception Biograph
The Ring ■ Cines
When John Bolt Slept Edison
Broncho Billy's Capture Essanay
The Tragedy of Big Eagle Mine Kalem
The Great Pearl Lubin
The Final Judgment Essanay
The Legend of Lover's Leap Lubm
The Bachelor's Baby Vitagraph
Two Little Kittens Edison
The Shadowgraph Message Essanay
Violet Dare, Detective Lubin
Dad's Little Girl .Selig
The Pawnbroker's Daughter Kalem
The Rose of May Selig
His House in Order Vitagraph
The Well Biograph
The Stolen Chain Melies
Brought to Bay Kalem
Papita's Destiny Lubm
The Governor's Double Patheplay
The Jealousy of Miguel and Isabella Selig
An Infernal Tangle Vitagraph
Death's Marathon Biograph
Apples of Sodom Edison
The Ranch Fued Essanay
The Gypsy's Brand Kalem
The Wine of Madness Lubm
Alone in the Jungle Selig
The Switch Tower Biograph
The Rival Engineers Cines
The Wheel of Death Kalem
When Lillian Was Little Red Riding Hood Selig
The Silver Cigarette Case Vitagraph
The Twin Brothers Edison
Out of the Beast a Man was Born Lubin
The Attorney for the Defense Kalem
The Weaker Mind Lubin
Sacrifice Patheplay
Hilton's Jewels Selig
Drop of Blood Vitagraph
Rustler's Spur Essanay
A Father's Love Lubin
The Lure of the Sacred Pearl Melie's
The Outlaw's Love Patheplay
The Evil Thereof Edison
A Brother's Love Essanay
Fear Essanay
His Redemption Lubin
The Fighting Lieutenant Selig
The Mothering Heart Biograph
Mary Stuart Edison
Love's Old Sweet Song Edison
On the Brink of Ruin , Kalem
From Ignorance to Light Lubin
The Jury's Verdict Patheplav
'Arriet's Baby Vitagraph
The Detective's Trap Kalem
Rustic Hearts Lubin
The Lion's Bride Vitagraph
T^e Snare of Fate Vitagraph
Where Shore and Water Meet Edison
Across the Rio Grande Essanay
The Marshal's Capture Selig
Easy Payments Essanay
The Struggle Kalem
The Hunger of the Heart Patheplav
In Diplomatic Circles Biograph
The Other Woman Lubin
The Sultan's Dagger Melies
When Men Forget Selig
Her Sweetest Memory Vitagraph
A Villain Unmasked Eclipse
Fortune Smiles Edison
Witness " A-3 Center" Essanay
The Cloak of Guilt Kalem
A Western Romance Selig
Her Mother's Oath Biograph
Broncho Billy's Strategy Essanay
Out of the Jaw's of Death Kalem
I ove Test Lubin
Second Shot Patheplay
Trapper's Mistake Patheplay
COMEDY.
The
Mrs.
The
The
The
The
The
Red Hicks Defies the World Biograph
Othello in Jonesville Edison
The Rube and the Boob Kalem
The Scheme of Shiftless Sam Smith Kalem
Sweeney and the Fairy Selig
Max's First Job Pathe
Cutey Tries Reporting Vitagraph
Beau Crummel and His Bride Edison
The Star Essanay
Length
1,000
750
1,000
1,000
2,000
1,000
2,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
500
1,000
1,000
2,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
2,000
1,000
2,000
800
500
1,000
1,000
1,000
1,000
2,000
1,000
1,000
1,000
1,000
1,000
500
1,000
1,000
2,000
1,000
1,000
500
1,000
3,000
1,000
1,000
1.000
1,000
1,000
1,000
1.000
1,000
3,000
980
1,000
1,000
1,000
2,000
1,000
1,000
1,000
1,000
1,000
1,000
2,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
1,000
2.000
500
1,000
500
500
1,000
700
1,000
1,000
1,000
Date. Title Maker. Length.
6-11 His Lordship's Romance Patheplay 1,000
6-11 A Regiment of Two Vitagraph 2,000
6-12 Cinderella's Gloves Essanay 1,000
6-12 Nearly in Mourning Lubm 500
6-12 The Professor's Predicament Lubin 500
6-12 The Artist's Dream Patheplay 1,000
6-12 The Fate of Elizabeth Selig 500
6-12 His Tired Uncle Vitagraph 500
6-12 Capers of Cupid Vitagraph 500
6-13 The Mysterious Stranger Essanay 1,000
6-14 For Mayor— Bess Smith Patheplay 1,000
6-14 Does Advertising Pay Vitagraph 1,000
6-16 Her Roval Highness Edison 1,000
6-16 Bob Builds a Boat Lubin 400
6-16 Silance for Silance Lubin 600
6-17 Annonymous Love Essanay 1,000
6-17 Taming a Tenderfoot Selig 1,000
6-17 The Coming of Gretchen Vitagraph 1,000
6-18 He Would Fix Things Edison 650
6-1S Hilda Wakes Essanay 1,000
6-19 The Rise and Fall of McDoo Biograph 500
6-19 Almost a Wild Man Biograph 500
6-19 The Gold Brick Selig 1,000
6-19 Bunny's Dilemma Vitagraph 1,000
6-20 Cupid's Lariet Kalem 500
6-20 Smoked to a Finish Kalem 500
6-20 Delaved Proposal Vitagraph 500
6-21 Alkali Ike and the Hypnotist Essanay 1,000
6-23 A Compromising Complication Biograph 500
6-23 Mister Jefferson Green Biograph 500
6-23 A Taste of His Own Medicine Edison 700
6-24 At the Telephone Lubin 400
6-24 The Zulu King Lubin 600
6-24 No Sweets Vitagraph 1 ,000
6-25 How Did it Finish ? Edison 980
6-25 The Knight of Cyclone Gulch Kalem 500
6-25 Curing Her Extravagance Kalem 500
6-25 Papa's Dream Selig 500
6-25 Tack's Chrvsanthemum Vitagraph 1,000
6-26 The Divided House Essanay 1,000
6-26 Clarence the Cowboy Patheplay 1,000
6-27 Bob Buys An Auto Lubin 400
6-27 The Beaut from Butte Lubin 600
6-27 One Good Joke Deserves Another Vitagraph 1,000
6-28 Circumstances Make Heroes Edison 600
6-28 One Over on Cutey Vitagraph 870
6-28 Cloisonne Ware Vitagraph 1 30
EDUCATIONAL.
6-6 Birds and Animals of Brazil Patheplay 500
6-6 Manila Normal and Public Schools Selig 500
6-12 The Birth of a Butterfly Selig 500
6-19 Diving for Pearl Ovsters at Thursday Islands Melies 500
6-20 The Burial of a Rich Chinaman Patheplay 500
6-20' Fancy Poultry - Selig 500
6-20 Yokohama Fire Department Vitagraph 500
6-24 The Carrier Pigeons Patheplay 700
6-24 How a Blossom Opens Patheplav 300
6-27 The Spotted Elephant Hawk Moth Patheplay 600
-6-28 The Fly Edison 400
SCENIC.
5-29 Scenes in Manila Selig 500
5-31 Interesting Scenes Abroad Cines 1,000
6-16 Shooting the Rapids on the Pagsanjan River in the
Philippine Islands Selig 500
6-17 A Tour Through Touraine Patheplay 700
6-17 Rhodes (Asiatic Turkey) Patheplay 300
6-20 Antibes (France") and its Environs Patheplay 250
6-20 Monuments and Cascades of Rome Patheplay 250
6-23 The Pvramids and the Sphinx, Egypt Edison 300
6-25 The City cf Gold Selig 500
6-27 Athens Patheplay 400
TOPICAL.
6-16 Pathe's Weekly No. 25 Patheplay 1,000
6-16 Governor Johnson of California Kalem 200
6-18 Civic Parade, New York City Edison 350
6-23 Pathe's Weekly No. 26 Patheplay 1,000
6-23 The Kentuckv Derby at Churchill Downs Selig 1,000
6-26 Pathe's Weekly No. 27 Patheplay 1,000
DAILY LICENSED RELEASES
MONDAY: Biograph, Edison, Kalem, Lubin, Pathe, Selig, Vita-
graph.
TUESDAY: Edison, Essanay, Cines-Kleine, Lubin, Pathe, Selig,
Vitagraph.
WEDNESDAY: Edison, Essanay, Kalem, Eclipse-Kleine, Pathe,
Selig, Vitagraph.
THURSDAY: Biograph, Essanay, Lubin, Melies, Pathe, Selig,
Vitagraph.
FRIDAY: Edison, Essanay, Kalem, Lubin, Pathe, Selig, Vita-
graph.
SATURDAY: Edison, Essanay, Cines-Kleine, Kalem, Lubin,
Pathe, Vitagraph.
490
MOTOGRAPHY
Vol. IX, No. 13
INDEPENDENT
Date
6-16
6-16
6-16
6-16
6-16
6-17
6-17
6-17
6-18
6-18
6-18
6-18
6-18
6-19
6-19
6-19
6-19
6-19
6-19
6-20
6-20
6-20
6-20
6-20
6-20
6-21
6-21
6-21
6-21
6-21
6-22
6-22
6-23
6-23
6-23
6-23
6-23
6-23
6-24
6-24
6-24
6-24
6-24
6-25
6-25
6-25
6-25
6-26
6-26
6-26
6-27
6-27
6-27
6-27
6-27
6-28
6-28
6-2S
6-28
6-28
6-15
6-15
6-15
6-15
6-16
6-16
6-17
6-17
6-18
6-18
6-1 9
6-19
6-19
6-20
6-20
6-21
6-21
6-22
6-22
6-22
6-22
6-23
6-23
6-25
6-25
6-25
6-25
DRAMA.
Title Maker
The Soul of a Thief American
Annie Laurie Reliance
The Ghost of Seaview Manor Dragon
Without Reward Nestor
Silver Threads Gem
The Snare of Fate Thanhouser
In Love and War Bison
A Call from Home Crystal
From the Shadows Broncho
The Dream Home Reliance
The Call of the Road Ramo
Apache Love Nestor
Fortune's Pet Eclair
The Great Unwashed Gaumont
A Child of the Hills Pilot
Unwritten Law of the West American
The Sorrows of Israel Imp
The Scar Rex
A Story of the Mexican Border Frontier
The Failure of Success Kay Bee
Cast Thy Bread Upon the Waters Lux
Strangers from Nowhere Solax
The Banker's Sons Majestic
Behind the Times Powers
His Daughter Victor
The Rosary Reliance
Marine Law American
Love's Shadow Ambrosio
Women and War Bison
Shanghaied Great Northern
The Boy from the East Eclair
The Stolen Idol Rex
A Husband's Mistake American
The House of Pretense Reliance
A Sister's Devotion Dragon
His Mother's Love Imp
Poleon, the Trapper Nestor
Every Inch a Hero Gem
King Rene's Daughter Thanhouser
The Politician Majestic
The Demon of Destruction Gaumont
The Guerrilla Menace Bison
Out of the Past Crystal
The Transgressor Broncho
The Worth of Man Ramo
Partners _ Nestor
The Badge of Policeman O'Roon Eclair
The Angel of Death Imp
The Burden Bearer Rex
The Squaw Man's Reward Frontier
The Seal of Silence Kay Bee
The Lost Combination Thanhouser
The Message to Heaven Solax
The Spell ' Powers
Brother and Sister '. Victor
The Tangled Web Reliance
Dead Men's Shoes American
The Exploits of the Randin Gang Ambrosio
Dora Majestic
The Flying Circus Great Northern
COMEDY.
An Expensive Drink Crystal
Her Joke on Belmont Crystal
He Slept Well Eclair
The Pretender Rex
The Jealousy of Jane Imp
The Waiter's Picnic Keystone
Beautiful Bismark Majestic
Mixed Pickles Gaumont
Friendly Neighbors Powers
Romeo in Pajamas Solax
The Tale of a Blackeye Keystone
Out and In Keystone
Willie Wants to Ride a Horse Mutual
Aladdin's Awakening Nestor
Dad's Surprise Nestor
Filmographic Cartoons by Lly Mayer Imp
When Lena Struck New Mexico Frontier
The Eye of Krishla Thanhouser
Sidetracked by Sister Majestic
The Smuggled Laces Crystal
Will Power Crystal
A Bandit Keystone
Peeping Pete Keystone
The Merry Widow Solax
The Dynamited Dog Solax
It Happened at the Beach Powers
The $10,000 Bride ' Powers
Length
2,000
1,000
1,000
1,000
1,000
2,000
2,000
1,000
2,000
1,000
1,000
1,000
2,000
1,000
1,000
1,000
3,000
1,000
1,00C
2,000
940
1,000
1,000
1,000
1,000
1,000
1,000
2,000
2.00C
994
500
1,000
1,000
1,000
1,000
1,000
1,003
1,000
2,000
1,000
2,000
2,000
1,000
2,000
1,000
1,000
2,000
1,000
1,000
1,000
2,000
1,000
1,000
2,000
1,000
3,000
1,000
2,000
1,000
3,000
500
500
500
1,000
1,000
1,000
1,000
500
1,000
1,000
500
500
500
500
500
1.000
1,000
1,000
1,000
500
500
500
500
500
500
500
500
DAILY "MUTUAL" RELEASES
(Independent.)
MONDAY : American, Keystone, Ramo.
TUESDAY: Majestic, Thanhouser.
WEDNESDAY: Broncho, Mutual Weekly, Reliance, Ramo.
THURSDAY : American, Mutual, Keystone, Pilot.
FRIDAY: Kay-Bee, Thanhouser.
SATURDAY : American, Reliance, Ambrosio.
SUNDAY: Majestic, Thanhouser.
Date.
6-26
6-26
6-26
6-26
6-26
6-27
6-27
6-27
6-28
6-28
6-28
6-28
6-29
6-29
6-12
6-14
6-15
6-17
6-19
6-26
6-22
6-18
6-18
6-18
6-25
6-25
6-25
Title. Maker. Length.
His Crooked Career Keystone 800
When the Cat's Away Gaumont 1,000
Funnicus Tries His Luck at Love - Mutual 500
Calamity Anne Takes a Trip American 1,000
An Innocent Conspiracy Pilot 1,000
Sammy, the Scorcher Lux 455
Oh! You i Unbreakable Doll Lux 495
Professional Jealousy Nestor 1,000
Cupid's Score .' Great Northern 1,007
Fun in Film by Hy Mayer Imp 500
Leo's Great Cure Imp 5 00
An Eastern Cyclone at Bluff Ranch Frontier 1,000
The Modern Lochinvar Thanhouser 1,000
One Round O'Brien Comes Back Majestic 1,000
EDUCATIONAL.
Gathering Tea in Indo-China Mutual 500
The War of the Beetles Imp 500
Scorpions Eclair 500
SCENIC.
By the Sad Sea Waves Gaumont 500
Through Greece Mutual 500
Through the Land of Sugar Cane Mutual 500
The South of India Eclair 500
TOPICAL.
Animated Weekly No. 67 Universal 1,000
Mutual Weekly No. 25 Mutual 1,000
Gaumont Weekly No. 66 Gaumont 1,000
Animated Weekly No. 68 Universal 1,000
Mutual Weekly No. 26 Mutual 1 ,000
Gaumont Weekly No. 67 Gaumont 1,000
KINEMACOLOR
DRAMA.
Local Color Kinemacolor
A Charitable Deception Kinemacolor
COMEDY.
An Awkward Mixup Kinemacolor
The Golliwog's Land Kinemacolor
A Narrow Escape Kinemacolor
EDUCATIONAL.
The Zoological Gardens at Rome Kinemacolor
SCENIC.
Coming Champions. Athletic Games of U. of Penn. . .Kinemacolor
Pennsy's Pageant. First Annual Athletic Pageant. . .Kinemacolor
2,200
1,260
1,210
1,170
1,225
MISCELLANEOUS FEATURES.
Date. Title. Maker. Length
Cleopatra Helen Gardner Features 5,000
The Mystery of the Corner House Great Northern Special.. 3,000
4-15 Tigres Itala Features 4,000
Mexican Conspiracy Outgeneraled (Satax)
Warner's Features 3,000
5-15 The Dread of Doom Itala Features 3,000
Their Lives by a Thread (Satax) Warner's Features 3,000
The Eye of a God (Pyramid) Warner's Features 3,000
6-15 The Fatal Grotto Itala Features 2,000
James K. Hackett in Prisoner of Zenda Famous Players 4,000
The Man in the White Cloak Great Northern Special 3,000
Zingomar III , Union Features 3,000
The Wife of Cain . Helen Gardner Features
Satan Ambrosio Feature 3,000
When Men Hate (Gene Gautier) Warner's Features 3,000
In the Claws of the Vulture Ambrosio Feature 3,000
In the Toils of the Devil Monopol 2,500
In Touch With Death Gaumont 3,000
Zoe, or A Woman's Last Card Hecla 3,000
Her Supreme Sacrifice Warner's Features 3,000
DAILY EXCLUSIVE RELEASES
(Independent)
MONDAY : Dragon.
TUESDAY: Gaumont.
WEDNESDAY: Solax, Gaumont.
THURSDAY: Gaumont.
FRIDAY: Solax, Lux.
SATURDAY: Great Northern.
DAILY UNIVERSAL RELEASES
(.Independent.)
MONDAY: Imp, Nestor, Gem.
TUESDAY: Bison, Crystal.
WEDNESDAY: Animated Weekly, Eclair. Nestor, Powers.
THURSDAY: Imp, Rex, Frontier.
FRIDAY: Nestor, Powers, Victor.
SATURDAY: Imp, Bison, Frontier.
SUNDAY: Crystal, Eclair, Rex.
fANUARY 18, 1913.
MOTOGRAPHY
iPOM—yyn ii ""gig** ' ".'tT* "* * "SZZF^9™
THE LATENT SPARK
The manhood and courage lying dormant in Ed. Wilbur needed only the incentive of his
sweetheart's love to arouse him to action.
RELEASE DATE, MONDAY, JANUARY 27, 1913:
BUILDING THE GREAT LOS ANGELES AQUEDUCT
The most stupendous engineering project ever undertaken by a municipality, $30,000,000
expenditure entailed.
RELEASE DATE, THURSDAY, JANUARY 30, 1913
WOMEN LEFT ALONE
A psychological drama of absorbing interest and beauty.
One and Three Sheet Posters
RELEASE DATE, SATURDAY, FEBRUARY 1, 1913
-THREE A WEEK
ALL PHOTOGRAPHICALLY BEAUTIFUL
American Film Manufacturing Company
CHICAGO
When answering advertisements, say where you saw them.
MOTOGRAPHY
Vol. IX, No. 2.
THE HIT OK the SEASON
THE PROOF— WE CANNOT EXCEED DEMAND
Every factory begins its year by estimating its output and
hopes to exceed the estimate. Few do.
Every manufacturer endeavors to get ahead a few machines
—We cannot— The orders come in so fast we can just "break
even"— Orders vs. Shipments.
Our orders have exceeded our estimate 20%.
Our force has worked overtime for three months to enable
us to "hold our own."
Yes— as Usual— We Originated the Machine Switch-Board.
Yes— It is Being Copied— With Modifications— But On a
Much Cheaper Scale.
Our Quality Is Never Copied— Why?
Because if YOU are satisfied with something cheaper at the same price '"who should worry."
The complete 1913 Catalog now ready.
MANUFACTURED BY
The Enterprise Optical Manufacturing Company
Main Office and Factory: 566 W. RANDOLPH ST., CHICAGO, ILL.
EASTERN OFFICE: WESTERN OFFICE:
30 EAST 23rd STREET, NEW YORK CITY 833 MARKET STREET, SAN FRANCISCO
AND THE FOLLOWING JOBBERS
WILLIAMS. BROWN & EARLE - - - Philadelphia J. H. HALLBERG ------- New York City
JD,al,las FEATURE FILM & CAL. LIGHT CO. - - - Pittsburg-
P n 1 1 flCl C lOn. 13.
_ Boston E. E. FULTON AND KLEINE OPTICAL CO. - - - Chicago
AND ALL BRANCHES OF THE GENERAL FILM COMPANY
MUTUAL FILM CORPORATION
CALEHUFF SUPPLY CO.
R. D. MARSON M. P. COMPANY
"A NIGHT OF TERROR"
With Edgena DeLespine and a Strong Cast
WEDNESDAY, JANUARY 15th
"THE WHEEL OF FATE"
OR
"TRAPPED BY SCIENCE"
A Powerful Dramatic Olfering in One Reel and
Seventy-Six Scenes
COMING
"THE OPEN ROAD
In Two Reels— with Gertrude Robinson
AND
"THE BELLS''
In Two Reels— With Edward P. Sullivan
THE MUTUAL PROGRAM
The Reliance
Studios
540 West 21st St., NEW YORK
99
RELIANCE
Choice Territory Unsold and Unplayed for
Saint George
g*L^ Dragon
COPYRIGHTED 1912—3 REELS
Southern New York State
Select a group of two or three of these States
which you wish to work in and wire us for
cash price on same with film.
Time is now ripe for big money making with
this feature.
St. George and the Dragon is a brilliant,
novel, pleasing, thrilling: drama of love,
chivalry and adventure, made by the famous
Milano Film Company producers of Dante's
Inferno and Homer's Odyssey.
West Virginia
Virginia
North Carolina
South Carolina
Nebraska
Oklahoma
Colorado
Wyoming
North Dakota
South Dakota
Utah
Idaho
Montana
Nevada
New Mexico
Arizona
Alaska
Eastern Canada
Western Canada
CROWN FEATURE FILM CO.
145 W. 45th St. NEW YORK
A Milano film masterpiece in 3 reels, with
exclusive rights to a large section of populous
territory at a price less than charged for
mediocre "features" alone.
Owners of this film are reaping profits! Will
put you in communication with owners for
reference.
We supply pictorial one sheets, three sheets,
eight sheets, set 14 large photos, art booklets,
heralds, dodgers, slides.
Tell the advertiser you =aw it in MOTOGRAPHY.
January 18, 1913. MOTOGRAPHY
^HIIIIIIIIIIIIIIIIIillllMIINIIIIilllllllllllllMIIIIIIIIIIIIIIIIIIUIIIIIIIIIIIHIIIHIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIHIIIIIIIIIIIIIIII
LAJBIN FILMS
CLEAR AS A BELL
JANUARY
27
THE GUIDING LIGHT
TWO REEL
SPECIAL
1
Peter Fife is the lighthouse keeper at Caseo Bay. He has a beautifu daughter of 17, who is blind. Harry Barbour loves her. He has been
saving all the money he can to have an operation performed on her eyes and he gives the money to Fife. One day Dick Drayton tries to steal the
money, and being caught by Peter is severely thrashed. Dayton in revenge succeeds in putting out the lamp in the lighthouse. The keeper discovers
it and attacks Drayton but is overpowered by a blow upon the head. Marie discovers her father and he tells her about the light. Though blind she
gropes her way to the tower and lights the lamp just in time to save a nshing smack containing her lover aud his crew from being dashed upon the
rocks. Marie's reward for the fearful experience comes when the operation is performed and her eyesight is restored and Harry's reward is the hand
of the heroine of Casco Bay. This beautiful story features Harry Meyers and Marie Weirman.
January 20— "LITERATURE AND LOVE"
Featuring Ormi Hawley.
January 21— "WHO IS THE SAVAGE"
A Dramatic Indian Picture.
January 23— "THE OLD OAKEN BUCKET"
Featuring Harry Meyers.
January 24— "MAKING A BASE BALL BUG"
How a Fan Was Made.
January 24— "PIZEN PETE"
A Joke on the Bad Man.
January 25— "THE INSURANCE AGENT"
Featuring Arthur Johnson and Lottie Briscoe.
January 27— "THE GUIDING LIGHT"
Two Reel Special.
January 27— "THE GIRL OF SUNSET PASS"
A Pathetic Story of the Golden West.
January 28— "ON THE THRESHOLD"
A Thoughtless Wife Sees Her Fault.
January 30— "WHAT'S IN A NAME"
A Peculiar Mixup of Names.
January 30— "SHE MUST ELOPE"
An Old Maid Story, Very Funny.
January 31— "THE HOUSE IN THE WOODS"
Rebellious Love Rewarded.
February 1— "PRIVATE SMITH"
An Excellent Army Story of the Mexican
Border.
LUBIN MANUFACTURING CO., Philadelphia, Pa.
:illlllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllll7
T
he
hanhouser
hree-a-week
(Released Sunday, January 19th)
The Commuter's Cat and a Few Million Birds
A fine split-reel, the main feature of which is a very funny story based on a commuter's desire to get rid of an unwelcome parcel, which
persists in sticking to him, and on an exchange of bundles on the train. A few flying things are shown in the closing subjects.
(Released Tuesday, January 21.)
The Girl Detective's Ruse
A stirring tale of a pretty sleuth's adventures among the counterfeiters. It is our best effort yet in the detective story line. It doesn't
feature gun-play so much as mind-play. You see the clever brain of the girl detective excricating her from difficulties and dangers.
(Released Friday, January 24th.)
Her Fireman
He is a brave proposition, who hesitates not to risk his life when he finds the life of her protege-from-the-streets in danger. And it is not
an ordinary rescue scene. Everything about the picture, every scene in it, is away from the ordinary "fire-film" with the made-to-order
rescue situation. And it grips you in proportion.
(Released Tuesday, January 28th)
A " Perfect Publicity" Picture; The Dove in the Eagle's Nest
A two-reeler from the historical novel of Mrs. Yonge. Two-column cuts for newspaper or circular use, 40 cents, from STANDARD
ENGRAVING CO., 560 7th Ave., New York City. Slides 40 cents apiece, from NOVELTY SLIDE CO., 20 E. 14th Street, New York
City. Illustrated heralds $2.50 per thousand from HENNEGAN & CO., Cincinnati, Ohio. Two one-sheets and a three-sheet at YOUR
EXCHANGE. Scenes from Thanhouser features: 12 photos, 8x10 in., $2.00 the set, from KRAUS MFG. CO., 14 East 17th Street, New
York City. Cuts of Thanhouser players, 40 cents apiece from STANDARD ENGRAVING CO., 560 7th Ave., New York City.
Thanhouser Film Corporation,
New Rochelle, New York
If you like MOTOGRAPHY, tell the advertiser so.
MOTOGRAPHY
Vol. IX, No. 2.
VERDICT favors ECLAIR
The World of motion pictures — exchange men, exhibitors and
public — says "GIVE US ECLAIR"
BE SURE TO GET THAT ROMANTIC LOVE COMEDY DRAMA FEATURE, adapted from
Washington Irving's famous story
THE SPECTRE BRIDEGROOM
IN TWO REELS OUT JAN. 23r«f
HERE ARE THE OTHER LATEST WINNERS
Tuesday, January 21st
THE GALLOP OF DEATH
Suspense, strength and action are combined here in a powerful story. It is handled with an artistic touch.
Sunday, January 26th
AFTER THE SHIPWRECK
A Paris Eclair drama. Strong situations,
beautiful settings and magnificent acting. It
has the "punch."
Tuesday, January 28th
THE ONE WHO HAD TO PAY
A prodigal son drama of American business
that rings true and pulls at the heart strings.
We have Photos of our American Company and we Publish a Bulletin of Live News every two
weeks, which will be sent to your theatre for the asking.
Eclair Film Company
225 West 42nd Street
New York City, N. Y.
A Program of Strength
is our offer to you. The withdrawal of certain brands of film from
our program has no effect upon our future plans or policy.
We maintain our slogan THE EXHIBITOR BE PLEASED and consequently you
may expect five new brands at an early date
AMMEX - ALL STAR - ANCHOR - MAGNET - MONITOR
Every one of Film Supply quality — Every one selected with painstaking care.
And, among others, still the people's favorites
Gaumont— Comet— Itala— Prairie
Great Northern— Lux— Solax— Pilot
Gaumont Weekly— Great Events
Film Supply Company of America
133-135-137 W. 44th St., New York, U. S. A.
EXCHANGES
Applications from re-
sponsible and expe-
rienced exchange men,
to handle our program,
will be considered.
Bond must be furnished
and protection to ex-
hibitor guaranteed.
Tell him where you read this advertisement when writing.
January 18, 1913.
MOTOGRAPHY
ITALAC9MEPIES
-TWO ON EVERY REEL-
EVERY IWNPAY
NEW POSTERS THAT PULL
(ASK ANY exchange)
ITALA fTLMCO.OF^MERKA
COLUMBIA. THEATRE.N.Y.
Send for Our Special Price List on
SUPPLIES AND MACHINE REPAIRS
NEW MACHINES OF ALL MAKES
WE BUY AND SELL USED MACHINES
AMUSEMENT SUPPLY COMPANY
Largest M. P. Supply House in U. S.
107 D. No. Dearborn Street, CHICAGO. ILL.
mark WATERPROOF FILMS
are the only clean films —
provided you wash them
NATIONAL WATERPROOF FILM CO.
4200 W. Adams
CHICAGO
Ornamental
Theatres
PLASTER RELIEF DECORATIONS
Theatres Designed Everywhere
Write for Illustrated Theatre Catalog. Send us
Sizes of Theatre for Special Designs
THE DECORATORS SUPPLY CO.
2549 Archer Avenue, CHICAGO, ILL.
THE
PEERLESS
Automatic Piano
Style "A"
as shown in the illustra-
tion, was specially de-
signed to meet the
requirements of the
better class of Moving
Picture Theaters, there-
by dispensing with the
orchestra. It has proven
its value wherever used.
It is no experiment, for
it has passed that stage
long ago.
Write
for names and ad-
dresses of users of
these instruments and
learn from first hands
more about them.
HE
1
1
in
It
pi
Write
for descriptive litera-
ture and name of
nearest dealer where
same can be heard.
1
Pc
New York
.4-16 East 33rd St.
]
erh
SI
Peerl
(i
. J
ess Ore
s 1
F. Eng
ohn
hestrion Style "A
Piano 1
elhardt & Sons
isville, N<
" — Desig
Pla
, Props
ew '
Tl IX.
for
>r <
k
3o.
Chicago
339 S. Wabash Ave.
Don't forget to mention MOTOGRAPHY to the advertiser.
10
MOTOGRAPHY
Vol. IX, No. 2.
We are taking Industrial Pietures
In connection with the principal railway systems of the United
States. These pictures are to be reduced and shown in the Edi-
son Home Projecting Machine, so that commercial clubs, coloni-
zation companies, boards of trade, etc., can project them at as-
semblies, meetings or show rooms without the necessity of more
expensive projecting mechanism.
<j| We will take motion pictures of any industry in this country
and arrange them so your salesmen can carry and show a real-
istic moving picture of actual performances of your product to
prospective buyers.
<J[ The projecting machine can be carried in a hand bag and
throws a picture 4zx6 feet.
International Educational and Industrial Film Co.
First National Bank Building
CHICAGO
A Business Record for Picture Exhibitors
The accom-
panying fac-
simile reduc-
tion shows a
page from
Pyle's Business
Recordformov-
ing picture and
vaudeville the-
atres. The book
contains 104
large pages of
ledger paper,
sufficient for
two years' bus-
iness.
Name of
Machine
Theatre.
j4b?-
*~ "" js=a*u± -
- ^
Proprietor.
— —Manager.
pera or
M.
D«y
title or nun
vudtVillt acts.
title or Illustrated songs.
RtCIIPTS
;
Sunday
••---•
Monday
i
^
Tuesday
■ - -<•
j- . -
"*"*
-- -"-~- -
Wedn'day
,
-
Thursday
•
frlday
-
1
•
Salirday
_.
■■-■—
I i ■
ill
1 \l i
' i : i
Receipt, fee Wttt- from AomloUono.
RccetpU for Week— Other Sonrca,
Total Receipt. lor Week. - " -
TouJ Fiprmro for Week. -
Net Profit for Week. ...
-.;»
ADDRESS AI,rL ORDERS TO
Each page is
9x12 inches,
bound substan-
tially and hand-
somely in blue
cloth. We will
send it prepaid
to NICKEL-
ODEON sub-
scribers upon
receipt of $1.50.
ELECTRICITY MAGAZINE CORPORATION
Monadnock Building, CHICAGO, ILLINOIS
Justify the advertiser by saying you read it here.
January 18, 1913.
MOTOGRAPHY
11
Gundlach Projection Lenses
The Only Lenses Which Guarantee You The Best Pictures.
The Only Lenses Giving The Greatest Possible Illumination.
The Only Lenses Exact in Focal Length To Within T J „ of An Inch-
There were no high grade Lenses on the market until GUND-
LACH LENSES were made and none now that equal them in
optical quality and illuminating power.
The GUNDLACH No. 2 PROJECTION LENSES made the
long throw possible and already hundreds of theatre owners have
taken advantage of this opportunity to increase their theatres in
length and seating capacity adding to their profits at the same
time.
Tne superior quality of GUNDLACH PROJECTION LENSES
is recognized by the leading makers of machines and they will be
supplied to order in place of the ordinary lens equipment at very
little increase in price.
No matter how well satisfied you are with your picture we in-
vite you to order a GUNDLACH PROJECTION LENS for trial
to see the difference. Nearly all our lenses are sold to exhibitors
who have ordinary lenses but are looking for something better. In
many cases a customer orders one lens for trial and then re-
equips all his machines, sometimes the machines
of several theatres.
GUNDLACH PROJECTION LENSES are
used by the Kinemacolor Company of America be-
cause they must have the best.
Gundlach-Manhattan Optical Co.
833 Clinton Ave, So., Rochester, N. Y.
ITS ALL
IN THE
ITALA(°MEMES
-TWO ON EVERY REEL-
EVERY MONPAY
NEW POSTERS THAT PULL
( ASK ANY EXCHANGE )
llALA FU.MCO.OFAMERICA
COLUMBIA THEATRE..N.Y.
1
WEE
MAKE YOUR LOBBY DISPLAY ATTRACTIVE
There is nothing: more fascinating: to the public than a brig:ht
brass frame to display your photos or posters. We make Lobby
and Theatre Fixtures and Brass Rails of every description.
Don't tail to visit our complete N. Y. Show Rooms, 101-103 Fourth Ave.
Established 1882.
MFG. CO.
Cincinnati, O.
Write for Catalog.
THE NEWMAN
715-717 Sycamore St.
SEND US YOUR NAME AND ADDRESS FOR
MOTOGRAPHY'S
Hand Book and Film Record
INCLUDE THE NAME OF YOUR THEATRE
| I'm Coming! |
= — I'm coming ! j
jj —I'm a CALIFORNIA film. j
H — A new one.
= — Made in the very best mo-
tion picture studio in the \
= whole Land of Sunshine.
— You never knew I was on j
= the way, never had the =
g SLIGHTEST idea, DID you? I
— And yet they've been work-
ing on me for a long time.
H —And NOW they've made \
g me PERFECT.
| —I'm the BIG SURPRISE j
of the New Year, am I not?
1 —Oh, yes! I'm an OBTAIN- =
= ABLE film. I'm not at all ;
g just an ADVERTISED one. \
= Two-score exchanges have I
g asked for me ALREADY !
— Marvelous? I
| —No, just MERITORIOUS! j
— I shall whisper some more
H to you in the next issue.
g — Maybe I'll print my trade- j
= mark. j
= — This week I shall simply
= tell you my name.
] -It's "Royal" (
iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiil
Add a line to your inquiry, thus: "I saw it in MOTOGRAPHY.1
12
MOTOGRAPHY
Vol. IX, No. 2.
EASTMAN
motion picture
film— the acknowl-
edged standard the
world over.
Manufactured by
EASTMAN KODAK CO.,
ROCHESTER, N. Y.
League Directory
WHERE TO BUY
Price for listing under this caption,
$1.00 for each classification.
BOOKS.
ELECTKICITT MAGAZINE CORPORA-
TION. Monadnock Bib., Chicago.
DECORATORS.
DECORATORS SUPPLY CO., THE. 2549
Archer Ave., Chicago, HI.
FILM DISTRIBUTORS.
FILM SUPPLY COMPANY OP AMER-
ICA, 135 W. 44th St., New York,
N. Y.
GENERAL FILM COMPANY. 200 Fifth
Ave., New York, N. Y.
FILM FEATURES.
CROWN FEATURE FILM COMPANY,
145 W. 45th St., New York, N. Y.
GENERAL FILM COMPANY. 200 Fifth
Ave., New York, N. Y.
FILM MANUFACTURERS.
AMERICAN FILM MFG. CO.. Ashland
Block, Chicago.
ECLAIR FILM CO.. 225 W. 42d St.,
New York, N. Y.
ESSANAY FILM MFG. CO., 521 First
National Bank Bldg., Chicago.
ITALA FILM COMPANY OF AMER-
ICA, Columbia Theater, New York,
N. Y.
KLEINE. GEORGE, 166 N. State St.,
Chicago. HI.
LUBIN MFG. COMPANY, Philadelphia.
Pa.
RELIANCE STUDIOS, THE, 540 W.
21st St.. New York, N. Y.
SELIG POLYSCOPE CO.. 20 E. Ran-
dolph St. , Chicago.
THANHOUSER FILM CORPORATION.
New Rochelle. N. Y.
FRAMES— DISPLAY.
NEWMAN MFG. CO., 715 Sycamore
St., Cincinnati, O.
LENSES.
GUNDLACH - MANHATTAN OPTICAL
CO., 833 Clinton Av., S., Rochester,
New York.
LIGHT.
ENTERPRISE OPTICAL MFG. CO.,
564 W. Randolph St.. Chicago.
MUSICAL INSTRUMENTS.
PEERLESS PIANO PLAYER CO., St.
Johnsville, N. Y.
PROJECTING MACHINES.
ENTERPRISE OPTICAL MFG. CO.. 564
W. Randolph St., Chicago.
RAW STOCK.
EASTMAN KODAK COMPANY, Ro-
chester. N. Y.
SUPPLIES.
AMUSEMENT SUPPLY CO., 105. N.
Dearborn St., Chicago.
WATERPROOFING.
NATIONAL WATERPROOF FILM CO.,
4200 W. Adams St., Chicago.
Rates for advertising under this
heading, \7l/i cents per line. Mini-
mum charge, $1.00. No limit to
number of lines.
FOR SALE.
SLIDES — announcement and ad-
vertising. Announcements, 25c,
or five for $1.10. Advertising, 50c
and 75c each; duplicates, 35c each.
Satisfaction or money back. Cata-
log mailed free. NIAGARA SLIDE
COMPANY, Lockport, N. Y.
FOR SALE— Two high grade
theaters, centrally located in
manufacturing city of 15,000. One,
pictures only — seating capacity, 250.
Other, pictures and vaudeville — 300
capacity. Machines, decorations and
scenery, all new. Money making
proposition. No competition. Rea-
son for selling, leaving on account
of sickness. Address O. A., care
Motography, Monadnock Bldg., Chi-
cago.
TF FREE to you, our $100 wholly
■*• visible typewriter, would you be
willing _ to show the typewriter to
your friends and ask them to write
for our wonderful offer? For par-
ticulars address EMERSON TYPE-
WRITER CO., Box 568, Wood-
stock, 111.
CALIFORNIA.
SAN FRANCISCO LOCAL No. 1— Presi-
dent, Chas. Rothschild; Vice-Presi-
dent, A. R. Oberle; Corresponding Sec-
retary, W. A. Cory; Financial Secre-
tary, K. Herzog; Treasurer, L. Shlrp-
see.
CANADA.
WINNIPEG LOCAL — Headquarters.
Winnipeg, Canada. President, W. O.
Edmonds; Vice-President. J. A. Schu-
berg; Secretary, F. Van Alstein.
ILLINOIS.
ILLINOIS STATE BRANCH No. 2—
Headquarters, Schiller Bldg., 64 W.
Randolph street, Chicago, 111. Presi-
dent, George Henry; Vice-President,
C. A. Anderson; Secretary, Sidney
Smith; Treasurer, Wm. J. Sweeney;
Financial Secretary, Simon Katz.
INDIANA.
MOTION PICTURE EXHIBITORS'
LEAGUE OF INDIANA— Headquar-
ters, Indianapolis, Ind. President, H.
S. Dickson, Winchester; Vice-Presi-
dents, H. F. Prentice, Terre Haute;
Earl Rife, Logansport; Jos. Bommer-
sheim. Ft Wayne; Hershel Cannon,
Muncie; W. R. Deaton, Warsaw; Sec-
retary, F. J. Rembusch, Shelbyville ;
Treasurer, Jos. H. Gavin, Indianapolis.
INDIANAPOLIS LOCAL No. 1— Head-
quarters, 410 Saks Bldg. President,
John A. Victor; First Vice-President,
F. W. Sanders; Second Vice-President,
M. M. Miller; Secretary, E. J. Addy;
Treasurer, J. M. Rhodes.
KENTUCKY.
MOTION PICTURE EXHIBITORS'
LEAGUE OF KENTUCKY— Headquar-
ters, Lexington, Ky. President, J. H.
Stamper, Jr., Lexington; First Vice-
President, L. J. Dittmar, Louisville ;
Second Vice-President, Sherman Am,
Maysville: Secretary, L. H. Ramsay,
Lexington; Treasurer, A. J. Wellman,
Cattletsburg.
LOUISVILLE LOCAL No. 2— President,
J. H. Dlttman; Vice-President, Irwin
Simmons; Treasurer, Max L. Sim-
mons; Secretary, Jos. Steuerle.
MICHIGAN.
MOTION PICTURE EXHIBITORS'
LEAGUE OF MICHIGAN— Headquar-
ters, 302 Kirby avenue, E., Detroit,
Mich. President, Carl Ray, Muske-
gon; First Vice-President. B. L. Con-
verse, Owosso; Second Vice-President,
J. J. Rieder, Jackson; Third Vice-
President, G. R. Durkins, Saginaw;
Secretary, W. Lester Levy, Detroit;
Treasurer, H. F. Fowser, Lansing.
DETROIT LOCAL No. 1— Headquarters.
399 Hibbard avenue, Detroit, Mich.
President, Peter J. Jeup: Vice-Presi-
dent. Patrick H. Reauhine; Secretary,
W. Lester Levy; Treasurer, Fred W.
Rumler
MINNESOTA.
MOTION PICTURE EXHIBITORS'
LEAGUE OF MINNESOTA— Head-
quarters. Secretary's address. Presi-
dent. Otto N. Raths, St. Paul ; Vice-
President. Thos. Furniss, Duluth; Sec-
retary, E. E. Purdee. Minneapolis;
Treasurer, H. A. Sherman, Minne-
apolis.
MISSOURI.
MOTION PICTURE EXHIBITORS'
LEAGUE OF MISSOURI— Headquar-
ters, Kansas City, Mo. President, G.
H. Wiley; Vice-President, J. H. Shel-
don; Secretary-Treasurer, F. B. Wil-
NEW JERSEY.
MOTION PICTURE EXHIBITORS'
LEAGUE OF NEW JERSEY— Head-
quarters. Bijou Theater, 328 Bergen-
line avenue, Union Hill, N. J. Presi-
dent. George A. Robinson; Secretary,
P. M. Kirschner. Address all com-
munications to the Secretary.
NEW YORK.
MOTION PICTURE EXHIBITORS'
LEAGUE OF NEW YORK— Headquar-
ters, 136 Third avenue. New York.
President. Sam H. Trigger, New York;
First Vice-President, B. E. Cornell,
Syracuse: Second Vice-President, R.
Davidson. Binghamton; Secretary, H.
W. Rosenthal, New York; Treasurer,
John C. Davis, Saugerties.
MOTION PICTURE EXHIBITORS'
LEAGUE OF GREATER NEW YORK
— Headquarters, 136 Third avenue.
New York City. President, Samuel T.
Trigger; Vice-President, James Sam-
uels; Secretary, Sydney Ascher; Treas-
urer, Grant W. Anson; Financial Sec-
retary, A. Bannerfreund.
NEW YORK LOCAL No. 2— President,
Geo. F. Wright, Albany; First Vice-
President, E. O. Weinberg, Troy;
Second Vice-President, L. C. Smith.
Schenectady; Secretary, J. E. Weld-
man, Albany; Treasurer, J. C. Ro-
senthal, Troy.
OHIO.
MOTION PICTURE EXHIBITORS'
LEAGUE OF OHIO.— Headquarters,
1003 Mercantile Library Bldg., Cincin-
nati. Ohio. President, M. A. Neff,
Cincinnati; First Vice-President, W. A.
Pittis, Conneaut; Second Vice-Presi-
dent, J. H. Broomhall, Hamilton;
Treasurer, O. B. Weaver, Dayton;
Secretary, J. J. Huss.
CLEVELAND LOCAL No. 1— Headquar-
ters, Commercial Bank Building, Cleve-
land. O. President. S. E. Morris;
First Vice-President, A. Mahrer; Sec-
ond Vice-President, C. F. Schroeder;
Secretary, A. P. Anthony; Treasurer,
F. M. Kenney; Assistant Secretary,
Geo. Heinbuch.
CINCINNATI LOCAL No. 2— Head-
quarters, 1003 Mercantile Library
Building, Cincinnati, Ohio. Presi-
dent, J. Huss; First Vice-President,
A. J. Carbin; Second Vice-President,
M. Fishman; Secretary, A. C. Dongel-
stedt; Treasurer, Otto Leudelslng.
COLUMBUS LOCAL No. 4— Headquar-
ters, Princess Theater. President, J.
A. Maddox; First Vlee-President, W.
B. Belknap; Second Vice-President,
J. W. Swain; Secretary, J. R. McCoy;
Treasurer. Max Stearn.
DAYTON LOCAL No. 5— Headquarters.
25 Pruden building, Dayton, O. Pres-
ident, R. J. Kastl; First Vice-Presi-
dent. U. T. Stilwell; Second Vice-
President, G. E. Fink; Secretary, Her-
man Lehman; Treasurer, W. Rayner.
TROY LOCAL No. 6— President, J. H.
Johnson; First Vice-President, J. W.
Newman, Piqua; Second Vice-Presi-
dent, Howard Pearson; Secretary, Fred
Adams, Tippecanoe; Treasurer, Cyrus
Shafer, Piqua.
SANDUSKY LOCAL No. 7— President,
J. D. Kessler; Vice-President, E. P.
Richart, Port Clinton; Secretary. W.
E. Higgins; Treasurer. D. P. Larkins.
PENNSYLVANIA.
MOTION PICTURE EXHIBITORS'
LEAGUE OF PENNSYLVANIA—
Headquarters, 233 Fifth avenue, Pitts-
burgh, Pa. President, Walter Steum-
pflg; First Vice-President, Cresson E.
Smith; Second Vice-President, Mr.
Miller; Secretary, Mr. Roth; Treas-
urer. F. J. Barbin.
WEST VIRGINIA.
MOTION PICTURE EXHIBITORS'
LEAGUE OF WEST VIRGINIA—
Headquarters. Moundsville, W. Va.
President. M. M. Weir, Charleston;
First Vice-President, R. L. Harris,
Parkersburg; Second Vice-President,
A. L. Cottrill, Point Pleasant; Secre-
tary L. R. Thomas, Moundsville;
Treasurer, P. W. Barett, Parkersburg.
HUNTINGTON LOCAL No. 1— Head-
quarters, "It" Theater. President, R.
H. Karnes; Vice-President, J. A.
Burns; Secretary, C. A. Johnson;
Treasurer, Haskel Atkins.
CHARLESTON LOCAL No. 2— Presi-
dent, Stanley A. Piatt; Vice-President,
N. E. Murray; Secretary-Treasurer,
Gus. Bartrom.
WISCONSIN.
MOTION PICTURE EXHIBITORS'
LEAGUE OI WISCONSIN— President,
Chas. H. Phillips; First Vice-PreBident,
Thomas F. Stanley; Secretary, J. W.
Clark; Treasurer, Henry S. Klelne.
MOTION PICTURE EXHIBITORS'
LEAGUE OF MILWAUKEE— Head-
quarters, 305 Enterprise Bldg., Mil-
waukee. President. J. R. Freuler;
Vice-President, H. S. Klein; Secretary,
B. N. Judell; Treasurer. T. Saxe.
The advertiser wants to know where you saw his ad, tell him.
January 4, 1913.
MOTOGRAPHY
THEIR MASTERPIECE
A charming drama of pathos and rapture, staged in gorgeous Southern California.
Release Date, Monday, Jan. 13, 1913
THE AWAKENING
The story of a waif of the hills, carrying a powerful appeal for life and happiness.
Release Date, Thursday, Jan. 16, 1913
HIS OLD-FASHIONED MOTHER
A touching human interest story.
THE WALNUT INDUSTRY
A meritorious educational subject.
Release Date, Saturday, Jan. 18, 1913.
THREE A WEEK
PHOTOGRAPHIC GEMS
American Film Manufacturing Company
CHICAGO
MOTOGRAPHY
Vol. IX, No. 1.
THE HIT OF the SEASON
THE PROOF— WE CANNOT EXCEED DEMAND
Every factory begins its year by estimating its output and
hopes to exceed the estimate. Few do.
Every manufacturer endeavors to get ahead a few machines
— We cannot — The orders come in so fast we can just "break
even" — Orders vs. Shipments.
Our orders have exceeded our estimate 20%.
Our force has worked overtime for three months to enable
us to "hold our own."
Yes — as Usual — We Originated the Machine Switch-Board.
Yes— It is Being Copied— With Modifications— But On a
Much Cheaper Scale.
Our Quality Is Never Copied— Why?
Because if YOU are satisfied with something cheaper at the same price "who should worry."
The complete 1913 Catalog now ready.
MANUFACTURED BY
The Enterprise Optical Manufacturing Company
Main Office and Factory: 566 W. RANDOLPH ST., CHICAGO, ILL.
EASTERN OFFICE: WESTERN OFFICE:
30 EAST 23rd STREET, NEW YORK CITY
WILLIAMS. BROWN & EARLE
MUTUAL FILM CORPORATION
CALEHUFF SUPPLY CO.
R. D. MARSON M. P. COMPANY
833 MARKET STREET, SAN FRANCISCO
AND THE FOLLOWING JOBBERS
Philadelphia J. H. HALLBERG - - New York City
. Dallas FEATURE FILM & CAL. LIGHT CO. ... Pittsburg
PhilatBoston E- E- FULTON AND KLEINE' OPTICAL CO. -
AND ALL BRANCHES OF THE GENERAL FILM COMPANY
Chicago
MR. E. P. SULLIVAN
IN A SPLENDID TWO REEL
PRODUCTION OF
"The Bells"
Made famous by the late Sir Henry Irving
Reliance
MR. SULLIVAN WILL APPEAR IN HIS GREAT CHARAC-
TERIZATION OF "MATHIAS" IN WHICH HE
STARRED FOR THREE SUCCESSFUL
SEASONS
RELEASED WEDNESDAY, JAN. 22nd
The Reliance
Studios
540 West 21st St., NEW YORK
RELIANCE
Choice Territory Unsold and Unplayed for
Saint George
^M Dragon
COPYRIGHTED 1912—3 REELS
Southern New York State
West Virginia
Virginia
North Carolina
South Carolina
Nebraska
Oklahoma
Colorado
Wyoming
North Dakota
South Dakota
Utah
Idaho
Montana
Nevada
New Mexico
Arizona
Alaska
Eastern Canada
Western Canada
Select a group of two or three of these States
which you wish to work in and wire us for
cash price on same with film.
Time is now ripe for big money making with
this feature.
St. George and the Dragon is a brilliant,
novel, pleasing, thrilling drama of love,
chivalry and adventure, made by the famous
Milano Film Company producers of Dante's
Inferno and Homer's Odyssey.
A Milano film masterpiece in 3 reels, with
exclusive rights to a large section of populous
territory at a price less than charged for
mediocre "features" alone.
Owners of this film are reaping profits! Will
put you in communication with owners for
reference.
We supply pictorial one sheets, three sheets,
eight sheets, set 14 large photos, art booklets,
heralds, dodgers, slides.
CROWN FEATURE FILM CO.
145 W. 45th St. NEW YORK
Tell the advertiser you 0aw it in MOTOGRAPHY.
January 4, 1913. MOTOGRAPHY
^lllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllll
LUBIIM FILMS
THE LUBIN BELL RINGS OUT "A HAPPY NEW YEAR
Released through the
GENERAL FILM CO.
THE MEXICAN SPY
FRIDAY
JANUARY 17
This is a Two Reel Special to be released January 17th. It is a dramatic story typical of the Array life of Mexico and the United Slates. The
scenes are laid on the border and a powerful lesson against gambling which is only too common among the officers and young subalterns. The picture
is made with every attention to the Local and Military atmosphere of the two Republics.
Mary Lee, the daughter of the paymaster, is in love with Colonel Loring's son, Tom. He is a reckless chap given to gambling and other bad habits.
Mary endeavors to reform him, but unsuccessfully. At last Tom steals S5, 000 from the paymaster's safe to pay a gambling debt to Senor Luis
Rivera, who is a Mexican spy. Rivera offers to return the money if Tom will steal the plans of the fortifications from the office of the Colonel. The
deal is made and Tom secures the plans. Mary discovers the treason and by pledging her jewels gives her lover the money and forces him to return
the papers. Tom later joins the army on the border and Mary receives an appointment as a Red Cross Nurse. One day she is sent to a distant point
and when the wagon pulls up for the trip she finds that Torn is the driver. The wagon is attacked by Mexicans with Rivera in command. A battle
en sties in which Tom is badly wounded, but Mary nurses him back to life. For bravery he is made a Lieutenant and for love wins his loval sweetheart.
January 6— "A COURAGEOUS BLOOD"
A Tale of Mexican Border Life.
January 7— "THE VILLAGE BLACKSMITH"
From Longfellow.
January 9— "THE TWILIGHT OF HER LIFE'
Renunciation Rewarded.
January 10— "STAGE STRUCK SALLY"
A Screaming Farce.
January 10— "AN ACCIDENTAL DENTIST"
Another Funny One.
January 11— "SAN XAVIER MISSION"
Interesting Educational Picture.
January 1 1— "THE ARTIST'S ROMANCE"
Featuring Arthur Johnson.
January 13— "A TIMELY RESCUE"
With Arthur Johnson and Lottie Briscoe.
January 14-"PETER'S PLEDGE"
Featuring Peter Lang and Mrs. Walters.
January 16— "IT MIGHT HAVE BEEN"
A Fearful Dream and Awakening.
January 17— "QUARRANTINED"
How Love Found a Way.
January 17— "FOOLING THEIR WIVES"
Very, Very, Very Funny.
January 17— "THE MEXICAN SPY"
A Great Border Drama.
January 18— "THE GIRL AND THE GAMBLER"
A Dramatic Western Episode.
LUBIN MANUFACTURING CO., Philadelphia, Pa.
^tflllllllllllllllllllllllllllllllllllllllllllllllllllllllfllllllllllllllllllllllllllllllllBIIIIIIIlIllllllllllllllllllllIIIIIIIIIIIIIIlllIIIIIIIIilllllllllllllllllliiiini—
For EASTER Church Booking
"The Star of Bethlehem," Thanhouser's biblical masterpiece in three reels, which a FEW selected Eastern churches (names
on request) showed at CHRISTMAS TIME with such auspicious success, is the newest religious production obtainable.
Bookers of Church, Society, Lyceum and like entertainments should bear this in mind. It is by far
The Most SUITABLE Motion Picture
of a biblical nature for Easter exhibition, since it deals totally with the Birth of the Redeemer, picturing it in greater detail
than has ever been known before. It is the PERFECT EASTER FILM. There is not too much of it; the "happy
length," 3000 feet, is reached; and there can be no complaint on the usual too long" score.
Is Thanhouser's "Star of Bethlehem"
to be easily had? Assuredly. There are forty film exchanges, (addresses on request) who have one or more sets of the
subject. Practically all the larger cities, therefore, hold a copy. The rental sum is small, and the benefits vast. For further
particulars address (on your letter head) BETHLEHEM DEPT
Thanhouser Film Corporation, New Rochelle, New York
If you like MOTOGRAPHY, tell the advertiser so.
MOTOGRAPHY
Vol. VIII, No. 13.
TUESDAY, JANUARY 7th
««
An Accidental Servant"
A corking comedy in which the new members of the Eclair Stock Company
prove their laugh-producing capabilities.
THURSDAY, JANUARY 9th
"The Return of Lady Linda
*9
(In Two Parts)
It is a Real Feature. In it you see Miss Barbara Tennant at her best — and Clara Horton, too. And the
others are equally fine.
WORTH BOOKING BECAUSE IT IS WORTH SEEING
SUNDAY, JANUARY 12th
"The Cobbler and the Financier
Adapted from one of La Fontaine's exquisite fables. The picture is just as delightful.
Eclair Film Company L^X,ol
A Program of Strength
is our offer to you. The withdrawal of certain brands of film from
our program has no effect upon our future plans or policy.
We maintain our slogan THE EXHIBITOR BE PLEASED and consequently you
may expect five new brands at an early date
AMMEX - ALL STAR - ANCHOR - MAGNET - MONARCH
Every one of Film Supply quality — Every one selected with painstaking care.
And, among others, still the people's favorites
Gaumont— Comet— Itala— Prairie
Great Northern — Lux — Solax — Pilot
Gaumont Weekly — Great Events
Fiim Supply Company of America
133-135-137 W. 44th St., New York, U. S. A.
EXCHANGES
Applications from re-
sponsible and expe-
rienced exchange men,
to handle our program,
will be considered.
Bond must be furnished
and protection to ex-
hibitor guaranteed.
January 4, 1913.
MOTOGRAPHY
Every Theatre Man Can Have
One of These
$1.50 Keyless Locks
by Sending Us His
Subscription Today for
Motography
The Leading Motion Picture Journal
Cut Shows Exact Size
These Locks are all brass and need no keys.
There are over 50,000 combinations possible,
and no lock can be opened without the correct
combination.
No knobs to turn — no keys to lose — press the
correct buttons and the lock flies open.
Lock your stage exits, your operator's booth,
your ticket booth, front gate, doors, tool boxes,
property rooms, etc.
Can be used for any of the thousand and one
things you have been buying locks for.
Send us $2.31 for a year's subscription to
MOTOGRAPHY and a lock. Do it today.
This offer is for subscribers within the postal
union. Address,
MOTOGRAPHY
1460 Monadnock Bldg., CHICAGO, ILL.
EXTRA LOCKS $1.50 EACH
V
^
Ornamental
Theatres
PLASTER RELIEF DECORATIONS
Theatres^Designed Everywhere
Write for Illustrated Theatre Catalog. Send us
Sizes of Theatre for Special Designs
THE DECORATORS SUPPLY CO.
2549 Archer Avenue, CHICAGO, ILL.
ITALA(°MEMES
-TWO ON EVERY REEL-
EVERY M0NI7AY
NEW POSTERS THAT PULL
Itala FTlmOxof^merica
COLUMBIA THEATRE., N .Y.
Send for Our Special Price List on
SUPPLIES AND MACHINE REPAIRS
NEW MACHINES OF ALL MAKES
WE BUY AND SELL USED MACHINES
AMUSEMENT SUPPLY COMPANY
Largest M. P. Supply House in U. S.
107 D. No. Dearborn Street, CHICAGO. ILL.
mark WATERPROOF FILMS
are the only clean films —
provided you wash them
^WA.TF.R'PROOFJ
NATIONAL WATERPROOF FILM CO.
4200 W. Adams
CHICAGO
Tell him where you read this advertisement when writinar.
10
MOTOGRAPHY
Vol. IX, No. 1.
This space is reserved for future
announcements of the
International Industrial
and Educational Film Co.
MRTheaterList
We have a correct list of
all the Motion Picture The-
aters in the United States
and Canada. These ad-
dresses are in stencil and
are quickly available for
commercial uses. The price
of the complete list deliv-
ered info your hands is
$50.00. Cash with order.
Electricity Magazine Corporation
Monadnock Bldg. ; : CHICAGO, ILL.
ItalaQmedies
-TWO ON EVERY REEL-
EVERY MUNPAY
NEW POSTERS THAT PULL
( ASK ANY EXCHANGE )
Itala FTlmCo.of"7\merica
COLUMBIA. THEATRE- , N .Y.
WRITTEN FOR THE
BUSINESS MAN
Don't undertake to secure financial
assistance, incorporate a projected en-
terprise, sell or reorganize an established
business or finance a deserving concern,
until you have read "Science of Organ-
ization and Business Development," by
Robert J. Frank of the Chicngo Bar.
The Law and Procedure of Organization,
Financing and Develops ~- -' T3-~'
ness corporations in one boon, w ute
today and get a copy for your desk or libi"sry« $2.75 in morocco
prepaid, or $3.75 with a year's subscription to Mot6£:&i.f.v.
ELECTKIUTY MAGAZINE CORP.. Monadnock Bldrj.. iu.»0
When answering advertisements, say where you saw them.
Januarv 4. 1913.
MOTOGRAPHY
11
MOTOGRAPHY'S BUSINESS RECORD
For Exhibitors of Motion Pictures
Name of Theatre—
Machine Operator -
-Proprietor.
■■■Manager.
„,
0»y
title or nut
VAUDEVILLE ACTS.
TITLE Or ILLUSTRATED SOVOS.
NCCflPTt
■'
—
Sunday
....:.
- -
- —
•--.-- - - -
Monday
-•••
s
loesday
-
'■'. -~~Z _ '.".'.'. .. .'
ivtdn'day
' '
■■- -
— »
■••-
Jbutsday
frlday
Satirday
'
2
t
o
a.
Receipt* fer Week—from Admission*.
Receipt! ror Week— Oiher Soarccv
Total Receipt* lor Week. ....
Total EipertMS ror Week. -
Net Profit for- Week. -
......
,
5
a
- i £ « - ■= ( ** : : ,
I » * 1 1 1 1 : 1 £ ■
l i % t fr 4 : ; - I
O p P Ul m < i - ■ •
l : i : •
REMARKS,., J*. _
*. *!--..'■»•>— ~
CL.We have been successful in selling hundreds of these books
because they fill the business requirements of the proprietors
of picture theatres. We are the exclusive sellers of this book.
C.There are 104 large pages, 9x12 inches, printed upon strong
ledger paper and substantially bound in cloth. This book affords
a complete record for two years* business.
CLNo film exchange should regard itself fully equipped to serve
customers without a supply of Motography's Business Record.
C.We send it prepaid upon receipt of $1.50. No better value has
ever been offered to exhibitors. Orders promptly filled.
ELECTRICITY MAGAZINE CORPORATION
MONADNOCK BUILDING
CHICAGO
Add a line to your inquiry, thus: "I saw it in MOTOGRAPHY.'
12
MOTOGRAPHY
Vol. IX, No. 1.
EASTMAN
motion picture
film—the acknowl-
edged standard the
world over.
Manufactured by
EASTMAN KODAK CO.,
ROCHESTER, N. Y.
WHERE TO BUY
Price for listing under this caption,
$1.00 for each classification.
BOOKS.
ELECTRICITY MAGAZINE CORPORA-
TION. Monadnock Blk., Chicago.
DECORATORS.
DECORATORS SUPPLY CO., THE. 2549
Archer Ave., Chicago, 111.
FILM DISTRIBUTORS.
FILM SUPPLY COMPANY OF AMER-
ICA, 135 W. 44th St., New York,
N. Y.
GENERAL FILM COMPANY. 200 Fifth
Ave., New York, N. Y.
FILM FEATURES.
CROWN FEATURE FILM COMPANY,
145 W. 45th St.. New York. N. Y.
GENERAL FILM COMPANY, 200 Fifth
Ave., New York, N. Y.
FILM MANUFACTURERS.
AMERICAN FILM MFG. CO., Ashland
Block, Chicago.
ECLAIR FILM CO.. 225 W. 42d St..
New York, N. Y.
ESSANAY FILM MFG. CO., 521 First
National Bank Bldg., Chicago.
ITALA FILM COMPANY OF AMER-
ICA, Columbia Theater, New York,
N. Y.
LUBIN MFG. COMPANY, Philadelphia,
Pa.
SELIG POLYSCOPE CO.. 20 E. Ran-
dolph St., Chicago.
THANHOUSER FILM CORPORATION.
New Rochelle, N. Y.
LIGHT.
ENTERPRISE OPTICAL MFG. CO..
564 W. Randolph St.. Chicago.
PROJECTING MACHINES.
ENTERPRISE OPTICAL MFG. CO., 564
W. Randolph St., Chicago.
RAW STOCK.
EASTMAN KODAK COMPANY. Ro-
chester. N. Y.
SUPPLIES.
AMUSEMENT SUPPLY CO., 105 N.
Dearborn St., Chicago.
WATERPROOFING.
NATIONAL WATERPROOF FILM CO.,
4200 W. Adams St., Chicago.
League Directory
Rates for advertising under this
heading, 17 yi cents per line. Mini-
mum charge, $1.00. No limit to
number of lines.
FOR SALE.
SLIDES — announcement and ad-
vertising. Announcements, 25c,
or five for $1.10. Advertising, 50c
and 75c each ; duplicates, 35c each.
Satisfaction or money back. Cata-
log mailed free. NIAGARA SLIDE
COMPANY, Lockport, N. Y.
FOR SALE— Two high grade
theaters, centrally located in
manufacturing city of 15,000. One,
pictures only — seating capacity, 250.
Other, pictures and vaudeville — 300
capacity. Machines, decorations and
scenery, all new. Money making
proposition. No competition. Rea-
son for selling, leaving on account
of sickness. Address O. A., care
Motography, Monadnock Bldg., Chi-
cago.
FOR SALE— Talkophone films,
$10.00 per reel, other reels,
$2.50 to $5.00. Motiograph used
machines, $75.00; new machines,
$175.00; standard machines, new,
$150.00. others, $40.00. For rent
any make of film, $1.00 weekly.
Will illustrate your songs with
slides, $4.00. Will buy Passion
Play, Two Orphans, Tale of Two
Cities, Uncle Tom's Cabin and any
two or three reel features. H.
DAVIS, Watertown, Wis.
CALIFORNIA.
SAN FRANCISCO LOCAL No. 1— Presi-
dent, Chas. Rothschild; Vice-Presi-
dent, A. R. Oberle; Corresponding Sec-
retary. W. A. Cory; Financial Secre-
tary, K. Herzog; Treasurer, L. Shirp-
see.
CANADA.
WINNIPEG LOCAL — Headquarters.
Winnipeg, Canada. President, W. O.
Edmonds; Vice-President, J. A. Schu-
berg; Secretary, F. Van Alstein.
ILLINOIS.
ILLINOIS STATE BRANCH No. 2—
Headquarters, Schiller Bldg., 64 W.
Randolph street, Chicago, HI. Presi-
dent, George Henry; Vice-President,
C. A. Anderson; Secretary. Sidney
Smith; Treasurer, Wm. J. Sweeney;
Financial Secretary, Simon Katz.
INDIANA.
MOTION PICTURE EXHIBITORS'
LEAGUE OF INDIANA— Headquar-
ters, Indianapolis, Ind. President, H.
S. Dickson, Winchester; Vice-Presi-
dents, H. F. Prentice, Terre Haute;
Earl Rife, Logansport; Jos. Bommer-
sheim. Ft Wayne; Hershel Cannon,
Muncie; W. R. Deaton, Warsaw; Sec-
retary, F. J. Rembusch, Shelbyville;
Treasurer, Jos. H. Gavin, Indianapolis.
INDIANAPOLIS LOCAL No. 1— Head-
quarters, 410 Saks Bldg. President.
John A. Victor; First Vice-President,
F. W. Sanders; Second Vice-President,
M. M. Miller; Secretary, E. J. Addy;
Treasurer, J. M. Rhodes.
KENTUCKY.
MOTION PICTURE EXHIBITORS'
LEAGUE OF KENTUCKY— Headquar-
ters, Lexington. Ky. President, J. H.
Stamper, Jr., Lexington; First Vice-
President, L. J. Dittmar, Louisville;
Second Vice-President, Sherman Arn,
Maysville; Secretary, L. H. Ramsay,
Lexington; Treasurer, A. J. Wellman,
Cattletsburg.
LOUISVILLE LOCAL No. 2— President,
J. H. Dittrnan; Vice-President, Irwin
Simmons; Treasurer, Max L. Sim-
mons; Secretary, Jos. Steuerle.
MICHIGAN.
MOTION PICTURE EXHIBITORS'
LEAGUE OF MICHIGAN— Headquar-
ters. 302 Kirby avenue, E., Detroit.
Mich. President, Carl Ray, Muske-
gon; First Vice-President, B. L. Con-
verse, Owosso; Second Vice-President,
J. J. Rieder. Jackson: Third Vice-
President, G. R. Durkins, Saginaw;
Secretary. W. Lester Levy, Detroit;
Treasurer, H. F. Fowser, Lansing.
DETROIT LOCAL No. 1— Headquarters,
399 Hibbard avenue, Detroit, Mich.
President, Peter J. Jeup; Vice-Presi-
dent, Patrick H. Reauhine; Secretary,
W. Lester Levy; Treasurer, Fred W.
Rural er
MINNESOTA.
MOTION PICTURE EXHIBITORS'
LEAGUE OF MINNESOTA— Head-
quarters, Secretary's address. Presi-
dent, Otto N. Raths. St. Paul; Vice-
President, Thos. Furniss, Duluth; Sec-
retary, E. E. Purdee, Minneapolis;
Treasurer, H. A. Sherman, Minne-
apolis.
MISSOURI.
MOTION PICTURE EXHIBITORS-
LEAGUE OF MISSOURI— Headquar-
ters, Kansas City, Mo. President, G.
H. Wiley; Vice-President. J. H. Shel-
don; Secretary-Treasurer, F. B. Wil-
son.
NEW JERSEY.
MOTION PICTURE EXHIBITORS'
LEAGUE OF NEW JERSEY— Head-
quarters, Bijou Theater, 328 Bergen-
line avenue. Union Hill, N. J. Presi-
dent, George A. Robinson; Secretary,
P. M. Kirachner. Address all com-
munications to the Secretary.
NEW YORK.
MOTION PICTURE EXHIBITORS'
LEAGUE OF NEW YORK— Headquar-
ters, 136 Third avenue, New York.
President. Sam H. Trigger, New York;
First Vice-President, B. E. Cornell.
Syracuse; Second Vice-President. R.
Davidson, Binghamton; Secretary, H.
W. Rosenthal, New York; Treasurer,
John C. Davis, Saugerties.
MOTION PICTURE EXHIBITORS'
LEAGUE OF GREATER NEW YORK
— Headquarters, 136 Third avenue.
New York City. President, Samuel T.
Trigger; Vice-President, James Sam-
uels; Secretary, Sydney Ascber; Treas-
urer, Grant W. Anson; Financial Sec-
retary, A. Bannerfreund.
NEW YORK LOCAL No. 2— President.
Geo. F. Wright, Albany; First Vice-
President, E. O. Weinberg, Troy;
Second Vice-President, L. C. Smith.
Schenectady; Secretary, J. E. Weid-
man, Albany; Treasurer. J. G. Ro-
senthal, Troy.
OHIO.
MOTION PICTURE EXHIBITORS-
LEAGUE OF OHIO.— Headquarters,
1003 Mercantile Library Bldg., Cincin-
nati. Ohio. President, M. A. Neff.
Cincinnati; First Vice-President, W. A.
Pittis, Conneaut; Second Vice-Presi-
dent, J. H. Broomhall, Hamilton;
Treasurer, O. B. Weaver, Dayton;
Secretary, J. J. Huss.
CLEVELAND LOCAL No. 1— Headquar-
ters, Commercial Bank Building, Cleve-
land, O. President, S. E. Morris;
First Vice-President, A. Mahrer; Sec-
ond Vice-President, C. F. Schroeder;
Secretary, A. P. Anthony; Treasurer,
F. M. Kenney; Assistant Secretary,
Geo. Heinbuch.
CINCINNATI LOCAL No. 2— Head-
quarters, 1003 Mercantile Library
Building, Cincinnati, Ohio. Presi-
dent. J. Huss; First Vice-President.
A. J. Carbin; Second Vice-President,
M. Fishman; Secretary, A. C. Dongel-
stedt; Treasurer, Otto Leudelsing.
COLUMBUS LOCAL No. 4— Headquar-
ters, Princess Theater. President, J.
A. Maddox; First Vice-President, W.
B. Belknap; Second Vice-President.
J. W. Swain; Secretary, J. R. McCoy;
Treasurer, Max Steam.
DAYTON LOCAL No. 5— Headquarters,
25 Pruden building, Dayton, O. Pres-
ident. R. J. Kastl; First Vice-Presi-
dent, U. T. Stilwell; Second Vice-
President, G. E. Fink; Secretary, Her-
man Lehman; Treasurer, W. Rayner.
TROY LOCAL No. 6— President. J. H.
Johnson; First Vice-President, J. W.
Newman. Piqua; Second Vice-Presi-
dent, Howard Pearson; Secretary, Fred
Adams, Tippecanoe; Treasurer, Cyrus
Shafer, Piqua.
SANDUSKY LOCAL No. 7— President.
J. D. Kessler; Vice-President, E. P.
Richart, Port Clinton; Secretary, W.
E. Higgins; Treasurer, D. P. Larkins.
PENNSYLVANIA.
MOTION PICTURE EXHIBITORS'
LEAGUE OF PENNSYLVANIA—
Headquarters, 233 Fifth avenue, Pitts-
burgh, Pa. President, Walter Steum-
pflg; First Vice-President, Cresson E.
Smith ; Second Vice-President, Mr.
Miller; Secretary. Mr. Roth; Treas-
urer, F. J. Barbin.
west virginia.
motion picture exhibitors'
League of west Virginia—
Headquarters, Moundsville, W. Va.
President, M. M. Weir, Charleston;
First Vice-President, R. L. Harris.
Parkersburg; Second Vice-President,
A. L. Cottrill, Point Pleasant; Secre-
tary L. R. Thomas, Moundsville;
Treasurer, P. W. Barett, Parkersburg.
HUNTINGTON LOCAL No. 1— Head-
quarters, "It" Theater. President, R.
H. Karnes; Vice-President, J. A.
Burns; Secretary, C. A. Johnson;
Treasurer, Haskel Atkins.
CHARLESTON LOCAL No. 2— Presi-
dent, Stanley A. Piatt; Vice-President.
N. E. Murray; Secretary-Treasurer.
Gus. Bartrom.
WISCONSIN.
MOTION PICTURE EXHIBITORS-
LEAGUE OF WISCONSIN— President.
Chas. H. Phillips; First Vice-PreBident.
Thomas F. Stanley; Secretary, J. W.
Clark: Treasurer, Henry S. Kleine.
MOTION PICTURE EXHIBITORS-
LEAGUE OF MILWAUKEE— Head-
quarters, 305 Enterprise Bide., Mil-
waukee. President, J. R. Freuler;
Vice-President, H. S. Klein; SecreUry.
B. N. Judell; Treasurer. T. Sum.
(
Y\7rE gladly look the new year in the face, because
" * our yesterdays look backward with a smile. As
fortune has favored us with friends we will strive to
retain them with good works so that the benefit may
continue mutual. The performance of the past augurs
well for the future of to-morrow.
As far as the Selig Polyscope Company is concerned
it has "made good," and it firmly resolves to keep
good, in providing the very best that can be created
from an equipment as complete and modern as exists.
The past year has in all points been the most re-
markable in the history of the moving picture business,
and optimistically we believe the current one will sur-
pass it in all points of excellence as well as in volume
of output.
A Fortnight of House Fillers to Open the New Year Right
1
Jan. 7— THE GUN FIGHTER'S SON
A striking story of heredity. Approx.
1000 feet.
Jan. 8th— THE MAN WHO MIGHT HAVE
BEEN. A vivid drama dealing with
life's wasted opportunities. Approx.
1000 feet.
Jan. 9th— THE FALSE ORDER.
A railroad play with a startling col-
lision of real locomotives to add thrill
to heart interest. Approx. 1000 feet.
Jan. 10th— THE COWBOY EDITOR.
An uproar of comedy. On same reel with
WHOSE WIFE IS THIS?
A most amusing interrogation. Approx.
1000 feet.
Jan. 13— THE CLUE.
The dramatic story of a reformed ex-
convict with a heavy heart hold.
Approx. 1000 feet.
Jan. 14th— BUD'S HEIRESS
A festive cowboy romance involving
some buds of fashion. Approx. 1000
feet.
Jan. 15th— A PLAIN GIRL'S LOVE.
The story of real virtues opposed to
showy shams. Approx. 1000 feet.
Jan 16th — A REVOLUTIONARY
ROMANCE. The daring excursion of
a Yankee spy into the British territory
and his rescue bv a lovely lady.
Approx. 1000 feet. '
CBCg3CPCP hAA ±**-± * i 1J..U. 1.1 lli Ljf
\
rSrfi i. ju iJujjAjjjujiJi
L
1
MAI fin AM A.
The SELIG POLYSCOPE CO.
20 East Randolph St., Chicago, 111.
BRANCH OFFICES:{l^nJ^rufZ9sl STUDIOS: {<£%£< Los Ange,es.
SEND US YOUR NAME. WE WILL SEND YOU WEEKLY BULLETINS FREE
!^™™nnn/WWVVVVWU^VV^VUl^vvt^vuui;^
ESSANAY
FIVE A
.WEEK .
s
UPERLATIVE
AND A
RISTOCRATIC
BUY WORDS FOR
E S S A 1SI A Y
ESSANAY'S NEW YEAR EDITION VOL. 2 OF SUPERIOR FEATURES FOR JANUARY
Released Tuesday, January 14th
"CHINA AND THE CHINESE9
(A Meritorious Educational Feature)
Released Wednesday, January 15th
'THE GIRL AT THE BROOK'
(A Beautiful Drama)
Released Thursday, January 16th
'THE ROAD OF TRANSGRESSION9
i A Great Object Lesson)
Released Friday, January 17th
"WHAT GEORGE DID'9
(A Screamingly Funny Comedy with Augustus Carney)
Released Saturday, January 18th
"BRONCHO BILLY'S MOTHER99
(A Feature Western Story with G. M. Anderson)
Released Tuesday, January 21st
'THE THIRTEENTH MAN9
(A Heart Rending Dama
Released Wednesday, January 22nd
"THE SHERIFF'S CHILD
(A Gripping Western Story)
Released Thursday, January 23rd
"THE LAIRD OF McCILLICUDDY"
(A Side-Splitting Comedy with Augustus Carney)
Released Friday, January 24th
'THE FARMER'S DAUGHTER'
(An Excellent Comedy Drama)
Released Saturday, January 25th
BRONCHO BILLY'S GUN PLAY"
(A Superb Story ol the West with G. M. Anderson)
Coming Very Soon! Coming Very Soon!
"King Robert of Sicily"
(Longfellow's Wonderful Poem in THREE REELS)
Gorgeous in Scenic Settings Unprecedented in Unexcelled Beauty
The Greatest Scenic Production Ever Staged in America
EXHIBITORS ATTENTION!
THE PINNACLE OF YOUR SUCCESS LIES in your securing three sheet posters of all Essanay Saturday
releases, lithographed in full four colors, price 35c. You can order these from your exchange or direct from
ARMSTRONG LITHOGRAPH COMPANY, Cleveland, Ohio. Your lobby display is incomplete without
Photos of Essanay players, size 8x10. price $3.00 per dozen. Can be secured from the Players Photo Company
177 North State Street, Chicago, Illinois.
Essanay Film Mfg. Co.
521 First National Bank Building, CHICAGO, ILL.
Factorv and Studio 1333 Argyle Street. CHICAGO
Branch Offices in LONDON. PARIS. BERLIN. BARCELONA
February 1, 1913.
MOTOGRAPHY
THE FUGITIVE
A Western Thriller, replete with heart throbs.
RELEASE DATE, MONDAY, FEB. 10, 1913
PECOS PETE IN SEARCH OF A WIFE
A Western Comedy Subject, permeated with wholesome mirth you will be sure to enjoy.
RELEASE DATE, THURSDAY, FEB. 13, 1913
THE ROMANCE
A Society Drama, enacted in nature's most gorgeous Californian settings. One and Three Sheet Posters
RELEASE DATE, SATURDAY, FEB. 15, 1913
Do Not Overlook the
Two Reel Feature
ANDREW JACKSON
RELEASE DATE,
MONDAY, FEB. 3, 1913
The Manager of the Gem Theatre at Montgomery, Vw . Va., says:
"I boost the American and just an American poster will pack the house, but we don't
have the poster unless we have the picture, so it's the picture that boosts us."
American Film Manufacturing Company
6227-6235
Evanston Avenue, mlm [ C A G O
In»tifv the advertiser by saying you read it here.
MOTOGRAPHY
Vol. IX, No. 3
DON'T BE MISLED
THE MOTOR DRIVEN MOTIOGRAPH EQUIPMENT No. 1002-M
Approved by National Board of Fire Underwriters
Is the Best Projection Machine on Earth
We invite comparison with the heaviest advertised machine— You will
find that liberality is a better salesman than paid space in journals.
You get more real and actual value in one $250.00 MOTIOGRAPH
than in two machines of that price of another make.
Our quality is not to be compared with those cheap, heavily adver-
tised: "assembled" machines you have wasted good money on.
The most successful watch factory
The most successful automobile factory
The most successful Motion Picture Machine factory
is one which still does, and always did, make every part and
screw in one factory and under the personal management
of its own officers.
Beware of any "assembled" machine. But the machine that invites
mechanical comparison, and yet, projects the most perfect picture
there is— that "painted on the wall" kind.
MANUFACTURED BY
The Enterprise Optical Manufacturing Company
Main Office and Factory: 566 W. RANDOLPH ST., CHICAGO, ILL.
EASTERN OFFICE: WESTERN OFFICE:
30 EAST 23rd STREET, NEW YORK CITY 833 MARKET STREET, SAN FRANCISCO
RELIANCE
Released — Wednesday February 5th
THE
STRIKE
LEADER
The
Greatest
Labor - Drama
Ever
Produced
BY MARION BROOKS
In Two Powerlul Reels — and
Sixty Intense Scenes
RELIANCE
THE
MUTUAL
PROGRAM
Choice Territory Unsold and Unplayed lor
Saint George
and the
Dragon
COPYRIGHTED 1912—3 REELS
Southern New York State
West Virginia
Virginia
North Carolina
South Carolina
Nebraska
Oklahoma
Colorado
Wyoming
North Dakota
South Dakota
Utah
Idaho
Montana
Nevada
New Mexico
Arizona
Alaska
Eastern Canada
Western Canada
Select a group of two or three of these States
which you wish to work in and wire us for
cash price on same with film.
Time is now ripe for big money making- with
this feature.
St. George and the Dragon is a brilliant,
novel, pleasing, thrilling drama of love,
chivalry and adventure, made by the famous
Milano Film Company producers of Dante's
Inferno and Homer's Odyssey.
A Milano film masterpiece in 3 reels, with
exclusive rights to a large section of populous
territory at a price less than charged for
mediocre "features" alone.
Owners of this film are reaping profits! Will
put you in communication with owners for
reference.
We supply pictorial one sheets, three sheets,
eight sheets, set 14 large photos, art booklets,
heralds, dodgers, slides.
CROWN FEATURE FILM CO.
145 W. 45th St. NEW YORK
Add a line to your inquiry, thus: "I saw it in MOTOGRAPHY."
February 1, 1913. MOTOGRAPHY
-< 1 1 1 1 ■ 1 1 ; 1 1 1 1 1 j 1 1 1 i 1 1 1 1 ■ 1 1 ( 1 1 1 1 1 1 1 i 1 1 1 1 1 1 1 1 1 f 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 ■ 1 1 1 1 1 1 1 1 1 1 s ■ 1 1 1 1 1 1 1 1 1 ■ 1 1 1 1 1 ■ 1 1 1 1 ■ 1 1 1 1 f 1 1 1 1 1 3 1 1 1 1 1 1 1 1 j i
LUBIN FILrVIS
CLEAR AS A BELL
PROGRESSIVE
MAGNIFICENT
Some Wonderful Special Features on the Way for March and April
February 3— "THE LOST NOTE"
Powerful Drama, Featuring Ormi Hawley.
February 4— "A MOTOR BOAT PARTY"
The Awful Experience of a Boat Party.
February 4— "THE MISSING JEWELS"
A Drama Which turned to Comedy.
February 6— "KEEPING UP APPEARANCES"
Showing the Folly of "Make Believe."
February 7— "THE PRICE OF JEALOUSY"
The Heroic Sacrifice of a Jealous Woman.
February 8— "THE MISER"
A Father Tries to Regulate his Son's Affec-
tions, but Fails.
February 10— "DOWN ON THE RIO GRANDE"
Thrilling Mexican Border Story.
February 11— "THE HIGHER DUTY"
A Beautiful Problem Play.
February 13— "ORANGE GROWING"
Beautiful Educational Picture.
February 13— "THE REST CURE"
The Doctor Promotes a Wonderful Cure.
February 14— "THE REGENERATION OF NANCY"
Ormi Hawley is the Star.
February 15— "THE MAYOR'S WATERLOO"
A Screaming Suffragette Story.
FIVE FULL REELS RELEASED EVERY WEEK AND TWO 2000 FOOT SPECIALS EVERY MONTH
Extremely beautiful one, three and six-sheet posters of our photo plays, printed in five colors, can be obtained
from your Exchange, or the A. B. C. Company, Cleveland, Ohio. They will draw the crowds to your theatre.
LUBIN MANUFACTURING CO.
MODEL NEW STUDIOS
20th AND INDIANA AVENUE
154 W. Lake St., Chicago 35 Friedrich St., Berlin
PHILADELPHIA, PA.
B. Nichols, 86 Wardour St., London, W., England
nlllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllinilllllllllllllllllllllllllllHIIIIINIIIIMIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII^
T
he
hanhouser
hree-a-week's
F
eature
ebruary
(FIRST WEEK: Two
Split-Reels, and "When
the Studio Burned.")
(Released Sunday, Feb. 2)
His Uncle's Wives
and
The Seven Ages of An Alligator
This is just the subject to open "Feature February" with — a split-reel containing a side-splitting farce and an unusual life-
study of an unusual animal. The first picture pictures the predicament of a young artist who loses a very dear uncle resident in
Turkey, who wills his wives to aforesaid nephew. And the nephew is an engaged young man! Suppose his fiancee should hear!
The story is a comedy riot. (Released Tuesday, Feb. 4)
When The Studio Burned
This is the last word in Thanhouser enterprises — a film on their own fire. And it is a vivid depiction, too, since it is based on
the startling newspaper stories that were flashed to a thousand American cities on the afternoon of January Thirteen, Nineteen
Thirteen. The press of the whole country, therefore, printed an advance synopsis of this film for you. We hold right to that
synopsis, not even forgetting the well-worded rescue of the Thanhouser kidlet by Marguerite Snow.
(Released Friday, Feb. 7)
While Mrs. McFadden Looked Out
and
Los Angeles the Beautiful
You will like Mrs. McFadden mainly because you know her type so well. Likely you have her right next door. Lean-
ing out of her window, she is a neighborhood landmark. No one passes below but she doesn't know it. The Window Gazer of this par-
ticular picture loses her daughter, household goods and life, almost, but still she looks out. The subject at the end was especially
prepared by our California Art Photographers. Coming, Sunday, February 9 — A Comedy Sensation — "Good Morning, Judge."
HP U^^V.^ ^ ^ ~ T?"1 -*-. /^^-~-^.^+.^+-l ~ ^ Offices: New Rochelle, New York
lnannOUSer rlim V^OrpOratlOn Winter Studio: 651 Fairview Place, Los Angeles, Cal.
Tell the advertiser you taw it in MOTOGRAPHY.
MOTOGRAPHY
Vol. IX, No. 3
r THE LOVE CHASE ^
TWO REEL FEATURE, FEBRUARY 6th ol
The American Niece
The Experiences of an American Girl in France
FEBRUARY 2nd
Bathers in Ceylon For the Child's Sake
(A Beautiful Crystal Clear
Educational Subject)
FEBRUARY 2nd
A Tremendous Dramatic Situation Written
Around a Little Child's Helplessness
FEBRUARY 4th
Sfe4pD
Write Us lor Photos of Our Stock Company, Our "Bulletin" ol Live News or Any Other Help
Eclair Film Company
225-7 West 42nd St.
New York City, N. Y.
E want the name and address of every camera
man who is looking to better his position. Send
us your name, age, experience; tell us all about
yourself. Tell us if you own your camera. All cor-
respondence strictly confidential on honor.
Correspondence returned if not acted upon favorably.
If you have had experience as a Picture Machine Opera-
tor; if you own a Picture Theatre, let us hear from you.
We may be able to use you.
International Educational and Industrial Film Co.
First National Bank Building
CHICAGO
When answering advertisements, say where you saw them.
February 1, 1913.
MOTOGRAPHY
J
| I Want Some |
| More Perfect |
I Negatives! 1
— I won't release until I've
H made 'em! =
— Won't even print my trade-
H mark! =
= — What's the use? H
— When I'm ready, I'll be
g ready RIGHT! jj
—And I'll TELL you ABOUT
myself RIGHT! 1
g — Tell you everything AT §
= THE RIGHT MOMENT! =
Meanwhile I,
The "Royal,"
Popstpone
Releasing!
[r.
? '■ .>*<<•**
Ornamental
Theatres
PLASTER RELIEF DECORATIONS
Theatres Designed Everywhere
Write for Illustrated Theatre Catalog. Send us
Sizes of Theatre for Special Designs
THE DECORATORS SUPPLY CO.
2549 Archer Avenue, CHICAGO, ILL.
Buy MOTOGRAPHY
From Your Newsdealer
10 CENTS PER COPY
Insist upon him getting it for you
TRADE
MARK
WATERPROOF FILMS
can be washed with
soap and water
WATETgFRQ/OF,)
NATIONAL WATERP FILM CO.
4200 W. Adams St.
CHICAGO
Send for Our Special Price List on
SUPPLIES AND MACHINE REPAIRS
NEW MACHINES OF ALE MAKES
WE BUY AND SELL USED MACHINES
AMUSEMENT SUPPLY COMPANY
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107 D. No. Dearborn Street, CHICAGO. ILL.
If you like MOTOGRAPHY, tell the advertiser so.
10 MOTOGRAPHY Vol. IX, No. 3
^IIIIIIIIIII1IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII£ ^»IIIIIIIIIIIIIIHIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII|||IIIIIIIIIIIIII1IIIIIIIIII1£
FEATURES | | Something for Something I
A mighty and wonderful combination
is offered you here under one roof. Not
feeble and puny regular releases disguised
as features — but every one a full quality
production by a master film maker.
Scrutinize This List
ALL STAR FILM
Sarah Bernhardt in a three part sump-
tuous silent drama
An Actress' Romance
Adapted by Mme. Bernhardt from her
own favorite play "Adrienne Lecouvreur"
ALL STAR FILM
The eminent French tragedian, M. Mounet-Sully, in
the soul stirring classic in four parts
Oedipus Rex
GAUMONT
In the Claws of the Leopard
(Two Reels)
In the Grip of the Vampire
(Three Reels)
GREAT NORTHERN
In the Den of Lions
(Two Reels)
Conquered, or the Madcap Princess
(Three Reels)
ITALA
The Palace of Flames
(Three Reels)
The Great Aerial Disaster
(Three Reels)
SOLAX
The Beasts of the Jungle
(Three Reels)
Exclusive territorial rights and protection guaranteed
with each production.
Our Regular Program Added Gaumont, Solax, Great
Northern, Itala, Comet, Lux, Ammex, Gaumont Weekly,
Great Events, Ramo, Pilot. And these to come: All-Star
Monitor, Magnet, Anchor.
Regular Monthly Exhibitions will be
given to buyers on the first Fri-
day and Saturday of each month
in our theatre on the premises.
T^OR 25c. we will send to you weekly, ="
= E -*- for six months, the eight page ==
| | newspaper, the GAUMONT GRAPHIC.
E E It is interesting and instructive. It ="
= E contains stories, synopsis, etc. This =
= E subscription price will pay the postage. =
E E Should you not know whether it is E
E E a good money's worth, send for a E
E E month's sample copies.
E E We first thought we would give it free. E
E E Then we reconsidered that something E
E E worth reading is worth paying for. E
E E Find out whether it is. Write now. =
| | GAUMONT COMPANY |
±0&J*
&$£&,
FLUSHING
| ^aamoDt> new york city ^Glaciinoof} I
1? 1
iW
<h
= nimmmiimmimimiimiiiimiimiimiiiimiimmiiiiiimmmiiE
FILM SUPPLY COMPANY |
OF AMERICA E
133-35-37 W. 44th St., NEW YORK. V. S. A. E
.?IIIIIIIIIIIIIIIIinilllllllllllUMIIIIIIIIIIIIIIIIIIIIIIIIIIUIIIIIIIllIIIM!lhl
M. P. Theater List
We have a correct list of
all the Motion Picture The-
aters in the United States
and Canada. These ad-
dresses are in stencil and
are quickly available for
commercial uses. The price
of the complete list deliv-
ered into your hands is
$50.00. Cash with order.
Electricity Magazine Corporation
Monadnock Bldg. ; : CHICAGO, ILL.
Tell him where you read this advertisement when writing.
February 1, 1913.
MOTOGRAPHY
11
£>
January 27, 1913.
The Guiding Light
Lubin. Two Reels.
Peter Fife, keeper of the light at Casco Bay, lives alone with his 17-year-old daughter, born blind.
Harry, the girl's lover, saves all of his scant salary and gives it to Fife for an operation to restore Marie's sight.
Dick Drayton is caught in the act of stealing the money and soundly thrashed. Bent on revenge he extinguishes the
light. Marie, through her quick wit and fortitude,, restores the light, thereby saving Harry and his companions,
who are in danger of being dashed on the rocks in the darkness.
The brave girl's reward comes in the form of a successful operation and her engagement to Harry.
A Tale ot Old Tahiti
January 31, 1913.
Melies. Two Reels.
Teria, the daughter of one of the most influential chiefs of Tahiti, falls desperately in love with a young French
Midshipman.
She pleads with her father to secure him for a husband. The French officers laugh at the idea.
The chief orders him taken prisoner. He loves Teria, but loyalty to his country demands his return. He is held
captive despite his efforts until an expedition from his vessel comes ashore and tears him away in the very height of
his love, with only her last gift — a flower by which to remember the sweetest experience of his existence.
The Millionaire Cowboy
February 3, 1913.
A Brilliant Comedy Which Smacks of the Clean Humor
Selig\
During a wonderful exhibition of horsemanship and cowboy skill, the foreman of the Diamond-S Ranch is handed
a telegram summoning him to Chicago to claim a fortune left him by an uncle.
There he falls in love and marries the stenographer in the office of his attorneys.
After a year he tires of the monotony of the life he leads and wires for the entire outfit to come on to Chicago
and wake the town up. They carry out instructions elaborately, much to the embarrassment of Mrs. "Bud." After
they leave "Bud" embraces his wife and to her great relief whispers "Never again."
The Last Blockhouse
A Vivid Portrayal of Western Frontier Days, Based Upon Historical Incidents
February 7, 1913. Kalem. Two Reels.
A party of Western Pioneers while constructing a block house are guarded by a troop under Capt. Steele. Crow,
a renegade half-breed, tries to become friendly. He annoys Dot, the wife of Jim, a young settler, and is quickly
repulsed.
Crow, infuriated at her scorn, incites the Indians to attack the settlers. The block house is destroyed. Crow
captures Dot before the attack and rides off toward the camp.
Jack, the sole survivor, manages to reach the young husband who is away in the woods, and Jim and Capt. Steele
recapture Dot from the Indians and in a hand-to-hand struggle with Crow, Jim avenges the fate of the pioneers.
A Drama in the Air
February 10, 1913.
Fathe. Two Reels.
Ray Newell and Paul "Van Arsdale, aviators, are in love with Betty Chapman. Bettv announces that she will
accept the winner of a race soon to be held. Newell, fearful lest he lose the prize, disables Van Arsdale's machine.
During the race, Van Arsdale's machine, slightly in the lead, suddenly drops to the ground and he is buried
under the wreckage.
Newell's treachery is unearthed in a clever manner by Van Arsdale's friend, Harry Wilson. Later Betty and her
father visit Van Arsdale in the hospital, and Betty naively informs him that he has won her heart if not the race.
Chains of an Oath
February 14, 1913.
Vitagraph. Two Reels.
The father of Donia, a pretty Russian peasant girl, whom he has betrothed to Gregory, compels her before de-
parting for America to take an oath to return and become his wife. In America Donia falls in love with Ivan
fellow countryman who has become Americanized and is in every way a worthy young man. Ivan asks her to
become his wife. She is reminded of her oath to Gregory.and, heartbroken, returns to her native land.
Ivan follows her to Russia, and is discovered by Gregory while pleading with Donia to return with him. Furi-
ous at Ivan's attentions to his betrothed, Gregory dogs his footsteps awaiting an opportunity to kill him. During
events which follow Gregory awakens to the realization that Donia does not love him, and placing Donia's hands in
Ivan's, he revokes the oath and leaves them alone in the ecstacy of their love.
a
:
A
If you saw it in MOTOGRAPHY, SAY SO!
12
MOTOGRAPHY
Vol. IX, No. 3
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Johnson; First Vice-President, J. W.
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Adams, Tippecanoe; Treasurer, Cyrus
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tary L. R. Thomas, Moundsville;
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quarters, "It" Theater. President, R.
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Burns; Secretary, C. A. Johnson;
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The advertiser wants to know where you saw his ad, tell him.
THE HOUSE OF
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OFFERS
The Cowboy Millionaire
IN TWO REELS
Sclig's Greatest Western Sensation
Released as a Special February 3rd.
A thrilling, vivid and humorons comedy drama of cowboy life on the
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SELIG S INVINCIBLE PROGRAM
Feb. 3rd. THE GOVERNOR'S DAUGHTER
Unusual Western Drama
Feb. 4th. SWEENEY AND THE MILLION
Comedy on Money Spending
Feb. 5th. THE THREE WISE MENj
Modern Miracle Play. Feature.
Feb. 6th. HOW IT HAPPENED
Western Drama
Feb. 7th. THE ARTIST AND THE^BRUTE
Wild Animal Drama
Feb. 10th. PIERRE OF THE NORTH
French Canadian Drama
Feb. 11th. "DON'T LET MOTHER KNOW"
Drama of City and Country
Feb. 12th. HER ONLY SON
Story of a Country Boy
Feb. 13th. BILL'S BIRTHDAY PRESENT
Com , dj of Western Life
Feb. 14th. A LITTLE HERO
Child Drama Feature. On reel
with BUDDHA. Educational
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ESSANAY
FIVE A
.WEEK .
UCCESS
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Prophecy Proclaims Pure Photoplays Please Patrons
Essanay Establishes Exceptionally Excellent Examples
L i ESSANAY'S NEW YEAR EDITION, VOL. 4, OF SUPERIOR FEATURES
Released Tuesday, February 11th
"ODD KNOTTS"
(A Screamingly Funny Comedy)
Released Tuesday, February 18th
"BOUND TO OCCUR"
(A Comedy Scream From Start to Finish)
Released Wednesday, February 12th
"THE GIRL IN THE CASE"
(A Riot of Mirth)
Released Wednesday, February 19th
'WHERE THE MOUNTAINS MEET'
(A Gripping Western Drama)
Released Thursday, February 13th
'ACROSS THE GREAT DIVIDE'
(A Pathetic Western Story)
Released Thursday, February 20th
"TEACHING HICKVILLE TO SING"
(The Screamiest Scream Elver Thrown on a Screen)
Released Friday, February 14th
"THE THREE QUEENS"
(A Revelation Photographic Portrayal)
Released- Friday, February 21st
'IDENTICAL IDENTITIES'
' (A Photographic Masterpiece)
Released Saturday, February 15th
"BRONCHO BILLY'S WARD"
(A Heart Rending Story of the West with Mr. G. M. Anderson)
Released Saturday, February 22nd
'BRONCHO BILLY AND THE SHERIFF'S KID" I
(A Powerful Western Drama with Mr. G. M. Anderson)
To Be Released Soon!
66
To Be Released Soon!
99
King Robert of
\ (Longfellow's Wonderful Poem in THREE REELS)
Gorgeous in Scenic Settings Unprecedented in 'Unexcelled Beauty
The Greatest Scenic Production Ever Staged in America
THE HEIGHT OF YOUR SUCCESS LIES in your securing three sheet posters of all Essanay Saturday
releases, lithographed in full four colors, price 35c. You can order these from your exchange or direct from
ARMSTRONG LITHOGRAPH COMPANY. Cleveland. Ohio. Your lobby display is incomplete without
Photos of Essanay players, size 8x10, price $3.00 per dozen. Can be secured from the Players Photo Company
177 North State Street, Chicago, Illinois. -- ._
Hall Tones of 'Broncho Billy" and "Alkali" Ike "cai~be~hai— for Ithe asking provided yon nse
them in your Local Newspapers
Essanay Film Mfg. Co,
521 First National Bank Building, CHICAGO. ILL.
Factory and Studio 1333 Argyle Street, CHICAGO
Branch Offices in LONDON. PARIS. BERLIN. BARCELONA
February 15, 1913.
MOTOGRAPHY
WHEN THE LIGHT FADES fcTOT-Mssr*
coveted prize that those he loved might be happy.
Release Date, Monday, February 24, 1913
acquire happiness, sacrifices his
A delightful comedy illustrating the utter
failure of a minister's objection to his
daughter'sfmarriage.
FAMOUS ILLINOIS CANYONS AND STARVED ROCK SSfSSS*
FATHER'S FINISH
reel with
HIGH AND LOW
A psychological drama depicting a rich man's endeavor to arouse
the ambitions of his listless son. Excellent dramatization and
beautiful photography.
Release Date, Saturday, March 1, 1913
THREE A WEEK
MISS LOUISE LESTER, Salt Lake City, Utah, January 27th, 1913
Santa Barbara, Cal.
Dear Madam :
Permit me to extend the compliments of our audience and the theatre force, from the janitor down to the
management, for your meritorious efforts in "Calamity Anne's Inheritance." It's good!
Wishing you and our favorite company success, Yours respectfully,
WESTERN MOTION PICTURE COMPANY
E. M., Mgr.
AMERICAN FIIM MANUFACTURING CO., "*SKK2.»™-
Add a line to your inquiry, thus: "I saw it in MOTOGRAPHY."
MOTOGRAPHY
Vol. IX, No. 4.
tilllliiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiililllilllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllll
LUBIINJ FILIVIS
Great 2-Reel
Special
66
55
By Lawrence MeCloskey, Produced by Barry O'Neil.
John and George Nolan are brothers. John, age twenty-two, is good hearted but inclined to be wild and frequents the billiard rooms. One
night in a quarrel he throws a billiard ball at his antagonist and Ed. Jennings, the man, drops, apparently dead. John rushes home and
tells his parents that he has killed a man. The lather drops dead from the shock and the mother implores John to make his escape which
he does just as the police raid the house. George, the younger boy. gets a position in a store and advances rapidly; his salary keeps the
home and he is devoted to his mother, but she continually pines for the lost boy. Ed. Jennings did not die, but all search for John is with-
out avail. Ten years pass and one day George is sent to a neighboring city on business and carries money belonging to the firm. The races are on and George
visits the track and is robbed ot the wallet. Frantically he places his own money on a horse at long odds hoping to win the lost money back. The horse loses. He
then takes his watch to the bookie and begs for another bet. The bookie opens the watch and sees the picture of their mother. The two boys go back to the old
home and all are made happy.
February 17— "THE LOST SON"
Wonderful Special. Two Reel.
February 17— "WILD MAN FOR A DAY"
A Farcical Laugh.
February 17— "TRAINING A TIGHTWAD"
A Close Fisted Father is Converted.
February 18— "THE ENGRAVER"
Excellent Western Drama.
February 20— "ANNIE ROWLEY'S FORTUNE"
Featuring Arthur Johnson.
February 21— "ART AND HONOR"
Featuring Ethel Clayton.
February 22— "THE UNKNOWN"
One of Romaine Fielding's Thrills.
February 24— "THE TEACHER AT ROCKVILLE"
One of Francis Qrandon's Gems.
February 25— "IMPORTING CATTLE FROM MEXICO
TO THE UNITED STATES"
An Educational Picture.
February 25— "THE FEMALE DETECTIVE"
Featuring Mae Hotely.
February 27— "THE SUPREME SACRIFICE"
Beautiful Pathetic Story.
February 28— "DR. MAXWELL'S EXPERIMENT"
A Physiological and Scientific Study.
March 1— "AUNTIE'S AFFINITY"
Featuring Peter Lang and Mrs. Geo. W. Walters.
Extremely beautiful, one, three and six-sheet posters of our photo plays, printed in five colors, can be obtained
from your Exchange, or the A. B. C. Company, Cleveland, Ohio. They will draw the crowds to your theatre.
LUBIN MANUFACTURING CO.
MODEL NEW STUDIOS
20th AND INDIANA AVENUES PHILADELPHIA, PA.
154 W. Lake St., Chicago 35 Friedrich St., Berlin B. Nichols, 86 Wardour St., London, W„ England
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^Illlllllll]llilliilllllllllllllllllllllllllllllllllllllillllllllllllllllllllltll!±
I Does It Matter to You I
| That Your Patrons See |
| Pictures They Can Talk About |
| €Jk Dramas That Thrill Them 6m =
= f Comedies with a laugh in every inch f =
= % oi Film % =
I Photography Par Excellence |
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1 GAUMONT COMPANY 1
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t>i»tifv the advertiser by saying you read it here.
February 15, 1913.
MOTOGRAPHY
THE EDISO
KINETOSCOPE
An Unsurpassed Moving Picture Machine from
every point of view. "Once used, always used"
ARE your profits being eaten up week after
week by the cost of repairing your moving
picture machine? If so, you might as well
make up your mind right now to do one of two
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COMING EDISON FILMS
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Send today for catalog 500 and a copy of^the
Edison Kinetogram.
Release Release
Dale Number TITLE
Feb. 3 7237 Over ihe Back Fence, by Marion Carr
4 7238 The Phanlon Ship, by James Oppen-
beim
" 5 7239 How They Oulwiltcd Father, by Millon
Goldsmith
; 7 7240 Sally's Romance, by Bliss Millord
8 7241 The Governess, by Bannister Merwtn
10 7242 Barry's Breaking In. by James Oppen-
heim
1 1 7243 The City of San Francisco
12 7244 Dangers ol the Street. Taken in Co-
operation with the Public Service Cor-
poration of New Jersey
7245 A Heroic Rescue, by Chas. M. Seay
" 14 7246 The Doctor's Photograph, by A. B.
Cooper
" 15 7247 The Old Monk's Tale. taken at
Ramona s Marriage Place. San Diego.
Cal.
17 7248 Confidence, by Bannister Merwin
18 7249 His Enemy, by Bannister Merwin
' 19 7250 Alter Ihe Welsh Rabbit, by William W.
Hansom
" 21 7251 The Will ol the People, by Bannisler
Merwin
22 7252 The Minister's Temptation, by Rev.
Sydney Booth
24 7253 In a Japanese Tea Garden. Taken at
Coronado Beach. Cal.
" 2-5 7254 The Ranch Owner's Love Making, by
A. H. Giebler
" 26 7255 The Newest Method ol Coaling Battle-
ships at Sea. Practice Drill in New
York Navy Yard
7256 All on Account ol a Transler. by Henry
W. Olio
" 28 7257 A Will and a Way. being the cighlh
slory ol ' What Happened to Mary. "
Produced in collaboration wilh "The
Ladies' World.''
Release Classilica-
Lenglh tion.
975 Comedy
1000 Dramatic
1000 Comedy
1000 Dramatic
1000 Dramatic
1000 Dramatic
1000 Scenic
500 Descriptive
500
1000 Comedy
1000 Dramatic
995 Dramatic
1000 Com.-Drama
1000 Dramatic
1000 Comedy
1000 Dramatic
1000 Dramatic
1000 Comedy
1000 Com.-Dra
325 Descripl
675
1000 Cor
1000 Dramatic
The Armstrong Lithograph Co. will make a
1-sheet poster for all films except No. 7255 and
3-sheets for Nos. 7252 and 7257.
THOS. A. EDISON
Incorporated
265 Lakeside Ave.
Orange, N. J.
When answering advertisements, say where you saw them.
MOTOGRAPHY
Vol. IX, No. 4.
SPEC I A L
THE
REDEMPTION
February 21, 1913.
Kalem. Two Reels.
A Strong moral drama in which is proven the theory that "a
criminal is only a criminal because he has not had the proper
opportunity to develop an honest character."
"Red" Ellis, a knight of the underworld, on whom the experiment is tried, twice starts to betray Grey,
his benefactor, but each time his conscience restrains him. The second time, however, his old gang outwits
him and one of their number makes off with a necklace belonging to Grey. The guilt falls on Ellis, but Grey,
still believing in Ellis, allows him to go on his promise to recover the necklace in half an hour. The time has
almost expired when he rushes into Grey's parlor gripping the necklace in his hand.
THE
LOST SON
February 17, 1913.
Lubin. Two Reels.
John Nolan, in the heat of anger, strikes down his opponent
with a billiard ball and, believing him dead, runs away. Ed. Jen-
nings, the injured man, recovers.
Nolan's mother advertises for him and instructs the police to find her boy, but in vain.
Ten years later George, his younger brother, holding a position of trust and supporting his now widowed
mother, is robbed of some of his employer's money and tries to make it up by playing the races. He loses and
in desperation returns to the Bookie and tries to put up his watch. The Bookie opened it and sees their moth-
er's picture. George tells him that Jennings is alive and the little family is reunited.
GENERAL
February 15, 1913.
MOTOGRAPHY
FEATU RE S
February 14, 1913.
Chains of an Oath
Vitagraph. Two Reels.
The father of Donia, a pretty Russian Peasant girl, whom he has betrothed to Gregory, compels her before departing
for America, to take an oath to return and become his wife. In America Donia falls in love with Ivan, a fellow countryman,
who has become Americanized and is in every way a worthy young man. Ivan asks her to become his wife. She is reminded
of, her oath to Gregory and, heartbroken, returns to her native land.
Ivan follows her to Russia and is discovered by Gregory while pleading with Donia to return with him. Furious at Ivan's
attentions to his betrothed Gregory dogs his footsteps awaiting an opportunity to kill him. During events which follow Gregory
awakens to the realization that Donia does not love him, and placing Donia's hands in Ivan's, he revokes the oath and leaves them
alone in the ecstacy of their love.
February 10, 1913.
A Drama in the Air
Pathe. Two Reels.
Ray Newell and Paul Van Arsdale, aviators, are in love with Betty Chapman. Betty announces that she will accept the
winner of a race soon to be held. Newell, fearful lest he lose the prize, disables Van Arsdale's machine.
During the race Van Arsdale's machine, slightly in the lead, suddenly drops to the ground and he is buried under the
wreckage.
_ Newell's treachery is unearthed in a clever manner by Van Arsdale's friend, Harry Wilson. Later Betty and her father
visit Van Arsdale in the hospital and Betty naively informs him that he has won her heart, if not the race.
February 7, 1913.
The Last Blockhouse
A Vivid Portrayal of Western Frontier days, based upon historical incidents.
Kalem. Two Reels.
A party of Western pioneers, while constructing a block house, are guarded by a troop under Captain Steele. Crow, a
renegade half-breed, tries to become friendly. He annoys Dot. the wife of Jim, a young settler, and is quickly repulsed.
Crow, infuriated at" her scorn, incites the Indians to attack the settlers. The block house is destroyed. Crow captures Dot
before the attack and rides off toward the camp.
Jack, the sole survivor, manages to reach the young husband, who is away in the woods, while Jim and Captain Steele
recapture Dot from the Indians and in a hand-to-hand struggle with Crow, Jim avenges the fate of the pioneers.
February 3, 1913.
The Millionaire Cowboy
A birlliant comedy which smacks of the clean humor of the Western Plains.
Selig. Two Reels.
During a wonderful exhibition of horsemanship and cowboy skill "Bud," the foreman of the Diamond S Ranch, is handed
a telegram summoning him to Chicago to claim a fortune left him by an uncle.
There he falls in love and marries the stenographer in the office of his attorneys.
After a year he tires of the monotony of the life he leads and wires for the entire outfit to come on to Chicago and wake
the town up. They carry out instructions elaborately, much to the embarrassment of Mrs. "Bud." After they leave "Bud" em-
braces his wife and to her great relief whispers "Never again."
January 31, 1912.
A Tale of Old Tahiti
Melies. Two Reels.
Teria, the daughter of one of the most influential chiefs of Tahiti, falls desperately in love with a young French midshipman.
She pleads with her father to secure him for a husband. The French officers laugh at the idea.
The chief orders him taken prisoner. He loves Teria, but loyalty to his country demands his return. He is held captive
despite his effort until an expedition from his vessel comes ashore and tears him away in the very height of his love, with only
lier last gift — a flower — by which to remember the sweetest experience of his existence.
January 27, 1913.
The Guiding Light
Lubin. Two Reels.
Peter Fife, keeper of the light at Casco Bay, lives alone with his 17-year-old daughter born blind.
Harry, the girl's lover, saves all of his scant salary and gives it to Fife for an operation to restore Marie's sight. Dick
Drayton is caught in the act of stealing the money and soundly thrashed. Bent on revenge he extinguishes the light. Marie
through her quick wit and fortitude restores the light, thereby saving Harry and his companions, who are in danger of being
dashed on the rocks in the darkness.
The brave girl's reward comes in the form of a successful operation and her engagement to Harry.
FILM CO.
10
MOTOGRAPHY
Vol. IX, No. 4.
->lllllll|l|(lllllllllllli|l|lMI|||||lll|llllllll!llll|l||||||||||||||llll||ll|il^
I The World's Greatest I
I Features |
■= are under our control; products of those pioneers =
S of the industry, who have lived to become leaders. ff
REGULAR MONTHLY EXHIBITIONS
The first Friday and Saturday of each
month, in our own projection room on
the premises.
OUR LIST
ALL STAR
Sarah Bernhardt as ''Adrienne Lecouvreur" in
The Romance of an Actress Three Reels
M. Mounet-Sully in
OEDIPUS REX Four Reels
GAUMONT
The Race for the Millions Three Reels
In the Claws of the Leopard Two Reels
The Human Vulture Two Reels
In the Grip of the Vampire Three Reels
The White Glove Band Three Reels
ITALA
The Great Aerial Disaster Three Reels
The Palace of Flames Three Reels
GREAT NORTHERN
In the Den of Lions Two Reels
Conquered; or the Madcap Countess ..Two Reels
SOLAX
Beasts of the Jungle Three Reels
COMING— WATCH FOR DATE— COMING
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GREAT NORTHERN— Lost Memory Two Reels
GAUMONT— By Design of Heaven Two Reels
Hand Colored)
GREAT NORTHERN— The Millionaire's
Daughter Three Reels
GAUMONT— The Imposter Three Reels
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HE
HANHOUSER
HREE-A-WEEK'S
(Second Week : A comedy of the Courts, a
tale of the Ticker and an essay on the Easy}
ff
Sunday, February 9
Good Morning, Judge!'
A young man received a note from his sweetheart, making
an appointment, and he carelessly left it in a coat that was
sent to the tailor. The note fell out of this and the tailor put
it in the pocket of another man's coat. The other man was
a Henpeck; his wife discovered the note, and kept the ap-
pointment. In the mix-up, the wife and the first young man
were arrested and arranged before the — father of the latter's
sweetheart ! Oh, it is to SCREAM !
Tuesday, February 11
A Mystery of Wall Street
He was a great financier and he fell in love with a girl
whose father was also on 'Change. She rejected his suit. In
a rage, the financier got busy with the market. Aiming his
strength at the securities of the girl's father, he reduced the
man to penury. But there was a turn in the market. With
it, the father regained his wealth. How was it accomplished?
Through the financier's absence. Why was he absent ? Ahr
there's the reason for the title !
Friday, February 14
Some Fools There Were
Men guests at a summer resort meet a real "charmer
there and are — charmed ! Each does not know, though, that
the other has met the lady in the case, who, in loving remem-
brance, has taken a snapshot of them all. Then they learn
she was a writer collecting data and photos for a magazine
story on "Fools You Meet at a Summer Resort!" This is
the SECOND comedy of the Three-a-Week's second
"Feature February" week !
C
— Lomins
Sunday, Feb. 16— By the Middle Western Coj
"HALF WAY TO RENO"
Coming ! Tuesday, Feb. 25— In two Reels: "SHERLOCK
HOLMES SOLVES THE SIGN OF THE FOUR"
1 Thanhouser Film Corporation
1 New Rochelle, N. Y.
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Tell the advertiser you »aw it in MOTOGRAPHY.
February 15, 1913. MOTOGRAPHY
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MOTOGRAPHY
Vol. IX, No. 4.
EASTMAN
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League Directory
CALIFORNIA.
MOTION PICTURE EXHIBITORS'
LEAGUE OF CALIFORNIA— Head-
quarters, Pacific Bldg.. San Francisco.
President, Chas. Rothschild; Vice-Presi-
dent, A. R. Oberle; Secretary. W. A.
Cory; Treasurer, N. K. Herzog.
SAN FRANCISCO LOCAL No. 1— Head-
Quarters, Assembly Hall. President,
Chas. Rothschild; Vice-President, A. R.
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DISTRICT OF COLUMBIA.
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LEAGUE OF THE DISTRICT OF
COLUMBIA — Headquarters. Bank of
Commerce Bldg., Washington, D. C.
President, W. P. Herbert; Vice-Presi-
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FLORIDA.
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Sipe.
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ILLINOIS STATE BRANCH No. 2—
Headquarters, Schiller Bldg.. 64 W.
Randolph street. Chicago. 111. Presi-
dent. J.. A. Alcock: Vice-President,
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Smith; Treasurer. Wm. J. Sweeney;
Financial Secretary, Miss Sarah Colson.
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Vice-President, Albert Loy, Murphys-
boro: Secretary, W. P. Phelps, Sparta;
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INDIANA.
ters, Saks Bldg., Indianapolis, Ind.
President, Dr. J. M. Rhodes; Vice-
Presidents. Philip Skera, Sprague
Green, John Trulock, H. L. St. Clair.
C. E. Cole: Secretary, Ed. J. Addy;
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INDIANAPOLIS LOCAL No. 1— Head-
quarters, 410 Saks Bldg. President,
John A. Victor; First Vice-President.
F. W. Sanders; Second Vice-President,
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MOTION PICTURE EXHIBITORS'
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Cedar Rapids. President, J. S.
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MOTION PICTURE EXHIBITORS'
LEAGUE OF KANSAS— Headquarters,
Kansas City. President, C. E. Gla-
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Second Vice-President, Sherman Arn,
Maysville; Secretary, L. H. Ramsay,
Lexington : Treasurer, A. J. Wellman,
Cattletsburg.
LOUISVILLE LOCAL No. 2— President.
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Simmons: Secretary, Max L. Simmons;
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MOTION PICTURE EXHIBITORS-
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J. J. Rieder. Jackson; Third Vice-
President, G. ' R. Durkee, Saginaw,
Secretary. W. Lester Levy, Detroit;
Treasurer, H. F. Fowser, Lansing.
DETROIT LOCAL No. 1— Headquarters.
399 Hibbard avenue, Detroit, Mich.
President, Peter J. Jeup: Vice-Presi-
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Lester Levy ; Treasurer, Fred W. Rumler.
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quarters. 1403 E. Franklin avenue.
Minneapolis. President, Otto N. Raths,
St. Paul: Vice-President, Thos. Fur-
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Minneapolis.
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quarters, 734 DeMott St., W. Hoboken,
N. J. President, George A. Robinson;
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Ruhlman.
NEW YORK.
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LEAGUE OF NEW YORK— Headquar-
ters, 136 Third avenue. New York
President, Sam H. Trigger, New York;
First Vice-President, B. E. Cornell,
Syracuse: Second Vice-President. R
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W. Rosenthal. New York; Treasurer
John C. Davis. Saugerties.
MOTION PICTURE EXHIBITORS'
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— Headquarters, 136 Third avenue.
New York City. President, Samuel H
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uels; Secretary, Sydney Ascher; Treas-
urer, Grant W. Anson.
NEW YORK LOCAL No. 2— President.
Geo. F. Wright, Albany; First Vice-
President, E. O. Weinberg, Troy
Second Vice-President, L. C. Smith.'
Schenectady; Secretary, J. E. Weid-
man, Albany; Treasurer. J. C. Ro-
senthal. Troy.
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1003 Mercantile Library Bldg.. Cincin-
nati. Ohio. President, M. A. NefT.
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dent, J. H. Broomhall. Hamilton;
Treasurer. O. B. Weaver. Dayton:
Secretary. J. J. Huss.
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ters, 711 Columbia Building, Cleve-
land. O. President. S. E. Morris;
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ond Vice-President. C. F. Schroeder:
Secretary, A. P. Anthony; Treasurer.
F. M. Kenney; Assistant Secretary,
Geo. Heimbach.
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quarters. 1003 Mercantile Library
Building. Cincinnati, Ohio Presi-
dent, J. J. Huss; First Vice-President.
A. J. Carbin; Second Vice-President.
M. Fishman; Secretary, A. O. Dongel-
stedt; Treasurer, Otto Ludeking.
TOLEDO LOCAL No. 3— President. Dr.
Walter V. Prentice; Vice-President, O
L. Brailey: Secretary, J. B. Gardner;
Treasurer, W. O. Bettis.
COLUMBUS LOCAL No. 4— Headquar-
ters, Hotel Star. President, J. A
Maddox; First Vice-President, W
B. Belknap: Second Vice-President.
J. W. Swain: Secretary, W. R. Wilson:
Treasurer. Max Stearn.
DAYTON LOCAL No. 5— Headquarters
25 Pruden building. Dayton. O. Pres-
ident. R. J. Kastl; First Vice-Presi-
dent W. J. StillweU; Second Vice-
President, G. E. Fink; Secretary. Her-
man Lehman; Treasurer. W. Rayner
TROY LOCAL No. 6— President. J. H
Johnson; First Vice-President. J W
Newman. Piqua; Second Vice-Presi-
dent, Howard Pearson : Secretary, Fred
Adams, Tippecanoe: Treasurer. Cyrus
ShaOr. Piqua.
SANDUSKY LOCAL No. 7— President.
J. D. Kessler; Vice-President. E. P
Ricbart. Port Clinton; Secretary, w
E. Higgins; Treasurer, Chas. Reark.
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Headquarters, 233 Fifth avenue. Pitts-
burgh, Pa. President. Walter Steum-
pfis: First Vice-President. Cressnn E
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Miller; Secretary, Chas. Roth: Treas-
urer F J. Barhin
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ters, 233 Fifth avenue. President, F.
J. Harrington; Vice-President. J. H.
Mercer: Secretary, Harry Reiff; Treas-
urer, F. J. Barbin.
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President, Walter Stumprlg; Vice-Presi-
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Donnelly.
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ters, Union City. President, Howell
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tary L. R. Thomas, Moundsville;
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Sftta The name of "SELIG" is to teVM
Motion Pictures what the mark of
"Sterling" is to Silver.
The most efficient test of quality in Motion
Pictures is in comparison of the different
makes. Try this comparison and you
will note that SELIG films stand aloof —
alone— unapproachable.
The name SELIG on a Motion
Picture means Quality Insurance
Compare the Following Winners with
the regular releases of other makers
L
Feb. 17— TWO MEN AND A WOMAN.
Strong Western Drama.
Feb. 18— THE PINK OPERA CLOAK.
Modern Day Drama.
Feb. 19— THE EARLY BIRD. Comedy of
an Actor's Successful Impersonation.
Feb. 20— NOBODY'S BOY. Drama. On
the same reel with
THE YOSEMITE VALLEY IN
WINTER. Educational.
Feb. 21— RANGE LAW.
Western Drama.
Feb. 24— THE COLLEGE CHAPERONE.
Uproarous College Comedy.
Feb. 25— THE FLAMING FORGE.
Excellent Rural Drama.
Feb. 26— YANKEE DOODLE DIXIE.
Comedy of Inharmonious Harmonies.
Feb. 27— THE BANK'S MESSENGER.
Drama of the West.
Feb. 28— THE UNDERSTUDY.
A Story of the Stage.
1
?
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flirtTilAU.
L
1
JJI-lJJAiAJ UilJUJil 1JI.J.LJA1,
The SELIG POLYSCOPE CO.
20 East Randolph St., Chicago, 111.
BRANCH OmCBtklfZ"* ^ »X2£Zi STUDIOS: {%*£* Los An9eles.
SEND us YOUR NAME. WE WILL SEND YOU WEEKLY BULLETINS FREE
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ESSANAY
FIVE A
.WEEK
A Chain is Only as Strong as It's Weakest Link
Essanay Films Link the Mighty Strength
and Brains of the Most Capable, with Those
ot the World's Most Critical
Essanay's Unexcelled Features for February and March
Released Tuesday, February 25th
'THE WESTERN LAW THAT FAILED'
A Path««i* Story of the West)
DrG
Released Tuesday, March 4th
(BILLY McCRATH ON BROADWAY'
(A 1 000 Feet of Scream)
Released Wednesday, February 26th
"THE CUM MAN"
(A Screamingly Funny Comedy)
Released Wednesday, March 5th
"THE DISCOVERY"
(A Corking Good Comedy)
Released Thursday, February 27th
LADY AUDLEY'S JEWELS'
(A Farce Comedy of Merit)
M
Released Friday, February 28th
"SWAG OF DESTINY"
(A Story of Passion and Power)
Released Thursday, March 6th
"A MONTANA MIX-UP"
(A Western Comedy of Errors)
Released Saturday, March 1st
'THE INFLUENCE OF BRONCHO BILLY'
(A Dramatic Feature with G, M. Anderson)
^~\
Released Friday, March 7th
"A MISTAKEN ACCUSATION." "THE HAND OF FATE"
2 in 1 . (Dramatic Comedies)
V
Ir\ Released Saturday, March 8th
|J| "BRONCHO BILLY AND TPE SQUATTER'S DAUGHTER
A Gripping Story of the West with G. M. A
■V§
— r^N
lUGHTER"
nderson) /^
To Be Released Soon!
To Be Released Soon!
66
The Spy's Defeat
**
(IN TWO REELS)
A Masterful Photographic Interpretation of a Dramatic Masterpiece
Electrotypes of "Broncho Billy" and "Alkali" Ike can be had for the asking, provided you
use them in your local newspapers.
%i .^SUCCESS GUARANTEED, providing you secure three sheet posters of all Essanay Saturday releases,
lithographed in full four colors, price 35c. You can order these from your exchange or direct from the
ARMSTRONG LITHOGRAPH CO., Cleveland, Ohio. Your lobby display is incomplete without photos of
Essanay players, size 8x10, price $3.00 per dozen. Can be secured from the Players' Photo Company, 177 North
State Street, Chicago, Illinois,
Essany Film Mfg. Co.
521 First National Bank Building, CHICAGO, ILL.
Factory and Studio, 1333 Argyle Street. CHICAGO
Branch Offices in LONDON, PARIS, BERLIN, BARCELONA
March 1, 1913.
MOTOGRAPHY
131
Calamity Anne Detective
A Farce Drama depicting the popular female hanger-on of a mining camp of '47
Release Date, Monday, Mach 10, 1913
Brother Love
A drama of the beautiful West portraying heart interest and noble sacrifice
Release Date, Thursday, March 13, 1913
The Orphan's Mine
A gripping Western drama of a miner's struggles for the love of an orphan
Release Date, Saturday, March 15, 1913
THREE A WEEK
ORDER NOW
Your Exchange will supply Beauiilul Lithographs, single sheet size ol Warren Kerrigan, Pauline Bush, Jack Richardson and Edward Coxen
American Film Manufacturing Company
6227 Evanston Avenue
CHICAGO
MOTOGRAPHY
Vol. IX, No. 5.
±llllllllllllllllllllllllllllllllllllllillllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllilllllllllllllllli
LUBIN FILMS
( Great 2-Reel
Special
"UNTIL WE THREE MEET AGAIN"
ByiShannon File. Produced by Barry O'Neil.
Three College chums, James Abbott, Frank Arthur and Martin Wynne separate and agree to meet in ten years from date. Abbott, however,
discovers that May Scott whom he loves, favors Arthur. Broken hearted he takes to drink and becomes a derelict. Arthur becomes pros-
perous and marries May. Wynne has disappeared altogether. The ten years have passed and on the eventful day, May catches a burglar
in the house. She turns up the light and Abbott recognizes his old sweetheart. Arthur comes upon the scene and recognizes the thief. A
plain clothes officer who has been phoned for is Wynne, the third of the trio, they have met as agreed upon. A few months later the college
chums are still in evidence but reverse in fortune come. The rich broker goes down hill and resorts to the treacherous queen of fortune, the gaming table. It kills
him and Abbott the derelict of the past ten years, winds up the estate and wins the widow. The girl he loved in the old college days.
March 3-"THE FIRST PRIZE"
With Ormi Hawley and Edwin Carewe
March 4-"ON THE MOUNTAIN RANCH^
One of F. J. Grandon's intense Westerns
March 6-"ARMY TARGET PRACTICE"
Very interesting
March 6— "WILL WILLIE WIN"
A screaming farce
March 7- "HIS CHILDREN"
A beautiful Heart Story
March 7— "UNTIL WE THREE MEET AGAIN"
A two real Special
March 8-"PETE JOINS THE FORCE"
Featuring Peter Lang and Mrs. Geo. W. Walters
March 10- "THE SOUL OF A ROSE"
A dramatic Fantasy
March 11— "A LUCKY CHANCE"
A bank robber story
March 13— "WHEN JOHN BROUGHT HOME HIS WIFE'
Excellent Arthur Johnson Picture
March U-"JAME'S WATERLOO"
Excellent Farce
March 14- "SIXES AND NINES"
Figures turned upside down.
March 15— "THE HEART BROKERS"
With Peter Lang and Mrs. Geo. ^fi/. Walters
AN ADVENTURE ON THE MEXICAN BORDER
Released March 15
Great 2-Reel Special
On the Mexican borderline troops are camped. A Senorita captivates two officers, one a Mexican Captain, whom she favors and the other a U. S. Lieutenant. The
latter insenced by jealousy makes a false charge against the Mexican which causes national complications. His better nature however asserts itself and he vindi-
cates his rival and gives himself up for punishment.
Extremely beautiful, one, three and six-sheet posters of our photo plays, printed in five colors, can be obtained
from your Exchange, or the A. B. C. Company, Cleveland, Ohio. They will draw the crowds to your theatre.
LUBIN MANUFACTURING CO.
20th AND INDIANA AVENUES model new studios PHILADELPHIA, PA.
154 W. Lake St., Chicago 35 Friedrich St., Berlin B. Nichols, 86 Wardour St., London, IV., England
r« 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 i 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 u 1 1 1 1 1 1 1 s 1 1 1 a 1 1 1 1 1 1 1 1 1 1 1 i 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 ii 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 »~
WATCH
FOR
RAMO
j»/«v<SFILMS
II I II If I J WRAY BARTLETT PHYSIOC
1 ^."^ WM \.^*M Director of Productions
Copyright 1913 Wray Physioc
First Release Date March 12th. Release. A Drama "THE BETTER WAY"
Second Release Date March 19th. Release. Split Reel Comedy
"NOT LIKE OTHER GIRLS." "MOVING MOTHER"
Third Release Date March 26th. Release. A Comedy "THE DIVIDING LINE"
Releases thereafter beginning April 2nd, Wednesdays of each week.
Office: 135 Broadway.
N.Y.C.
Temporary Studios: 120 W. 31st St.
N.Y.C.
Mail or Telegraph your orders to
Film Supply Co. of America
133 West 44th Street, N. Y. City.
Buy
Holography
From Your Newsdealer
10 Cents Per Copy
Insist upon him getting it for you
IMMEDIATE SHIPMENT
Ask for Catalog No. 307
E. H. STAFFORD MFG. CO.
218 South Wabash Ave.
CHICAGO. ILLINOIS
We make Lodgre, Church and School furniture
CHAIRS OF ALL KINDS
Don't forget to mention MOTOGRAPHY to the advertiser.
March 1, 1913.
MOTOGRAPHY
For EASTER Church Booking
"The Star of Bethlehem." Thanhouser's biblical masterpiece in three reels, which a FEW7 selected Eastern churches (names
on request) showed at CHRISTMAS TIME with such auspicious success, is the newest religious production obtainable.
Bookers of Church, Society, Lyceum and like entertainments should bear this in mind. It is by far
The Most SUITABLE Motion Picture
of a biblical nature for Easter exhibition, since it deals totally with the Birth of the Redeemer, picturing it in greater detail
than has ever been known before. It is the PERFECT EASTER FILM. There is not too much of it; the "happy
length," 3000 feet, is reached; and there can be no complaint on the usual "too long" score.
Is Thanhouser's uStar of Bethlehem"
to be easily had? Assuredly. There are forty film exchanges, (addresses on request) who have one or !more sets of the
subject. Practically all the larger cities, therefore, hold a copy. The rental sum is small, and the benefits vast. For further
particulars address (on your letter head) BETHLEHEM DEPT.
Thanhouser Film Corporation, New Rochelle, New York
TRADE BESIDES THIS HUMIDOR CAN WE ALSO
Waterproof Films
rWiVfEKPRQtDF)
— — — A process which enables you to wash the dirt and oil off
with soap and water. The washing operation keeps film
soft and pliable. It lengthens their life and in many ways improves them. The
process is best on new films but can be applied to old. It takes but a few hours.
Softens old, brittle films in one night
Keeps new films pliable
Price $1.00
NATIONAL WATERPROOF FILM CO.
4200-4202 VV. Adams Street
CHICAGO
Rock Bottom Bargains
Used Machines of all Kinds For Sale
WE BUY-WE SELL— WE TRADE
Why Not Trade Your Old Worn Out Machine on the Purchase ol a New One?
Send for our list of USED Machine BARGAINS
We Sell New Machines of all the standard makes and carry a
stock of machines for immediate delivery and of genuine parts for same
Do You Use Disinf ectine? Kills all poisonous germs and odors.
Send for sample. Sells at $2.50 per gallon with sprayer.
We Sell a Dandy Economical Ticket Dispenser at only $18.00
and you use just the ordinary roll ticket. Save money— use up your
tickets. It Can't Be Beat and You Can't Be Beat.
Amusement Supply Company
and the Chicago Projecting Company
Nortb Dearborn Street. CHICAGO, Illinois.
FLAMING ARC LAMPS
AND CARBONS
FULL STOCK OF
REPAIR PARTS
*The Weinsheimer Company
CHICAGO, ILL.
When answering advertisements, say where you saw them.
MOTOGRAPHY
Vol. IX, No. 5.
SPEC I A L
"Shylock"
An Adaptation of Shakespeare's
"MERCHANT OF VENICE"
March 5, 1913 Eclipse-KIeine, Two Reels
BASSANIO wishes to marry Portia but has not
the necessary money with which to buy the
fine clothes. His wealthy friend Antonio
is unable to aid him as his wealth is invested in
cargoes on the high seas, but offers to stand security
for him with the money lender. They visit Shy-
lock, a Jew of great wealth, and secure the money,
but first Antonio is required to sign a bond stating
that if the money is not paid by a certain time the
lender is entitled to a pound of flesh from Antonio's
breast.
Portia accepts Bassanio and just after a brilliant
wedding he receives a letter stating that Antonio's
cargoes have been lost and the bond is declared for-
feited. Hastening to Venice, he is just in time to
attend the trial of his friend and witness the plea
of the Jew who demands his pound of flesh. A
young lawyer, appearing at the critical moment, so
interprets the law of Venice that the Jew is forced
to withdraw his claim. To the great surprise of all
the learned young lawyer proves to be none other
than Portia.
"Until We
Three Meet Again"
March 7, 1913
Lubin, Two Reels
THREE college chums agree upon a re-union
ten years from graduation day. The date
arrives and finds one, a victim of drink and
gambling, in the act of robbing the home of the
second. The third is the police officer summoned
to make the arrest.
The re-union is not as originally planned, but re-
sults in a renewal of the old friendship ties and a
new start in life for all three. Through a series of
strange experiences the drunkard changes places
with the one who prospered, and by a trick of fate
the new condition is brought about by the third
chum.
GENERAL
March 1, 1913.
MOTOGRAPHY
F EATU RE S
4 Multiple-Reel Features Weekly
=
BEGINNING MARCH 8th, 1913, the schedule of films to
be released through the General Film Co. will call for
Four Multiple-reel features weekly instead of two as at
present. The release dates will be Monday, Wednesday,
Friday and Saturday. The same high standard of quality
will be consistently maintained. This innovation is just
another example of the strength and quality of General] Film
service.
MARCH 8th
MARCH 10th
MARCH 12th
COMING!
"THE RETREAT FROM MOSCOW"
A Reproduction of Napoleon's Retreat from Moscow in 1812
1 0,000 Soldiers of the Imperial Russian Army are seen
"RED AND WHITE ROSES"
Through Conspiracy and Scandal a man of prominence is
made a victim of political ambition and success.
"THE GRIM TOLL OF WAR"
A Thrilling Drama of the Civil War
Patheplay, 2 reels
Vitagraph, 2 reels
Kalem, 2"reels
TO BE RELEASED SOON
NOTRE DAME," in 3 grand parts. A patheplay of surpassing beauty, with every scene
in natural colors.
F I LM C O.
10
MOTOGRAPHY
Vol. IX, No. 5.
^illllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllj.
I The World's Greatest I
| Features [
= are under our control; products of those pioneers E
2 of the industry, who have lived to become leaders. =
REGULAR MONTHLY EXHIBITIONS
The first Friday and Saturday of each
month, in our own projection room on
the premises.
OUR LIST
ALL STAR
Sarah Bernhardt as ''Adrienne Lecouvreur" in
The Romance of an Actress Three Reels
M. Mounet-Sully in
OEDIPUS REX Four Reels
GAUMONT
The Race for the Millions Three Reels
In the Claws of the Leopard Two Reels
The Human Vulture Two Reels
In the Grip of the Vampire Three Reels
The White Glove Band Three Reels
ITALA
The Great Aerial Disaster Three Reels
The Palace of Flames Three Reels
GREAT NORTHERN
In the Den of Lions
Conquered; or the Madcap Countess.
.Two Reels
.Two Reels
SOLAX
= Beasts of the Jungle Three Reels =
COMING— WATCH FOR DATE— COMING
GAUMONT— The Union Eternal Three Reels
GREAT NORTHERN— Lost Memory Two Reels
GAUMONT— By Design of Heaven Two Reels
(Hand Colored)
GREAT NORTHERN— The Millionaire's
Daughter Three Reels
GAUMONT— The Imposter Three Reels
Exclusive territorial rights and protec-
tion guaranteed with all productions.
And Our Regular Program Gaumont, Solax, Great
Northern, Comet, Great Events, Lux, Gaumont Weekly.
S Ammex,
Pilot (starts Feb. 13)
Ramo (starts Mar. 13)
and these to come soon: All
Star, Prairie, Anchor, Magnet,
Monitor, Scientific Studies.
FILM SUPPLY COMPANY
OF AMERICA
133-35-37 W. 44th St., NEW YORK, U. S. A.
No Trained Seals
Used in Producing
Milano Feature Films
The most talented performers in all Europe
employ their best efforts to depict these
Human Interest Dramas
Stories that point out a moral.
Plots that are logical and refined.
Situations that grip the heart.
Climaxes that cause a tear or bring a smile.
A Two Reel Milano Feature Film
Released Every Saturday
1, 3 and 6 Sheet Posters in Four Colors
COMING RELEASES:
"The Victory of Virtue"
2 Reel Drama. Released March 8.
A childless wife's self-sacrifice. An object lesson
to frivolous mothers.
"The Sins of the Father"
2 Reel Drama. Released March 15.
A daughter's atonement for her parents' folly. A
motion picture with a moral.
ii
The Victims of Jealousy"
2 Reel Drama. Released March 22.
A lesson for victims of the "Green-Eyed Monster.
a
)>
A Martyr for the People
2 Reel Drama. Released March 29.
An episode of the French Revolution.
If your exchange cannot supply you with past and present
Milano Features, let us tell you who can.
A few cold copies of past releases available.
Send for our list and prices.
Milano Films Company
of America
C. V. HENKEL, Gen. Mgr.
No. 145 West 45th Street NEW YORK
Tiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiimiiiiiiiiiiiiiiiiiiiiiiiiiimiiiiiiiiiiiiiiini-
lu&tifv the advertiser by saying you read it here.
March 1, 1913.
MOTOGRAPHY
11
The Dietze Safety Rewind
has been tested an.l approved by the DEPARTMENT OF ELECTRICITY
We make you a Special 10 Day Oiler which reduces the price almost hall.
Come in and see demonstration today, sure.
The Dielze Rewind is the only one that cannot be operated while the door is
open and this rewind is absolutely lireprool.
DIETZE SAFETY MAGAZINE:
-110 First National Bank Building
The Dielze Salety Magazine, submitted by you. has been tested by ihis department and
complies with all requirements.
1 wish to slate that this device not only meets with the approval ol this Department, but I
wish also to state that I highly recommend it as being in compliance with the recommendations
of the ordinance. Yours respectfully.
VICTOR H. TOUSLEY. Chiel Electrical Inspector
Dietze Safety Magazine Company
410 First National Bank Bldg.,
Chicago, 111.
Ornamental
Theatres
PLASTER RELIEF DECORATIONS
Theatres Designed Everywhere
Write for Illustrated Theatre Catalog. Send us
Sizes of Theatre for Special Designs
THE DECORATORS SUPPLY CO.
2549 Archer Avenue, CHICAGO, ILL.
STOP CHEATING
BY GETTING RIGHT DOWN TO BRASS TACKS
Quality, Refinement and Service
ARE ESSENTIAL IN ALL THINGS
These features make you look twice at the Motio-
graph.
The Motiograph costs more money to build be-
cause there is more quality per dollar of purchase
price than in any two machines of other makes — sell-
ing at the same price.
MR. OWMER — You cheat yourself when you ignore
quality
BESIDES— When you know The Motiograph
picture is far superior in brilliancy — in detail and
definition — you are also cheating your patrons — who
pay for these features.
Send for Our 1913 Catalog and Get Wise
MANUFACTURED BY
The Enterprise Optical Manufacturing Company
Main Factory and Office: 566 W. RANDOLPH ST., CHICAGO, ILL.
EASTERN OFFICE: WESTERN OFFICE:
30 EAST 23rd STREET, NEW YORK CITY 833 MARKET STREET, SAN FRANCISCO
Tell the advertiser you »aw it in MOTOGRAPHY.
12
MOTOGRAPHY
Vol. IX, No. 5.
EASTMAN
motion picture
film-the acknowl-
edged standard the
world over.
Manufactured by
EASTMAN KODAK CO.,
ROCHESTER, N. Y.
CALIFORNIA.
MOTION PICTURE EXHIBITORS-
LEAGUE OF CALIFORNIA— Head-
quarters, Pacific Bldg.. San Francisco.
President. Chas. Rothschild; Vice-Presi-
dent, A. R. Oberle; Secretary, W. A.
Cory; Treasurer, N. K. Herzog.
SAN FRANCISCO LOCAL No. 1— Head-
quarters, Assembly Hall. President,
Chas. Rothschild; Vice-President, A. R.
Oberle; Corresponding Secretary, W. A.
Cory; Financial Secretary. K. Herzog;
Treasurer, Max Schirpser.
DISTRICT OF COLUMBIA.
MOTION PICTURE EXHIBITORS;
LEAGUE OF THE DISTRICT OF
COLUMBIA — Headquarters. Bank of
Commerce Bldg., Washington, D. C.
President, W. P. Herbert; Vice-Presi-
dent, Iva La Motte; Secretary. Fulton
Brylawski; Treasurer, A. C. Joy.
FLORIDA.
MOTION PICTURE EXHIBITORS'
LEAGUE OF FLORIDA— Headquarters,
Tampa. President, E. F. Tarbell; Sec-
retary, Scott Leslie; Treasurer, Wm.
Sipe.
ILLINOIS.
ILLINOIS STATE BRANCH No 2—
Headquarters. Schiller Bldg., 64 W.
Randolph street. Chicago. 111. Presi-
dent, J. A. Alcock: Vice-President,
C. A. Anderson; Secretary. Sidney
Smith: Treasurer, Wm. J. Sweeney;
Financial Secretary. Miss Sarah Colson.
SOUTHERN ILLINOIS LOCAL No. 1—
President, Thos. Leonard. Johnson City;
Vice-President, Albert Loy, Murphys-
boro; Secretary, W. P. Phelps. Sparta:
Treasurer, E. W. Atkins, Carbondale.
INDIANA.
ters, Saks Bldg., Indianapolis, Ind.
President, Dr. J. M. Rhodes; Vice-
Presidents, Philip Skera, Sprague
Green, John Trulock, H. L. St. Clair,
C. E. Cole; Secretary, Ed. J. Addy:
Treasurer, A. C. Zaring.
INDIANAPOLIS LOCAL No. 1— Head-
quarters, 410 Saks Bldg. President,
John A. Victor; First Vice-President,
F. W. Sanders: Second Vice-President.
M. M. Miller; Secretary. E. J. Addy;
Treasurer. J. M. Rhodes.
IOWA.
MOTION PICTURE EXHIBITORS'
LEAGUE OF IOWA— Headquarters.
Cedar Rapid3. President, J. S.
O'Brien; Vice-President, J. S. Bassett;
Secretary, Fred W. Toung; Treasurer,
J. E. Tierney.
KANSAS.
MOTION PICTURE EXHIBITORS'
LEAGUE OF KANSAS— Headquarters,
Kansas City. President, C. E. Gla-
mann; Vice-President, Carl Mensing;
Secretary, Geo. McCrum; Treasurer,
Jack Brainerd.
KENTUCKY.
MOTION PICTURE EXHIBITORS'
LEAGUE OF KENTUCKY— Headquar-
ters, Lexington, Ky. President. J. H.
Stamper, Jr., Lexington; First Vice-
President. L. J. Dittmar, Louisville;
Second Vice-President, Sherman Am,
Maysville; Secretary, L. H. Ramsay,
Lexington; Treasurer, A. J. Wellman.
Cattletsburg.
LOUISVILLE LOCAL No. 2— President.
L. J. Dittmar: Vice-President. Irwin
Simmons; Secretary, Max L. Simmons;
Treasurer, Jos. Stenerle.
LOUISIANA.
MOTION PICTURE EXHIBITORS-
LEAGUE OF LOUISIANA— Headquar-
ters, Shreveport. President, D. L. Cor-
nelius; Vice-President, C. B. Ander-
son ; Secretary. E. V. Richards. Jr. ;
Treasurer, C. W. Perry.
MASSACHUSETTS.
MOTION PICTURE EXHIBITORS'
LEAGUE OF MASSACHUSETTS—
Headquarters. 700 Washington street,
Boston. President, Jos. Mack; Vice-
President. Clias. Hodgdon; Secretary.
Alden Washburn; Treasurer, S. H.
Bunce.
MICHIGAN.
MOTION PICTURE EXHIBITORS'
LEAGUE OF MICHIGAN — Headquar-
ters, 247 Medbury avenue. E., Detroit,
Mich. President, Carl Ray. Muske-
gon; First Vice-President. B. L. Con-
verse. Owosso; Second Vice-President,
.T. J. Rieder. Jackson: Third Vice-
President, G. R. Durkee, Saginaw,
Secretary, W. Lester Levy, Detroit;
Treasurer, H. F. Fowser, Lansing.
DETROIT LOCAL No. 1 — Headquarters,
399 Hibbard avenue, Detroit, Mich.
President. Peter J. Jeup: Vice-Presi-
dent, August Kleist; Secretary, W.
Lester Levy ; Treasurer, Fred W. Rumler.
MINNESOTA.
MOTION PICTURE EXHIBITORS'
LEAGUE OF MINNESOTA— Head-
quarters, 1403 E. Franklin avenue,
Minneapolis. President, Otto N. Raths,
St. Paul; Vice-President, Thos. Fur-
niss, Duluth ; Secretary, E. F. Purdee,
Minneapolis; Treasurer, H. A. Sherman,
Minneapolis.
MISSOURI.
MOTION PICTURE EXHIBITORS'
LEAGUE OF MISSOURI— Headquar-
ters, 413 Gloyd Bldg., Kansas City,
Mo. President, G. H. Wiley; Vice-
President, H. N. Morgan; Secretary,
E. L. Welch; Treasurer, J. S. Tillman.
NEBRASKA.
MOTION PICTURE EXHIBITORS'
LEAGUE OF NEBRASKA— Headquar-
ters, Omaha. President, W. F.
Stoecker; Vice-President, P. L. Mc-
Carthy; Secretary, E. C. Preston;
Treasurer, W. A. Walden.
NEW JERSEY.
MOTION PICTURE EXHIBITORS-
LEAGUE OF NEW JERSEY— Head-
quarters, 734 DeMott St., W. Hoboken,
N. J. President, George A. Robinson;
Vice-President, W. A. Daley; Secretary,
P. M. Kirschner; Treasurer, C. Fred
Ruhlman.
NEW YORK.
MOTION PICTURE EXHIBITORS-
LEAGUE OF NEW YORK— Headquar-
ters. 136 Third avenue. New York.
President. Sam H. Trigger, New York;
First Vice-President, B. E. Cornell.
Syracuse: Second Vice-President, R.
Davidson. Binghamton; Secretary, H.
W. Rosenthal, New York; Treasurer,
John C. Davis, Saugerties.
MOTION PICTURE EXHIBITORS-
LEAGUE OF GREATER NEW YORK
— Headquarters, 136 Third avenue.
New York City. President, Samuel H.
Trigger; Vice-President, T. E. Sam-
uels; Secretary. Sydney Ascher; Treas-
urer, Grant W. Anson.
NEW YORK LOCAL No. 2— President,
Geo. F. Wright, Albany: First Vice-
President, E. O. Weinberg, Troy;
Second Vice-President, L. C. Smith,
Schenectady; Secretary, J. E. Weid-
man, Albany; Treasurer, J. C. Ro-
senthal, Troy.
OHIO.
MOTION PICTURE EXHIBITORS'
LEAGUE OF OHIO. — Headquarters,
1003 Mercantile Library Bldg., Cincin-
nati. Ohio. President. M. A. NefT.
Cincinnati; First Vice-President, O. B.
Weaver, Dayton; Second Vice-Presi-
dent, Dr. W. V. Prentice, Toledo;
Treasurer, W. R. Wilson, Columbus;
Secretary, J. H. Broomliall, Hamilton.
CLEVELAND LOCAL No. 1— Headquar-
ters, 711 Columbia Building, Cleve-
land, O. President, S. E. Morris;
First Vice-President, A. Mahrer; Sec-
ond Vice-President. C. F. Schroeder;
Secretary, A. P. Anthony; Treasurer,
F. M. Kenney; Assistant Secretary.
Geo. Heimbach.
CINCINNATI LOQAL No. 2— Head-
quarters, 1003 Mercantile Library
Building. Cincinnati. Ohio. Presi-
dent. J. J. Huss; First Vice-President,
A J Carhin: Second Vice-President.
M. Fishman: Secretary, A C Dongel-
stedt; Treasurer, Otto Ludeking.
TOLEDO LOCAL No. 3— President, Dr.
Walter V. Prentice; Vice-President, O.
L. Brailey; Secretary, J. B. Gardner;
Treasurer, W. O. Bettis.
COLUMBTTS LOCAL No. 4— Headquar-
ters, Hotel Star. President, J. A.
Maddox; First Vice-President, W.
R. Belknap; Second Vice-President.
J. W. Swain; Secretary, W. R. Wilson;
Treasurer. Max Stearn.
DAYTON LOCAL No. 5— Headquarters,
25 Pruden building. Dayton, O. Pres-
ident. R. J. Kastl: First Vice-Presi-
dent W. J. Stillwell; Second Vice-
President. G. E. Fink; Secretary. Her-
man Lehman: Treasurer. W. Rayner.
TROY LOCAL No. 6— President. J. H
Johnson; First Vice-President. J. W
Newman. Piqua: Second Vice-PresL
dent. Howard Pearson; Secretary. Fred
Adams. Tippecanoe; Treasurer, CyruB
Shafer. Piqua.
SANDUSKY LOCAL No. 7— President,
J. D. Kessler; Vice-President, E. P.
Rlchart. Port Clinton: Secretary. W.
E. Higgins; Treasurer, Chas. Reark.
PENNSYLVANIA.
MOTION PICTURE EXHIBITORS'
LEAGUE OF PENNSYLVANIA—
Headquarters. 233 Fifth avenue, Pitts-
burgh. Pa. President. Walter Steum-
nfls- Ftr«t Vice-President. Cresson E
Smith; Second Vice-President, G. C.
Miller; Secretary, Chas. Roth: Treas-
F .1 Harbin
PITTSBURG LOCAL No. 1 — Headquar-
ters, 233 Fifth avenue. President, F.
J. Harrington: Vice-President, J. H.
Mercer: Secretary, Harry Reiff; Treas-
urer, F. J. Barbin.
PHILADELPHIA LOCAL No. 2— Head-
quarters.. 142 N. Eighteenth street
President. Walter Stumpfig; Vice-Presi-
dent, Edward A. Jeffries: Secretary,
Chas. H. Roth; Treasurer, John W.
Donnelly.
TENNESSEE.
MOTION PICTURE EXHIBITORS'
LEAGUE OF TENNESSEE— Headquar-
ters, Union City. President, Howell
Graham; Vice-President, W. H. Was-
serman ; Secretary, W. C. Morris ; Treas-
urer, Frank Rogers.
WASHINGTON.
MOTION PICTURE EXHIBITORS'
LEAGUE OF WASHINGTON— Head-
quarters, Bremerton. President, A. B.
Campbell; Vice-President, J. L. Shanks;
Secretary-Treasurer, John Rantz.
WEST VIRGINIA.
MOTION PICTURE EXHIBITORS'
LEAGUE OF WEST VIRGINIA—
Headquarters. Moundsvllle, W. Va.
President, M. M. Weir, Charleston:
First Vice-President, R. L. Harris,
Parkersburg; Second Vice-President,
A. L. Cottrill, Point Pleasant; Secre-
tary L. R. Thomas, Moundsvllle;
Treasurer, P. W. Bannett, Parkersburg.
HUNTINGTON LOCAL No. 1— Head-
quarters, "It" Theater. President, R.
H. Karnes; Vice-President, J. A.
Burns; Secretary, C. A. Johnson;
Treasurer, Haskel Atkins.
CHARLESTON LOCAL No. 2— Presi-
dent, Stanley A. Piatt; Vice-President.
N. E. Murray; Secretary-Treasurer,
Gus. Bartrom.
WISCONSIN.
MOTION PICTURE EXHIBITORS'
LEAGUE OF WISCONSIN— Headquar-
ters, Mozart Theater. Milwaukee, Wis.
President, Chas. H. Phillips; First Vice-
President, J. W. Clark; Secretary, D.
K. Fisher; Treasurer, Henry S. Kleine.
MOTION PICTURE EXHIBITORS'
LEAGUE OF MILWAUKEE— Head-
quarters, 305 Enterprise Bldg., Mil-
waukee. President, J. R. Freuler;
Vice-President, H. S. Klein; Secretary.
B. N. Judell; Treasurer, T. Saxe.
WHERE TO BUY
Price for listing under this caption.
$1.00 for each classification.
BOOKS
ELECTRICITY MAGAZINE CORPORA-
TION Monadnock Blk., Chicago.
DECORATORS.
DECORATORS SUPPLY CO.. THE. 2549
Archer Ave., Chicago, HI.
FILM DISTRIBUTORS.
FILM SUPPLY COMPANY OF AMER-
ICA. 135 W. 44th St., New York.
N. Y.
GENERAL FILM COMPANY. 200 Fifth
Ave., New York, N. Y.
FILM FEATURES.
GENERAL FILM COMPANY. 200 Fifth
Ave.. New York, N. Y.
FILM MANUFACTURERS.
AMERICAN FILM MFG. CO.. Ashland
Block. Chicago.
ESSANAY FILM MFG. CO.. 521 First
National Bank Bldg., Chicago.
KLEINE, GEORGE, 166 N. State St..
Chicago, 111.
LUBIN MFG. COMPANY. Philadelphia,
Pa.
SELIG POLYSCOPE CO.. 20 E. Ran-
dolph St., Chicago.
THANHOUSER FILM CORPORATION.
New Rochelle. N. Y.
LIGHT.
ENTERPRISE OPTICAL MFG CO..
564 W. Randolph St., Chicago.
PROJECTING MACHINES.
ENTERPRISE OPTICAL MFG. CO.. 564
W. Randolph St.. Chicago.
RAW STOCK.
EASTMAN KODAK COMPANY. Ro-
chester. N. Y.
REWINDERS.
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cago, 111.
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Wabash Ave., Chicago, 111.
SUPPLIES.
AMUSEMENT SUPPLY CO.. 105 N.
Dearborn St., Chicago.
WATERPROOFING.
NATIONAL WATERPROOF FILM CO.,
4200 W. Adams St.. Chicago.
The advertiser wants to know where you saw his ad, tell him.
THE HOUSE OF f^f
SELIG
ANNOUNCES
Selig Masterpieces are famous throughout the world.
This remarkable masterpiece, founded on one of the
most unique incidents of civil war history, is unques-
tionably the greatest feature of its kind ever produced
by the foremost of all motion picture producers.
Special assortment of advertising now being prepared.
BOOK THIS MASTERPIECE TODAY
Two Weeks of Unsurpassable Selig Nature Productions
llLLUJJU
(
Mar. 3.— THE DEPUTY'S SWEET-
HEART. Western Drama.
Mar. 4th.— T HE COLLECTOR OF
PEARLS. Farce Comedy.
Mar. 5th.— THE STORY OF LAVINIA.
Feature Comedy Drama.
Mar. 6th— THE SPANISH PARROT-
GIRL. Modern Spanish Romance.
Mar. 7th.— A HUSBAND W 0 N BY
ELECTION. Political Drama.
Mar. 10th.— DIVERGING PATHS.
Tense Drama.
Mar. llth.— THE FERRETS.
Underworld Romance.
Mar. 12th.— JUGGLING WITH FATE.
Western Drama.
Mar. 13th.— THE FUGITIVE.
Comedy. On same reel with
THE GREAT WALL OF CHINA.
Educational.
Mar. 14th.— THE SANDS OF TIME.
Allegorical Drama.
Send for the "PAULINE CUSHM AN" Envelope
of Publicity Matter.
The Extraordinary— Selig— Historical
War-time— Romantic Masterpiece
Pauline Cushman
the Federal Spy
IN TWO REELS
Released as a Special on March 24th, 1913
Selig Polyscope Co,
— STUDIOS — ^rz.
'CHICAGO-IOS ANGELES- -^ C?
- PRESCOTT, ARIZ.- <"';<ii!LO
-CANON CITV, COLO.- ^^SS>
Chicago U.S.A.
^ FOREIGN OFFICES —
<_ LONDON - BERLIN -
>*■ ST. PETERSBURG - PARIS-
BUDAPEST - RIO OE JANERIO
g=E
Fzf
nil i Minn
I
FIVE A
.WEEK
ESSANAY
"A Chain is Only as Strong as It's Weakest Link"
The Links in the Chain of Success
Spell Essanay for Exhibitors
Released Tuesday, March 11th
"A BOTTLE OF MUSK"
(A "Strong" Dramatic Feature)
M
Released Tuesday, March 18th
"THE HOUSEKEEPER OF CIRCLE C
A 1 000 Feet of Western Comedy)
Released Wednesday, March 12th
'THE MISJUDGING OF MR. HUBBY"
(A Screamingly Clever Comedy)
Released Thursday, March 13th
"OLD GORMAN'S GAL"
(A Pathetic Western Drama)
^s
tatf
J?-\
Released Wednesday, March l'Jth
"FINNrcGAN"
(Another Screaminiy Funny Comedy'
7=\
Released Thursday, March 20th
'THE TALE OF A CLOCK1
(Fifteen Minutes of Scream)
Released Friday, March 14th
"AN OLD, OLD SONG"
(A Drama of Power and Passion)
<&
m
^~\=
Released Friday, March 21st
'THE PATHWAY OF YEARS'
(A Dramatic Lesson in Love)
Released Saturday, March 15th
"BRONCHO BILLY AND THE STEP-SISTERS"
(A Pathetic Story of the West with G. M. Anderson
rpf
Released Saturday, March 22nd
"BRONCHO BILLY'S SISTER"
(A Powerful Dramatic Feature with G. M. Anderson)
Electrotypes of "Broncho Billy" and "Alkali" Ike can be had for the asking, provided you
use them in your local newspapers in connection with stories that will be mailed you.
Coming Soon ! Coming Soon !
"Tire Spy's Defeat"
(IN TWO REELS)
A Masterful Photographic Interpretation of a Dramatic Masterpiece
SUCCESS GUARANTEED, PROVIDING you use three sheet posters of all Essanay Saturday releases,
lithographed in full four colors, price 35c each. You can order these from your exchange or direct from the
ARMSTRONG LITHOGRAPH CO., Cleveland, Ohio. Your lobby display is incomplete without photos of
Essanay players, size 8x10, price $3.00 per dozen. Can be secured from the Players' Photo Company, 177 North
State Street, Chicago, Illinois.
Essanay Film Mfg. Co
521 First National Bank Building. CHICAGO, ILL.
Factory and Studio. 1333 Argyle Street, CHICAGO
Branch Offices in LONDON, PARIS. BERLIN, BARCELONA
March 15, 1913.
□I
MOTOGRAPHY
(Scene from "Calamity Anne's Beauty")
Cupid Never Ages'
(Release Monday, March 24, 1913)
A charming story illustrating the old wag that love knows neither season, age or clime. The young folks thought
they were slipping one over on the old folks — how badly they were fooled you can see for yourself.
»
"Lonesome Joe
(Release Thursday, March 27, 1913)
A tale of the seashore and the days gone by. A simple story in which love is the whole thought.
"Calamity's Anne's Beauty"
(Release Saturday, March 29, 1913)
Another of those funny adventures of that funniest of old woman — Calamity Anne. By far the best of the best series
of laugh-makers ever made. Calamity wanted beauty and Dr. Stickum promised— what happened to the pair of
them is a scream.
Three California Made Pictures
Each Week
Photography clear, sterescopic, such as only a California Sun can make — You know the kind.
Quite the peer in pantomimic expression — no better drilled, higher paid, better organized
companies operating under any banner —
"Demand Americans"
for steady, consistent, week-in-and-out money makers.
ORDER NOW
Your exchange will supply you with one-sheet posters of Warren Kerrigan, Pauline Bush and Jack Richardson. No
better drawing cards than the pictures of these favorites for lobby display.
AMERICAN FILM MFG. CO.
6227 Evanston Avenue
Chicago, Illinois
::
^^■■■JUI
MOTOGRAPHY
Vol. IX, No. 6.
For EASTER Church Booking
"The Star of Bethlehem," Thanhouser's biblical masterpiece in three reels, which a FEW selected Eastern churches (names
on request) showed at CHRISTMAS TIME with such auspicious success, is the newest religious production obtainable.
Bookers of Church, Society, Lyceum and like entertainments should bear this in mind. It is by far
The Most SUITABLE Motion Picture
of a biblical nature for Easter exhibition, since it deals totally with the Birth of the Redeemer, picturing it in greater detail
than has ever been known before. It is the PERFECT EASTER FILM. There is not too much of it; the "happy
length," 3000 feet, is reached; and there can be no complaint on the usual "too long" score.
Is Thanhouser's "Star of Bethlehem"
to be easily had? Assuredly. There are forty film exchanges, (addresses on request) who have one or more sets of the
subject. Practically all the larger cities, therefore, hold a copy. The rental sum is small, and the benefits vast. For further
particulars address (on your letter head) BETHLEHEM DEPT.
Thanhouser Film Corporation, New Rochelle, New York
Softens old* brittle
films in one night
Keeps new films
pliable
Price* 1 .00
Besides This Humidor
Can We Also
Waterproof
Films
TRADE
MARK
Rock Bottom Bargains
Used Machines of all Kinds For Sale
WE BUY- WE SELL— WE TRADE
Why Not Trade Your Old Worn Out Machine on the Purchase ol a New One?
Send for our list of USED Machine BARGAINS
Wc Sell New Machines of all the standard makes and carry a
stock of machines for immediate delivery and of genuine parts for same
Do You Use Disinfectine? Kills all poisonous germs and odors.
Send for sample. Sells at $2.50 per gallon with sprayer.
We Sell a Dandy Economical Ticket Dispenser at only $18.00
and you use just the ordinary roll ticket. Save money— use up your
tickets. It Can't Be Beat and You Can't Be Beat.
Amusement Supply Company
and the Chicago Projecting Company
North Dearborn Street. CHICAGO, Illinois.
A process which enables you to wash the dirt and oil
off with soap and water. The washing operation keeps
films soft and pliable. It lengthens their life and in
many ways improves them. The process is best on new
films but can be applied to old. Ittakes but a few hours.
National Waterproof Film Co.
4200-4202 W. Adams Street CHICAGO
FLAMING ARC LAMPS
and CARBONS
FULL STOCK OF
REPAIR PARTS
The Weinsheimer Company
CHICAGO, ILL.
If you like MOTOGRAPHY, tell the advertiser to.
March 15, 1913. MOTOGRAPHY 7
^Jlllllfllllllllllllllllllllllllllllllllllllllllllllllltllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllll^
| The Peerless Orchestrion I
= Specially designed and created for Photo-Play =
= Theatres on account of its dimensions =
Model 'Arcadian'
The name PEERLESS has come to be synonymous with Automatic Pianos and Orchestrions.
Fifteen years of concentration, organization and close study of the needs of a buying public have been the
means by which this end has been accomplished.
The instrument shown in this advertisement depicts our latest endeavor, and is one of the most successful
styles of the year on account of its adaptability to fit in any place where good music is desired.
Made by
PEERLESS PIANO PLAYER COMPANY
(F. Engelhardt & Sons, Proprietors)
Factories and General Offices: ST. JOHNSVILLE, NEW YORK
NEW YORK
14-16 East 33d Street
CHICAGO
316-138 South Wabash Avenue
7IIIIIIIi!IIIIIIIIlllllllll!l!IIIllf||||MliilllllllMIIIIlllllIllllllllIIIIIIIMIIIIIIIieillllilllllllllIllllllll!IIISillllllIllfllllllllEllIlll!llllllllSlllllllllllIlirF:
Don't forget to mention MOTOGRAPHY to the advertiser.
8 MOTOGRAPHY
illllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllillllllllllllllllllllllllllllllli
Vol. IX, No. 6.
LUBIN FIL1VIS
TAMANDRA THE GYPSY
| Great 2-Reel
| Special |
Walter Clark, who is tacitly engaged to his cousin Beatrice Irving, visits a gypsy camp and falling in love with Tamandra. a beautiful
Gypsy marries her. James Irving, the uncle turns Walter and his wife adrift and for a time they live in poverty. Tamandra then leaves
her husband and joins her tribe. She has a child and to prevent her husband from following her she causes a notice to be published
announcing her death. Walter's uncle sees the notice and invites the nephew to return and he and Beatrice renew their engagement.
They are about to be married and Tamandra hearing of it sends a letter of congratulations, which is received at the wedding ceremony.
The shock induces Walter to renounce the world and he enters a monastery. Beatrice takes up the world's task and becomes a slum
worker. One day she is attracted by a child who takes her to his mother, Tamandra, who is dying. Beatrice takes the child and finding
the father agrees to bring the boy up as her own while he continues faithful to his vow.
March 17—" GREED FOR GOLD "
A very dramatic Western drama
March 18— "DOLORES' DECISION"
Beautiful example of woman's will.
March 20—" JIM THE BURGLAR "
A hard luck story — very funny
March 20—" MR. JINKS BUYS A DRESS "
A farce and a screamer
March 21—" FRIEND JOHN "
A beautiful Quaker story
March 21—" TAMANDRA THE GYPSY "
Beautiful Zingara romance
March 22—" PETE THE ARTIST "
Excellent Studio Comic Episode
March 24—" A MOONSHINER'S WIFE "
An intense drama of thejmountains
March 25— "THE FIXER"
A roaring farce
March 25—" SUCH AN APPETITE
Another roaring farced
March 27—" MEMORIES OF HIS YOUTH "
A beautiful example of man's honor
March 28—" THE GIFT OF THE STORM "
A stranded actress' good fortune
March 29—" IN THE LAND OF THE CACTUS
A beautiful romance of the Santa Fe
March 29—" HEROES ONE AND ALL "
Three sweethearts — all true blue
2-Reel
Special
HEROES ONE AND ALL
Released
March 29
Jim Dorsey, a policeman and Jack Barbour, a fireman, are flirting with Jane Smiley and each thinks he has the better chance. The girl, however, favors Fred
Jackson, a young merchant. Late one afternoon Jackson is alone in his office and a burglar enters, there is a fierce fight during which the building takes fire.
Jane at her switchboard in the telephone office overhears what is going on. She plugs the police station and the fire department, both respond and the two
deserted sweethearts work together at the rescue. Jackson gets the little Hello girl and Jim and Jack retire smiling.
Extremely beautiful, one, three and six-sheet posters of our photo plays, printed in five colors, can be obtained
from your Exchange, or the A. B. C. Company, Cleveland, Ohio. They will draw the crowds to your theatre.
LUBIN MANUFACTURING CO., PHILADELPHIA, PA. i
?T4 1 1 1 1 1 1 1 S 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 B 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 ! 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 II 1 1 1 1 1 1 1 E 1 1 1 ! 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 ! 1 1 1 1 1 1 1 f?
Don't Buy
Ticket Boxes
From Us
You wouldn't pay your labor or rent
a year in advance — then why on boxes
WRITE
The H. R. LangslOW Company, Rochester, New York
Iiistifv the advertiser by saying you read it here.
March 15, 1913.
MOTOGRAPHY
THE EDISO
KINETOSCOPE
An Unsurpassed Moving Picture Machine from
every point of view. "Once used, always used"
THE best tonic on earth for a sick moving picture show is the Edison Kinetoscope.
It restores the circulation of nickels and dimes — tones up the whole show.
That is because the Edison Kinetoscope projects the kind of pictures that people want
to see — pictures that are clear and crisp and as steady as a rock — and because the Edison
Kinetoscope runs the longest time at the least cost for repairs. Don't give up if }rour
attendance is dropping off. Install the Edison Kinetoscope and walk on easy street.
Send today for catalog 500 and a copy of the Edison Kinetogram.
THOMAS A. EDISON, Inc., - 265 Lakeside Ave., Orange, N. J.
COMING EDISON FILMS
Tell Your Exchange You Want Them
TITLE.
The Pricsl and the Man. from "The
Going ol the White Swan.' by Sir Gil-
bert Parker.
Bees and Honey, showing the life in a
bee hive.
It Wasn't Poison Alter All. by Mark
Swan.
Jan Vedder's Daughter, a story of Old
New York, by Gordon V. May.
A Modern Horse
Aunt Elsa's Visit, by Charles M. Seay
A Youthlul Knight, by Anne and Ban-
nister Merwin
The Gauntlets ol Washington, a story ol
1830. by Bannister Merwin
Kathleen Mavourneen
The Portrait, a drama ol Bohemian
Paris, by Richard Ridgely
Mother's Lazy Boy. by Mark Swan.
The Dean's Daughters, by Bannister
Merwin.
The Risen Soul of -Jim Grant, by Ban-
nister Merwin.
The Long and Short ol It. by Charles
M. Seay.
Tea and Toast, irom The Postmaster
a novel by Joseph C. Lincoln. Copy-
right 1912 by D. Appleton & Co.
Bread on the Waters, by Bannistsr
Merwin,
The Unprofitable Boarder, by Herbert
Prior.
A Way to the Underworld, being the
ninth story of What Happened to
Mary. Produced in coiloboralion with
"The Ladies World"
Between Orton Junction and Fallonville.
by Charles M. Seay.
The Elder Brother, by Anne and Ban-
nister Merwin.
Release
Dale
Mar. 8
Release
dumber
7265
" 10
7266
7267
" 11
7268
" 12
" 14
7269
7270
7271
" 15
7272
'• 17
- 18
7273
7274
' 19
" 21
7275
7276
" 22
7277
" 24
7278
7279
" 25
7280
" 26
7281
'■ 28
7282
" 29
7283
" 31
7284
Release
Length
Classilica-
tion.
1000
350
Dramatic
Descriptive
Educational
650
Comedy
1000
1000 Com.-Drama
350
650
Descriptive
Comedy
1.000
1000 Com.-Drama
1000 Dramalic
1000 Drama
1000
1000
Drama
Comedy
1000
Drama
1000
Drama
400
[ ] . ;
600
Comedy
1000
1000
Drama
1000
Comedy
1000
Drama
1000
Drama
1000
led Drama
The Armstrong Lithograph Co. will make
posters for all films except Nos. 7260, 7266, 7269 and
7278.
THOS. A. EDISON
Incorporated
265 Lakeside Ave.
Orange, N. J. /
UNDERWRITERS
TYPE "B"
Tell the advertiser you >aw it in MOTOGRAPHY.
10
MOTOGRAPHY
Vol. IX, No. 6.
General Film Service Now Otters Four
Multiple-Reel Features Every Week
The importance . of this innovation has been recognized by
the livest exhibitors in the country. Are you alive? Look
over these releases for the week of March 15 to 21, inclusive
liQi
ipfe
^fp^Si
"An Adventure on the Mexican Border'
'Notre Dame"
"An Adventure on the Mexican Border"
Lubin Drama in Two Parts. Released March 15, 1913
A TIMELY film story, dealing with the troops en-
■'*■ camped on both sides of the border between the
United States and Mexico. A lieutenant of the United
States army and a captain of the Mexican troops are
silently battling for the love of a bright eyed
senorita. The captain is successful. The lieutenant
in a fit of passionate anger, tells his commanding
officer of an alleged breach of the existing martial
law by the Mexican Captain. Complications follow,
but a careful analysis of the situation prompts the
lieutenant to release the imprisoned captain and
return to face his punishment.
"Notre Dame"
Three-reel Patheplay (colored). Released March 17, 1913
A BEAUTIFULLY colored film based on Victor
•rt- Hugo's literary masterpiece "Notre Dame de
Paris." The tragic story into which the love and
passions of Esmeralda, the gipsy beggar girl; Cap-
tain Phoebus of the King's Archers; Quasimodo, the
old and deformed bellringer of Notre Dame Cathe-
dral and Claude Frollo, the faithless Archdeacon of
the Cathedral are curiously interwoven, is given a
production that for artistic merit and dramatic effect
has never been surpassed. From the moment that
Esmeralda through her dancing fires the heart of
Frollo, to the climax when Quasimodo throws him
over the parapet to his death, there is not a scene in
the three reels that does not hold the spectator
tensely expectant.
"The Strength of Men"
Two Reel Vitagraph. Released March 19, 1913
A THRILLING tale of the North Woods. Marie, the
-rt- daughter of the foreman of the lumber camp is
loved by Jan Larose and Clarry O'Garry. The two
men quarrel over the girl. Jan discovers gold, and
stakes his claim. Clarry observes him in the act and
decides to stake the claim as his own. A race to the
Recorder's office, and back again, follows. The men
are overtaken by a raging forest fire, and their race
for gold becomes a fightforlife. Jan is pinned under
a falling tree, and Clarry's sight is blinded by fire.
Enemies then become friends, and both men finally
reach safety. When Marie later decides between
them, Jan is the man of her choice. Clarry congratu-
lates his former rival, and admits that the vital thing
with him is to see Marie happy. The disputed claim
is jointly worked by the two. and the past is all for-
gotten in the strength of brotherly love.
"Tamandra, The Gipsy"
Lubin Drama in Two Parts. Released March 21, 1913
X\T ALTER Clark and Beatrice Irving, cousins, are
"" engaged, but Walter meets the gipsy Tamandra
and they are married. Later she goes back to her
tribe and a child is born to her. Ignorant of this
fact and believing his wife dead, Walter and Beatrice
arrange to be married. The untimely arrival of a
message from Tamandra brings the wedding cere-
mony to an abrupt ending. Walter enters a monas-
tery. Beatrice takes up work in the slums and meets
Tamandra. The latterdies and Beatrice assumes the
care of the child. While walking one day with the
monks, Walter sees Beatrice and his child. A
struggle between love and duty ensues but duty
finally conquers and he goes back with the others
to the silent life of the monastery.
The Strength of Men"
'Tamandra, The Gypsy'
Besides offering the best "feature" service of which the industry boasts,
the General Film Company places at the command of exhibitors, the
strongest program of single and split reels that the ten leading manu-
facturers can produce.
GENERAL FILM COMPANY, "Reel" Quality
I
When answering advertisements, say where you saw them.
**
March 15, 1913. MOTOGRAPHY 11
RELEASE EXTRAORDINARY!
"The Capture of the Land Swindlers
FEATURING DETECTIVE WILLIAM J. BURNS
Produced by the KALEM CO., Three Thrilling parts
Released Tuesday, April 1st
SOME exhibitor in your vicinity with an "eye for business" will
book this epoch-making, history-making production. Why don't
you "beat him to it ? " See one of our branch managers now.
The film will justify anything unusual you may say about it.
Detective Burns appears in person throughout and is supported by
a strong company, headed by Alice Joyce.
Multiple-Reel Features to Be Released Soon
March 22, 1913— "The Battle of Bloody Ford"— Kalem, Two Reels.
March 24, 1913— "Pauline Cushman"— Selig, Two Reels.
March 26, 1913— "The Moonshiner's Last Stand"— Patheplay, Two Reels.
March 28, 1913— "The Modern Prodigal"— Vitagraph, Two Reels.
March 29, 1913— "Heroes One and All"— Lubin, Two Reels.
March 31, 1913 — "The Spy's Defeat" — Essanay, Two Reels.
Any of our branch offices in the principal cities will be glad to
confer with you, analyze your requirements and give you a film serv-
ice that will be a revelation to you, and the despair of competitors.
200 Fifth Avenue, NEW YORK,
BRANCHES IN THE
PRINCIPAL CITIES
We succeed just so far as you mention MOTOGRAPHY to the advertiser.
12 MOTOGRAPHY
£ilillllllllllllllllllllllllliiii!ll!il!iillllllllllllllllilllilllllllllllllll!llli:
Vol. IX, No. 6.
The WorlcMGreaiest
Features
are under our control; products' of those pioneers
of the industry, who have lived^to become leaders.
REGULAR MONTHLY EXHIBITIONS
The first Friday and Saturday of each
month, in our own projection room on
the premises.
OUR LIST
ALL STAR
Sarah Bernhardt as ''Adrienne Lecouvreur" in
The Romance of an Actress Three Reels
M. Mounet-Sully in
OEDIPUS REX Four Reels
GAUMONT
The Race for the Millions Three Reels
In the Claws of the Leopard Two Reels
The Human Vulture Two Reels
In the Grip of the Vampire Three Reels
The White Glove Band Three Reels
ITALA
The Great Aerial Disaster Three Reels
The Palace of Flames Three Reels
GREAT NORTHERN
In the Den of Lions Two Reels
Conquered; or the Madcap Countess Two Reels
SOLAX
Beasts of the Jungle Three Reels
COMING— WATCH FOR DATE— COMING
GAUMONT— The Union Eternal Three Reels
GREAT NORTHERN— Lost Memory Two Reels
GAUMONT— By Design of Heaven Two Reels
(Hand Colored)
GREAT NORTHERN— The Millionaire's
Daughter Three Reels
GAUMONT— The Imposter Three Reels
Exclusive territorial rights and protec-
tion guaranteed with all productions.
And Our Regular Program Gaumont, Solax, Great
Northern, Comet, Great Events, Lux, Gaumont Weekly.
Ammex, Pilot, and Ramo, and these to come soon: All
Star, Prairie, Anchor, Magnet,
Monitor, Scientific Studies.
FILM SUPPLY COMPANY
OF AMERICA
133-35-37 W. 44th St., NEW YORK. U. S. A.
iiiimiimimiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiimiiiiimmiiiin^
EASTMAN
motion picture
film— the acknowl-
edged standard the
world over.
Manufactured by
EASTMAN KODAK CO.,
ROCHESTER, N. Y.
TO THE TRADE
Negatives developed - - 1c. per ft.
Positives printed and developed
(including tinting) - 5c. per ft.
Titles 8c. per ft.
Highest Quality Lowest Prices Prompt Deliveries
What More Can We Offer ?
Commercial Motion Pictures Co.
(Incorporated)
102 West 101st St., N. Y. River 8724
Will pay $20.00 for a lease
rental contract for the Vano-
scope Projection Machine.
Must be a serial number under
100. Address Exhibitor, in
care of Motography.
Get the habit, say you saw it here.
March 15, 1913.
MOTOGRAPHY
13
Hllliliiiiiiiiiiiuiiiiiiiiiiiiiiiiiiiiliiliilliiiililiiiiiiiiiiiiitiiililiiiliillf
I MOTION PICTURES |
= FOR =
1 Schools, Colleges and Churches i
= We Have the Largest Stock in the World.
= We Supply the Best Schools of Europe. =
| We Use No Old Film Nor Junk. |
= We Guarantee Exact Measurement. =
= We Challenge Comparison in Variety and E
= Quality. =
| Send for Our Educational, Scientific and =
| Religious Catalogue |
| Special or Varied Programs Prepared |
EDUCATIONAL DEPARTMENT |
| GAUMONT COMPANY |
CONGRESS AVENUE ^
<GaamoDt> f^hing <GaamoDi> i
^ NEW YORK CITY
Ornamental
Theatres
PLASTER RELIEF DECORATIONS
Theatres Designed Everywhere
Write for Illustrated Theatre Catalog. Send us
Sizes of Theatre for Special Designs
THE DECORATORS SUPPLY CO.
2549 Archer Avenue, CHICAGO, ILL.
nillllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllNIIIHIIMII^
XO THEATRE OWNERS
Do You Read Advertisements — You Know— Don't You— We Advertise only to Impress You— The Buyer
HERE IS FOOD FOR THOUGHT
Tbe Finest Theatres of America, England, Scotland,
Australia and Cuba use the Motiograph Machine. Is it not a
well known fact that these large Companies operating several
theatres, in circuit, employ only such implements (human and
mechanical) as assure positive success.
They Take No Chances— They Know— By Experience—
and Here are Some Facts.
The Motiograph Machine is built in one factory — its own.
It is built only of the best materia! money will buy. It is built under
the direct supervision of the officers of the company. It is not an
assembled product of many factories .
The Motiograph Machine leads always in improvements. No
expense is spared in keeping far ahead of the times.
The Motor Drive Motiograph is ten years ahead of all others.
MAKE YOUR OWN COMPARISON. Don't take our word for it—
We will send you proof — Also our latest catalog.
If Your Dealer "Knocks"— There's A Reason — Write Us
Direct— We Will Tell You Why.
MANUFACTURED BY
The Enterprise Optical Manufacturing Company
Factory and Home Office: 566 W. RANDOLPH ST., CHICAGO, ILL.
EASTERN OFFICE: WESTERN OFFICE:
30 EAST 23rd STREET, NEW YORK CITY 833 MARKET STREET, SAN FRANCISCO
Make this book better by mentioning MOTOGRAPHY when you write.
14
M 0-T-O G R A P H Y
Vol. IX, No. 6.
Copyright 1913 Wray Physioc
A NEW STUDIO is now
in con-
struction with every facility which
will enable RAMO to produce the
best possible films in a modern
studio.
RAMO FILJVIS
A NEW FILM OF QUALITY
WRAY BARTLETT PHYSIOC
DIRECTOR OF PRODUCTIONS
COMING RELEASES
March 19th— "THE DIVIDING LINE"
A Comedy on Modern Divorce
March 26th— "THE GRIP OF JEALOUSY"
A Great Melodrama of Life's Occurrences as
Wrought by the Hand of Fate
April 2nd-" THE LAST OLD LADY"
A COMEDY
On the Same Reel: RAPID TRANSIT IN NEW YORK
RELEASED THRU (Office 135 Broadway, N. Y. C.)
FILM SUPPLY COMPANY OF AMERICA
133 W. 44th Street,
Mail or Telegraph Your Orders Now
NEW YORK CITY
WHERE TO BUY
Price for listing under this caption.
$1.00 for each classification.
BOOKS.
ELECTRICITY MAGAZINE CORPORA-
TION. Monadnock Bit., Chicago.
CANS.
NATIONAL WATERPROOF FILM CO.,
4200 W. Adams St., Chicago, HI.
DECORATORS.
DECORATORS SUPPLY CO., THE, 2549
Archer Ave.. Chicago, HI.
DEVELOPING AND PRINTING.
COMMERCIAL MOTION PICTURES
COMPANY, 102 W. 101st St., New
York, N. Y.
FILM DISTRIBUTORS.
FILM SUPPLY COMPANY OF AMER-
ICA, 135 W. 44th St., New York,
N. Y.
GENERAL FILM COMPANY, 200 Fifth
Ave., New York, N. Y.
FILM FEATURES.
FILM SUPPLY COMPANY OF AMER-
ICA, 135 W. 44th St., New York, N. Y.
GENERAL FILM COMPANY. 200 Fifth
Ave., New York, N. Y.
FILM MANUFACTURERS.
AMERICAN FILM MFG. CO., Ashland
Block, Chicago.
EDISON. INC.. THOS. A., Orange, N. J.
ESSANAY FILM MFG. CO., 521 First
National Bank Bldg., Chicago.
GAUMONT CO., Flushing, N. Y.
KLELNE, GEORGE, 166 N. State St..
Chicago, HI.
LUBIN MFG. COMPANY. Philadelphia.
Pa.
RAMO FILM CORPORATION. 135
Broadway, New York, N. Y.
SELIG POLYSCOPE CO., 20 E. Ran-
dolph St., Chicago.
THANHOUSER FILM CORPORATION,
New Rochelle. N. Y.
FRAMES-DISPLAY.
NEWMAN MFG. CO., 715 Sycamore St.,
Cincinnati, Ohio.
LIGHT.
ENTERPRISE OPTICAL MFG. CO..
564 W. Randolph St.. Chicago.
WEKSHEIMER COMPANY, Chicago, HI.
MUSICAL INSTRUMENTS.
PEERLESS PIANO PLAYER CO., St.
Johnsrille, N. Y.
PROJECTING MACHINES.
EDISON, INC., THOS. A., Orange. N. J.
ENTERPRISE OPTICAL MFG. CO., 564
W. Randolph St., Chicago.
RAW STOCK.
EASTMAN KODAK COMPANY. Ro-
chester, N. Y.
SEATING.
STAFFORD MFG. CO., E. H., 218 So.
Wabash Ave., Chicago, HI.
SUPPLIES.
AMUSEMENT SUPPLY CO.. 105 N
Dearborn St., Chicago.
LANGSLOW COMPANY. H. R., Roches-
ter, N. Y.
WEINSHELMEB COMPANY, Chicago, HI.
TICKET BOXES.
LANGSLOW COMPANY. H. R., Roches-
ter, N. Y.
WATERPROOFING.
NATIONAL WATERPROOF FILM CO..
4200 W. Adams St., Chicago.
Rates for advertising under this
heading, nyi cents per line. Mini-
mum charge, $1.00. No limit to
number of lines.
FOR SALE OR LEASE— Tenant
for M. P. and vaudeville show,
on corner space, 58x100. Combination
airdome-theater; brick and concrete,
well ventilated and plenty of exits.
Tenant with equipment preferred.
W. V. Futrelle, Albuquerque, N. M.
HELP WANTED.
FOREMAN - MANAGER wanted
for a Film Printing business for
a permanent position. Must have
a thorough experience in perforat-
ing, printing and developing film.
State experience, whether married
or single, and salary required by
the year. All _ communications
treated in the strictest confidence
Address XYZ, Motography,
Buy Motography
From Your Newsdealer
10 Cents Per Copy
Insist upon him
getting it for you
IMMEDIATE SHIPMENT
Ask for Catalog No. 307
E. H. STAFFORD MFG. CO.
218 South Wabash Ave.
CHICAGO. ILLINOIS
We make Lodge, Church and School furniture
CHAIRS OF ALL KINDS
MAKE YOUR LOBBY DISPLAY ATTRACTIVE
There is nothing more fascinating to the public than a bright
brass frame to display your photos or posters. We make Lobby
and Theatre Fixtures and Brass Rails of every description.
Don't tail to visit our complete W. Y. Show Rooms, 101-103 Fourth Ave.
Write for Catalog. Established 1882.
THE NEWMAN MFG. CO.
715-717 Sycamore St.
Cincinnati, O.
Just say, "I saw it in MOTOGRAPHY." Thank you.
•JF^Iyy^l
Ifl^S S9^!CT)if 1 V\ :
N^s4
1
WAR!!
THE UPPERMOST THOUGHT IN THE PUBLIC MIND
Battles are raging ^in every quarter of the
globe. War is in the air— it's everywhere. JUFT1 ^XJS
Pauline Cushman— The Federal Spy
In Two Reels
The most timely, remarkable and elaborate historical Motion Picture
ever produced. A vivid and absorbing war-time drama, based upon the
spectacular career and exploits of Pauline Cushman — the most unique and
facinating character in Civil War History. Staged at gigantic expense
with over 1000 people in the cast.
A Feature Motion Picture _
Mammoth and Realistic Battle Scenes, Exciting Cavalry Charges,
Thrilling Escapes, Vivid Military Atmosphere, Spectacular Effects,
Massive Interior Settings, Powerful Romantic Story, Historic Exactness
of Detail, Excellent Action, Daring " Falls," Miraculous Rides, Phenomenal
Staging.
Special Release for March 24th
Complete Assortment oljPublicity Aids
One, two and three column ad. electrotypes. Two
styles of one sheet, one three sheet and one six sheet
lithographs of exceptional design ; Newspaper cuts; two
color heralds; music suggestions; press sheets,
etc., etc., etc. Write today for a " Pauline .
Cushman" envelope.
Book ThisjSelig Masterpiece Today
The Selig Polyscope Co.
ExecutiveJOIfices
20 East Randolph St. Chicago, 111., U. S. A.
,^
^
*'/
WARTIME M
ESSANAY
FIVE A
.WEEK .
A Chain is Only as Strong as Its Weakest Link
The Strongest Links in The Chain oi Photographic Success
ESSANAY PHOTOPLAYS
Released Tuesday, March 25th
"THE SHERIFF'S HONEYMOON"
(A Western Comedy of Riot)
Released Wednesday, March 26th
"THE SCRATCH" s
Another Corking Good Comedy)
M
Released Thursday, March 27th
"THE TRAIL OF THE ITCHING£PALM"
(A Bully Good Comedy of Errors
jr~\
Released Tuesday, April 1st
'THE SHERIFF'S SON"
iA Gripping Western Drama)
Released Wednesday, April 2nd
"THE PRICE OF COLD"
(A Strong Dramatic Photoplay with a Purpose)
Released Thursday, April 3rd
"THE WILL-BE WEDS"
(A Side-Splitting Hilarious Comedy)
Released Friday, March 28th
"THE HERO-COWARD"
(A Strong Dramatic Play of Power and Passion)
TQ
4&
<^\=
Released Friday. April 4th
"A WOLF AMONG LAMBS"
(Unparalleled Dramatic Action in this! Feature)
Released Saturday, March 29th
"BRONCHO BILLY'S GRATEFULN
(A Western Dramatic Masterpiece with G. M
k-4
NESS" )
. Anderson) yji ^V
I
Released Saturday, April 5th
"BRONCHO BILLY'S WAY"
A Splendid Western Story with G. M. Anderson)
Special!
RELEASED MONDAY MARCH 31st
Special!
(IN TWO REELS)
The Greatest Spectacular Historical Photoplay ever produced. A\ romance oi the Franco-
German War. A Revelation in the Art oi Photography andfabove all a Masterpiece.
EXHIBITORS ! ! ! A word to the Wise^is sulficient. Book this
Magnilicently Beautiful; Production.
Beautiful One, Three and Six Sheet Posters of this Subject
Coming Soon ! Coming Soon !
"ALKALI" IKE'S HOMECOMING"
THE GREATEST "ALKALI" IKE PICTURE EVER PRODUCED
SUCCESS ASSURED providing you use three sheet posters of all Essanay Saturday releases,
lithographed in full four colors, price 35c each. You can order these from your exchange or direct from the
ARMSTRONG LITHOGRAPH CO., Cleveland, Ohio. Your lohby display is incomplete without photos of
Essanay players, size 8x10, price $3.00 per dozen. Can be secured from the Players' Photo Company, 177 North
State Street, Chicago, Illinois.
Essanay Film Mfg. Co.
521 First National Banlc Building, CHICAGO, ILL.
Factory and Studio. 1333 Argyle Street. CHICAGO
Branch Offices in LONDON. PARIS. BERLIN. BARCELONA
April 5, 1913 MOTOGRAPHY
These Unsettled Days
Breed Careless Pictures
Political hot-beds and producing centers cannot -work harmoniously toward a
finished product of credit to either.
Dissatisfaction spreads — producers, actors and even technical department heads slow"
up — lose enthusiasm — acquire a mild form of the fatal sleeping-sickness — a disease your
box-office is quick to diagnose.
Santa Barbara, California is 105 miles from the nearest political maelstrom. No
contamination spreads through the smiling hills and palm strewn beach of the Mission
City — a condition strongly marked by splendid stories, peerless photography and really
superb acting.
Three California-Made Pictures Each Week
"Cupid Throws a Brick"
(Release Monday, April 7. 1913)
A bully story in which the hero connects with a healthy brick, thrown by an envious suitor. Cupid considered
the brick carefully — and passed judgment according to the evidence submitted.
"The Homestead Race"
(Release Thursday. April 10. 1913)
How a home was saved and an unworthy rascal brought to justice. Good photography,
a pleasing story and choice California settings.
"Woman's Honor"
(Release Saturday. April 12. 1913)
A splendid Kerrigan story. How a priest brought about a union, saved a woman's honor, and,
incidentally, proved himself a capable man as well as priest.
To Theatre Proprietors — by application to your exchange you may obtain handsome one-sheets of those popular
"Flying A" players, Jack Kerrigan, Pauline Bush and Jack Richardson.
American Film Manufacturing Co.
6227 Evanston Avenue : : : : Chicago
If you like MOTOGRAPHY, tell the advertiser to.
MOTOGRAPHY
Vol. IX, No. 7
Scene from "A Change of Administration"
Scene from "The Queen of Spades'
Superior Multiple-Reel Features
1MMIII IHIIMI IMS— ■■■■! ■BBB^B^^^BB^^^^raBMaOBH^ B^MM fMllltMini^iM^M
A BOUT 50 per cent, of the multiple-reel features submitted
'* for possible use in General Film Service are accepted.
We don't take a film simply because it may be termed a
"feature" by its producer. It must pass rigorous "screen
inspection" first. By this process of eliminating the fea-
tures] that lack the proper "punch," we concentrate the
quality of eight into the weekly production of four. A
glance at the following synopses will prove that this claim
of superiority is not merely an advertising boast.
«
For Saturday, April 5th
A Change of Administration"
Selig. Two Reels
A timely film based on the political pat-
ronage evil. It shows the danger of sum-
marily discharging old, trustworthy and
capable officials and displacing them with
untried men who too often are put in office
as a compensation for political services
rendered. The big scene is the Inaugural
Ball, staged with a sumptuousness that
defies description.
*•
For Monday, April 7th
The Queen of Spades"
Cines-Kleine. Two Reels
An unfortunate woman is compelled
to take charge of a large and fashionable
gambling house as a means of earning a
livelihood for herself and daughter. The
latter is ignorant of the nature of her
mother's profession and when she finds out
there follows a sacrifice such as mothers
the world over are sometimes called upon
to make.
■■
■ ■
am no bh ■■ ■■ ■ ■ ■■ m
Make this book better by mentioning MOTOGRAPHY when you write.
m ■
i
April 5, 1913
MOTOGRAPHY
Scene from "The Toll of Fear'
For Wednesday, April 9th
"The Toll ol Fear"
Lubin. Two Reels
An unusual film — one of the most re-
markable ever produced. The story was
written by Romaine Fielding, who plays the
part of the only two characters in it.
A sheriff and his younger brother are
the two, and both are overcome by fear,
the unseen, in the quiet of the desert.
Eventually the both seek refuge from it in
death. As an example of strong dramatics,
this film is without a peer.
Scene from "The Web"
For Friday, April 11th
"The Web"
Vitagraph. Two Reels
An adventuress deftly weaves a web
around a chap who seeks to disentangle
himself and succeeds, but not until after
his younger brother, his fiancee and the
man who really loves the adventuress have
brought about a series of amazing compli-
cations. A gripping drama that your audi-
ence will appreciate.
General Film Service offers other things be-
sides superior multiple-reel features— "quality" single reels
in great variety and quantity, a strong and permanent or-
ganization that serves exhibitors fairly and courteously, and
keeps its promises— and deserves your serious considera-
tion strictly on its merits. Our nearest branch office
awaits your commands. There are forty-five such offices
in the country, so we can take care of you no matter
where you are.
GENERAL FILM CO., 200 Filth Ave, New York
■■
■■
■■
■ b
■ ■
■ ■
■ ■
lu.tifv the advertiser by saying you read it here.
8 , MOTOGRAPHY Vol. IX, No. 7
i^l e B ^ 1 1 1 i 1 1 1 1 1 E 1 1 1 1 1 1 1 1 1 i I B I B 1 9 1 1 1 1 1 1 1 1 1 1 1 1 1 B 1 9 1 1 1 E 1 1 1 D i B B S I E 1 1 1 E 1 1 1 E 1 1 1 S 1 1 1 1 1 1 1 1 1 1 1 1 1 f 1 1 1 1 1 1 1 1 1 B 1 1 1 1 1 1 1 1 1 1 E 1 1 1 1 Ij ! ^ : i E L I B 1 1 1 1 1 B B 1 1 1 1 1 1 i I £ I E 1 1 1 1 1 1 1 & 1 1 1 E 1 1 1 1 1 1 1 M 1 1 >^
T
HE
HANHOUSER
HREE-A-WEEK
Three All-
California
Productions
(With "Cymbeline")
SUNDAY, March 23
"Her
Gallant
Knights
»
A story of a heart-breaker,
with Flo La Badie, James Cruze,
William Garwood, Frank Urson
and Riley Chamberlain.
TUESDAY, March 25
"For
Her Boy's
Sake"
A story of mother love, with
Marguerite Snow, James Cruze.
William Garwood, Victory
Bateman and William Russell. .
FRIDAY, March 28
"Cymbeline
yy
Two reels and "perfect publi-
city." With Flo La Badie, James
Cruze, William Garwood, Wil-
liam Russell and Jean Darnell.
= Repeat All-California Week s
| (With "Cymbeline") =
E Everyone likes the beautiful California pictures. Here's another week in which we release ONLY California =
= productions, a sort of ' return date" on the popular All-California Week of early in the month.. =
1 THANHOUSER FILM CORPORATION |
| New Rochelle, N. Y. Winter Studios, 651 Fairview Place, Los Angles, Cal. 5
FinininginnnHgisisnninunnnDigiiinMiiiiiniiiiiiyHiMiHiiunniisuingiiniiinniinniiiiiiiiuininiiiiMnnginginnnnnnniNinnnnHiii?
NEVER AN ANXIOUS MOMENT
When You Have a Motiograph
Installed in Your Booth
Insist Gently, But Firmly That Your Dealer Show You the
Merit of the Latest Model of This The Machine ol Quality
Do You Know About Our Service Department?
Do You Know The Motiograph Guarantee?
Do You Know This is a "Built" Machine and Dis-
tinctly Different From an "Assembled" One?
If Your Dealer Knocks— Write Us
MANUFACTURED BY
The Enterprise Optical Manufacturing Company
Main Office and Factory: 566 W. RANDOLPH ST., CHICAGO, ILL.
EASTERN OFFICE: WESTERN OFFICE:
30 EAST 23rd STREET, NEW YORK CITY
833 MARKET STREET, SAN FRANCISCO
Just say, "I saw it in MOTOGRAPHY." Thank you.
April 5, 1913
MOTOGRAPHY 9
-lllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllll^:
RAMO FILMS
A NEW FILM OF QUALITY
Coming
Releases
The Grip of
Jealousy
The Last Old
Lady
Rapid Transit
in N. Y.
Dangerous
Sympathy
Love and Gold
Copyright 1913 Wray Physioc
Ask us about your lob-
by display and ad-
vertising lor the ex-
hibitor.
Studios 120 W. 31st St. NEW YORK CITY
WRITE or WIRE at ONCE
To Book the Great
Sherlock Holmes Series
Eight Subjects to Choose From — Two Reels to Each
New catchy paper, banners and lobby display. We have the
sole rights for Indiana, Kentucky, Wisconsin (south of
Green Bay) and Illinois (north of Springfield.)
Write, wire or phone today
Allardt Feature Film Company
D. W. McKINNEY, Mgr.
812 Strauss Building : : Chicago, Illinois
IMMEDIATE SHIPMENT
Ask for Catalog No. 307
E. H. STAFFORD MFG. CO.
218 South Wabash Ave.
CHICAGO, ILLINOIS
We make Lodge, Church and School furniture
CHAIRS OF ALL KINDS
BUY MOTOGRAPHY
From Your Newsdealer
TEN CENTS PER COPY
Insist Upon Him Getting It For You
The World's Greatest
Features
are under our control; products of' those pioneers
of the industry, who have lived to become leaders.
REGULAR MONTHLY EXHIBITIONS
The first Friday and Saturday of each
month, in our own projection room on
the premises.
OUR LIST
ALL STAR
Sarah Bernhardt as "'Adrienne Lercouvreu" in
The Romance of an Actress Three Reels
M. Mounel-Sully in
OEDIPUS REX Four Reels
GAUMONT
The Race for the Millions Three Reels
In the Claws of the Leopard . •. Two Reels
The Human Vulture Two Reels
In the Grip of the Vampire Three Reels
The White Glove Band Three Reels
ITALA
The Great Aerial Disaster Three Reels
The Palace of Flames ... Three Reels
GREAT NORTHERN
In the Den of Lions Two Reels
Conquered; or the Madcap Countess Two Reels
SOLAX
■5 Beasts of the Jungle Three Reels ^
COMING— WATCH FOR DATE— COMING
GAUMONT— The Union Eternal Three Reels
GREAT NORTHERN— Lost Memory Two Reels
GAUMONT— By Design of Heaven Two Reels
(Hand Colored)
GREAT NORTHERN— The Millionaire's
Daughter Three Reels
GAUMONT— The Imposter Three Reels
Exclusive territorial rights and protec-
tion guaranteed with all productions.
And Our Regular Program Gaumont, Solax, Great
Northern, Comet, Great Events, Lux, Gaumont Weekly.
Ammex, Pilot, and Ramo, and these to come soon: All
Star, Prairie, Anchor, Magnet,
Monitor, Scientific Studies.
FILM SUPPLY COMPANY
OF AMERICA
133-35-37 W. 44th St., NEW YORK, V. S. A.
Tlil IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIININhT
Get the habit, say you saw it here.
10
MOTOGRAPHY
Vol. IX, No. 7
o^oms^opppooggooooooopoooo^oooooo
LUBIN FILMS
2-Reel
Special
One of the Most Intense Stories Ever Made for the Screen
"THE TOLL OF FEAR"
Released
April 9th
Dick McKnight, a deputy sheriff of Santa Cruz County, receives a 'phone message from the sheriff of an adjoining county
to the effect that Pedro Aquillo and his band of outlaws are in Santa Luis Canyon. Dick's brother, Bill, is away and the young
deputy goes himself to track the band. He leaves a note for Bill, stating his quest and goes forth. Getting into the mountains he
finds a notice tacked to a tree which reads: "Go back or you die with the sun." He continues his way but fear overcomes him
and in a delirium he enters an adobe hut and shoots himself. Bill, the sheriff, returns to the home and finds the note from Dick.
He starts in search of his brother and finds him dead, with the ominous paper clasped in his hand. Bill in turn experiences the
same fear. He mounts his horse and rides, he knows not where. He penetrates into an old deserted mission and secretes himself in
a crevice. There he becomes crazed and fires his revolver at the walls until they fall and bury him in a living tomb. The penalty
of suggestion offered by the agony of fear.
MARCH 31— "WOMEN OF THE DESERT.'
of the Harem.
A Romance
—"SHIPPING A CLOCK." A screaming farce.
— "THE FAKE SOLDIERS." The wives win out.
— "A FALSE FRIEND." A very dramatic story.
—"THE BURDEN BEARER." An intense vampire
story.
—"HIS WIDOW.
—"COLLECTING A
rapher gets it.
A ruse that worked out well.
BILL." The pretty stenog-
APRIL 7— "THE EVIL ONE." A story of Indian super-
stition.
APRIL 8— "FOR HIS CHILD'S SAKE." A strong melo-
drama.
APRIL 9— "THE TOLL OF FEAR." A wonderful two-reel
episode.
APRIL 10 — "THE MAGIC SHOE." A dream that came true.
APRIL 10— "ANGEL CAKE AND AXLE GREASE." A
good joke that caused trouble.
APRIL 11— "THE SPLIT NUGGET." Dramatic western story.
APRIL 12— "PETE TRIES THE STAGE." An awful case
of stage fright.
Beautiful, one, three and six-sheet posters
obtained from your exchange, or the
of our photo plays, in five colors, can be
A. B. C. Company, Cleveland, Ohio.
LUBIN MANUFACTURING CO
PHILADELPHIA
U.S.A.
Don't Buy
Ticket Boxes
RENT
From LJs
You wouldn't pay your labor or rent
a year in advance — then why on boxes
WRITP
The H. R. LangslOW Company, Rochester, New York
Add a line to your inquiry, thus: "I saw it in MOTOGRAPHY.
April 5, 1913
MOTOGRAPHY
11
! ! ! SPECIAL RELEASE ! ! !
THE SPY'S DEFEAT
(IN TWO REELS)
Released March 31, 1913
The Greatest Spectacular Historical Photoplay Ever Produced
A Masterpiece of Photographic Art. Without Doubt the Biggest Film Released This
Year. Be Sure and Book This Remarkable Feature.
Strong One, Three and Six Sheet Posters on This Subject. Sure Business Getters
Don't Forget ESSANAY Quality
Insures You a Big Business on This Strong Subject
Posters can be obtained from your exchange or direct from the Morgan Lithograph
Company, Cleveland, Ohio
Essanay Film Mfg. Co
521 First National Bank Building, CHICAGO, ILL.
m
^
Factory and Studio. 1333 Argyle Street. CHICAGO
Branch Offices in LONDON. PARIS. BERLIN, BARCELONA
FLAMING ARC LAMPS
AND CARBONS
FULL STOCK OF
REPAIR PARTS
The Weinsheimer Company
CHICAGO, ILL.
CENTRAL WESTERN HEADQUARTERS
Powers— Motiograph— Simplex
Machines and Repair Parts
Supplies of All Kinds
Immediate Shipments
AMUSEMENT SUPPLY COMPANY
107-D N. Dearborn Street
CHICAGO
mark WATERPROOF FILMS
can be washed with
,wAffETpyRQOF) soap and water
NATIONAL WATERPROOF FILM CO.
4200 W. Adams St.
CHICAGO
EASTMAN
motion picture
film— the acknowl-
edged standard the
world over.
Manufactured by
EASTMAN KODAK CO.,
ROCHESTER, N. Y.
Tell the advertiser you saw it in MOTOGRAPHY.
12
MOTOGRAPHY
Vol. IX, No. 7
^SJIIIIIIIIIIIIIIIIIIllIIIIIIIIilllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllll
NDEPE
FC
MANUFACTURERS, EXCF
Our Distributing Agencies:
ANTI TRUST FILM EXCH.,
128 West Lake St.,
CHICAGO, ILL.
CALIFORNIA FILM EXCH.,
54 Seventh St.,
SAN FRANCISCO, CAL.
CALIFORNIA FILM EXCH.,
110 E. 4th St.,
LOS ANGELES, CAL.
CANADIAN FILM EXCHANGE,
CALGARY, ALBERTA.
CANADIAN FILM EXCHANGE,
32 Queen St.,
TORONTO, ONTARIO.
CANADIAN FILM EXCHANGE,
516-7-8 Holden Bldg.,
VANCOUVER, B. C.
CANADIAN FILM EXCHANGE,
402 Kerr Block,
REGINA, SASKATCHEWAN
CANADIAN FILM EXCHANGE,
Over Monarch Theater
WINNIPEG, MAN.
CENTRAL FILM EXCHANGE,
113 West Georgia St.,
INDIANAPOLIS, IND.
CINCINNATI BUCKEYE FILM EX.,
236 West 4th Ave.,
CINCINNATI, OHIO
CONSOLIDATED FILM & SUPPLY
CO,
Rhodes Bldg.,
ATLANTA, GA.
CONSOLIDATED FILM & SUPPLY
CO,
Maison Blanche Bldg.,
NEW ORLEANS, LA.
DETROIT UNIVERSAL FILM EX,
DETROIT, MICH.
W. E. GREENE FILM EXCH.,
665 Washington St.,
BOSTON, MASS.
INDEPENDENT FILM EXCHANGE,
415 Ferry St.,
PITTSBURGH, PA.
IND. WESTERN FILM EXCHANGE,
64 Seventh St.,
PORTLAND, ORE.
The listed exchanges, members
desire it to be known broadcast th*
zation, they will only buy film that
quality, merit and freedom from ever
To all manufacturers who are
critical inspection by a selected bod}
National Board of Censorship, ai
never hitherto had — that of selling
We are now ready to purchase
able from any source; the price to b
of the production.
QUALITY IS THE 0NL1
F». A. POWERS
I INDEPENDENT EXCHANC
=. 1 1 1 1 1 1 1 1 1 1 1 1 1 1 ■ 1 1 1 1 1 i 1 1 a 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 ■ i i 1 1 1 1 1 1 1 1 1 1 1 1 1 1 & 1 1 1 1 1 1 1 1 1 1 1 1 ■ 1 1 1 1 1 1 1 1 1 ■ 1 1 1 ■ 1 1 1 ■ 1 1 ■ 1 1 1 1 1 1 ■ 1 1 1 1 1 ■ 1 1 1 1 ■ 1 1 1 1 ■ n 1 1 1 ■ 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 ■ 1 1 1 ■ ■■ i i ■■ i 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 n 1 1
If you saw it in MOTOGRAPHY, SAY SO!
April 5, 1913
MOTOGRAPHY
13
llllllltlllllllllllllllllllllllllflllllllllllllllllllllllllfllfllfllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllll^:
NDENCEl
NGES AND EXHIBITORS
the Independent Exchange Co.,
l the future, through their organi-
s been thoroughly inspected as to
ng that is objectionable.
Uing to submit their goods for
practical film men, as well as the
portunity is given which they have
eir goods on MERIT ALONE.
i very best film productions avail-
uged ENTIRELY upon the MERIT
VFLUENCE REQUIRED
reneral Manager
Our Distributing Agencies:
MILES BROS.,
1145 Mission St.,
SAN FRANCISCO, CAL.
MILES BROS.,
411 West 8th St.,
LOS ANGELES, CAL.
PACIFIC FILM EXCHANGE,
BUTTE, MONT.
PACIFIC FILM EXCHANGE,
216 Seneca St.,
SEATTLE, WASH.
REX FILM EXCHANGE,
84 North Pearl St.,
ALBANY, N. Y.
STANDARD FILM EXCHANGE,
172 West Washington St.,
CHICAGO, ILL.
TEXAS FILM EXCHANGE,
1315 Elm St.,
DALLAS, TEX.
TOLEDO FILM EXCHANGE,
120 Erie St.,
TOLEDO, OHIO
UNITED MOTION PICTURE CO.,
112 Main St.,
OKLAHOMA CITY, OKLA.
UNIVERSAL FILM EXCHANGE,
8th and Pine Sts.,
ST. LOUIS, MO.
UNIVERSAL FILM EXCHANGE,
1310 Walnut St.,
KANSAS CITY, MO.
VICTOR FILM EXCHANGE,
39 Church St.,
BUFFALO, N. Y.
VICTOR FILM EXCHANGE,
Prospect and Huron Rd.,
CLEVELAND, OHIO
WICHITA FILM & SUPPLY CO.,
122 North Market St.,
WICHITA, KAN.
CONSOLIDATED FILM EXCH.,
Falls Bldg.,
MEMPHIS, TENN.
INTERSTATE FILM CO.,
PHILADELPHIA, PA.
•9
133 W. 44th St., New York
liillllilllllllllllllililllilllllllllllllllllilitililllllllllilllililililiiiliiitlltlllllililllilllllllilllllllllllllililiiililllllililililillliiiiiiiiiiiiiiilllilllflllilllll*^;
If you saw it here tell the advertiser.
12
MOTOGRAPHY
Vol. IX, No. 7
11 1 e 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 f 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
niriiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii«i'i'i'''<||"|i|||,,||,|,,,i||,,|,,i,ii,i,,,,ii,i,,i,i,,iii,,,i,i,ii,ii,,,,,i,ii,i,m
r
MOTOGRAPHY
VoL- IX, No.
Apsil 5,
1913
MOTOGRa
P H y
' imiimiime
|1„...,.m..,.....m..,..,,....„ nn ,..,l,iln..i.mi..i.m.i ' """" ■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■ ■ „ mSZ^$^ZSwi^m Il"11"""1 , , _
[INDEPENDENCE
MANUFACTURERS, EXCHANGES AND EXHIBITORS
The listed exchanges, members Aof the Independent Exchange Co.,
desire it to be known broadcast that ! in *e future, through their organi-
zation, they will only buy film that has been thoroughly inspected as to
quality, merit and freedom from everyltlring that is objectionable.
Our Distributing Agencies
ANTI TRUST FILM EXCH.,
128 West Lake St.,
CHII
CALIFORNIA FILM EXCH
54 Seventh St.,
SAN FRANCI
CALIFORNIA FILM EXCH
CANADIAN FILM EXCHANGE,
CALGARY, ALBERTA.
CANADIAN FILM EXCHANGE,
32 Queen St.,
TORONTO. ONTARIO.
CANADIAN FILM EXCHANGE,
CANADIAN FILM EXCHANGE,
402 Kerr Block.
REGINA, SASKATCHEWAN
CANADIAN FILM EXCHANGE,
Over Mo
CENTRAL FILM EXCHANGE,
113 West Georgia St.,
INDIANAPOLIS, IND.
CINCINNATI BUCKEYE FILM EX.,
236 West 4th Ave.,
CINCINNATI, OHIO
CONSOLIDATED FILM & SUPPLY
CO.,
Rhodes Bldg.,
ATLANTA, GA.
CONSOLIDATED FILM & SUPPLY
CO.,
Maison Blanche Bldg..
NEW ORLEANS. LA.
DETROIT UNIVERSAL FILM EX.,
DETROIT, MICH.
W. E. GREENE FILM EXCH.,
665 Washington St.,
BOSTON, MASS.
INDEPENDENT FILM EXCHANGE,
415 Ferry St..
PITTSBURGH, PA.
IND. WESTERN FILM EXCHANGE,
64 Seventh St..
PORTLAND, ORE.
To all manufacturers who are
critical inspection by a selected body
National Board of Censorship, an
never hitherto had — that of selling
We are now ready to purchase
able from any source; the price to be
of the production.
to submit their goods for
(of practical film men, as well as the
opportunity is given which they have
their goods on MERIT ALONE.
pthe very best film productions avail-
•gauged ENTIRELY upon the MERIT
Our Distributing Agencies
MILES BROS.,
1145 Mis;
MILES BROS.
SAN FRANCISCO. CAL.
QUALITY IS THE ONLY j INFLUENCE REQUIRED
F\ A. POWERS, General Manager
411 West 8th St.,
PACIHC FILM EXCHANGE"' ^
PACIFIC FILM EXCHANGE,' "^
REX FILM EXCHANGE:™' WASH'
84 North Pearl St.,
STANDARD FILM EXCHANGE,"' Y'
172 West Washington St.
__ CHICAGO, ILL
TEXAS FILM EXCHANGE,
1315 Elm St.,
___ DALLAS. TEX.
TOLEDO FILM EXCHANGE,
120 Erie St.,
TOLEDO, OHIO
UNITED MOTION PICTURE CO.,
112 Main St.,
OKLAHOMA CITY, OKLA
UNIVERSAL FILM EXCHANGE,
8th and Pine Sts„
ST. LOUIS, MO.
UNIVERSAL FILM EXCHANGE,
1310 Walnut St..
KANSAS CITY, MO.
VICTOR FILM EXCHANGE,
39 Church St.,
BUFFALO, N. Y.
VICTOR FILM EXCHANGE,
Prospect and Huron Rd„
CLEVELAND. OHIO
WICHITA FILM & SUPPLY CO.,
122 North Market St.,
WICHITA, KAN.
CONSOLIDATED FILM EXCH,
Falls Bldg.,
MEMPHIS. TENN.
INTERSTATE FILM CO.,
PHILADELPHIA, PA.
| INDEPENDENT EXCHANGE CO.,
;' """"' ' nmiiinin in nun iiiiiiiiniiiiiiiiiiiiin i mini ' "'"i&gWiiiiii tiininiirnin .■uniiiimiiimmi iiiiiiiiiiiiiiiiiiiiiinii i linn iiiiiiiiniiiiiiiii iiiiiiiiiiinmiiiiiiiiiii
133 W. 44th St., New York
If you saw it in MOTOGRAPHY. SAY SOI
If you saw it here tell the advertiser.
14
MOTOGRAPHY
Vol. IX, No. 7
Do You Want Us to Sell
On The
OPEN MARKET?
The Universal Film Manufacturing Company is seriously con-
sidering the plan of selling its releases on the open market in many
sections of the United States and Canada owing to the unsatisfactory
manner in which its product is being handled in such territory. The
object of this move would be to get Universal Films into the hands of
many hundreds of exhibtors who really want them but are unable to
secure them under prevailing conditions.
This advertisement is for the purpose of ascertaining what men
or companies or film buyers of any description would be interested in
such a proposition; what their resources are, how much of our film
they could buy and so on. We not only invite immediate telegrams
from such persons but we suggest the advisability of their coming to
New York, if they are sufficiently interested, to discuss the matter
thoroughly with a view to making definite arrangements at once.
If the open market is the coming thing in America the UNIVER-
SAL is desirous of establishing it, taking the lead in this matter just
as it has always taken the lead in film affairs since the Universal Com-
pany was formed. If we receive assurance of enough support in estab-
lishing the open market, we are ready to take the initial step without
further delay.
We also solicit communications from big theatre interests, giving their views
on a tentative plan for furnishing Universal films direct to such theatres instead of
a middle man.
Don't Wait to Write. Telegraph Immediately.
> Universal Film Manufacturing Co.
Broadway at 48th Street, New York
Help MOTOGRAPHY if you like it, mention it to the advertiier.
April 5, 1913
MOTOGRAPHY
15
=11 IIII1III II II llllilll II I III II I f Mil II 111 III II 1 11 III IIHIIIl 111 I II lllllllllllllllf^
I MOTION PICTURES J
E FOR E
1 Schools, Colleges and Churches 1
E We Have the Largest Stock in the World. E
= We Supply the Best Schools of Europe. =
| We Use No Old Film Nor Junk. |
E We Guarantee Exact Measurement.
We Challenge Comparison in Variety and E
E Quality. E
E Send for Our Educational, Scientific and E
| Religious Catalogue |
| Special or Varied Programs Prepared |
EDUCATIONAL DEPARTMENT E
I GAUMONT COMPANY i
v^w.
sM;/
Ornamental
Theatres
PLASTER RELIEF DECORATIONS
Theatres Designed Everywhere
Write for Illustrated Theatre Catalog. Send us
Sizes of Theatre for Special Designs
CONGRESS AVENUE
[ <Gac]fi>or)t> msmG <Gaamofjl>
^ NEW YORK CITY
nimimiiiiimmmiiimiiimmmiiiiiimimmiiimiiimmmmim
THE DECORATORS SUPPLY CO.
2549|Archer Avenue, CHICAGO, ILL.
"MADERO MURDERED "
Length Not Over 1,500 Feet. 12 Cents Per Foot
Universal Scores The Greatest Beat of Film History By Releasing The Only Genuine Mexican
War Film. Exclusive Subject May Completely Change Attitude of United States
Government Toward Mexican Government.
Notice : — We will sell this marvelous feature to anybody and everybody on the OPEN MAR-
KET, only reserving right to reject orders from territories sold by the time this advertise-
ment appears. In wiring order for film, also state how many one, three and six sheet posters
you want at 10, 25 and 50 cents respectively.
Shown at a private exhibition, these pictures created a tremendous sensation. General Gari-
baldi, Madero chief of staff, pronounced them genuine. New York Newspaper Men could
scarce believe their senses. The United States Government sent a special representative to
view the film. It is the government's only evidence that Madero was murdered.
IF YOUR EXCHANGE CAN'T SUPPLY YOU WITH THIS WONDERFUL FEATURE WIRE
AND WE WILL TELL YOU WHERE YOU CAN GET IT.
US
y Universal Film Manufacturing Co.
Broadway at 48th Street, New York
The advertiser knows his ads are pulling if you tell him where you saw them.
16 MOTOGRAPHY
^iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiriiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiu |
Vol. IX, No. 7
EXHIBIT0RS=L00K!!
| <J You can add $12.00 to |
| $15.00 cash every week to =
1 your income without any |
I change of policy. It's like §.
| finding money. =
| <]| There is no catch in this. §
1 It's a straight business propo- |
1 sition, and costs you nothing |
| to find out how to do it. =
~ Write today for complete details —
| Advance Motion Picture Co. |
E Alvin B. Giles, Adv. Dtr. =
E Peoples Gas Building E
E Chicago, : : Illinois |
HllllllllllllllIIIIIIIIIIIIIIIMIIIIIIIIIMIIIIIIIIIMIIIIIIMillllllllllllllllll^
WHERE TO BUY
Price for listing under this caption.
$1.00 for each classification.
BOOKS.
ELECTRICITY MAGAZINE COEPOKA-
TION. Monadnock Bib.. Chicago.
CANS.
NATIONAL WATERPROOF FILM CO.,
4200 W. Adams St., Chicago, HI.
DECORATORS.
DECORATORS SUPPLY CO., THE, 2549
Archer Ave., Chicago, HI.
FILM DISTRIBUTORS.
FILM SUPPLY COMPANY OF AMER-
ICA. 135 W. 44th St., New York,
N. Y.
GENERAL FILM COMPANY, 200 Fifth
Ave.. New York, N. Y.
INDEPENDENT EXCHANGE CO., 133
W. 44th St., New York, N. Y.
FILM FEATURES.
ALLARDT FEATURE FILM CO., 812
Strauss Bldg., Chicago, 111.
FILM SUPPLY COMPANY OF AMER-
ICA, 135 W. 44th St., New York, N. Y.
GENERAL FILM COMPANY. 200 Fifth
Ave.. New York, N. Y.
FILM MANUFACTURERS.
ADVANCE MOTION PICTURE CO.,
Peoples Gas Bldg., Chicago, Hi.
AMERICAN FILM MFG. CO., Ashland
Block, Chicago.
ESSANAY FILM MFG. CO., 521 First
National Bank Bldg.. Chicago.
GAUMONT CO.. Flushing, N. Y.
KLEINE, GEORGE, 166 N. State St..
Chicago, HI.
LGBIN MFG. COMPANY, Philadelphia.
Pa.
RAMO FILM CORPORATION. 135
Broadway, New York, N. Y.
SELIG POLYSCOPE CO., 20 E. Ran-
dolph St., Chicago.
THANHOUSER FILM CORPORATION.
New Rochelle. N. Y.
UNIVERSAL FILM MFG. CO., 1600
Broadway, New York, N. Y.
LIGHT.
ENTERPRISE OPTICAL MFG. CO..
564 W Randolph St.. Chicago.
WEINSHELMER COMPANY. Chicago, HI.
PROJECTING MACHINES.
ENTERPRISE OPTICAL MFG. CO., 564
W. Randolph St.. Chicago.
RAW STOCK.
EASTMAN KODAK COMPANY. Ro-
chester. N. Y.
SEATING.
STAFFORD MFG. CO., E. H., 218 So.
Wahash Ave., Chicago, HI.
SUPPLIES.
AMUSEMENT SUPPLY CO., 105 N.
Dearborn St., Chicago.
LANGSLOW COMPANY, H. R., Roches-
ter, N. Y.
VVEINSHEIMER COMPANY, Chicago, HI.
TICKET BOXES.
LANGSLOW COMPANY, H. R., Roches-
ter, N. Y.
WATERPROOFING.
NATIONAL WATERPROOF FILM CO.,
4200 W. Adams St., Chicago.
Rates for advertising under this
heading, 17 'A cents per line. Mini-
mum charge, $1.00. No limit to
number of lines.
FOR SALE OR LEASE— Tenant
for M. P. and vaudeville show,
on corner space, 58x100. Combination
airdome-theater; brick and concrete,
well ventilated and plenty of exits.
Tenant with equipment preferred.
W. V. Futrelle, Albuquerque, N. M.
HELP WANTED.
FOREMAN- MANAGER wanted
•*• for a Film Printing business for
a permanent position. Must have
a thorough experience in perforat-
ing, printing and developing film.
State experience, whether married
or single, and salary required by
the year. All communications
treated in the strictest confidence-
Address XYZ, Motography.
BUY THIS BOOK
"MOTION
PICTURE
WORK"
By DAVID S. HULFISH
618 Pages, Including Index
Price $4.00
THIS BOOK is
invaluable for ref-
erence and instruc-
tion to the thousands
' of workers in the motion picture field. Covers
fully the three big branches of the motion
picture business; the making of the pictures,
the operation of all standard types of projecting
machines, and the operation of the moving
picture theater. The drawings, diagrams, and
photographs used have been prepared espe-
cially for this work and their instructive value is
as great as the text itself.
PARTIAL TABLE OF CONTENTS
The Optical Lantern: Elements — Lamp — Lamp-House
— Condensers — Adjustments — Emergency Projection — ■
Slide Carrier — Dissolving Lanterns — Shutters — Slide Align-
ment — Motion-Head Lanterns — Lenses — Lens Tables —
Calculations — Focusing — Remedy for Errors — Lantern
slides. Motion Head: Portrayal of Motion — Optical System
— Types of Shutters — Film Gate — Film Shift Mechanisms
— Continuous Projection — Threading up Motion Head — Feed
— Rewind — Films — Care — Shipment — Operator's Duties.
Specific Projecting Machines: Edison Kinetescope — Motio-
graph — Power's Cameragraph Pathe's Professional Model —
Standard — American — Selig Polyscope — Edengraph — Lu-
bin Projector. Talking Pictures: Problems — Synchronism of
Phonograph and Picture Machine — LTnitary or Dependent Ma-
chines — Synchronous Motors -v- Greenbaum Device — Cine-
phone — Limitations. Color Pictures: Mechanical — Color-
Photography — LTrban-Smith Kinemacolor Process — Operation
— Friese-Green Process. Film Manufacturers.
Fixed Camera Photography: Theory — Lenses — Shutter —
Darkroom — Camera Operation — Image Production — Prin-
cipal Object — Background — Recording Image — Dry Plates
— Exposure — Corrections — Development — Printing — En-
largements — Lantern Slides — Panoramas — Telephotography
— Colored Photographs. Motography: Product Desired —
Classes — Historical — Methods of Production — Author —
Plot — Scenario — Tricks — Producer — Studios — Actors —
Production — Selling Films — Factory Methods — Manufacture
of Films — Camera Management — Development — Printing
■ — Coloring — Buying Equipment — Methods — Trick Pictures.
Operating Motion-Picture Theaters: Value of Good Manage-
ment — Competition — Starting a Theater — Location — Fi-
nancing — Building — Specimen Expense Sheet — Interior De-
tails — Country Theater — Air-dome — Managerial Suggestions
— Accounts ■ — Dull Season — Side Lines.
Our Price in United States, Cuba and Mexico,
$4.00 with a year's subscription to
MOTOGRAPHY
Electricity Magazine Corporation
Monadnock Building Chicago, Illinois
If we are to prepay charges, send 40c additional
When corresponding mention MOTOGRAPHY.
it[\^\)liiUuU\V,
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SrtjijSn^^^aaiJt^fflS^^^BB^^^^^^^^^^^^^^^^^^^^^^^^^S^
AWiseOldElephant
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*?c
,jim&
3
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IN TWO
REELS
1
5ELIG5 THRILLING
) ANIMAL NOVELTY
Wl
A Phenomenal Film Sensation
Depicting
An Extraordinary Romance in Picturesque British East India, in which "Toddles," the famous Selig Ele-
phant, plays theleading role.
The Latest and Greatest Selig Wild Animal Masterpiece
Two thousand feet of Vivid Realism, Romantic Story, Dramatic Situations and Thrilling Adventure.
Hobart Bosworth, Kathlyn Williams, and Herbert Rawlinson Appear in the Principal Roles
i
%■
Released as a Special April 14, 1913
Complete Assortment ol Publicity Aids BOOK THIS MASTERPIECE NOW
^CHANGE5^
\DMINISTR4TION
ppo
Gild
<y TIMELY MASTERPIECE — "J*
*on THE POLITICAL PATRONAGE EVIL nuns
The Motion Picture of the Hour
An absorbing and gripping drama of political and social intrigue at the national capitol, depicting, in a
daring fashion, one of the dangers attending the distribution of political patronage.
The Diplomatic Life of Washington, D. C. Brought to Your Theater Seat
A Drama of the War Department and Government Service
BOOK THIS MASTERPIECE WITHOUT DELAY
THE SELIG POLYSCOPE COMPANY
Executive Offices
20 East Randolph St.,
Chicago, : : Illinois
ESSANAY
FIVE A
.WEEK
A. Chain is Only as Strong as Its Weakest Link
Can You Find Time (o Link Prosperity with Your Business?
ESSANAY PHOTOPLAYS
Released Tuesday, April 8th
"THE WARDROBE LADY"
(A Dramatic Photoplay with a Purpose)
Released Wednesday, April 9th
"THE SHERIFF'S WIFE"
(A Clever Western Drama)
Released Friday, April 11th
"THE LITTLE MOTHER"
(A Pathetic Heart-rending Drama)
jRi
Released Tuesday, April 15th
THE ACCUSATION OF BRONCHO BILLY"
An Exceptionally Excellent Western Drama with G. M, Anderson)
Released Thursday, April 10th
"FOUND OUT"
(A Screamingly Funny Comedy)
M
w
48-
Jr^\
Released Saturday, April 12th
"BRONCHO BILLY'S REASON"
(A Western Photoplay with a Moral with G. M. Anderson)
u
Released Wednesday, April 16th
"THE CAPTURE"
(A Comedy Riot from Start to Finish)
Released Thursday, April 17th
"THE UNKNOWN"
(A Gripping Melodrama of Pathos)
Released Friday, April 18th
'THE CROSSING POLICEMAN'
(Another Gripping Drama of Merit)
Released Saturday, April 19th
"ALKALI" IKE'S HOMECOMING
(The Screamiest Scream Ever Thrown on a Scree
71
2
Released Saturday April 19th
PPLjHE GREATEST'ALKALI"IKE PICTUDE
EVER PRODUCED
Essanay Film Mfg. Co.
521 First National Bank Building, CHICAGO, ILL.
Factory and Studio. 1333 Argyle Street. CHICAGO. ILL.
Branch Offices in LONDON. PARIS, BERLIN. BARCELONA
April 19, 1913
MOTOGRAPHY
(Scene from Calamity Anne's Trust)
Reputable Manufacturing Companies
Have Factories
A ^7HERE Negative is STUDIED, Developed and Printed piece by piece
* * to obtain the Uttermost Results — Countless Mechanical Devices — Ex-
perienced, Dependable Help Aid in Giving You a Finished Product Impos-
sible to the Hurry-up Maker of Alleged "Feature Pictures."
This is a vital thought worth absorbing — the reputable manufacturer, releasing a
stated number of weekly releases, is surrounded by an organization where each depart-
ment head is dependent on the the other hence isn't it logical to suppose that such
singleness of purpose can produce more for you than the hastily organized "Feature Com-
pany" who must go to the ESTABLISHED manufacturer to develop and print his negative?
Week-in-and-out efficiency is possible only to regular releasing companies.
"Boobs and Bricks"
(Release Monday, April 21, 1913)
A Kerrigan, Van Trump and Richardson comedy.
The female salesperson comes to Podunk, and
leaves with a trail in her wake of broken Podunk
hearts and pocket-books. A clever, laughable story.
"When Jim Returned'
(Release Thursday, April 24, 1913)3
Jim comes back from college. The ranch boys try
some funny stunts but Jim wins the girl and all the
boquets after all.
ii
yy
Calamity Anne's Trust
(Release Saturday. April 26, 1913)
Sad Eyed O'Brien dies and leaves a will and a
ward to Calamity. Calamity proves herself some
protectress of the helpless female young and some
match-maker, believe us. The funniest kind of
story featuring that funniest of characters, Louise
Lester, as Calamity Anne.
To Theatre-Proprietors — Ask your exchange
for the new lithos of those "Flying A" favorites,
Jack Kerrigan, Jack Richardson and Pauline Busch.
American Film Manufacturing Co.
6227 Evanston Avenue
CHICAGO, ILLINOIS
MOTOGRAPHY
Vol. IX, No. 8
PEC I A L
The General Film Company,
Through Its Numerous Branches, Can
Reach Every Exhibitor in the Country
JUST by way of showing the wide territory covered by General
Film Service, we publish below a partial list of General Film
Company distributing offices in the United States and Canada.
We say "partial" because by the time this paper goes to press there
will be others. "Co-operative service" is the big thought behind the
organization, and when it becomes necessary to open new offices to
properly serve exhibitors, then new offices are opened.
Each of these offices is in charge of a manager whose chief
duty it is to see that General Film Service is satisfactory in every
way to those who use it. Any exhibitor who questions the sincerity
of this statement is invited to try out the Service for his own good,
and ours.
ADDRESS ANY OF THESE OFFICES:
Albany, N. Y., 737 Broadway.
Atlanta, Ga„ 314 Rhodes Bldg.
Boston, Mass., 218 Commercial St.
Buffalo. N. Y., 122 Pearl St.
Butte, Mont, Broadway and Main St.
Chicago, 111., 19 S. Wabash Ave.
Chicago, 111., 117 North Dearborn St.
Chicago, 111., 429 South Wabash Ave.
Cincinnati, Ohio, Seventh and Walnut Sts.
Cleveland, Ohio, 1022 Superior Ave., N. E.
Columbus, Ohio, 26 West Naghten St.
Dallas, Tex., 1917 Main St.
Denver, Colo., 1448-1450 Champa St.
Detroit, Mich.. 71 Griswold St.
Indianapolis, Ind., 24 West Washington St.
Kansas Citv, Mo., 9 21 Walnut St.
Los Angeles, Cal., 727 South Main St.
Memphis, Tenn., Lotus Bldg.
Milwaukee. Wis., 220 West Water St.
Minneapolis, Minn.. 709 Hennepin Ave.
Montreal, Can., 194 St. Catherine St.. W.
leans, La., 840 Union St.
New York, N. Y., 440 Fourth Ave.
New York, N. Y., 71 West 23rd St.
New York, N. Y., 260 West 42nd St.
Oklahoma City, Okla., 211 West Second St.
Omaha, Neb., 208 South 13th St.
Philadelphia, Pa., 1308 Vine St.
Phoenix, Ariz., 456 West Washington St.
Pittsburgh, Pa., 119 Fourth Ave.
Pittsburgh, Pa., 436 Fourth Ave.
Portland, Ore., 68 Seventh St.
Regina, Sask., Can., Rose and South Railway Sts.
St. John, N. B., 126 Germain St.
St. Louis, Mo., 604 Chestnut St.
Salt Lake Citv, Utah, 260 Floral Ave.
San Francisco, Cal., 138 Eddy St.
Seattle, Wash., 819 Third Ave.
Spokane, Wash., 120 Wall St.
Toronto, Ont., Can., 7 Front St., E.
Vancouver, B. C. Can., 440 Pender St., W.
Wilkesbarre, Pa.. 47 South Pennsylvania Ave.
Washington, D. C, Seventh and E Sts., N. W.
Winnipeg, Man., Can., 220 Phoenix Block.
April 19, 1913
MOTOGRAPHY
F EATU RE S
Four Multiple Reels for Week at No
Extra Charge Is a Big Feature of
General Film Service
General Film Service multiple-reels are features in every sense.
They are of UNIFORMLY HIGH QUALITY, too— not all good one
week and all bad the next. Here are four samples:
For Saturday, April 19th
"THE WRONG ROAD TO HAPPINESS"
Pathe play in two parts
A village girl comes to the fork in the road of life and chooses the path that leads to the attractions of the city.
The love of her salesman-husband is a passing fancy, however, and too late she discovers that she has chosen the
wrong road. She goes back to the little village for a last glimpse of her home. The next morning her father and
the country lad who first loved her find her dead body down by the sea.
For Monday, April 21st
"THE ARTIST'S GREAT MADONNA"
Vitagraph drama in two parts
An artist, ambitious to paint the greatest of all Madonnas, searches the world over for a suitable model. One
escapade follows another. The object of his search is almost within grasp a dozen times. Finally he returns home,
heavy of heart and broken in spirit, and there, to his great astonishment and joy he finds his Madonna in the person
of his own wife.
For Wednesday, April 23rd
"THE MISER'S MILLIONS"
Cines-Kleine drama in two parts
The miser hoards his wealth and guards it in cunning fashion. His butler discovers its hiding place, and in a
quarrel which ensues the miser is accidentally killed. After serving a long term in prison, the butler rescues the
miser's heirs from poverty by leading them to the hidden wealth. There is a pretty wedding, and although he is not
one of the principals, the old butler finds joy in the thought that he has made two others happy.
11
For Friday, April 25th
"THE END OF THE QUEST
Lubin drama in two parts
A story that begins in Italy with Rosa and Pietro happy in anticipation of their coming marriage. Then it shifts
to New York whence Rosa and Guiseppe, an Americanized countryman, have flown. Pietro is in pursuit, but finds the
problem of locating Rosa in New York not an easy one. They meet later after Guiseppe has deserted Rosa. From
the effects of ill treatment she dies and her child is adopted by Pietro. Years afterward Pietro and Guiseppe meet
face to face, and when the former would have revenge, the little girl intercedes. But the fright of meeting the
man whom he knows has been pursuing him for years is too much for Guiseppe and he falls dead. In the tableau
a vision of Rosa appears as a fitting climax.
GENERAL FILM COMPANY, 200 Fifth Avenue, NEW YORK
FILM CO.
MOTOGRAPHY
Vol. IX, No. S
LUBIN FILMS
"The Dayton Flood
99 Released Wednesday, April 2nd
A WONDERFUL SPECIAL FULL REEL PICTURE OF THE DISASTER
2-Reel
Special
"THE POWER OF THE CROSS"
Released
April 18th
This photo drama is of a similar school of literature as Hall Caine's "The Christian," and though a different tale, will sug-
gest that great play. A young clergyman, through an unfortunate marriage, is tempted to renounce God and the Church and
fight his battle as a layman, but the good offices of a pure woman overrule his passion and hand in hand they go forth to bear the
burthen and teach The Power of the Cross.
April
April
April
April
April
April
April
14 — "MINNIE, THE WIDOW." Mama beats her pretty
daughter at love making.
14 — "ONE ON ROMANCE." The consequence of too
much novel reading.
15— "THE PAWNED BRACELET." A rich husband
will not give his wife pin money.
17 — "THE RIGHT ROAD." Another great western mel-
odrama.
18— "THE POWER OF THE CROSS." A two-reel spe-
cial. Very dramatic.
18 — "BABY'S NEW PIN." Baby did not swallow the
pin, it was on the floor.
18 "BEATING MOTHER TO IT." A game of hearts
between mother and daughter.
April 19-
April 21-
April 22-
April 22'
April 24
April 25
April 26
"A FLORIDA ROMANCE.'
land of the everglades.
A beautiful tale of the
Beautiful
1, one, three and six-sheet posters
obtained from your exchange, or the
"BACK TO PRIMITIVE." A great Indian romance.
"A SLIGHT MISTAKE." But it was an awful mis-
take.
— "SUNSHINE SUE." The effect of a sunny dispo-
sition.
THE SCHOOL PRINCIPAL." A modern "Tam-
ing of the Shrew."
— "DIAMOND CUT DIAMOND." Much rivalry, but
love wins.
— "THE BIRTHMARK." A powerful melodrama of
the West.
of our photo plays, in five colors, can be
A. B. C. Company, Cleveland, Ohio.
LUBIN MANUFACTURING CO
PHILADELPHIA
U.S.A.
Endorsed by Men Who Know
Expert picture men everywhere who under-
stand the profit and prestige value of dependable
lens equipment place the stamp of unqualified
endorsement on
pauscli jomk
Projection [enses
They insure the highest degree of brilliancy
and sharpness possible — pictures that are as
bright and clear as real life.
Good operators insist upon Bausch & Lomb
objectives and condensers. They know from
experience that their use means the approval
of audiences and a growing business.
The Edison and Nicholas Power machines
are regularly equipped with our lenses. They
can be procured also through any film exchange.
It will pay you to read our interesting free booklet.
It contains much of value to owners and operators.
Bausch & Ipmb Optical (o,
ST. PAUL STREET ROCHESTER, N.Y.
TICKET BOX
RENTAL SERVICE
RATES
Brass Trimmed Box . . $3.00 per month
Enameled Iron Box
2.50 per month
Write for Contracts
THE H. R. LANGSLOW CO.
ROCHESTER, - - - N.Y.
Tell the advertiser you .aw it in MOTOGRAPHY.
April 19, 1913 MOTOGRAPHY 9
gKlllHlllHllllllllllllHllilllHIIIIIIIIIIIIIIHHG" )H<g~ >HllllllllllllllllllllllHlllllllHllllllllHlllliJ^B
| NECESSITY, THE MOTHER OF THE |
1 Independent Exchange Co. (
= NECESSITY to obtain productions of quality.
NECESSITY to obtain productions that are certain of approval. =5
= NECESSITY to obtain productions that are not offensive to eye or mind. =
NECESSITY to obtain productions that will work no hardships upon exchange or
= exhibitor. ==
Not a Battle of Politics
But a Struggle For Freedom, Principle
and Quality
FREEDOM — To be free to buy with our own money productions that we deem
fit for our program.
PRINCIPLE — Not to be forced to take productions that we know are a menace
to the industry.
QUALITY — That which we strive to obtain in all our productions.
We therefore extend a cordial invitation to EVERY manufacturer to
= submit his goods for our inspection and approval
§ Your Price is Our Price— If the Production Is Worth It 1
I We Must Have Productions That Will Benefit the Exhibitor jj
DISTRIBUTING AGENTS FOR THE ONLY SELECTED (NOT FORCED) PROGRAM ON THE MARKET
^S ANTI TRUST FILM EXCH., CENTRAL FILM EXCH., MILES BROS.. UNITED MOTION PICTURE CO.. Z2Z
^— 128 W. Lake St.. Chicago, III. 113 W. Georgia St.. Indianapolis, Ind. 1145 Mission St., San Francisco, Cal. 112 Main St., Oklahoma City. Okla. ~
STS CALIFORNIA FILM EXCH., CINCIN'TI BUCKEYE FILM EXCH., MILES BROS., UNIVERSAL FILM EXCH., as
555; 54 Seventh St., San Francisco, Cat. 236 W. 4th St., Cincinnati, 0. 411 W. 8th St., Los Angeles, Cal. 8th and Pine Sts., St. Louis. Mo. ^—
==2 CALIFORNIA FILM EXCH., CONSOL. FILM & SUPPLY CO., PACIFIC FILM EXCH., UNIVERSAL FILM EXCH.. SS
— 110 E. 4th St., Los Angeles, Cal. Rhodes Bldg.. Atlanta, Ga. Butte, Mont. 1310 Walnut St., Kansas City, Mo. —
5TS CANADIAN FILM EXCH., CONSOL. FILM & SUPPLY CO., PACIFIC FILM EXCH., VICTOR FILM EXCH., SS
Calgary, Alberta Maison Blanche Bidg., New Orleans, La. 216 Seneca St., Seattle, Wash. 39 Church St., Buffalo, N. Y. —
— CANADIAN FILM EXCH., DETROIT UNIV. FILM EXCH., REX FILM EXCHANGE, VICTOR FILM EXCH., =5=;
32 Queen St., Toronto, Ontario Detroit, Mich. 84 No. Pearl St.. Albany, N. Y. Prospect and Huron Bd .. Cleveland, 0 ^—
2=5 CANADIAN FILM EXCH., W. E. GREENE FILM EXCH., STANDARD FILM EXCH., WICHITA FILM & SUPPLY CO.,
516-7-8 Holden Bidg.. Vancouver, B. C. 665 Washington St., Boston, Mass. 172 W. Washington St., Chicago, III. 122 No. Market St., Wichita, Kan.
— CANADIAN FILM EXCH., INDEPENDENT FILM EXCH., TEXAS FILM EXCH., CONSOLIDATED FILM EXCH.,
402 Kerr Block, Regina, Saskatchewan 415 Ferrj St., Pittsburgh, Pa. 1315 Elm St., Dallas, Texas Falls Bidg., Memphis, Tenn.
CANADIAN FILM EXCH., IND. WESTERN FILM EXCH., TOLEDO FILM EXCH., INTERSTATE FILM CO.,
Over Monarch Theater, Winnipeg, Man. 64 Seventh St., Portland, Ore. 120 Erie St., Toledo, 0. Philadelphia, Pa.
= P. A. POWERS, General Manager S
I INDEPENDENT EXCHANGE CO., 133 W. 44th St., N.Y. 1
felllllllllllll!l!lilllllllllllllll!IIIIIIIIIIIIIIH^^^3H^^^3HIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII^
Get the habit, t»y you saw it here.
10 MOTOGRAPHY Vol. IX. No. 8
^i 1 1 1 ? i e c ■ 1 1 1 1 1 1 ■ 1 1 ■ 1 1 1 1 1 1 1 ■ 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 ■ 1 1 1 1 1 1 1 1 1 1 1 1 j 1 1 1 1 1 1 1 1 1 1 ■ 1 1 1 1 1 1 1 ■■ 1 1 1 ■ i ■ 1 1 1 1 1 1 1 1 1 1 1 it i ji :: 1 1 1 1 ■ i ■ 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 i 1 1 1 i 1 1 1 1 1 1 1 1 ■ i ■ i^
T
■ti-Ci beg to offer (late in April) the only 1
HANHOUSER genuine Thanhouser =
HREE-A-WEEK "CARMEN" 1
with a notable Thanhouser cast. |
Easily worth waiting a couple of weeks for ! In three handy reels ! =
SUNDAY, April 13
The Dog in
the
Baggage Car
He smoked the baggage man's
cigar, ate his lunch and cut other
capers that go to make this the
month's star comedy picture.
TUESDAY, April 15
The Girl
and the
Grafter
She flash-lighted him at the
important moment and the editor-
and-lover didn't have to resign
his job of crusading on crooked-
ness.
FRIDAY, April 18
Retribution
It came large to the country-
man who, on his city success,
cast over the village belle who
was not up to his new and false
city standards.
1 THANHOUSER FILM CORPORATION l
= New Rochelle, N. Y. Winter Studios, 651 Fairview Place, Los Angles, Cal. E
| Coming! Sunday April 20 — A comedy of the school room : |
| "The Children's Conspiracy." |
rillilllllllllllllllllllHIIIIIIIIIIIIIIIIIIIIIIIIIII!IIIIIIIIIIIIIMIIIIIIIIIIIIIIIIIIIIIIIIIIIIMIIIIIIIIIIIIIIIIIIIfllllllllllllillMlllllillllllllllllllllllllllllllll7
Send for Our Special Price List on
SUPPLIES AND MACHINE REPAIRS
NEW MACHINES OF ALL MAKES
WE BUY AND SELL USED MACHINES
AMUSEMENT SUPPLY COMPANY
Largest M. P. Supply House in U. S.
107 D. No. Dearborn Street, CHICAGO. ILL.
MAKE YOUR LOBBY DISPLAY ATTRACTIVE
There is nothing: more fascinating- to the public than a bright
brass frame to display your photos or posters. We make Lobby
and Theatre Fixtures and Brass Rails of every description.
Don't fail to visit our complete N. Y. Show Rooms, 101-103 Fourth Ave.
Write for Catalog.
THE NEWMAN
715-717 Sycamore St.
Established 1882.
MFG. CO.
Cincinnati, O.
A Mirror Screen Will Make You Wealthy
Write for New Catalogue of late Snow White Finish.
MIRROR SCREEN COMPANY, SHELBYVILLE, INDIANA
Softens old, brittle
films in one night
Keeps new films
pliable
Price* 1 .00
TRADE
MARK
Besides This Humidor
Can We Also
Waterproof
Films
A process which enables you to wash the dirt and oil
off with soap and water. The washing operation keeps
films soft and pliable. It lengthens their life and in
many ways improves them. The process is best on new
films but can be applied to old. Ittakes but a few hours.
National Waterproof Film Co.
4200-4202 W. Adams Street CHICAGO
Just say, "I saw it in MOTOGRAPHY." Thank you.
April 19, 1913 MOTOGRAPHY 11
£iiiiiiiifiiiiiiiiiiiiiiitiiiiiifiiiiiiiiiiiiiiiiiiitiiiiiiitiiiiiiiitiiiiiiifiiiifiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii|&
i The Peerless Orchestrion [
| Specially designed and created for Photo-Play
= Theatres on account of its dimensions 5
Model "Arcadian"
The name PEERLESS has come to be synonymous with Automatic Pianos and Orchestrions.
Fifteen years of concentration, organization and close study of the needs of a buying public have been the
means by which this end has been accomplished.
The instrument shown in this advertisement depicts our latest endeavor, and is one of the most successful
styles of the year on account of its adaptability to fit in any place where good music is desired.
Made by
PEERLESS PIANO PLAYER COMPANY
(F. Engelhardt & Sons, Proprietors)
Factories and General Offices: ST. JOHNSVILLE, NEW YORK
NEW YORK
14-16 East 33d Street
CHICAGO
316-138 South Wabash Avenue
TilllllllllliliiiiiiiiiiiiiiiiiiiiiiiiiiBllllIililllllllllllllllllilililiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiBiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiinir?
Don't forget to mention MOTOGRAPHY to the advertiser.
12
MOTOGRAPHY
Vol. IX. No. 8
JIIIIII!llllllilllllllil!l||lilllliSIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII!lll!lll!lll!l^-
I EXHIBIT0RS=L00KH I
| <fl You can add $12.00 to 1
| $15.00 cash every week to |
= your income without any |
| change of policy. It's like |
1 finding money. 1
= <][ There is no catch in this. =
| It's a straight business propo- |
| sition, and costs you nothing 1
| to find out how to do it. |
^ Write today for complete details ^Z
| Advance Motion Picture Co. |
E Peoples Gas Building E
E Chicago, : : Illinois E
!7lllllllllllllllllllllllllllllllllllllillllllllllllllllllllllllllllllllMIIMI!ll^
Bin ler Closed
Save Your Motography
For Future Reference
By special arrangement with the
manufacturer, we have been able to
secure the only practical magazine and
periodical binder on the market. We
refer to the
Dowst
Magazine Binder
which binds one issue, a dozen issues
or more with a neat book appearance.
This binder has no springs, catches,
strings, clamps, laces or locks, and
does not mutilate the periodical in the
slightest manner.
No mechanical labor necessary.
Simple. Practical. Durable.
A Positive Guarantee
The manufacturers guarantee to us that
every binder is thoroughly tested before It is
delivered, and a further guarantee that it
will simply and practically accomplish
everything claimed for ic.
Price
Postpaid
$1.50
Binder Open
Send for Illustrated Pamphlet
MOTOGRAPHY 1460 Monadnock Block, CHICAGO, ILL.
NEVER AN ANXIOUS MOMENT
When You Have a Motiograph
Installed in Your Booth
Insist Gently, But Firmly That Your Dealer Show You the
Merit of the Latest Model of This The Machine of Quality
Do You Know About Our Service Department?
Do You Know The Motiograph Guarantee?
Do You Know This is a "Built" Machine and Dis-
tinctly Different From an "Assembled" One?
If Your Dealer Knocks— Write Us
MANUFACTURED BY
The Enterprise Optical Manufacturing Company
Main Office and Factory: 566 W. RANDOLPH ST., CHICAGO, ILL.
EASTERN OFFICE: WESTERN OFFICE:
30 EAST 23rd STREET, NEW YORK CITY 833 MARKET STREET, SAN FRANCISCO
The advertiser knows his ads are pulling if you tell him where you saw them.
THE HOU
».
Another Selig Feature
It is with no small amount of pleasure and pride that The Selig Polyscope
Co. announce the first of an exclusive series of remarkable motion picture
revivals of the wcrld famous Hoyt Comedies. No other series of come-
dies in the history of the legitimate
stage have gained such popularity as
that accorded the laugh-provoking plays
of the late Charles Hoyt.
_ED
WJ
UU1I11U
Hoyt's
"A Midnight Bell"
A Bubbling Fountain of Riotous Mirth — In Two Reels
Soon to Be Released
Simply Demand It — That's All
^7>'
Have You Booked This Feature Yet?
"A Wise Old Elephant"
Selig's Enchanting Animal Novelty — In Two Reels
Released as a Special on April 14th
Selig Bookings are Business Boosters
Apr 14— The Woodsman's Daughter
Drama ol cily and iorest
Apr. 15— God's Way
Human interest drama. On split reel with:
Hankow, China — Oriental travelogue
Apr. 16 — Dixieland
Drama ol the south
Apr. 17— The Tie of the Blood
Modern Indian drama
Apr. 18 — Cured of Her Love
Comedy. On split reel with:
That Mail Order Suit— Western comedy
Apr. 21 — "Alas! Poor Yorick— "
Comedy. On split reel with:
Canton, China — Travelogue
Apr. 22 — Seeds of Silver
Society drama
Apr. 23— Dollar Down, Dollar-A-Week
Comedy. On split reel with:
Love the Winner — Comedy drama
Apr. 24— Love in the Ghetto
Drama
Apr. 25— Arabia Takes the Health Cure
Featuring the "Human" horse, Arabia
&iM!
W
it 1 1 1 1 ii 1 1 n
Selig Polyscope Co.
4- STUDIOS — .^
■CHICAGO - LOS ANCELES - . — <^C*
■'PRESCOTT, ARIZ.- "^-i^i^'lD
-CfANON CITY, COLO- ^<i;^'
Chicago U.S.A.
^ FOREIGN OFFICES —
«J -LONDON - BERLIN -
>*■ ST. PETERSBURG - PARIS-
BUDAPEST - RIO DE JflNERIO
ESSANAY
FIVE A
.WEEK
It Is Not What Exhibitors Read About Films-
It's What They Remember
ESSANAY PHOTOPLAYS
Released Tuesday, April 22nd.
"THE UNBURIED PAST"
(A beautiful drama teaching "sacrifice"
Released Wednesday, April 23rd.
'THE RIVAL SALESMEN"
(A bully good comedy-drama)
Released Thursday, April 24th.
"CITY OF MEXICO"
(An educational and scenic feature)
M
Released Tuesday, April 29th.
"COUSIN JANE"
(An exceptionally clever comedy)
Released Wednesday, April 30th.
"BILL"
(Another comedy of merit)
Released Friday, April 25th.
'THE DEACON'S DILEMMA"
(A splendid comedy of errors)
Released Thursday, May 1st.
'THE STORY THE DESERT TOLD'
(A thrilling Western drama)
Released Friday, May 2nd.
"A CHILD'S PRECAUTION"
(An exceptionally excellent drama)
Released Saturday, April 26th.
"BRONCHO BILLY AND THE RUSTLER'S CHILD
(A splendid Western drama with G. M. Anderso
Dn[
Released Saturdav, May 3rd.
'THE CRAZY PROSPECTOR9
(A feature Western story)
COMING SOON! COMING SOON!
"INTO THE NORTH"
(IN TWO PARTS)
A Thrilling and Gripping Melodrama of the Early Days — In the Great Northwest Territory.
An Unexcelled Western Comedy Sensation
"ALKALI" IKE'S MOTHER-IN-LAW
To be Released Early in May.
LAST CALL! Electrotypes of Broncho Billy and "Alkali" Ike can be had for the asking, provided you use
them in your local newspaper in connection with stories that will be mailed you. Hop to it.
SUCCESS GUARANTEED providing you use three sheet posters of all ESSANAY Saturday releases, litho-
graphed in full four colors, price 35c each. You can order these from your exchange or direct from ARM-
STRONG LITHOGRAPH CO., CLEVELAND, OHIO. YOUR lobby display is incomplete without photos of
ESSANAY players, size 8x10, price $3.00 per dozen. Can be secured from the Players' Photo Company, 177 N.
State St., Chicago, 111.
Essanay Film Mfg. Co.
521 First National Bank Building, CHICAGO, ILL.
Factory and Studio, 1333 Argyle Street, CHICAGO, ILL.
Branch Offices in LONDON, PARIS. BERLIN. BARCELONA
May 3, 1913
MOTOGRAPHY
(Scene from Human Kindness!
Poor Photographic Quality Has
Wrecked Many Promising Negatives
How often has a subject delighted you in story
but disappointed you in photography.
Clean-cut Stereoscopic Photography Has Been the Heritage
of "Flying A" Pictures
ever since our first release. Mountains sharply silhouetted against a California sky —
Trees that make you feel you could encircle with your arms — These are the mighty assets
given you three times a week in "Americans." Your patrons demand photographic
quality as well as quality of story and acting. Always we have specialized in Superb
Backgrounds and Superfine Photography. If you ever ran a "Flying A" you know this.
a
>y
The Brothers
(Released Monday, May 5, 1913)
A Western of genuine worth. Two brothers,
opposites in nature meet a woman. The part-
ing of the ways then commences.
"Human Kindness
(Released, Thursday, May 8, 1913)
yy
"Youth and Jealousy"
(Released Saturday, May 10, 1913)
When you were courtin' Sally maybe some
fresh young feller tried to bust it up! Send
anonymous notes to her and all that! Well,
that's what a jealous suitor tried — but love
itself branded it a failure and himself a fraud.
A splendid story. You will want it.
A heartless head gardener finds the aged
gardener too old. He is replaced by a younger
man — his staff of life is removed until a kindly
neighboring miss enters the story.
To Theaters: Handsome lithosof those popular "Fly-
ing A" favorites, Jack Kerrigan, Pauline Bush and
Jack Richardson. Best of business pullers for lobby
display. Ask your exchange.
American Film Manufacturing Co.
6227 Evanston Ave.
Chicago, 111.
MOTOGRAPHY
Vol. IX, No. 9
p^PMPmyopmnroaMojppemQmppro
LUBIN FILMS
2-Reel Special
a
THE END OF THE QUEST" I n*«d Aprii 25th
Rosa and Pietro were happy in Italy until Guiseppe Rocco, with many promises, decoyed the girl away and took her to Amer-
ica. Pietro followed and became owner of a barber shop. One night he found Rosa with a baby in her arms upon the street.
Rocco had abandoned her, and in a few days she died. Five years later Rocco entered the barber shop and Pietro was about to
kill him when the villain died of fright.
Guy Maurice, an artist, falls in love with Emily Brown, daughter of a farmer. Abner Brown objects to the engagement and
the lovers elope, get married and have a beautiful home in the big city. Things go bad at the farm, Emily's mother dies and the
farm is sold out by the sheriff. The old man and his son go to the city and finding the runaways, the family are reunited.
April 28— "IN THE HAREM OF HASCHEM." Strong Mo-
hamedan romance.
April 29 — "GRANNY." True love in old hearts.
May 1 — "THE VEIL OF SLEEP." A demonstration of som-
nambulism.
May 2— "THE GIRL BACK EAST." Two good fellows and
a flirt.
2-Reel Special
*«
THROUGH MANY TRIALS
>»
Released April 30th
2-Reel Special
eA GIRL SPY IN MEXICO
A beautiful romance of the Mexican Revolution
Released May 10th
May 3— "CLARENCE AT THE THEATER." He got a bad
seat after all.
May 3— "FIXING AUNTIE UP." The girls certainly made
Auntie pretty.
May
May
'PEDRO'S TREACHERY.
A tragic Mexican story.
6 — "THE JUDGMENT OF THE DEEP." Treachery
meets its just punishment.
8 — "SHE MUST BE UGLY." She tried to be but the
boss caught her.
8 — "HATTIE'S NEW HAT." And it drove her husband
crazy.
9— "A MOCK MARRIAGE." But a real minister is
finally employed.
Beautiful, one, three and six-sheet posters of our photo plays, in five colors, can be
obtained from your exchange, or the A. B. C. Company, Cleveland, Ohio.
LUBIN MANUFACTURING CO
PHILADELPHIA
USA
TICKET BOX
RENTAL SERVICE
RATES
Brass Trimmed Box . . $3.00 per month
Enameled Iron Box
2.50 per month
Write for Contracts
THE H. R. LANGSL0W CO.
ROCHESTER, - - - N. Y.
Buy
Motography
From Your Newsdealer
lOiCents Per Copy
Insist upon him getting it for you
IMMEDIATE SHIPMENT
Ask for Catalog No. 307
E. H. STAFFORD MFG. CO.
218 South Wabash Ave.
CHICAGO, ILLINOIS
We make Lodge, Church and School furniture
CHAIRS OF ALL KINDS
Make this book better by mentioning MOTOGRAPHY when you write.
May 3, 1913 MOTOGRAPHY
"It Is a Pleasure to Do Busines With
Your Branch Manager Here"
SO WRITES an exhibitor in a Middle Western city. Continu-
ing he says, "And I wouldn't even think of using anything but
General Film Service."
Here is a typical example of the successful exhibitors who
"swear by" General Film Service. Superior single-reel pictures
and better multiple-reel features, an organization that is the biggest
and the most efficient of its kind in the world, distributing offices
so located that they cover the entire country, and each in charge
of a manager whose chief duty is to see that exhibitors are served
promptly, properly and impartially — these are a few of the things
that have made permanent friends for General Film Service.
After all, there isn't a good reason in the world why you
shouldn't talk with us about General Film Service, even though
you decide later not to use it. Shall we put you in touch with
one of our offices?
"The Ideal Moving Picture" is in General
Film Service
UNDER the heading "Moving Pictures Improving," in the
editorial columns of its April 5th issue, the Wenatchee, Wash.,
World has this to say:
"Last night we saw at one of the local theatres what appealed
to us as the ideal moving picture. It was a two-reel drama
entitled 'The Redemption.' No sermon ever preached a
greater lesson morally; no climaxes were ever built up more
effectively; nothing of more gripping heart interest is im-
aginable. The audience was worked up to fever heat of in-
terest. The acting was masterful and the technique superb.
The photography was faultless. It was a triumph."
"The Redemption" is a Kalem production and was released
in General Film Service on February 21st. Every program brings
others just as good.
GENERAL FILM COMPANY
200 FIFTH AVE. : - : : - : NEW YORK
*Name furnished on request.
Add a line to your inquiry, thus: "I saw it in MOTOGRAPHY.
8 MOTOGRAPHY Vol. IX, No. 9
^1 !! 1 ^ H E 1 1 1 1 1 M 1 1 1 1 1 1 i 1 1 1 1 1 1 1 1 1 1 1 1 1 1 n 1 1 1 1 1 1 1 1 e 1 1 1 M 1 1 1 1 1 1 1 1 1 1 M 1 1 1 1 H 1 1 G 1 1 1 ! 1 1 f 1 1 M 1 D 1 1 1 1 1 1 N 1 1 ! 1 1 1 1 1 1 1 1 1 9 1 1 1 1 1 i 1 1 1 1 II ! g : i E t E 1 1 1 1 1 1 1 1 1 1 1 1 M 1 1 1 1 1 M S 1 1 1 1 i 1 1 1 E 1 1 1 1 1 1 1 1 1 1 1 L=
T
HE
HANHOUSER
HREE-A-WEEK
beg to offer (late in May) the only
genuine Thanhouser
"CARMEN"
Easily worth waiting a couple of weeks for!
A regular release at that!
with a notable Thanhouser cast.
In three handy reels !
SUNDAY, April 27
Rosie's Revenge
She attempted to be a stenog-
rapher and found herself "at lib-
erty" so quick it made her head
swim; but she got a job as cook
and made her first employer rue
the day he had discharged her.
It was all in the meal she cooked
for him!
TUESDAY, April 29
The Girl Detective's Ruse
The prize female counterfeit-
er had been liberated; she slunk
out of the prison yard and into
a waiting automobile that — as
soon as the driver was certain
none watched — whizzed her to
the counterfeiter's headquarters.
But she wasn't the counterfeit-
er; she was a detective and the
close-resemblance makeup was
her ruse !
FRIDAY, May 2
The Widow's Stratagem
She appealed mightily to the
young farmer. She was from
the city, you see, and there was
a city charm to her that was
new and irresistible to him. But
the coldness of the city was not
with her when his first love
came and asked her to give him
back; indeed, her stratagem was
simply in aid of this country-
arirl rival.
| THANHOUSER FILM CORPORATION 1
= New Rochelle, N. Y. Winter Studios, 651 Fairview Place, Los Angles, Cal. =
| Coming! Sunday, May 11 — A comedy of a Rose Tournament: "The Other Girl" |
| Coming! Tuesday, May 13 — A two reel Thanhouser Classic: "Marble Heart" |
TfiiiBiiiiiiiiiiiiEiiiiiiiiiiiiiiiiiiiiiiiiiaiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiimiiT:
THIS MEANS MONEY TO FEATURE FILM MANU-
FACTURERS, CAMERA MEN AND THE TRADE
PRINTS MADE ON
Eastman Positive Stock .... 4V2C per foot
(In Quantities of 5000 ft.)
INCLUDING TINTING AND TONING
Negatives Developed - - lc per ft. Hand Painted Titles
Prompt Deliveries — All Work Guaranteed
8c per It.
Commercial Motion Pictures Co., he. 102 W. 101st St., New York City
Telephone Riverside 8724
A
Mirror Screen Will Make You
Wealthy
Write for New Catalogue of late Snow White Finish.
MIRROR
SCREEN COMPANY,
SHELBYVILLE, INDIANA
Send for Our Special Price List on
SUPPLIES AND MACHINE REPAIRS
NEW MACHINES OF ALL MAKES
WE BUY AND SELL USED MACHINES
AMUSEMENT SUPPLY COMPANY
Largest M. P. Supply House in U. S.
107 D. No. Dearborn Street, CHICAGO. ILL.
TRADE
MARK
WATERPROOF FILMS
can be washed with
soap and water
NATIONAL WATERPROOF FILM CO.
4200 W. Adams St. : : CHICAGO
Make this book better by mentioning MOTOGRAPHY when you write.
May
1013
MOTOGRAPHY
Binder Closed
Save Your Motography
For Future Reference
By special arrangement with the
manufacturer, we have been able to
secure the only practical magazine and
periodical binder on the market. We
refer to the
Dovvst
Magazine Binder
which binds one issue, a dozen issues
or more with a neat book appearance.
This binder has no springs, catches,
strings, clamps, laces or locks, and
does not mutilate the periodical in the
slightest manner.
, No mechanical labor necessary.
Simple. Practical. Durable.
A Positive Guarantee
'The manufacturers guarantee to us that
every binder is thoroughly tested before it is
delivered, and a rurther "guarantee that it
will simply and practically accomplish
everything claimed for it.
Binder Open
Send for Illustrated Pamphlet
MOTOGRAPHY 1460 Monadnock Block, CHICAGO, ILL.
Ornamental
Theatres
PLASTER RELIEF DECORATIONS
Theatres Designed Everywhere
Write for Illustrated Theatre Catalog. Send us
Sizes of Theatre for Special Designs
THE DECORATORS SUPPLY CO.
2549 Archer Avenue, CHICAGO, ILL.
THE OWNERS' STAND-BY LVri^i".
EVEN A GOOD OPERATOR can ruin a good film UNLESS HE
is given a machine that will protect the film in its entire passage from
reel to reel. NO MACHINE offers this protection to the film, so
strongly, as does THE MOTIOGRAPH.
On THE MOTIOGRAPH the film is guided over the film sprockets
by a FLANGED IDLER ROLLER (patented and controlled by us)
which touches only the outside edge of the film. AT NO TIME can
the emulsion surface of the film come in contact with any metal part.
Do You Know the Motiograph e\
Does Your Operator Know It •
Unless you are both familiar with this machine you are only NOT
UP-TO-DATE but you are doing an injustice to yourselves, to your
patrons (who are paying lor good projection) and also to us,
the manufacturer, who has spent thousands upon thousands of dollars
in yearly improvements to furnish you with a "QUALITY MACHINE"
where an exchange of dollars bring you an equal amount of value.
Visit our booth at the big show in New York City
in July, and get acquainted.
The Enterprise Optical Manufacturing Company
Main Office and Factory: CHICAGO, ILLINOIS
EASTERN OFFICE: WESTERN OFFICE:
30 EAST 23rd STREET, NEW YORK CITY 833 MARKET STREET, SAN FRANCISCO, CAL.
Don't forget to mention MOTOGRAPHY to the advertiser.
10
MOTOGRAPHY
Vol. IX, No. 9
The Battle of Flowers
(Fiesta of Flowers)
One of the most beautiful films
released in the past year — is now
ready for booking —
San Antonio
This picture is being taken in the
heart of this historic setting.
Remember the Alamo
1000 feet — 10 cents per foot.
Full line of paper. Texas sold.
Wire for your territory today.
Advance Motion Picture Co.
Manufacturers
Peoples Gas Bldg., Chicago
League Directory
CALIFORNIA.
MOTION PICTURE EXHIBITORS'
LEAGUE OF CALIFORNIA— Head-
quarters, Pacific Bldg., San Francisco.
President, Chas. Rothschild; Vice-Presi-
dent, A. R. Oberle; Secretary, W. A.
Cory; Treasurer, N. K. Herzog.
SAN FRANCISCO LOCAL No. 1— Head-
quarters, Assembly Hall. President,
Chas. Rothschild; Vice-President, A. R.
Oberle; Corresponding Secretary, W. A.
Cory; Financial Secretary, K. Herzog;
Treasurer, Max Schlrpser.
DISTRICT OF COLUMBIA.
MOTION PICTURE EXHIBITORS'
LEAGUE OF THE DISTRICT OF
COLUMBIA — Headquarters, Bank of
Commerce Bldg., Washington, D. C.
President, W. P. Herbert; Vice-Presi-
dent, Iva La Motte; Secretary, Fulton
Brylawski; Treasurer, A. C. Joy.
FLORIDA.
MOTION PICTURE EXHIBITORS'
LEAGUE OF FLORIDA— Headquarters,
Tampa. President, E. F. Tarbell; Sec-
retary, Scott Leslie; Treasurer, Wm.
Sipe.
ILLINOIS.
ILLINOIS STATE BRANCH No. 2—
Headquarters, Schiller Bldg., 64 W.
Randolph street, Chicago, HI. Presi-
dent, J. A. Alcock; Vice-President,
C. A. Anderson; Secretary, Sidney
Smith; Treasurer, Wm. J. Sweeney;
Financial Secretary, Miss Sarah Colson.
SOUTHERN ILLINOIS LOCAL No. 1—
President, Thos. Leonard, Johnson City;
Vice-President, Albert Loy, Murphys-
boro; Secretary, W. P. Phelps, Sparta;
Treasurer, E. W. Atkins, Carbondale.
INDIANA.
ters, Saks Bldg., Indianapolis, Ind.
President, Dr. J. M. Rhodes; Vice-
Presidents, Philip Skera, Sprague
Green, John Trulock, H. L. St. Clair,
C. E. Cole; Secretary, Ed. J. Addy:
Treasurer, A. C. Zaring.
INDIANAPOLIS LOCAL No. 1— Head-
quarters, 410 Saks Bldg. President,
John A. Victor: First Vice-President,
F. W. Sanders; Second Vice-President,
M. M. Miller; Secretary, E. J. Addy;
Treasurer, J. M. Rhodes.
IOWA.
MOTION PICTURE EXHIBITORS'
LEAGUE OF IOWA— Headquarters,
Cedar Rapids. President, J. S.
O'Brien; Vice-President, J. S. Bassett;
Secretary, Fred W. Young; Treasurer,
J. E. Tierney.*
KANSAS.
MOTION PICTURE EXHIBITORS'
LEAGUE OF KANSAS— Headquarters,
Kansas City. President, C. E. Gla-
mann; Vice-President, Carl Mensing;
Secretary, Geo. McCrum; Treasurer,
Jack Brainerd.
KENTUCKY.
MOTION PICTURE EXHIBITORS'
LEAGUE OF KENTUCKY— Headquar-
ters, Lexington, Ky. President, J. H.
Stamper, Jr., Lexington; First Vice-
President. L. J. Dittmar, Louisville;
Second Vice-President, Sherman Am,
Maysville; Secretary, L. H. Ramsay,
Lexington; Treasurer. A. J. Wellman,
Cattletsburg.
LOUISVILLE LOCAL No. 2— President.
L. J. Dittmar; Vice-President, Irwin
Simmons: Secretary, Max L. Simmons;
Treasurer, Jos. Stenerle.
LOUISIANA.
MOTION PICTURE EXHIBITORS'
LEAGUE OF LOUISIANA— Headquar-
ters, Shreveport. President, D. L. Cor-
nelius; Vice-President, C. B. Ander-
son; Secretary, E. V. Richards, Jr.;
Treasurer, C. W. Perry.
MASSACHUSETTS.
MOTION PICTURE EXHIBITORS'
LEAGUE OF MASSACHUSETTS—
Headquarters, 700 Washington street,
Boston. President, Jos. Mack; Vice-
President, Chas. Hodgdon; Secretary,
Alden Washburn; Treasurer, S. H.
Bunce.
MICHIGAN.
MOTION PICTURE EXHIBITORS'
LEAGUE OF MICHIGAN— Headquar-
ters, 247 Medbury avenue, E., Detroit,
Mich. President, Carl Ray, Muske-
gon; First Vice-President, B. L. Con-
verse, Owosso; Second Vice-President,
J. J.' Rieder. Jackson; Third Vice-
President, G. 'R. Duxkee, Saginaw,
Secretary. W. Lester Levy, Detroit;
Treasurer, H. F. Fowser, Lansing.
DETROIT LOCAL No. 1 — Headquarters,
399 Hibbard avenue, Detroit, Mich.
President, Peter J. Jeup; Vice-Presi-
dent, August Kleist; Secretary, W.
Lester Levy ; Treasurer, Fred W. Rumler.
MINNESOTA.
MOTION PICTURE EXHIBITORS'
LEAGUE OF MINNESOTA— Head-
quarters, 1403 E. Franklin avenue,
Minneapolis. President, Otto N. Raths,
St. Paul; Vice-President, Thos. Fur-
niss, Duluth; Secretary. E. F. Purdee,
Minneapolis; Treasurer, H. A. Sherman,
Minneapolis.
MISSOURI.
MOTION PICTURE EXHIBITORS'
LEAGUE OF MISSOURI— Headquar-
ters, 413 Gloyd Bldg., Kansas City,
Mo. President, G. H. Wiley; Vice-
President. H. N. Morgan; Secretary,
E. L. Welch; Treasurer, J. S. Tillman.
NEBRASKA.
MOTION PICTURE EXHIBITORS'
LEAGUE OF NEBRASKA— Headquar-
ters, Omaha. President, W. F.
Stoecker; Vice-President, P. L. Mc-
Carthy; Secretary, E. C. Preston;
Treasurer, W. A. Walden.
NEW JERSEY.
MOTION PICTURE EXHIBITORS'
LEAGUE OF NEW JERSEY— Head-
quarters, 734 DeMott St., W. Hoboken,
N. J. President, George A. Robinson;
Vice-President, W. A. Daley; Secretary,
P. M. Kirschner; Treasurer, C. Fred
Ruhlman.
NEW YORK.
MOTION PICTURE EXHIBITORS'
LEAGUE OF NEW YORK— Headquar-
ters, 136 Third avenue. New York.
President. Sam H. Trigger, New York;
First Vice-President. B. E. Cornell.
Syracuse; Second Vice-President, B.
Davidson, Binghamton; Secretary, H.
W. Rosenthal, New York; Treasurer,
John C. Davis, Saugerties.
MOTION PICTURE EXHIBITORS'
LEAGUE OF GREATER NEW YORK
— Headquarters, 136 Third avenue.
New York City. President, Samuel H.
Trigger; Vice-President, T. E. Sam-
uels; Secretary, Sydney Ascher; Treas-
urer, Grant W. Anson:
NEW YORK LOCAL No. 2— President,
Geo. F. Wright. Albany; First Vice-
President, E. O. Weinberg, Troy;
Second Vice-President, L. C. Smith,
Schenectady; Secretary, J. E. Weid-
man, Albany; Treasurer, J. C. Ro-
senthal, Troy.
OHIO.
MOTION PICTURE EXHIBITORS'
LEAGUE OF OHIO. — Headquarters.
1003 Mercantile Library Bldg., Cincin-
nati. Ohio. President, M. A. Neff.
Cincinnati; First Vice-President, O. B.
Weaver, Dayton; Second Vice-Presi-
dent, Dr. W. V. Prentice, Toledo;
Treasurer, W. R. Wilson, Columbus;
Secretary, J. H. Broomhall, Hamilton.
CLEVELAND LOCAL No. 1— Headquar-
ters, 711 Columbia Building, Cleve-
land, O. President, S. E. Morris:
First Vice-President, A. Mahrer; Sec-
ond Vice-President, C. F. Schroeder;
Secretary, A. P. Anthony: Treasurer.
F. M. Kenney; Assistant Secretary.
Geo. Heimbach.
CINCINNATI LOOAL No. 2— Head-
quarters, 1003 Mercantile Library
Building. Cincinnati, Ohio. Presi-
dent, J. J. Huss; First Vice-President,
A. J. Carbln: Second Vice-President,
M. Fishman ; Secretary, A. C. Dongel-
stedt; Treasurer, Otto Ludeking.
TOLEDO LOCAL No. 3— President, Dr.
Walter V. Prentice; Vice-President, O.
L. Brailey; Secretary, J. B. Gardner;
Treasurer, W. O. Bettis.
COLUMBUS LOCAL No. 4— Headquar-
ters, Hotel Star. President, J. A.
Maddox; First Vice-President, W.
B. Belknap; Second Vice-President.
J. W. Swain: Secretary, W. B. Wilson;
Treasurer, Max Steam.
DAYTON LOCAL No. 5— Headquarters,
25 Pruden building. Dayton, O. Pres-
ident. R. J. Kastl; First Vice-Presi-
dent W. J. Stillwell; Second Vice-
President, G. E. Fink; Secretary, Her-
man Lehman; Treasurer, W. Rayner.
TROY LOCAL No. 6— President, J. H.
Johnson; First Vice-President. J. W
Newman, Piqua; Second Vice-Presi-
dent, Howard Pearson; Secretary, Fred
Adams, Tippecanoe; Treasurer, Cyrus
Shafer. Piqua.
SANDUSKY LOCAL No. 7— President.
J. D. Kessler; Vice-President. E. P
Richart. Port Clinton; Secretary. W
E. Higgins; Treasurer, Chas. Reark.
PENNSYLVANIA.
MOTION PICTURE EXHIBITORS'
LEAGUE, OF PENNSYLVANIA—
Headquarters, 233 Fifth avenue, Pitts-
burgh, Pa. President. Walter Steum-
pfig: First Vice-President. Cresson E
Smith; Second Vice-President, G. C.
Miller; Secretary, Chas. Roth; Treas-
urer. F J. Barhin.
PITTSBURG LOCAL No. 1— Headquar-
ters, 233 Fifth avenue. President, F.
J. Harrington : Vice-President, J. H.
Mercer; Secretary, Harry Reiff; Treas-
urer. F. J. Barbin.
PHILADELPHIA LOCAL No. 2— Head-
quarters,. 142 N. Eighteenth street
President, Walter Stumpflg; Vice-Presi-
dent, Edward A. Jeffries; Secretary.
Chas. H. Roth; Treasurer, John W.
Donnelly.
TENNESSEE.
MOTION PICTURE EXHIBITORS'
LEAGUE OF TENNESSEE— Headquar-
ters, Union City. President, Howell
Graham; Vice-President. W. H. Was-
serman ; Secretary, W. C. Morris ; Treas-
urer, Frank Rogers.
WASHINGTON.
MOTION PICTURE EXHIBITORS'
LEAGUE OF WASHINGTON— Head-
quarters, Bremerton. President, A. B.
Campbell; Vice-President, J. L. Shanks:
Secretary-Treasurer, John Rantz.
WEST VIRGINIA.
MOTION PICTURE EXHIBITORS'
LEAGUE OF WEST VIRGINIA—
Headquarters, Moundsvllle, W. Va.
President, M. M. Weir. Charleston;
First Vice-President, R. L. Harris,
Parkersburg; Second Vice-President,
A. L. Cottrill, Point Pleasant; Secre-
tary L. R. Thomas, Moundsvllle;
Treasurer, P. W. Bannett, Parkersburg.
HUNTINGTON LOCAL No. 1— Head-
quarters, "It" Theater. President, R.
H. Karnes; Vice-President, J. A.
Burns; Secretary, C. A. Johnson:
Treasurer, Haskel Atkins.
CHARLESTON LOCAL No. 2— Presi-
dent, Stanley A. Piatt; Vice-President,
N. E. Murray; Secretary-Treasurer,
Gus. Bartrom.
WISCONSIN.
MOTION PICTURE EXHIBITORS'
LEAGUE OF WISCONSIN— Headquar-
ters, Mozart Theater, Milwaukee, Wis.
President, Chas. H. Phillips; First Vice-
President, J. W. Clark; Secretary, D.
K. Fisher; Treasurer, Henry S. Kleine.
MOTION PICTURE EXHIBITORS'
LEAGUE OF MILWAUKEE— Head-
quarters, 305 Enterprise Bldg., Mil-
waukee. President, J. B. Freuler;
Vice-President, H. S. Klein; Secretary.
B. N. Judell : Treasurer. T. Saxe.
REWINDERS.
DLETZE SAFETY MAGAZINE CO.,
410 First National Bank Bldg., Chi-
cago, 111.
WHERE TO BUY
Price for listing under this caption.
$1.00 for each classification.
BOOKS.
ELECTBICITY MAGAZINE CORPORA-
TION. Monadnock Blk.. Chicago.
DECORATORS.
DECOBATOBS SUPPLY CO., THE. 2549
Archer Ave., Chicago, HI.
FILM DISTRIBUTORS.
GENERAL FILM COMPANY, 200 Fifth
Ave., New York, N. Y.
FILM FEATURES.
GENERAL FILM COMPANY, 200 Fifth
Ave., New York, N. Y.
RUBY FEATURE FILM COMPANY,
145 W. 45th St., New York, N. Y.
FILM MANUFACTURERS.
ADVANCE MOTION PICTURE COM-
PANY, Peoples Gas Bldg., Chicago, HI.
AMERICAN FILM MFG. CO., Ashland
Block, Chicago.
COMMERCIAL MOTION PICTURES
COMPANY, 102 W. 101st St., New
York, N. Y.
ESSANAY FILM MFG. CO., 521 First
National Bank Bldg., Chicago.
KLEINE, GEORGE, 166 N. State St..
Chicago, HI.
LUBLN MFG. COMPANY. Philadelphia.
Pa.
SELIG POLYSCOPE CO., 20 E. Ran-
dolph St. , Chicago.
THANHOUSER FILM CORPORATION.
New Rochelle, N. Y.
LIGHT.
ENTERPRISE OPTICAL MFG. CO.
564 W Randolph St.. Chicago.
PROJECTING MACHINES.
ENTERPRISE OPTICAL MFG. CO., 564
W. Randolph St.. Chicago.
RAW STOCK.
EASTMAN KODAK COMPANY, Ro-
chester, N. Y.
SCREENS.
MIRROR SCREEN COMPANY, Shelby-
ville, Ind.
FIREPROOF FILM COMPANY, Roches-
ter, N. Y.
SEATING.
STAFFORD MFG. CO., E. H., 218 So.
Wabash Ave.. Chicago, HI.
SUPPLIES.
AMUSEMENT SUPPLY CO.. 105 N.
Dearborn St., Chicago.
TICKET BOXES.
H. R. LANGSLOW CO., Rochester, N. Y.
WATERPROOFING.
NATIONAL WATERPROOF FILM CO
4200 W. Adams St., Chicago.
The advertiser knows his ads are pulling if you tell him where you saw them.
April 28th
April 29th
April 30th
May 1st
Two Weeks of Unequaled Bookings
COMING SPECIAL
FEATURE
'Frank Chance Day"
Base Ball Festival
Weather permitting, Seligr
will secure the authorized,
exclusive, pictures of
"Baseball's Greatest Day"
—Chicago's gala festival
in honor of Frank Chance
on May 17th. Watch tor it.
Book it.
Roses of Yesterday
Picturesque Romance
Hiram Buys an Auto
Comedy - Split reel with
Chinese Scenes
Travel Subject
The Burglar Who Robbed Death
Gripping Drama
Absent Minded Mr. Boob
Comedy - Split reel with
Some Chickens
Educational
May 2nd Their Stepmother
Drama
May 5th An Old Actor
Drama
May 6th A Welded Friendship
Alaskan Drama - On split reel with
Hatching Chickens
Educational
May 7th Bell Boyd— A Conlederate Spy
Historic Military Drama
May 8th Her Guardian
Drama
May 9th In The Days oi Witchcralt
Early New England Drama
THE SELIG POLYSCOPE COMPANY
"The World's Foremost and Largest Motion Picture Producers"
EXECUTIVE OFFICES
20 EAST RANDOLPH ST. CHICAGO, ILL.
Branch ofiices in all important cities oi the world
ESSANAY
F IV E
.WEEK
Does Your Business Need a Tonic?
$ ESSANAY PHOTOPLAYS
AN ALL-STAR BILL
Released Tuesday, May 6th.
"A TANGO TANGLE"
The latest dancing craze in pantomime)
Released Wednesday, May 7th.
"THE PROPHECY"
(A drama full of action)
Released Friday", Mav 9th.
"A WOMAN'S WAY1
'A splendid drama)
M
Released Tuesday, May 13th.
"THE RANCH GIRL'S PARTNER
(A thrilling and gripping melodrama of the West)
Released Thursday, May 8th.
"TWO WESTERN PATHS"
i A Western drama with a. purpose'
Jr~\
Released Wednesday, May 14th.
"THE SAME OLD STORY"
i An eccentric comedy with a "punch")
- -' Released Saturday, May 10th.
"ALKALI" IKE'S MOTHER-IN-LAW
(A riot of mirth)
<6
^\
^
Released Thursday, May 15th.'
"BOOSTING BUSINESS"
• Another comedy photoplay that pleases your audiences)
Released Friday, May 16th.
"TWO SOCIAL CALLS"
(A heart interest story well told)
SJ
Released Saturdav, May 17th.
"BRONCHO BILLY'S GRIT'
(A Western drama with G. M. Anderson)
RELEASED MONDAY, MAY 19th!
RELEASED MONDAY, MAY 19th!
"INTO THE NORTH
99
(IN TWO PARTS)
A Thrilling and Gripping Melodrama of the Early Days— In the Great Northwest Territory
Heralds now ready for this feature. Write us today. $1.50 a thousand.
I, 3 and 6 sheet posters, beautifully lithographed in four colors, may be ordered direct from your exchange or
Essanay Film Mfg. Co., 521 First National Bank Bldg., Chicago.
BOOK THIS! HOP TO IT!
"ALKALI" IKE'S MOTHER-IN-LAW
(With Augustus Carney, the "Gibraltar of Fun.")
You Know the "Drawing Quality" of "Alkali" Ike Pictures— Nuf Sed!
Opportunity knocks at a man's door but once. Take advantage of it. Electrotypes of "Broncho Billy" and
"Alkali" Ike can be had for the asking, provided you use them in your local newspapers in connection with
stories that will be mailed you.
Your most strenuous efforts are not appreciated unless you use three sheet posters of all Essanay Saturday releases. They boom
your business wonderfully. Posters are lithographed in full 4 colors, 35e each. You can order these from your exchange or direct
from ESSANAY FILM MFG. CO., 521 First National Bank Bldg., CHICAGO. Your lobby display will look attractive if you use photo-
graphs of Essanav plavers, 8x10, price S3.00 per dozen. You can secure these from the PLAYERS' PHOTO COMPANY, 1V7 N STATE
ST., CHICAGO, ILL.
Essanay Film Mfg. Co.
521 First National Bank Building. CHICAGO, ILL.
Factory and Studio. 1333 Argyle Street. CHICAGO. ILL.
Branch Offices in LONDON. PARIS. BERLIN. BARCELONA
May 17, 1913
MOTOGRAPHY
(Scene from "Calamity Anne Parcel Post"
It's "Flying A" Banner Week
Three splendid pictures, beginning Monday. May 19 with a real, genuine, dyed-in-the-wool western in
"Her Innocent Marriage", followed Thursday. May 22 by "Calamity Anne, Parcel Post", by all odds best of
that best of "Calamity Anne" series. Saturday, May 24 releases another bully western, "The Modern Snare".
a charming story of a youthful sheriff and a faithful wife.
\To miss one is to miss a business pullet — an asset. A. bit of picture-craft that will delight and entertain.
See that you get all three and your program, patrons and your conscience will be the better for it.
"HER INNOCENT MARRIAGE"
(Release Monday, May 19, 1913)
Deprived of happiness through a drunken husband, she leaves. In the years that follow she hears of his death and remarries.
Then some unexpected things happen — events that stir the blood and picque the interest to the breaking point.
ii
99
CALAMITY ANNE PARCEL POST
(Release Thursday, May 22, 1913)
You've seen that funniest of women — "Calamity Anne", Louise Lester never was better in that difficult role. Calamity
this time becomes a parcel post carrier with extraordinarily funny results. It all ends by a successful stroke on Calamity'-;
part that nets her a cosy little nest egg.
"THE MODERN SNARE"
(Release Saturday, May 24, 1913)
The newly appointed sheriff unwittingly creates the dislike of his predecessor. Result — the ex-sherirf tries a dangerous
game to discredit him. When all lose faith, the wife of the youthful sheriff shows a bit of wit and a whole lot of
confidence in her hubby. How she brings right from wrong makes a thrilling and wholely satisfying picture.
NOTE: — Handsome lithos of Jack Kerrigan and Jack Richardson for your lobby.
Dandiest sort of business attractors. Better get a couple of each. See your exchange.
\X7 A NTF O* Scenarios — not the trite and commonplace but rather stories with a kick, something new and out of
"* ■*»!" * *-tl*r t^e ordinarv. We are now equipped to make anv and all classes of picture plavs. Hence we
mary. We are now equippec
want one, two and three reel stories, and, as we want the unusual in stories so wil
picture pla
we pay the unusual
in price.
American Film Manufacturing Company
6227 Evanston Ave. -:- -:- CHICAGO, -ILL.
EL-
MOTOGRAPHY
Vol. IX, No. 10
^IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIUIIMIIIIIIIMIIIIIIIIII!NlinilllllllllHMtl[ltlMIIIIMIIIIIIIMIMIIIIIIIIIIII|||||||||||||MIIIMIillllllllllll!IIMIIIII^
THIS
is our announcement of the date, May 15th,
1913, on which we will release our realistic
emotional, modern and moral 3-reel film
production "CONSCIENCE." This won-
derful original painting, reproduced in our
three-sheet, six-color, lithographed
POSTER
is the handsomest work of its kind in the lith-
ographer's art, and is receiving commendation
from the press, the clergy and the motion pic-
ture people. Even our competitors admit
that we have THE poster of the season, and it
SPEAKS
volumes for the success of our undertaking
to produce the feature of the year. We have
combined all the emotions of the human
heart, in five parts, a prologue and an after-
math, and our scenario
FOR
thrilling interest cannot be equalled. A
prominent divine writes us that ' It is an
impressive sermon in
ITSELF
3 REELS
And every foot of the three
thousand tinted, toned and
colored under license of the
(OLORGRAPH COMPANY
OF AMERICA.
Announcement Slides by the
COLORGRAPH PKOCESS OF
NATURAL COLOR PHOTOG
RAPHY, shown in America
for the first time.
Brand-new Cameras imported
expressly for this production,
insuring steady pictures and
clear, sharp photography.
The Conscience Film Co.
116 West 31st St., New York City
PRESENTS
Bernhardt Niemeyer
Well Known Belasco Player
In the dual role of the Saviour and the Presence,
supported by a company of experienced moving
picture people, whose faces are familiar to all, on
the screen.
Released May 15
WIRE OFFER
For OPEN STATES
Greatest
Self
Advertised
Feature
FULLY PROTECTED
STATE RIGHTS
^) ^ 1 1 ■ 1 1 1 1 1 1 1 1 ; 1 1 1 1 1 ? 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 ■ 1 1 1 i 1 1 1 1 1 1 1 f i 1 1 1 1 1 1 1 1 1 1 ; 1 1 1 1 t j i i 1 1 i i i 1 1 1 1 1 1 1 i > m 1 1 i 1 1 1 1 1 ! 1 1 1 1 1 1 1 j 1 1 1 1 j a i i i ; i 1 1 1 1 1 1 1 1 1 e i ! 1 1 IT
Get the habit, say you saw it here.
May 17, 1913
MOTOGRAPHY
COMING
EDISON
FILMS
John Manley's Awakening
By Grace Matthews. Release No. 7320; Friday, May 16th.
Refused by tlie girl he loved, a man shuns feminine society until the
death of an old friend forces him to become the guardian of a delightful
young girl. Then be realizes that a new happiness is his and that the old
love is forgotten. Length, 1,000 feet.
A Concerto for the Violin
By Anne Story Allen. Release No. 7321; Saturday, May I7th.
A selfish, temperamental composer is blind to the wonderful ability of his
self-sacrificing wife. His pew concerto is to be played by a great Russian
violinist with whom he falls in love. A quarrel between them results in the
wife's triumphantly playing the concerto at the recital. Length, 1,020 feet.
By Mutual Agreement
By Lillian E. Sweetser. Release No. 7322; Monday, May 19th.
A fat, good-natured man, after having been bullied for years by an
energetic wife, finally asserts himself. There is nothing to do but get
divorced. Their lawyer suggests a separation and he goes to the city to
enjoy his freedom but soon comes back and is warmly welcomed.
Length, 1,000 feet.
The Good In the Worst Of Us
Release No. 7323; Tuesday, May 20th.
Two criminals, hiding from the Northwest mounted police, are found by
the sergeant's baby girl. They hide in a barn with her; one is wounded try-
ing to get food, and the other bravely carries her to her father and gives
himself up, to save her from starving. Length, 1,000 feet.
Glimpses of Colorado in Winter
Release No. 7324; Wednesday, May 21st.
After a trip through beautiful Crystal Park, we visit the picturesQue
ruins of the famous Cliff Dwellers and then see Manitou Spring, which is
sacred to the Indian. A magnificent view of Pike's Peak from the golf links
closes a most interesting film. Length, 315 feet.
Braggs' New Suit
By Charles M. Seay. Release No. 7325; Wednesday, May 21st.
The modest one is pushed into a ditcb by an Irish laborer and ruins his
clothes. The Irishman loans him his best suit and Bragg tells the boys at
the club a romantic story about the new suit but the real owner spoils it all.
Length, 685 feet.
A Race to New York
Being the Eleventh story of "What Happened to Mary." Produced in collab-
oration with "The Ladies' World." Release No. 7326; Friday, May 23rd.
Craig traces Mary to the lighthouse, only to find that she has sailed away
on the supply boat. By launch, auto and train, he makes a desperate attempt
to stop the girl before she reaches New York. He finally overtakes her but
Mary outwits him and escapes. Length, 1,000 feet.
The Translation of a Savage
By Sir Gilbert Parker. Release No. 7327; Saturday, May 24th.
Rejected by a society belle, a young Englishman marries a daughter of
the Canadian woods and ships her home to disgrace his family. The little
savage suffers mental and physical anguish in her new home but her husband,
returning a year later, finds a beautiful woman. Length, 1,000 feet.
Dances of the Ages
Release No. 7328; Monday, May 26th.
A remarkable review of various styles of dancing, from 1200 B. C. to the
present day. performed by miniature dancers upon a banquet table before
an assemblage of old dancing masters. One of the aged fellows tries to per-
form the awkward new steps but decides that he would rather starve.
Length, 975 feet.
An Unwilling Separation
A Decoration Day Story by Lillian E. Sweetser.
Tuesday, May 27th.
Release No. 7329;
Both made miserable by their first separation, a crippled Civil War
veteran and his wue steal away from their respective new homes on Decoration
Day and are found at the burial ground by their anxious children. Then, the
children realizing their mistake, reopen the old home. Length, 1,000 feet.
Newcomb's Necktie
By Alice Williams. Release No. 7330; Wednesday, May 28th.
Newcomb's wife presents him with a horrible parody on a necktie which
he tries in every conceivable way to lose. After a nerve-racking day at the
office he succeeds, only to have his deep-laid plot foiled by the janitor's
daughter. Length, 1,000 feet.
The Honor of a Soldier
Release No. 7331; Friday, May 30th.
Torn by the conflict between love and discipline, a soldier leaves the
battle line to rescue his family from their burning home. He is pursued as
a deserter but escapes and goes to headquarters where he tells his story and
is cleared. Length, 1,000 feet.
An Almond Eyed Maid
By Dora M. Lynn. Release No. 7332; Saturday, May 31st.
Rescued from a hated suitor by an American, a Japanese girl becomes
jealous of the latter's fiancee and determines to kill her. When she sees
her old suitor waiting to kill her protector, love conquers jealousy, she rushes
forward and receives the blow intended for him. Length, 1,000 feet.
Posters will be furnished for all films except No. 7324
THE EDISON KINETOSCOPE
Underwriters Type "B"
FEELING downhearted? Moving picture business no good? Yon're
wrong. Get an Edison Kinetoscope in place of the machine you
now have— show clear, steady pictures instead of the kind that jump
and tire people's eyes— and you'll have a mighty profitable show
on your hands.
And the Edison Kinetoscope does more than just draw the crowd.
It stops the leaks. It cuts the upkeep cost 'way down to almost noth-
ing. It MAKES profits and lets you KEEP THEM. That's why so
many men who started in business with a cheap machine have
switched to Edison Kinetoscope. You switch, too. Write to-day for
Catalog 500 and a copy of the Edison Kinetogram.
Price, with Rheostat, 110 voits,
24-40 amperes, $225.00
Price, with 110 volt, 60 Cycle
Transformer. 245.00
THOMAS A. EDISON, Inc.
265 Lakeside Ave. - Orange, N. J.
If you saw it here tell the advertiser.
MOTOGRAPHY
Vol. IX, No. 10
SPEC I A L
General Film Service Special Features
Four a week. Released on Monday, Wednesday, Friday
and Saturday, in regular service at no extra charge
Saturday, May 10th, 1913
"A Girl Spy in Mexico"
Lubin. 2 Reels
A charming senorita fearlessly faces the punishment
meted out to spies, to be near her lieutenant lover. Her
thrilling experiences and hair-breadth escapes furnish the
action in this film, which was photographed in the beauti-
ful country along the Mexican border.
Monday, May 12th, 1913
"The Japanese Dagger"
Eclipse-Kleine. Two Reels
"Never must I leave this country; evil will befall any-
one who carries me away," reads the inscription on the
curious dagger that a naval officer buys. He laughs at the
warning, but strangely enough the knife eventually finds
its way to the heart of the girl whom he was to marry.
Wednesday, May 14th, 1913
"Her Masked Beauty"
Patheplay. Two Reels
A pretty governess loses several positions because of
her attractiveness and decides to make herself as unbecom-
ing as possible. An altogether worthy young chap looks
through the disguise and finds in her the woman of his
choice. A plain but effective story with a pretty climax.
Friday, May 16th, 1913
"The Vampire of the Desert
»
Vitagraph. 2 Reels.
An allegory — a distinct novelty in motion pictures. A
dramatic adaptation of Kipling's well-known poem. "The
Vampire." Produced by an all-star cast headed by HELEN
GARDNER, and including Flora Finch and Tefft Johnson.
Unquestionably one of the strongest feature offerings of
the year.
To Be Released Soon
Saturday, May 17th
"The Battle for Freedom"
Kalem war drama in two reels, based on an actual
battle in the Boer War.
Monday, May 19th
"Into the North'*
Essanay drama in two reels. A story of the North-
west Mounted Police.
Wednesday, May 21st
"The District Attorney's Conscience"
Lubin drama in two reels. Arthur Johnson as the
District Attorney.
Friday, May 23rd
"The Open Secret"
Patheplay in two reels. A comedy-drama full of
human interest.
GEN ERAL
May 17, 1913
MOTOGRAPHY
FEATU RE S
General Film Service Single Reels
Don't forget that in addition to multiple-reel features that
are without a near rival in the industry, General Film
Service offers the biggest, most varied and strongest
program of single reel features it is possible to produce.
When one considers the strength and scope of the
organization through which these films are served, it
seems almost incredible that there should be any exhibi-
tors who are retarding their progress towards the goal
of success by using something advertised to be "just as
good.'
yy
We Want to Send You a Little Book
It tells briefly of the features that have contributed so largely to the success
of General Film service. Every statement in it is true, and is made
subject to proof by any General Film office. Write for your copy today.
A postal reading "Send the book," will be sufficient. Or write direct to
any of our distributing offices in the principal cities.
GENERAL FILM CO., 200 Fifth Ave., New York
FILM CO.
10
MOTOGRAPHY
Vol. IX, No. 10
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MOTOGRAPHY
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MOTOGRAPHY
Vol. IX, No. 10
UL|
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First Appearances in America
New York Astor Theater, April 21st; Chicago, McVicker's Theater, May 5th; Philadelphia, Garrick Theater,
May 12th; Baltimore, Academy of Music, May 12th. (Other cities to follow as rapidly as they can be equipped.)
THE CINES PHOTO-DRAMA
QUO VADIS"
^ 1^1 THREE ACTS
NOW DRAWING CAPACITY HOUSES DAILY 2:15-8:15
EG
Booking under Direction of Messrs. Cohan and Harris
GEO. KLEINE, 166 No. State St., Chicago, III.
1THEAD WHAT SOME OF THE CHICAGO AND NEW YORK
Chicago Daily
By Percy Han
"QUO VADIS" AS A
MOVING PICTURE PLAY
dimoui of "Quo
resell m<- vi' k'T'.-
will have mode vl
Ij-itla at one of :
iiif.ni liini t-;ifeO ol.-.Tvitu-: I lie eonfUiira-
vi. 1 l>y smoke, •■iinli-ri. nor r.-i-r.-l :ii
, ,,t m-ir.. i'. ! ..II. I- ].li. ,.!■;■ sir.-
"'l1
."|,|"Vi''M1'vi,h,:' '., -,,|„.rl. V.J -■ v .ii (In- I'm-i Hi.'
ti Niu Ti'-I'inu'iil -i"r> 1 ill ill*? Aildhoi'iimi Hi'
■ i.JiHwh' '"'v..'.' ral'"nHlin"r>" "'"'" ^^ '° SU"C
Chlcano Dally Journal
By 0. L. Hall.
oapUnliillon of Hull hlstorie liislLlulliin, M<-\ n-ker s
In tin' cinema ''Hi;.' i'ii un.' yesterday, will, lln1
,|]"ii there .if ;in ,-\lill>Uloh ot a -.rl.'rf ot ie;tll>
rlul pi. hip- inn-nalim: Meiil.ieuli r. :-toi> ol
Kom.- "Uim Ya.il*." Thee pletnr.-s, n[ ImII.h,
in. 1 ^(nkliiKly [i]ii.>ii Ive nl Hi.' Italians Mill! In
■ 1
Hun .if pli-niri' phi.v?. .Hi' Hi.' I".;-1 "1 'Im;ii l.ii.'l
nttcmpled hi llii' way of
safe to soy that all who f
at they have been given
Chicago Evening Post.
By Lucian Cary
THE MOVING PICTURES
FROM "QUO VADIS?'
CRITICS SAT:
flames tliat lie might have Inspiration tor
l,,.|r Ml'.. (I.. in-
A huga bull dash
limiO. orunchlns the
i Rescues the Maiden
lh.' riiepllon If received on Its (lr
Vadls?" In id. .11. hi pictures 1-' e
■■ -,Tl!S, I. I'ciliN.il'.'
"QUO VADIS" AT THE ASTOR
3
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ter and Naiarlua
(Whither goest
ll.'ir.JI'l |.|.'.M.J.Iill. ill
■.ill-ill hi nnil
....<! . \|..Tl. Ihougl) 1
players are Italian
I nostril acting and
Chicago Dally News.
By Amy Leslie.
NERO'S ROUE IN PICTURE
Inter 0c
"■ Collins.)
>e seen at MoVicier"* hi
a from Slenklewlez' "'lluo
th.'iiUT .v.-Iit.|;iv .hiirn. i.in ln.-.1ead "I" having ai-U'.l 1
lilctiin- lii Italy. They were u competent lot, altli.
linn I. 'in i.. i.i:iinnT 1. 1 1. 1 appearance.
One of them wn» 11 Novell!, aliliounh not the fai
Ermeie. It Is lln-t name Indian with "A."
Finer moving pleiurcs wire never seen here, wh
pity I hey an- not in color.
MOVING PICTURES
Thrilling "Movie" Drama Produced for
Pirat Time in Astor Theater
rig In ilramatl
Ime. The aiory
> of three
arnilen of people in the t
l.i.i ...I h 'TI.Wll In thi-
i riot ti
. I. ..I ..f III!- .Ui
Li '.., ..it. death of I'i
.. in iii. Imperial liuh'.ni
Lygla and (Ha dramatli
... Ih,' ii.'i.ir. I
1' i :ill 'I'lUe « h'Hill
moving pletiire ami put'
exai Hi ' -■ I
. ".. .-trill ■
speetaeular bUH«*i<llM tTB
I - .i.i I....-.I tllOU".llld
actors ana I
■
■ ■ ■ ■
Ins --pack lug the theaters
i,.,i.|., r ■ ■ r . i . ..ri. .l.-i.i and
.... inL-itoral and
The people want this
as. and they arr making
■ ■ ■ - of pouring
STRIKING FILMS
Motion Pictures at the Astor Theater
Closely Follow the Text of the Story
In gained In Ih
i nirtliiT fi'im the players ti
, ti.. ipa Ui ul.ir worth ..f
..■■■■ii.ii Cw -■""-
rlfl.e of Chr
ii'.t ii^r./i- i
..i ..-..■ rtmir) :
the Christians In raves and cata-
..•ii'r.il rl-iiire Hi [ii.no ■■iTi.-i Iv. plelure-: .inrl
reverend apostle. The
■ntlon I? well reproduced hi
"Quo Yadlsf" "
I'Mimlil. <
I ... i ■ no. I til.' la-' I.;.- t.io
i.jimii.i nol foreeUlna p'.hi'"i lotto
of decadent Rome, ire Introduced !
gethei .villi . ■!
Idea i
..i ivi, .,
,. ilirl.lh,
"],,' [,'■ M. II,.' I.uri
..,<■ ii . i.liinii.- . r.i-l,
nlli-.l wild r..i...h'. I.
... I,- i... ..'..;'. ■
'
deeply hi lore
■ . ■ .
■rcl and nr^-uc*
nltlU!..
main appctacle.
ihrlr '
,t,.,.V.- ill
■ .i Nero, m laei cntiftrlDS hit i
a arc gladiator!]
.i of lions, who;
'I'll.' sietliig of 'In1
.if sup.'rnuin.riuh-
nr.' i.rr.'lu.il ■«»
" ought to oe able
Broadway Playhouse Has Its First "Pilm
Drama" That Vividly Depicts Famous
Novel.
They turned the Astot theater Into a motion picture
..i-.vli.'.mi- O'-i.Tiliv v.h.'i, for Ih.' in-' Him' hi lis history
1 .-, . ,.,.,,,!■■ ■'■ .' ,.r. -.iii.-.l V- Hie home of animated
l.liot.iiir.u.liv Hi.- V.-inr li .llll'.'r.'iil from other Hrmidway
(Journal of CommercB aad Commerelal Bullclln)
"QUO VADIS" PICTURES
_ . ... _T ■ ..._ .>.nn •»• ilr.iuf, ...I'I.'. .1
' plet
l.y l he
i |,j , i . ..I r. v ' lie " ■'■i'i' ■ ' "
„, ,rp|i oolv im. I.rl.-l lur-rml i.loim. the pie.
..-. follow Id rspld
■
i. ...
i applied until Hn- splrn.ll'l l.ull.l
■' apwtarl. '
■
■ ■
Tin' liiiriilog '
.... _ [, inure. ... >.
,t( the Inft'li 1
[let and fall, one mm
„l,ii.' \,r,i KdrJIw anu iu< i
f.,r -i,.n.t. the flames srem fairly
■ amphitheater, wl
■
■
u li-ap fr."'i
Ttie Otli.i
■ . iir.il Imii.lri.l lloii'-
....eiKinai »pn
„., i.uii ,Mth CrUa, lie riirisiian gin bound u
■■ ■■■ '' ■'■
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.. .., his batond mi-'-
i,„. Vj.II.- reall. H„ mi," w U-.fol r, ■
' ■„ dnmtnl em 1 1 i
... ,.,,1 i„ incldenU] miiale upon a great
•lureh orK:„. """ »"lc1' "."^
— — -1 lo wild appl«u*e a* «'veral "I
niruini ..■,.. »\.< The "ttii'i ^'■"!'
■ ,•], srrlng
12
MOTOGRAPHY
Vol. IX, No. 10
Do You Know What the PLAYERPOSTER Is? Order
the PLAYERPOSTER From Your Exchange Man, NOW!
The Thanhouser playerposter is a striking one-sheet portrait, in colors, of each of the most popular Thanhouser artists. It
pulls business much better than the old-style scene poster" does. And it is in great demand. Your exchange man cannot
fill your order now, but he can fill it SOON if you only WILL ORDER NOW.
THE THANHOUSER 3-A-WEEK
Sunday, May 11: "BARRED FROM THE MAIL"
Just suppose you were a fond mother and the mean Post Office Department called your ooky-snookums a 'live animal!"
Wouldn't you boil with rage? See if you can appreciate the feelings of the mama of the story when her baby was barred from
the mail and came dratted near going to the "dead letter office." Screaming comedy from start to finish!
Tuesday, May 13: "THE MARBLE HEART"
After the celebrated play by Charles Silby, and in TWO REELS with marvelous six-sheets. Not that there aren't one and
three sheets for it BUT YOU MUST HAVE THOSE SPLENDID SIXES. For this feature, too, are Hennegan her-
alds, Novelty slides, Standard cuts and Krause lobby photos — "perfect publicity." Marguerite Snow is simply superb in this
subject as the woman with the marble heart, and you'll shed tears for James Cruze in his role of jilted sculptor.
Friday, May 16: NO RELEASE, because of two reeler of preceding Tuesday
Coming! Sunday, May 18: "WHY BABE LEFT HOME," a comedy of errors,
and Tuesday, May 27: "CARMEN" in three reels.
THANHOUSER FILM CORPORATION
Eastern Studio: New Rochelle, N. Y.
Western Studio: 651 Fairview Avenue, Los Angles, Cal.
u tBxnggMSMMXMaenannnnnMMMMMMMMMB
IS
LUBIN FILMS
| 2-Reel Special | "THE GIRL SPY IN MEXICO" Released May 10th
The war between the Insurrectos and Federals in Mexico is playing: havoc. The Senorita Armaje goes to the Insurgent Camp to see
her lover, Lieut. Blanco and resolving to assist in the cause, dresses as a Red Cross Nurse and enters the Federal Camp as a spy. She is,
however, discovered and arrested. Blanco enters the Camp and enables her to escape. The Federal commander declares he will recapture
them and succeeds and they are marched onward to what end — we know not.
2-Reel Special "THE DISTRICT ATTORNEY'S CONSCIENCE" Released May 21st
Will Mason, who is the District Attorney, one night discovers Fred Jackson, a supposed friend, making love to his wife. A shot is fired
and Jackson is found dead. Mason believes that his wife fired the shot, but an Italian , who has had an altercation with Jackson is caught rush-
ing from the grounds. Mason to clear his wife accuses the Italian, he is convicted and sent to the chair. Mason is crazed with remorse
believing that he has convicted an innocent man, but a note is delivered in which the Italian confesses the crime.
May 12th— "LUCKY COHEN." The experience of a lucky peddler.
May 12th— "A TEN ACRE GOLD BRICK." The tricky Real
Estate Man beaten.
May 13th— "THE PADRE'S STRATEGY." A btrong drama of the
Missions.
May 15th— "LONGING FOR A MOTHER." Pathetic story of a
motherless boy.
May 16th— "BREED OF THE WEST." Very dramatic western
picture.
May 17th— "RETRIBUTION." A powerful problem drama.
May 19th— "MARGARET'S PAINTING." A very beautiful domes-
tic story.
May 20th— "KIDNAPPING FATHER." A screaming comedy.
May 22nd— "A PERILOUS RIDE." A realistic Arizona drama
May 23rd— "DETECTIVE DOT." Dot finally catches her man!
May 23rd— "HIS FIRST EXPERIENCE." Pathos and comedy
galore.
May 24th— "BRIGHTENED SUNSETS." A beautiful drama.
Beautiful, one, three and six-sheet posters of our photo plays, in five colors, can be
obtained from your exchange, or the A. B. C. Company, Cleveland, Ohio.
LUBIN MANUFACTURING CO
PHILADELPHIA
USA.
□
D
I
m
Make this book better by mentioning MOTOGRAPHY when you write.
May 17, 1913
MOTOGRAPHY
13
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which binds one issue, a dozen issues
or more with a neat book appearance.
This binder has no springs, catches,
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does not mutilate the periodical in the
slightest manner.
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Simple. Practical. Durable.
A Positive Guarantee
The manufacturers guarantee to us that
every binder is thoroughly tested before it is
delivered, and a further guarantee that It
will simply and practically accomplish
everything claimed for it.
Binder Open
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MOTOGRAPHY 1460 Monadnock Block. CHICAGO, ILL.
v LxLC
Ornamental
Theatres
PLASTER RELIEF DECORATIONS
Theatres Designed Everywhere
Write for Illustrated Theatre Catalog. Send us
Sizes of Theatre for Special Designs
THE DECORATORS SUPPLY CO
2549 Archer Avenue, CHICAGO, ILL.
REASONS for Motiograph Supremacy
YOU KNOW Something Makes the
Motiograph Ditterent— What is it?
All machine specifications read much alike; yet, YOU KNOW all
machines are not alike in the service they give extending over a
period of years. There lies the difference, plus — the way the
MOTIOGRAPH Makers DO things. IT IS STANDARD. The
MOTIOGRAPH standard has always been simply this: make every
part of the machine the best, buy only the best material; make it
the right way; put it together with skilled labor; test it with utmost
care and then sell this product in a standard, high-class way.
THIS HIGH MOTIOGRAPH STANDARD IS EXPENSIVE; YET,
WE THINK, MERELY GOOD BUSINESS POLICY. It has
established the reputation of the MOTIOGRAPH. We are proud
of that reputation, and jealous of it, too.
We Intend to Maintain the Motiograph
Reputation by Maintaining our Standard
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The advertiser knows his ads are pulling if you tell him where you saw them.
14
MOTOGRAPHY
THANK YOU
Vol. IX, No. 10
We wish to thank you for making it
necessary to establish distributing offices in the
Morton Building, 538 So. Dearborn Street.
CHICAGO
and bid all those interested in picture-show entertainment
WELCOME
Exhibitors and Vaudeville Managers in the Middle West are
requested to communicate with this office.
NOTICE!
Ordinary amperage now gives perfect projection.
KINEMACOLOR COMPANY
EXECUTIVE OFFICES: 1600 Broadway, N. Y.
%«<K«<MWXM»>f!«M^4
'rwWXWWWXWwwxW.v*
THE WORLDS
MASTER PRODUCTIONS
FAMOUS FOR
WmlWmim
O ACTUAL FEATURES EyEgy. O
AWmm COPYRIGHTED aWH^
§ EXCLUSIVE f
TERRITORY I
AVAILABLE;*
NOW-
COMING
ZACCONI IN
DREAD OF DOOM
THREE REELS
t WRITE FOR
\ DETAILED
i PROPOSITION
», TODAY <—
ITALA FILM CO. OF AMERICA
805 COLUMBIA THEATRE, NEW YORK
- HARRY R.RAVER„-=^>=> ->.""--«"".. -
Send for Our Special Price List on
SUPPLIES AND MACHINE REPAIRS
NEW MACHINES OF ALL MAKES
WE BUY AND SELL USED MACHINES
AMUSEMENT SUPPLY COMPANY
Largest M. P. Supply House in U. S.
107 D. No. Dearborn Street, CHICAGO. ILL.
MAKE YOUR LOBBY DISPLAY ATTRACTIVE
There is nothing more fascinating: to the public than a bright
vouS|| brass frame to display your photos or posters. We make Lobby
and Theatre Fixtures and Brass Rails of every description.
Don't fail to visit our complete N. Y. Show Rooms, 101-103 Fourth Ave.
Write for Catalog.
THE NEWMAN
715-717 Sycamore St.
Established 1882.
MFG. CO.
Cincinnati, O.
IMMEDIATE SHIPMENT
Ask for Catalog No. 307
E. H. STAFFORD MFG. GO.
218 South Wabash Ave.
CHICAGO, ILLINOIS
We make Lodge, Church and School furniture
CHAIRS OF ALL KINDS
A Mirror Screen Will Make You Wealthy
Write for New Catalogue of late Snow White Finish.
MIRROR SCREEN COMPANY, SHELBYVILLE, INDIANA
The advertiser knows his ads are pulling if you tell him where you saw them.
SELIG'S REMARKABLE
WILD ANIMAL FEATURE
WAMBA
A CHILD OF THE JUNGLE
IN TWO REELS
SELIG'S FORMER SENSATIONS OUTDONE
An astounding, sumptuous and uncommon drama of the barbarous and uncivilized East Afri-
can jungles — in which ferocious, wild beasts match wits with a baby girl and her native nurse.
Thrill After Thrill Sensation Upon Sensation
Produced on the Selig Wild Animal Farm. Cast includes "Baby" Lillian Wade, Bessie Eyton,
Thomas Santschi and others. Undeniably the most startling film of this type ever produced.
Complete assortment of publicity aids.
Do Not Wait Book It Now Simply Demand That's All
TWO WEEKS OF SUPERB
ty 12th— THE POST-IMPRESSIONISTS.
Something Is Nothing. Comedy.
ty 13th— LIEUTENANT JONES. Mili-
tary Post Drama.
iy 14th — BUCK RICHARDS' BRIDE.
Western Drama.
iy 15th— IN THE LONG AGO. Drama
of Prehistoric Life.
Ly 16th— A DAUGHTER OF THE CON-
FEDERACY. Military Drama. On split
reel with;— With the Students of the N.Dakota
Agricultural College. Educational Topical.
SELIG QUALITY BOOKINGS
May 19th— HIS FATHER'S DEPUTY.
Western Drama.
May 20th— THE TATTLE BATTLE. Juve-
nile Comedy. Split reel with; — THE
LEOPARD TAMER. Comedy.
May 21st — THE STOLEN MELODY.
Drama.
May 22nd— INDIAN SUMMER. Southern
Drama.
May 23rd — THE NOISY SIX. Comedy
Drama.
EXTRA SPECIAL SELIG'S GREAT TOPICAL SPECIAL A MONEY MAKER
BflSCbdll'S Greatest SpCCtSClC An intimate review of every popular player, owner and mana-
— ger in the American League. Also incidents and events
of Frank Chance Day. Released during the week of May 1 8th. Special posters. Book now.
LIG
POLYSCOPEfCOMPANY,
EXECUTIVE OFFICES: 20 E. RANDOLPH STREET
CHICAGO, ILLINOIS Sruatncth^thwr8urglhd
ESSANAY
FIVE A
. WEEK
THE BIGGEST NOVELTY IN
FILM BUSINESS
ARE YOU INTERESTED? IF SO, WRITE US
SEE ARTICLE IN MOTOGRAPHY THIS ISSUE
Released Tuesday, May 20th.
'BUSTER BROWN, TIGE AND THEIR CREATOR, R. F. OUTCAULT
(A splendid comedy featuring R. F. Outcault)
Released Wednesday, May 21st.
THE LETTER'S MISSION"
(Another bully comedy of merit)
Released Thursday. May 22nd.
"A WIDOW OF NEVADA"
A splendid Western dramatic subject)
Released Tuesday, May 27th.
"THE NEW SHERIFF"
(A feature Western drama with unique situations)
Released Wednesday. May 28th.
"ON THE JOB"
Oh, you salesman! This is some comedy)
Released Friday, May 23rd.
"JEALOUSY"
(A drama founded on love's bitterest enemy "jeal-
V-^f
Released Saturday. May 21th.
" BRONCHO BILLY AND THE EXPRESS RIDER
(A gripping dramatic subject with G. M. Anderso
D=C
Released Thursday, May 2<)th.
"THEIR BABY"
i An excruciatingly funny comedy worthy of headline honors)
.ouSy",j}M| A
Released Friday, May 30th.
THE GOOD IN THE WORST OF US "
remarkable dramatic subject teaching sacrifice)
Released Saturday, May 31st.
"ALKALI" IKE'S MISFORTUNES
You know the quality of "Alkali" Ike pictures.— NUF SED)
RELEASED MONDAY, MAY 19th!
RELEASED MONDAY, MAY 19th!
66
INTO THE NORTH
99
IN TWO REELS)
An unprecedented dramatic subject of the early days in the great Northwest territory.
Exhibitors will be given a most fascinating and interesting dramatic photoplay which has
been produced under the direction of one of America's foremost producers, in this excep-
tionally excellent two reel feature. Demand this ! (See article in Motography this issue.)
Special 1, 3 and 6-Sheet Posters. Order From Your Exchange or Direct From Us.
COMING!
Released Saturday, May 31st
"ALKALI" IKE'S MISFORTUNES
(With Augustus Carney, the "Gibraltar of Fun.")
COMING!
Your most strenuous efforts are not appreciated unless you use three sheet posters of all Essanay Saturday releases. (These posters
are without a question of a doubt, the most beautiful and artistic, ever exhibited.) They boom your business wonderfully. Posters are
lithographed in full 4 colors. 35c each. You can order these from your exchange or direct from ESSANAY FILM MFG. CO., 521 FIRST
NATIONAL BANK BLDG., CHICAGO. Your lobby display will look attractive if you use photographs of Essanay players, 8x10, price
S3.00 per dozen. You can secure these from the PLAYERS' PHOTO COMPANY, 177 N. STATE ST., CHICAGO; ILL.
Essanay Film Mfg. Co.
521 First National Bank Building, CHICAGO, ILL.
Factory and Studio. 1333 Argyle Street. CHICAGO, ILL.
Branch Offices in LONDON. PARIS. BERLIN. BARCELONA
May 31. 1913
MOTOGRAPHY
"We Put the 'Calamity
Anne* Poster in the
Street —
But We HAD to Let
the Crowds In" — !
Says the "Vaudette" Theatre, Atlanta, Ga.
VTOTHING out of the ordinary about
^ this — just an everyday affair with
theatres advertising "Flying A" subjects. If
you are losing profit steadily through mis-
taken notions of red-hot business attr actors — let
this picture and the lesson it teaches sink in.
You can do what Vaudette does. Write Vaudette.
Their answer will convince you.
a
>>
When Luck Changes
(Release Monday, June 2, 1913)
A remarkably powerful Western of
splendid situations, that will hold and appeal.
A subject certain of an enthusiastic reception.
)>
"The Wishing Seat
(Release Thursday, June 5, 1913)
She was romanceful and longed for a
lover — so she sat in the "Wishing Seat" and
wished! When Lo! Her wish was answered —
Down to her feet rolled an artist from a
neighboring bluff, feet over head and badly
besmeared with his paint and the dirt of the
mountain-side. But she didn't care how
Cupid came so long as he came.
"Via Cabaret"
(Release Saturday, June 7, 1913)
He loved the pretty cabaret singer and
when Papa objected he married her anyhow
just as you would do! And papa swore
never to relent — and he didn't — until a false
friend entered the tangled skeins of the
story and papa saw things rightly at last. A
charming story.
1V0TF ^s^ your exchange for
handsome lithos of popular
American players. No better business
pullers anywhere. You need them.
AMERICAN FILM MFG. CO.
6227 EVANSTON AVE.
CHICAGO, ILLINOIS
MOTOGRAPHY
Vol. IX, No. 11
Everybody Pull For The PLAYERPOSTER.
It Will Pull For Everybody!
Demand the PLAYERPOSTER of your exchange man right now! Take no excuses; make him file your order. We'll
be shipping the PLAYERPOSTER to the exchanges in about a week, and you'd better be right on deck with your order, if
you expect them as soon as they come in. Everyone who has seen the advance proofs of the PLAYERPOSTER is con-
gratulating us on its wonderful quality. Stuck anywhere in front of your show it will pull for you. So next time you get
to your exchange, forget about that feature you wanted until you've pulled for the PLAYERPOSTER. Let us roar into
your ears again that it's a striking one-sheet portrait, in nature's colors, of the most popular Thanhouser players !
THE THANHOUSER 3-A-WEEK
Sunday, May 25: "A PULLMAN NIGHTMARE," in which Lelando, the Terror of the Swoop-Swaps, rescues
his lady love from the hands of the devilish train robbers.
Tuesday, May 27: "CARMEN," the only genuine Thanhouser one, almost a year in process of production. So look
for a lasting picture of the deathless opera.
Friday, May 30: NO RELEASE, because of three-reeler of preceding Tuesday
Coming! Sunday, June 1: A comedy with a purpose, "A VICTIM OF CIRCUMSTANCES,"
and later in the month, "THE SNARE OF FATE," in two reels.
THANHOUSER FILM CORPORATION
Do you know what the PLAYERPOSTER is?
NEW ROCHELLE, N. Y.
gpidPimsopppmMPPOPOQppppmmpme
o
LUBIN FILMS
2-Reel Special 1 "LOVE AND WAR IN MEXICO" I Released May 28th
James Hudson married to a beautiful Mexican girl in a drunken fit strikes her and leaves her for dead. He seeks refuge in a Mission
and becomes a monk. Pequita is nursed back to life and has a son. Twenty years later the boy becomes a spy in the Mexican Revolu-
tion, he is discovered and sentenced to be shot. He escapes but is pursued by the soldiers to the Mission, there he pleads that they
send for his mother. In the Mission Pequita recognizes her husband. The monk takes the boy's hat and cloak and coming out of the
gate, places himself in front of the guns.
2-Reel Special
"THE ACCUSING HAND"
Released June 6th
Jack Snaderand Bob O'Connor are in love with Beulah Hawley. Bob's father who is attorney for the Hawley family hears that
Beulah has inherited two million dollars. He urges his son to win the girl before she is informed of her fortune. Beulah's father
objects and Bob employs thugs to kill him. Beulah suspects Bob, and Jack Snader who is employed by a detective agency is put on
the job. By the silent third degree he drives Bob to confession and the murderer, driven insane, jumps from a moving train and is
killed. Jack wins the girl of his dreams.
May 26th
"THE REWARD OF SERVICE"
June 2nd
"A WOMAN'S HEART"
A beautiful story of the Soldiers' Home.
Love and Romance of the Gypsies.
May 27th
"DOING LIKE DAISY"
June 3rd
"A JEALOUS HUSBAND"
Dolling Auntie up— very funny.
A problem play featuring Arthur Johnson.
May 27th
THE YARN OF THE NANCY BELLE"
June 5th
"BOB BUILDS A CHICKEN HOUSE"
A dramatic picture of Gilbert's story.
A screaming farce.
May 29th
"A ROMANCE OF THE OZARKS"
June 5th
"KATE THE COP"
A melodrama of the Moonshiners.
The cop gets cold feet, but the maid is on the job.
May 30th
"FAITH OF A GIRL"
June 6th
"THE PENALTY OF JEALOUSY"
A test of a man's honor and love.
The awful melodrama of jealousy.
May 31st
"LONE DOG THE FAITHFUL"
June 7th
"THE GREAT PEARL"
A pathetic romance of the West.
The terrible reward of covetousness.
Beautilul one, three and six-sheet posters ol our photo plays, in live colors, can be obtained lrom your exchange
or the A. B. C. Company, Cleveland, Ohio. Photos by the Kraus Mfg. Co., 14 East 17th Street, New York.
LUBIN MANUFACTURING CO
PHILADELPHIA
USA
Tell the advertiser you saw it in MOTOGRAPHY.
May 31, 1913 MOTOGRAPHY 7
li:
I The Battle of Gettysburg 1
IN FIVE REELS
Produced by TROS. H. INCE, Managing Director ol Kay-Bee and Broncho Films
Five Reels oi Overwhelming Magnifi-
cence, Superb Acting and Sensationalism
Without a Doubt the Greatest Moving Picture Ever Produced
1, 3, 6, 8, 16 and 24 Sheet Posters
An absorbing story leads up to the great struggle, which
lasted three days — July 1, 2 and 3 — and in which the loss of
life was appalling. General Lee hurled himself upon the
North, and the Union forces were hurriedly marshalled and
met him at Gettysburg. The Union army numbered more
than 77,000 and the Confederate forces 59,000. The charge of
General Pickett, with 4,900 men, following a fierce cannon-
ading, into the center of the Union army, is the most sen-
sational, heroic and thrilling incident in the war history of
the world.
Special Terms and Bookings Can Be
Had Exclusively Through the Offices of
The Mutual Film Corporation
| New York Motion Picture Corporation |
== Long Acre Bldg. 42nd St. and Broadway New York City
r.
Just say, "I saw it in MOTOGRAPHY." Thank you.
MOTOGRAPHY
Vol. IX, No. 11
General Film Service=4 Multiple Reels
Released on
Saturday, May 31st, 1913
"The White Slave"
A beautiful story of the days before
the war. A series of thrilling scenes
following one after the other in rapid
succession, with a love story running
all through.
Produced by the talented VITA-
GRAPH players, headed by Clara Kim-
ball Young, Lillian Walker and Earle
Williams. Two reels.
a
Released on
Monday, June 2nd, 1913
When a Woman Loves
»
The story involves two political
factions, one of which is led by the
Duchess Charlotte. She becomes fas-
cinated with Marco Flamma, a young
enthusiast, but he does not recipro-
cate her affection. The revenge she
plans forces her suicide and results in
Flamma winning the lady of his
choice. CINES-KLEINE. Two reels.
And Just Ahead Are These Features
Saturday, June 7th, 1913
Monday, "
9th,
Wednesday, "
11th,
Friday,
13th,
Saturday,
14th,
Monday,
16th,
Wednesday, "
18th,
Friday,
20th,
Saturday,
21st,
"THE TRAGEDY OF BIG EAGLE MINE." Kalem. Two Reels
"THE FINAL JUDGMENT." Essanay. Two Reels
"A REGIMENT OF TWO." Vitagraph. Two Reels
"THE GOVERNORS DOUBLE." Patheplay. Two Reels
"ALONE IN THE JUNGLE." Selig. Two Reels.
"THE RIVAL ENGINEERS. Cines-KIeine. Two Reels
"THE WEAKER MIND." Lubin. Two Reels
"A BROTHERS LOYALTY." Essanay. Two Reels
"MARY STUART." Edison. Three Reels.
A complete list of late release single reels available in General
Film Service will be found on another page of this issue.
Justify the advertiser by saying you read it here.
May 31. 1913
MOTOGRAPHY
and Forty-Odd Single Reels Every Week
Released on
Wednesday, June 4th, 1913
"The Law and the Outlaw"
One of the two most sensational
"Westerns" ever released. Bucking
bronchos and dare-devil cowboys in
death-defying stunts. The outlaw
(Tom Mix) chases a maddened steer,
leaps on his back and actually throws
and ties him without assistance.
Sounds like pure fiction, doesn't it?
Well, wait till you see the picture.
SELIG, Two reels.
Released on
Friday, June 6th, 1913
"The Accusing Hand"
A novel story told in a novel man-
ner. Written by and acted under
the direction of LUBIN'S popular
producer-actor, Romaine Fielding.
"The accusing hand" greets the
criminal at every turn of the road
and eventually draws a confession
from him. "The silent third degree"
in practice. Two reels.
This Sounds Almost too Good to Be True
On May 10th, our Dallas office received notice from an exhibitor in Pecos,
Tex., to discontinue service. He stated as his excuse for giving up General
Film Service that his patrons were " clamoring for new faces and new actors."
We discontinued his service, with regret, of course. On May 14th he wired
our office as follows: uMy patrons don't like — stuff. Ship me show at
once and continue shipping every day." The only part of this transaction
we cannot understand is the ability of the exhibitor to get along without
General Film Service for even so short a period as four days!
General Film Company
200 Fifth Avenue, New York
Distributing Offices Everywhere
If you saw it in MOTOGRAPHY, SAY SO!
10
MOTOGRAPHY
Vol. IX, No. 11
FOR ANY INDIVIDUAL WHO DOES
NOT LAUGH EVERY MINUTE THAT
«t
ALKALI" IKE'S MISFORTUNES
IS ON THE SCREEN
Another one of those rare comedies that happen but once, sometimes twice, in
a single season, and are talked about for years.
Your clientele want to laugh, and laugh hard, once in a while, Let Alkali do
it for you — here is a Great Chance.
RELEASE DAY— SATURDAY, MAY 31st
BOOK IT AT ONCE
ALL GENERAL FILM OFFICES
Essanay Film Manufacturing Co.
EASTMAN
motion picture
film— the acknowl-
edged standard the
world over.
Manufactured by
EASTMAN KODAK CO.,
ROCHESTER, N. Y.
S. R. O. Where the
Pictures are Best
No drifting of the crowds down the street,
but a house filled to "standing room only"
where the pictures are always good. Estab-
lished showmen know that the pictures are
always good with the right lens equipment.
paused jomt
Projection [enses
have established an enviable record, and set a
standard of perfection in the art of motion
pictures.
Bausch & Lomb objectives and condensers will
make your pictures rank with the best shown on any
screen, and pay for themselves many times over in the
growth of your business.
The Edison and Nicholas Power Machines are
regularly equipped with our lenses. They can be pro-
cured also through any film exchange.
You will be interested in our valuable
lree booklet. Write for it to-day
Bausch & Ipmb Optical (5.
567 ST. PAUL STREET ROCHESTER, N*Y*
If you like MOTOGRAPHY, tell the advertiser so.
May 31, 1913 MOTOGRAPHY 11
idlllllltllllllllllllllllllllllltllllll lllllllllllllllllllllllllllllllllllfllllllllllllllllllllllfillllllllll«lllllllllllllllllllllllllllllllllllllllllllllllllllllllllllll£.
The Peerless Orchestrion
Specially designed and created for Photo-Play
Theatres on account of its dimensions
Model "Arcadian"
The name PEERLESS has come to be synonymous with Automatic Pianos and Orchestrions.
Fifteen years of concentration, organization and close study of the needs of a buying public have been the
means by which this end has been accomplished.
The instrument shown in this advertisement depicts our latest endeavor, and is one of the most successful
styles of the year on account of its adaptability to fit in any place where good music is desired.
Made by
PEERLESS PIANO PLAYER COMPANY
(F. Engelhardt Sc Sons, roprietors)
Factories and General Offices: S. JOHNSVILLE, NEW YORK
NEW YORK
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CHICAO
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Get the habit, say you saw it here.
12
MOTOGRAPHY
Vol. IX, No. 11
BUY THIS BOOK
"MOTION
PICTURE
WORK"
By DAVID S. HULFISH
618 Pages, Including Index
Price $4.00
THIS BOOK is
invaluable for ref-
erence and instruc-
tion to the thousands
of workers in the motion picture field. Covers
fully the three big branches of the motion
picture business; the making of the pictures,
the operation of all standard types of projecting
machines, and the operation of the moving
picture theater. The drawings, diagrams, and
photographs used have been prepared espe-
cially for this work and their instructive value is
as great as the text itself.
PARTIAL TABLE OF CONTENTS
The Optical Lantern: Elements — Lamp — Lamp-House
— Condensers — Adjustments — Emergency Projection — •
Slide Carrier — Dissolving Lanterns — Shutters — Slide Align-
ment — Motion-Head Lanterns — Lenses — Lens Tables —
Calculations — Focusing — Remedy for Errors — Lantern
slides. Motion Head: Portrayal of Motion — Optical System
— Types of Shutters — Film Gate — Film Shift Mechanisms
— Continuous Projection — Threading up Motion Head — Feed
— Rewind — Films — Care — Shipment — Operator's Duties.
Specific Projecting Machines: Edison Kinetescope — Motio-
graph — Power's Cameragraph — Pathe's Professional Model —
Standard — American — Selig Polyscope — Edengraph — Lu-
bin Projector. Talking Pictures: Problems — Synchronism of
Phonograph and Picture Machine — Unitary or Dependent Ma-
chines — Synchronous Motors — Greenbaum Device — Cine-
phone — Limitations. Color Pictures: Mechanical — Color-
Photography — Urban-Smith Kinemacolor Process — Operation
— Friese-Green Process. Film Manufacturers.
Fixed Camera Photography: Theory — Lenses — Shutter —
Darkroom — Camera Operation — Image Production — Prin-
cipal Object — Background — Recording Image — Dry Plates
— Exposure — Corrections — Development — Printing — En-
largements — Lantern Slides — Panoramas — Telephotography
— Colored Photographs. Motography: Product Desired —
Classes — Historical — Methods of Production — Author —
Plot — Scenario — Tricks — Producer — Studios — Actors —
Production — Selling Films — Factory Methods — Manufacture
of Films — Camera Management — Development — Printing
— Coloring — Buying Equipment — Methods — Trick Pictures.
Operating Motion-Picture Theaters: Value of Good Manage-
ment — Competition — Starting a Theater — Location — Fi-
nancing — Building — Specimen Expense Sheet — Interior De-
tails — Country Theater — Air-dome — Managerial Suggestions
■ — Accounts — Dull Season — Side Lines.
Our Price in United States, Cuba and Mexico,
$4.00 with a year's subscription to
MOTOGRAPHY
Electricity Magazine Corporation
Monadnock Building Chicago, Illinois
II we are to prepay charges, send 40c additional
Binder Closed
Save Your Motography
For Future Reference
By special arrangement with the
manufacturer, we have been able to
secure the only practical magazine and
periodical binder on the market. We
refer to the
Dowst
Magazine Binder
which binds one issue, a dozen issues
or more with a neat book appearance.
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does not mutilate the periodical in the
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Binder Open
Send for Illustrated Pamphlet
MOTOGRAPHY 1460 Monadnock Block, CHICAGO, ILL.
M. P. Theater List
We have a correct list of
all the Motion Picture The-
aters in the United States
and Canada. These ad-
dresses are in stencil and
are quickly available for
commercial uses. The price
of the complete list deliv-
ered into your hands is
$50.00. Cash with order.
Electricity Magazine Corporation
Monadnock Bldg.
CHICAGO, ILL.
Tell the advertiser you saw it in MOTOGRAPHY.
May 31, 1913
MOTOGRAPHY
13
— Gar wood ! —
— Billington!—
— Mace! —
New Majestic Stars
In the
New Majestic Films
(C. J. Hite, Managing Director)
What a trio! Imagine what your patrons will say on the
NEW STRENGTH OF YOUR SHOW when the wonderful
new Majestic Films come out! And that will be soon — see
release dates below. Just think, after Sunday, May 25th,
there will be a steady procession of the magnificent new
Majesties, with such stars as popular "Billy Garwood," for
three consecutive years with the world's best Independent
Company; pretty Francelia Billington, than whom there is
none more beautiful; Fred Mace, the very best comedian of
his kind in all the world of photoplay, and — we'll announce
THE OTHER STARS in a week or so. Yes, there will be
others! But let there be mystery about them that long!
Meantime Tell Us What You Think
of the Wonderful Acting and Pho=
tography in the New Majesties.
We Want Opinions!
Sunday, May 25th, the New Majestic is "LEGALLY
RIGHT," in which "Billy" Garwood and Francelia Billington
eat a honeymoon breakfast in jail and give you some tall
laughs; and Tuesday, May 27th, the film is a marvelous split
that takes you into the secrets of the evasive Navajo Indians
of far-off Arizona, and treats you to a pretty trick-subject
at the end, "LIFE AMONG THE NAVAJOS— HER FAIRY
GODFATHER." Go to your exchange with a red-hot yell
for BOTH these reels now! Remember, ONLY at "Mutual
Service" exchanges.
Majestic Motion Picture
Company
(C. J. Hite, Managing Director)
AH Communications to
Executive Offices, New Rochelle, N. Y.
All-year-round Studios
Brooklyn Heights, Los Angeles, Cal.
sLl
_\ itjj
gg^^iit^zr^iv,- .
£*'
Ornamental
Theatres
PLASTER RELIEF DECORATIONS
Theatres Designed Everywhere
Write for Illustrated Theatre Catalog. Send us
Sizes of Theatre for Special Designs
THE DECORATORS SUPPLY CO.
2549 Archer Avenue, CHICAGO, ILL.
Adhering to the Policy of Presenting
GREAT DRAMAS
Rv —
Well Known Authors
A Two-Reel Production of
STEPHEN ALLEN REYNOLD'S
"THE MASTER
CRACKSMAN"
Featuring Popular Irving Cummings and
the Reliance Famous Players
Will Be the Release of Saturday, May 31st
(Artistic One, Three and Six-Sheet Posters)
New York Studio
540 West 21st Street
MUTUAL SERVICE
Just say, "I saw it in MOTOGRAPHY." Thank you.
14
MOTOGRAPHY
Vol. IX, No. 11
BE ONE OF THEM!
Happy, contented and prosperous exhibitors have doubled
their hold on success by securing the KINEMACOLOR
franchise for their towns.
You don't know anything about KINEMACOLOR unless
youVe learned it very recently.
WE ARE EXTREMELY HAPPY!
KINEMACOLOR COMPANY
NEW YORK
1600 Broadway
CHICAGO
538 S. Dearborn St.
CINCINNATI
132 E. 4th St.
PROVIDENCE
509 Westminster St.
M^mymw^iiw^
Ask for Catalog No. 307
E. H. STAFFORD MFG. CO.
218 South Wabash Ave.
CHICAGO. ILLINOIS
We make Lodge, Church and School furniture
CHAIRS OF ALL KINDS
A Mirror Screen Will Make You Wealthy
Write for New Catalogue of late Snow White Finish.
MIRROR SCREEN COMPANY, SHELBYVILLE, INDIANA
If you like MOTOGRAPHY, tell the advertiser so.
MililffifflllHlllllllil
■
Selig's Sensational
Western Feature
THE LAW
AND THE
OUTLAW
A ROMANCE OF THE WEST IN TWO THRILLING REELS
This production marks an epoch in dramas of western life. Unquestionably the most sensational feature of its kind
ever produced. Featuring Tom Mix, the world's most daring cowboy, in an astounding tale of romance and daring.
Released as a Two Reel Special on June 4th, 1913
Selig's Regular Releases Are Quality— Plus:
May 26th— RELIGION AND GUN PRACTICE— Western drama
May 27th— THE GIRL AND THE JUDGE— Domestic drama
May 28th— THE WORDLESS MESSAGE— Decoration Day drama
May 30th— THE EX-CONVICT'S PLUNGE— Drama, on reel with;
SCENES IN MANILA— Educational Travelog
BOOK EACH AND EVERY ONE OF THESE TODAY
June 2nd— WHEN THE CIRCUS CAME TO TOWN— Juvenile drama
June 3rd— A FLAG OF TWO WARS— Military drama
June 4th— WOMAN— PAST AND PRESENT— Drama
June 5th— THE SUWANEE RIVER— Southern drama
June 6th— AN EMBARRASSED BRIDEGROOM— Western comedy,
on reel with; MANILA NORMAL AND PUBLIC SCHOOLS
— Educational travelog
COMING — SPECIAL FEATURE EXTRAORDINARY
Selig's New Wild Animal Tragedy
COMING
"ALONE IN THE JUNGLE"
In Two Reels
Selig has produced great animal dramas in the
past and will continue to produce even greater
ones in the future, but: no wild animal picture
will ever surpass the present feature.
Absolutely the most gripping and thril-
ling jungle picture ever offered any-
where at any time.
Released as a Two Reel Special
on June 14th
POLYSCOPE
COMPANY
a
m
o
I
■
I
I
I
0
0
I
1
Q
ffl
a
i
s
D
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BRANCH OFFICES THROUGHOUT THE WORLD
•EXECUTIVE OFFICES: 20 E.RANDOLPH ST.
CHICAGO, ILL.,US.A
[TjBninisiEEsassiiiBiamDEiEEEsimr
ESSANAY
FIVE
.WEEK
Do You Want An "Alkali" Ike Doll?
Q
Released Tuesday, June 3rd.
"LET NO MAN PUT ASUNDER"
(A feature drama with Francis X. Bushman)
h
Released Wednesday, June 4th.
'THE VALUE OF MOTHERS-IN-LAW
An excellent comedy of merit)
\-^
Released Tuesday, June loth,
'THE SHADOWGRAPH MESSAGE'
(A novel Western story)
m
V
Released Wednesday. June 1 1th.
"THE STAR"
(A humorous comedy of the stage)
Released Thursday, June 5th.
"THE LAST SHOT"
(A thrilling Western drama)
M
Released Thursday, June 12th.
"CINDERELLA'S GLOVES"
(A modern Cinderella creates a furor)
Released Friday, June 6th.
'PHILLIP MARCH'S ENGAGEMEI
(A side-splitting comedy)
V-^f
UR
Released Friday, June 13th.
'THE MYSTERIOUS STRANGER'
'An eccentric drama of quality)
Released Saturday, June 7th.
'BRONCHO BILLY'S CAPTURE"
(A Western drama with C. M. Anderson)
M
Released Saturday. June I41h.
"THE RANCH FEUD"
(A splendid Western subject)
Released Monday, June 9th
"The Final Judgment"
m TWO PARTS)
A sensational dramatic feature of the Klondike. A Revelation in photography and a
masterpiece in dramatic art. (See article this issue.)
Special one, three and six sheet posters of this feature. Order from your exchange or
direct from us.— SPECIAL HERALDS —
THE MOST ARTISTIC POSTERS MADE are distributed by us. Three sheet posters of all our Saturday releases will boom your
business. Posters are lithographed in full four colors, 35 cents each. You can order these from your exchange or direct from
ESSANAY FILM MFG. CO., 521 FIRST NATIONAL BANK BLDG., CHICAGO. Your lobby display will look attractive if you use
photographs of Essanay players, 8x10, S3.00 per dozen. You can secure these from the PLAYERS' PHOTO CO., 177 N. STATE ST.,
CHICAGO, ILL.
Essanay Film Mfg. Co.
521 First National Bank Building,- CHICAGO, ILL.
Factory and Studio. 1333 Argyle Street, CHICAGO, ILL.
Branch Offices in LONDON, PARIS, BERLIN, BARCELONA
June 14, 1913
MOTOGRAPHY
Every Exhibitor Needs These
"Advertising Helps"
1 - Sheet Posters, Postal Cards,
Glass Slides Announcing a Favorite
in a Coming "American." Photo-
' f^^ graphs, Cuts, Interviews with ^^^^
f Popular Players \ for Publication -^ftk
W in- Your Local Daily, a Weekly ^
Press Sheet —
All these are Features of a Publicity Service at your Disposal for the Asking.
Ask your Mutual Office for any or all of these
"Soul of a Thief"
(In 2 Reels)
(Release Monday, June 16)
A delightful story of a thief's reformation. A two-reel of absorbing interest, following clearly
the devious windings of an intricate plot of love and strange adventures.
"Unwritten Law of the West"
(Release Thursday, June 19)
Strong Westerns with dramatic climaxes, heart-interest stories that interest and hold, grow scarcer
daily. This is an exception in gripping, thrilling Westerns with a distinct "punch" an audience will feel.
"Marine Law"
(Release Saturday, June 21)
The political Boss and the Mayor were in cohoots to marry the Mayor's daughter to the "Boss."
They blocked all avenues of marriage, apparently, but one — yet the young couple outwitted
them most cleverly. A laughable, amusing story.
NOTE — Handsome Lithos of popular American leads. No better business
attractors anywhere. You need them. Ask your exchange or write us.
AMERICAN FILM MFG. CO.
6227 EVANSTON AVE. -:- CHICAGO.ULL.
MOTOGRAPHY
Vol. IX, No. 12
It's Two Mighty
Good New=
Majesties We're
Handing You!
The first story we call "The Fraternity
Pin", and release Sunday, June 1 —
The second is "The Queen of the Sea
Nymphs", released Tuesday, June 3 —
You'll get BOTH, of course!
We meant every word we said in last
week's big, bold ad. We DO want your
opinions! If "FRATERNITY PIN" isn't
as good as we think it is, "KICK" TO
US. Or if you like it, TELL US WHY.
If you don't like "QUEEN OF THE
SEA NYMPHS," kick on THAT. If it
appeals, give us the reasons. We are
doing our mightiest to make the very
best pictures in the entire Mutual list.
We can only succeed by KNOWING
FROM YOU how our work is pro-
gressing. There is no use for us to
strike a "right line" of subject, UNLESS
YOU TELL US WE'VE STRUCK IT.
And by the same method of KNOWING
FROM YOU we can keep dead away
from the "wrong line" of subject— the
subject that doesn't tend to INCREASE
the attendance at your house.
Majestic Motion Picture
Company
(C. J. Hite, Producing Manager)
Business Offices, New Rochelle, N. Y.
Studios, Brooklyn Heights, Los Angeles, Cal.
Ornamental
Theatres
PLASTER RELIEF DECORATIONS
Theatres Designed Everywhere
Write for Illustrated Theatre Catalog. Send us
Sizes of Theatre for Special Designs
THE DECORATORS SUPPLY CO.
2549 Archer Avenue, CHIC AGO, IL.
p^««««»sw»x«»»»»»^
FULTON'S A-TO-Z LIST
Pocket Edition
1 20 Pages
Illustrates, describes and prices everything used in or about the Motion
Picture Theatre and in the allied industries. Costs you nothing. Worth
its weight in gold.
E. E. FULTON
Just say, "I saw it in MOTOGRAPHY." Thank you.
-150 -
W. LAKE STREET
CHICAGO
June 14, 1913
MOTOGRAPHY
Coming EDISON Films
Advertising synopses for Edison Films released during the last half of June, 1913.
HER ROYAL HIGHNESS
By ANNE STORY ALLEN
Release No. 7344 Monday, June 16th 1,000
The little Princess, being but eleven years of age, is bored by the
attentions of so many servants and tired of her luxurious toys. She
runs away, to the consternation of the royal household, but is found
making mud pies with two ragamuffins.
THE TWIN BROTHERS
By RICHARD BIDGELY
Both Brothers Flayed by One Man
Release No. 7345 Tuesday, June 17th 1,000
The twins love the same girl but she marries the more sober of
the two who assaults a blackmailer. The rejected drunkard nobly
submits to arrest in his brother's place, they both appear in court
pleading guilty, but the man is not injured, as they supposed, and
they are released.
CIVIC PARADE
Representing* All Departments in New York City, May, 1913
Release No. 7346 Wednesday, June 18th 350
This review of the employees of the great metropolis impresses
the spectator far more deeply with the vastness of its size than
could any amount of statistics. We see before us a veritable army,
such as we might expect to see guarding a European principality.
HE WOULD FIX THINGS
By ALICE WILLIAMS
Release No. 7347 Wednesday, June 18th 650
He simply cannot mind his own business and is always "butting
in." But the climax comes when he volunteers to stop a leak in the
kitchen. While he is clinging to the bursted pipe deluging himself
with water, the plumber enjoys a smoke down cellar. Then he
turns the water off.
THE EVIL THEREOF
Release No. 7348 Friday, June 20th 1,000
By ASHTON CRAWFORD
The son of a department store owner, by his attention to one of
the girls, who is ill and very poor, forces his father to realize that
low wages open his employees to temptations. His fears in this
case are groundless but the lesson is well learned.
MARY STUART
(SFBCIAL) IN THREE REELS
Adapted from the Drama "by Frederick Schiller
Release No. 7349 Saturday, June 21st 3,000
A superb production portraying the last ten years of the great
struggle for the English throne between Mary, Queen of Scots, and
Queen Elizabeth. The tragic fate of the beautiful Mary and the
plots which preceded it form a story of gripping intensity. It is
beautifully photographed.
LOVE'S OLD SWEET SONG
By MARK SWAN
Release No. 7350 Saturday, June 21st 1,000
A careless young flirt is always drawn to her fiance's side by the
fascinating melody of "Love's Old Sweet Song." Her heartlessness
drives him away, he is reported dead and the shock affects her
mind. When he returns she does not know him until the old song
clears her brain.
Posters will be furnished for all Films
PYRAMIDS and THE SPHINX, EGYPT
Release No. 7351 Monday, June 23rd 300
The works of man seem trivial and short-lived until we see these
great piles of rock whichhave endured over 3,000 years. Glimpses
of picturesque native life in the vicinity of the pyramids add greatly
to the interest of the films.
A TASTE OF HIS OWN MEDICINE
By MABEL GRACE WARNER
Release No. 7352 Monday, June 23rd 700
In order to prove his wife's infidelity, a jealous fool writes a
note asking her to meet "an old admirer." She turns the note
over to the police, hubby is arrested at the meeting place and is
very repentant when she identifies him at the police court.
WHERE SHORE AND WATER MEET
Release No. 7353 Tuesday, June 24th 980
When the girl he loved married another, Addison was resigned
to the loss but the disappearance of the bridegroom once more
aroused his hope. He was about to claim her when the lost man,
who had been shipwrecked, returned and his last hope of happiness
was crushed.
HOW DID IT FINISH?
By ALICE WILLIAMS
Release No. 7364 Wednesday, June 25th 980
A screamingly funny story in which papa starts to read a harrow-
ing melo-dramatic tale.. After many difficulties, he reaches the point
where the hero and villain are locked in the death struggle, only
to find that the last page is missing. Mama is using it as a curl
paper.
FORTUNE SMILES
Being- the twelfth and last story of "What Happened to
Mary." Produced in collaboration with the "Ladies' World"
Release No. 7355 Friday, June 27th 1,000
Mary goes to a lawyer, an old acquaintance, who promises assist-
ance. The Craigs arrive in New York and claim her fortune at the
Trust Company. Just as they are about to receive it, Mary bursts
into the office and receives — a million dollars.
THE FLY
A MENACE TO PUBLIC HEALTH
Release No. 7356 Saturday, June 28th 400
A film that every person should see, for it shows in a striking
and convincing way the dangers to which we are all exposed as
long as the fly is permitted to pursue his filthy course undisturbed.
CIRCUMSTANCES MAKE HEROES
By GERTRUDE M'COY
Release No. 7357 Saturday, June 28th 600
Poor Willie didn't really mean to be a hero, but when the burglar
stood on the rug by the table under which he was hiding, he just
had to upset him. How foolish his two boastful rivals felt when
Willie clasped the sheriff's daughter in his arms.
THE STORY OF THE BELL
AN EPISODE OF THE REVOLUTION. By P. HERBERT
Release No. 7358 Monday, June 30th 1,000
Just after young Fairfax clmbed into the belfry to unmuffle the
bell, the British appeared and the sexton started tolling it. He
lay for hours beneath the clanging monster until a girl found a
white-haired, frenzied man writhing in agony under the ceaseless din.
except Nos. 7346, 7351 and 7356.
THE EDISON KINETOSCOPE
UNDERWRITERS TYPE "B"
TITHAT'S the use of running a motion picture show if it only
" pay you a fraction of what it could? What's the use of try-
ing to draw big houses with dim, flickering, eye-straining pic-
tures? Throw out the old machine. It isn't getting you any-
where. Put in the motion picture machine that keeps people
coming back — the Edison Kinetoscope.
The Edison projects pictures that are clear and steady as a
rock. It's simple to operate, and doesn't break down every little
while. It's the machine for full houses and big profits. Write
us, now, for Catalog 500 and a copy of the Edison Kinetogram.
THOMAS A. EDISON, Inc.
265 Lakeside Ave. Orange, N. J.
Price, with Rheostat, 110 volts, 24-40 amperes.
Price, with 110 volt, 60 Cycle Transformer
$225.00
245.00
If you like MOTOGRAPHY, tell the advertiser so.
MOTOGRAPHY Vol. IX, No. 12
General Film Service
SCHEDULE OF MULTIPLE REEL FEATURES
yy
"ALONE IN THE JUNGLE
Selig Drama in Two Reels
RELEASED SATURDAY, JUNE 14, 1913
A story of love and daring in the jungle of tropical South Africa. The introduction of a lion hunt
is an incident of a story second only as a thrill to the attack on a young girl by a beast, crazed from a
bullet wound. Real lions — none of your "prop" animals are used. A film that will make your patrons
hold on to their seats right up to the finish.
"THE RIVAL ENGINEERS"
Cines-Kleine Drama in Two Reels
RELEASED MONDAY, JUNE 16, 1913
This tale of the rails involves two engineers, one a surly chap, Stanley Novelli, and the other.
Jean Galetti, a hail-fellow-well-met. Stanley plots Jean's death and nearly brings it about. The latter,
running an engine, the brakes of which have been "fixed" by Stanley, runs down a gang of workmen,
Jean is imprisoned but later is released and re-united with his family, while Stanley meets the
tragic death of a suicide.
a
THE WEAKER MIND"
Lubin Drama in Two Reels
RELEASED WEDNESDAY, JUNE 18, 1913
Another story involving two engineers, but this time in a different way. One is addicted to drink.
The other attempts to save him from ruin, and eventually is successful. Bob Glore, "the weaker mind",
fascinated by the wiles of Reina Loeb, a drunkard's daughter, sinks deeper and deeper into the mire of
dissipation, but the influence of his friend is strong enough to bring him back to the path of right living.
A story with a strong moral.
"A BROTHER'S LOYALTY"
Essanay Drama in Two Reels
RELEASED FRIDAY, JUNE 20, 1913
A "red blood" drama, featuring Francis X. Bushman in the dual role of Paul, the clergyman, and
Hal, the erring brother. Hal becomes involved with a gang of counterfeiters and when punishment
is to be meted out, Paul changes places with him. While attempting to carry on Paul's work, Hal strikes
a clue that leads to the arrest of the counterfeiters, and, in the fight that follows the discovery, is
mortally wounded. He clears his brother and all ends well. Photographically and dramatically, one of
the best films ever released.
"MARY STUART"— Edison, three reels. Released June 21, 1913
"THE SNARE OF FATE"— Vitagraph, three reels. Released June 23, 1913
"THE STRUGGLE"— Kalem, two reels. Released June 25, 1913
"A VILLAIN UNMASKED"— Eclipse-Kleine, two reels. Released June 27, 1913
"THE TRAPPER'S MISTAKE"— Patheplay, two reels. Released June 28, 1913
"THE PENALTY OF CRIME"— Lubin, two reels. Released June 30, 1913
"THE TIGER LILY"— Vitagraph, two reels. Released July 2, 1913
"SHENANDOAH"— Kalem, three reels. Released July 4, 1913
Tell the advertiser you saw it in MOTOGRAPHY.
June 14. 1913 MOTOGRAPHY
General Film Service
Quality Films : Reasonable Prices : Efficient Service
A popular service must necessarily include these
three things. Of what good are quality films if
prices are out of all reason? And what do low
prices amount to, if the service feature is not in
evidence.
No one denies that the films known by the trade
names, Biograph, Edison, Essanay, Kalem, Kleine
(Cines- Eclipse), Lubin, Melies, Pathe, Selig and
Vitagraph are the quality films of the industry.
Any exhibitor who uses General Film Service will
attest that the prices charged for it are reasonable.
In fact, one exhibitor was good enough to say not
long ago that he would insist upon General Film
Service even at twice its present cost.
The efficiency of the General Film organization
is something you must learn through association.
We're ready any time — now — to talk about serv-
ing you. Are you ready to talk with us? Just
write "show me" on a postal card, mail it to the
home office at 200 Fifth Ave. , New York, or any
of our distributing offices in the principal cities
and we'll do the rest.
GENERAL FILM COMPANY
If you saw it in MOTOGRAPHY, SAY SO!
10
MOTOGRAPHY
Vol. IX, No. 12
ART IS THE KEYNOTE
OF
THE THANHOUSER THREE- A -WEEK
We try to be artistic in our every line of effort. We try to write artistic stories, to give them an artistic presentation
with artistic players, in artistic settings, and depict it all in artistic photography. That's why a single Thanhouser release on
your program lends tone and class to the whole show.
Released Sunday, June 1 "A VICTIM OF CIRCUMSTANCES"
A stern parent learns that his daughter's sweetheart wasn't the only victim of circumstances. An artistic comedy.
Released Tuesday, June 3 "THE CAGED BIRD"
A princess flees from the formality and ceremony that totally envelopes her. An artistic adventure story.
Released Friday, June 6 "THE RUNAWAY"
The Thanhouser Kid becomes a wanderer and saves the drowning Kidlet. An artistic Kid-Kidlet playlet.
COMING! Sunday, June 8 "MISS MISCHIEF," featuring Muriel Ostriche; and
Tuesday, June 17 "THE SNARE OF FATE," a Lonergan heart-interest drama in two reels.
THANHOUSER FILM CORPORATION, New Rochelle, N. Y.
PLAYERPOSTERS ARE ARTISTIC, TOO!
We'll be shipping some to YOUR EXCHANGE about the time you're reading this. Get on their waiting list to-day!
EASTMAN
motion picture
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Get the habit, say you saw it here.
June 14. 1913
MOTOGRAPHY
11
The Popular Magazine of the Photoplay Field
EXPLOITING INDEPENDENT RELEASES
The July "Photoplay Magazine" is the best jet. It is
brim full of clever, up-to-date stories, and in addition has
two feature articles of unusual attractiveness. Best of all, it
has a new management and backing that assures its complete
and continued success.
Mr. Exhibitor, don't miss the July issue. It will be
out June 13th. The edition is limited. Better get your
order in now at the old price. And don't forget to enclose
your check for the number of copies you desire.
Photoplay Magazine
608 South Dearborn Street
Chicago, Illinois
F^-l 100 Years of Mormonism
In Six Reels of Realism
Depicting the start, early struggles, loves, tortures and
assassinations of the Mormon people from New York State
in 1843 to the Salt Lake City of the present day.
Its Sensational Features fully confirmed by American History.
Despite the large amount of unusual press comment which this subject
aroused, there was not one adverse criticism on the picture.
Made at a cost of nearly $50,000, half a
year consumed in the making and over 1000
people employed, including noted Mormon
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Of universal interest to the peoples of
every nation, and by reason of exclusive con-
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years.
Three companies toured the $2.00 houses
of California, Utah and Nevada at the fifty-cent scale of prices, to a gross intake of
over $22,000 and are still going. In some instances the gross exceeded $1,000 on the
day. Facts which can be readily verified.
a • • i TV/TrvM/a r Everyone within riding distance of the theatres will see
^/UTlOSlTy IVlOHey this picture once. Some will review it frequently.
Full line of four-color work, window cards, mailing cards, heralds, newspaper cuts,
press matter, etc.
STATE AND TERRITORIAL RIGHTS FOR SALE
Apply to
H. M. RUSSELL, Mgr. Golden State M. P. Co.
Waldorf Astoria Hotel, New York, for America Savoy Hotel, London, for Europe, Etc. Discovery of Salt Lake Valley, 1847
Murder of Joseph Smith at
Carthage, Mo., Jail
If you like MOTOGRAPHY, tell the advertiser so.
12
MOTOGRAPHY
Vol. IX, No. 12
RELIANCE.
GREAT DRAMAS
^0U5AYUTH0^
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tCM
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M. P. Theater List
We have a correct list of
all the Motion Picture The-
aters in the United States
and Canada. These ad-
dresses are in stencil and
are quickly available for
commercial uses. The price
of the complete list deliv-
ered into your hands is
$50.00. Cash with order.
Electricity Magazine Corporation
Monadnock Bldg. : : CHICAGO, ILL.
&
If you DONT know KINEMACOLOR of
today, you still have some very important
things to learn about the picture game.
You are standing still — and when the other
fellow is enjoying a comfortable income and
prosperous seat in the community, you will
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KINEMACOLOR COMPANY
NEW YORK
1600 Broadway
CHICAGO
538 S. Dearborn St.
CINCINNATI
132 E. 4th St.
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509 Westminster St.
Just say, "I saw it in MOTOC-RAPHY." Thank you.
June 14, 1913
MOTOGRAPHY
13
TO THE TRADE
Negatives developed - - 1c. per ft.
Positives printed and developed
(including tinting) - 5c. per ft.
Titles 8c. per ft.
Highest Quality Lowest Prices Prompt Deliveries
What More Can We Offer?
Commercial Motion Pictures Co.
(Incorporated)
102 West 101st St., N. Y. River 8724
WRITTEN FOR THE
BUSINESS MAN
Don't undertake to secure financial
assistance, incorporate a projected en-
terprise, sell or reorganize an establish-
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Robert J. Frank of the Chicago Bar.
The Law and Procedure of Organization,
Financing and Development of Business
corporations in one book. Write today
and get a copy for your desk or library, $2.75 in morocco
prepaid, or $3.75 with a year's subscription to Motography.
ELECTRICITY MAGAZINE CORP., Monadnock Building, Chicago
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manufacturer, we have been able to
secure the only practical magazine and
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refer to the
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MOTOGRAPHY 1460 Monadnock Block, CHICAGO, ILL.
BUY THIS BOOK
"MOTION
PICTURE
WORK"
By DAVID S. HULFISH
618 Pages, Including Index
Price $4.00
THIS BOOK is
invaluable for ref-
erence and instruc-
tion to the thousands
of workers in the motion picture field. ■ Covers
fully the three big branches of the motion
picture business; the making of the pictures,
the operation of all standard types of projecting
machines, and the operation of the moving
picture theater. The drawings, diagrams, and
photographs used have been prepared espe-
cially for this work and their instructive value is
as great as the text itself.
PARTIAL TABLE OF CONTENTS
The Optical Lantern: Elements — Lamp — Lamp-House
— Condensers — Adjustments — Emergency Projection — •
Slide Carrier — Dissolving Lanterns — Shutters — Slide Align-
ment — Motion-Head Lanterns — Lenses — Lens Tables —
Calculations — Focusing — Remedy for Errors — Lantern
slides. Motion Head: Portrayal of Motion — Optical System
— Types of Shutters — Film Gate — Film Shift Mechanisms
— Continuous Projection — Threading up Motion Head — Feed
— Rewind — Films — Care — Shipment — Operator's Duties.
Specific Projecting Machines: Edison Kinetescope — Mono-
graph — Power's Cameragraph — Pathe's Professional Model —
Standard — American — Selig Polyscope — Edengraph — Lu-
bin Projector. Talking Pictures: Problems — Synchronism of
Phonograph and Picture Machine — Unitary or Dependent Ma-
chines — Synchronous Motors — Greenbaum Device — Cine-
phone — Limitations. Color Pictures: Mechanical — Color-
Photography — Urban-Smith Kinemacolor Process — Operation
— Friese-Green Process. Film Manufacturers.
Fixed Camera Photography: Theory — Lenses — Shutter —
Darkroom — Camera Operation — Image Production — Prin-
cipal Object — Background — Recording Image — Dry Plates
— Exposure — Corrections — Development — Printing — En-
largements — Lantern Slides — Panoramas — Telephotography
— Colored Photographs. Motography: Product Desired —
Classes — Historical — Methods of Production — Author —
Plot — Scenario — Tricks — Producer — Studios — Actors —
Production — Selling Films — Factory Methods — Manufacture
of Films — Camera Management — Development — Printing
— Coloring — Buying Equipment — Methods — Trick Pictures.
Operating Motion-Picture Theaters: Value of Good Manage-
ment — Competition — Starting a Theater — Location — Fi-
nancing — Building — Specimen Expense Sheet — Interior De-
tails — Country Theater — Air-dome — Managerial Suggestions
— Accounts — Dull Season — Side Lines.
Our Price in United States, Cuba and Mexico,
$4.00 with a year's subscription to
MOTOGRAPHY
Electricity Magazine Corporation
Monadnock Building Chicago, Illinois
II we are to prepay charges, send 40c additional
Tell the advertiser you saw it in MOTOGRAPHY.
14
MOTOGRAPHY
Vol. IX, No. 12
The Approved Machine for Motor Drive
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Visit our booth at the big show in New York City in July, and get acquainted
League Directory
CALIFORNIA.
MOTION PICTURE EXHIBITORS'
LEAGUE OP CALIFORNIA— Head-
quarters, Pacific Bldg., San Francisco.
President, Chas. Rothschild; Vice-Presi-
dent, A. R. Oberle; Secretary, W. A.
Cory; Treasurer, N. K. Herzog.
SAN FRANCISCO LOCAL No. 1— Head-
quarters, Assembly Hall. President,
Chas. Rothschild; Vice-President, A. R.
Oberle; Corresponding Secretary, W. A.
Cory; Financial Secretary, K. Herzog;
Treasurer. Max Schirpser.
DISTRICT OF COLUMBIA.
MOTION PICTURE EXHIBITORS'
LEAGUE OF THE DISTRICT OF
COLUMBIA — Headquarters, Bank of
Commerce Bldg., Washington, D. C.
President, W. P. Herbert; Vice-Presi-
dent, Iva La Motte; Secretary, Fulton
Brylawskl; Treasurer, A. C. Joy.
FLORIDA.
MOTION PICTURE EXHIBITORS'
LEAGUE OF FLORIDA — Headquarters,
Tampa. President, E. F. Tarbell; Sec-
retary, Scott Leslie; Treasurer. Wm.
Sipe.
ILLINOIS.
ILLINOIS STATE BRANCH No. 2—
Headquarters, Schiller Bldg., 64 W.
Randolph street, Chicago, 111. Presi-
dent, J. A. Alcock; Vice-President,
C. A. Anderson; Secretary, Sidney
Smith; Treasurer, Wm. J. Sweeney;
Financial Secretary, Miss Sarah Colson.
SOUTHERN ILLINOIS LOCAL No. 1—
President, Thos. Leonard, Johnson City;
Vice-President, Albert Loy, Murphys-
boro; Secretary, W. P. Phelps, Sparta;
Treasurer, E. W. Atkins, Carbondale.
INDIANA.
ters, Saks Bldg., Indianapolis, Ind.
President, Dr. J. M. Rhodes; Vice-
Presidents, Philip Skera, Sprague
Green, John Trulock, H. L. St. Clair,
C. E. Cole; Secretary, Ed. J. Addy;
Treasurer, A. C. Zaring.
INDIANAPOLIS LOCAL No. 1— Head-
quarters, 410 Saks Bldg. President,
John A. Victor; First Vice-President.
F. W. Sanders; Second Vice-President,
M. M. Miller; Secretary. E. J. Addy;
Treasurer, J. M. Rhodes.
IOWA.
MOTION PICTURE EXHIBITORS'
LEAGUE OF IOWA— Headquarters,
420 Clapp Block, Des Moines. Presi-
dent, J. L. O'Brien; Vice-President, J.
S. Bassett; Secretary, Fred W. Young;
Treasurer, J. L. Tierney.
KANSAS.
MOTION PICTURE EXHIBITORS'
LEAGUE OF KANSAS— Headquarters,
Kansas City. President. C. E. Gla-
mann; Vice-President, Carl Mensing;
Secretary, Geo. McCrum; Treasurer,
Jack Brainerd.
KENTUCKY.
MOTION PICTURE EXHIBITORS-
LEAGUE OF KENTUCKY— Headquar-
ters. Lexington, Ky. President, J. H.
Stamper. Jr.. Lexington; First Vice-
President. L. J. Dittmar, Louisville;
Second Vice-President, Sherman Am,
Maysville; Secretary, L. H. Hamsay,
Lexington; Treasurer, A. J. Wellman,
Cattletsburg.
LOUISVILLE LOCAL No. 2— President.
L. J. Dittmar; Vice-President, Irwin
Simmons; Secretary, Max L. Simmons;
Treasurer, Jos. Stenerle.
LOUISIANA.
MOTION PICTURE EXHIBITORS'
LEAGUE OF LOUISIANA— Headquar-
ters, Shreveport. President, D. L. Cor-
nelius; Vice-President, C. B. Ander-
son ; Secretary, E. V. Richards, Jr. ;
Treasurer, C. W. Perry.
MASSACHUSETTS.
MOTION PICTURE EXHIBITORS-
LEAGUE OF MASSACHUSETTS—
Headquarters, 700 Washington street,
Boston. President, Jos. Mack; Vice-
President, Chas. Hodgdon; Secretary,
Alden Washburn; Treasurer, S. H.
Bunce.
MICHIGAN.
MOTION PICTURE EXHIBITORS'
LEAGUE OF MICHIGAN— Headquar-
ters, 247 Medbury avenue, E., Detroit,
Mich. President, Carl Ray, Muske-
gon; First Vice-President, B. L. Con-
verse, Owosso; Second Vice-President,
J. J. Rieder, Jackson; Third Vice-
President, G. R. Durkee, Saginaw,
Secretary, W. Lester Levy, Detroit;
Treasurer, H. F. Fowser, Lansing.
DETROIT LOCAL No. 1— Headquarters,
399 Hibbard avenue, Detroit, Mich.
President, Peter J. Jeup; Vice-PreBi-
dent, August Kleist; Secretary, W.
Lester Levy ; Treasurer, Fred W. Rumler.
MINNESOTA.
MOTION PICTURE EXHIBITORS'
LEAGUE OF MINNESOTA— Head-
quarters, 1403 E. Franklin avenue,
Minneapolis. President, Otto N. Baths,
St. Paul; Vice-President, Thos. Fur-
niss. Duluth; Secretary, E. F. Purdee,
Minneapolis; Treasurer, H. A. Sherman,
Minneapolis.
MISSOURI.
MOTION PICTURE EXHIBITORS'
LEAGUE OF MISSOURI— Headquar-
ters, 413 Gloyd Bldg., Kansas City,
Mo. President, G. H. Wiley; Vice-
President, H. N. Morgan; Secretary,
E. L. Welch; Treasurer, J. S. Tillman.
NEBRASKA.
MOTION PICTURE EXHIBITORS'
LEAGUE OF NEBRASKA— Headquar-
ters, Omaha. President, W. F.
Stoecker; Vice-President, P. L. Mc-
Carthy; Secretary, E. C. Preston;
Treasurer, W. A. Walden.
NEW JERSEY.
MOTION PICTURE EXHIBITORS'
LEAGUE OF NEW JERSEY— Head-
quarters, 734 DeMott St., W. Hoboken,
N. J. President, George A. Robinson;
Vice-President, W. A. Daley; Secretary,
P. M. Kirschner; Treasurer, C. Fred
Ruhlman.
NEW YORK.
MOTION PICTURE EXHIBITORS'
LEAGUE OF NEW YORK— Headquar-
ters, 136 Third avenue. New York.
President. Sam H. Trigger. New York;
First Vice-President. B. E. Cornell.
Syracuse; Second Vice-President. R.
Davidson. Binghamton; Secretary, H.
W. Rosenthal, New York; Treasurer.
John C. Davis, Saugerties.
MOTION PICTURE EXHIBITORS'
LEAGUE OF GREATER NEW YORK
— Headquarters, 136 Third avenue.
New York City. President, Samuel H.
Trigger; Vice-President, T. E. Sam-
uels; Secretary. Sydney Ascher; Treas-
urer, Grant W. Anson.
NEW YORK LOCAL No. 2— President,
Geo. F. Wright, Albany; First Vice-
President, E. O. Weinberg, Troy;
Second Vice-President. L. C. Smith.
Schenectady: Secretary. J. E. Weid-
man. Albany; Treasurer, J. G. Ro-
senthal, Troy.
OHIO.
MOTION PICTURE EXHIBITORS'
LEAGUE OF OHIO.— Headquarters.
1003 Mercantile Library Bldg., Cincin-
nati. Ohio. President. M. A. Neff.
Cincinnati; First Vice-President, O. B.
Weaver, Dayton; Second Vice-Presi-
dent, Dr. W. V. Prentice, Toledo;
CLEVELAND LOCAL No. 1— Headquar-
ters, 711 Columbia Building, Cleve-
land, O. President, S. E. Morris;
First Vice-President, A. Mahrer; Sec-
ond Vice-President, C. F. Schroeder;
Secretary, A. P. Anthony; Treasurer,
F. M. Kenney; Assistant Secretary,
Geo. Heimbach.
CINCINNATI LOQAL No. 2— Head-
quarters, 1003 Mercantile Library
Building, Cincinnati, Ohio. Presi-
dent, J. J. Huss; First Vice-President,
A. J. Carbin; Second Vice-President,
M. Fishman; Secretary, A. C. Dongel-
stedt; Treasurer, Otto Ludeking.
TOLEDO LOCAL No. 3 — President, Dr.
Walter V. Prentice; Vice-President, O.
L. Brailey; Secretary, J. B. Gardner;
Treasurer, W. O. Bettls.
COLUMBUS LOCAL No. 4— Headquar-
ters, Hotel Star. President, J. A.
Maddox; First Vice-President. W.
B. Belknap: Second Vice-President,
J. W. Swain: Secretary. W. R. Wilson;
Treasurer. Max Stearn.
DAYTON LOCAL No. 5— Headquarters,
25 Pruden building, Dayton, O. Pres-
ident, R. J. Kastl; First Vice-Presi-
dent W. J. Stillwell; Second Vice-
President, G. E. Fink; Secretary, Her-
man Lehman; Treasurer, W. Rayner.
TROY LOCAL No. 6— President, J. H.
Johnson; First Vice-President, J. W.
Newman, Piqua; Second Vice-Presi-
dent, Howard Pearson; Secretary, Fred
Adams, Tippecanoe; Treasurer, Cyrus
Shafer, Piqua.
SANDUSKY LOCAL No. 7— President.
J. D. Kessler; Vice-President, E. P.
Richart. Port Clinton; Secretary, W.
E. Higgins; Treasurer, Chas. Reark.
PENNSYLVANIA.
MOTION PICTURE EXHIBITORS'
LEAGUE OF PENNSYLVANIA—
Headquarters, 233 Fifth avenue, Pitts-
burgh, Pa. President, Walter Steum-
pfig; First Vice-President, Cresson E.
Smith; Second Vice-President, G. - C.
Miller; Secretary, Chas. Roth; Treas-
urer, F. J. Barbin.
PITTSBURG LOCAL No. 1— Headquar-
ters, 233 Fifth avenue. President, F.
J. Harrington; Vice-President, J. H.
Mercer; Secretary, Harry Reiff; Treas-
urer, F. J. Barbin.
PHILADELPHIA LOCAL No. 2- -Head-
quarters,. 142 N. Eighteenth street
President, Walter Stumpflg; Vice-Presi-
dent, Edward A. Jeffries; Secretary.
Chas. H. Roth; Treasurer, John W.
Donnelly.
TENNESSEE.
MOTION PICTURE EXHIBITORS'
LEAGUE OF TENNESSEE— Headquar-
ters. Union City. President, Howell
Graham; Vice-President, W. H. Was-
serman : Secretary, W. C. Morris ; Treas-
urer, Frank Rogers.
WASHINGTON.
MOTION PICTURE EXHIBITORS'
LEAGUE OF WASHINGTON— Head-
quarters, Bremerton. President, A. B.
Campbell; Vice-President, J. L. Shanks;
Secretary-Treasurer, John Rantz.
WEST VIRGINIA.
MOTION PICTURE EXHIBITORS-
LEAGUE OF WEST VIRGINIA—
Headquarters, Moundsville, W. Va.
President, M. M. Weir, Charleston;
First Vice-President, R. L. Harris,
Parkersburg; Second Vice-President,
A. L. Cottrill, Point Pleasant; Secre-
tary L. R. Thomas, Moundsville;
Treasurer, P. W. Bannett, Parkersburg.
HUNTINGTON LOCAL No. 1— Head-
quarters, "It" Theater. President, R.
H. Karnes; Vice-President. J. A.
Burns; Secretary, C. A. Johnson:
Treasurer. Haskel Atkins.
CHARLESTON LOCAL No. 2— Presi-
dent, Stanley A. Piatt; Vice-President.
N. E. Murray; Secretary-Treasurer,
Gus. Bartrom.
WISCONSIN.
MOTION PICTURE EXHIBITORS'
LEAGUE OF WISCONSIN— Headquar
ters, Mozart Theater, Milwaukee, Wis,
President, Chas. H. Phillips ; First Vice
President, J. W. Clark; Secretary, D
K. Fisher; Treasurer, Henry S. Kleine,
MOTION PICTURE EXHIBITORS
LEAGUE OF MILWAUKEE— Head
quarters, 305 Enterprise Bldg., Mil
waukee. President, J. R. Freuler
Vice-President, H. S. Klein; Secretary,
B. N. Judell: Treasurer, T. Saxe.
Price for listing under this caption.
$1.00 for each classification.
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Ave.. New York. N. Y.
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GENERAL FILM COMPANY, 200 Fifth
Ave.. New York. N. Y.
GOLDEN STATE MOTION PICTURE
CO.. Los Angeles, Calif.
FILM MANUFACTURERS.
AMERICAN FILM MFG. CO., Ashland
Block, Chicago.
EDISON, INC., THOMAS A., Orange,
N. J.
ESSANAY FILM MFG. CO., 521 First
National Bank Bldg.. Chicago.
IT ALA FILM COMPANY OF AMERICA.
805 Columbia theater Bldg., New York,
N. Y.
KINEMACOLOR CO., 1600 Broadway,
New York, N. Y.
KLEINE, GEORGE, 166 N. State St..
Chicago, HI.
LUBIN MFG. COMPANY. Philadelphia,
Pa.
MAJESTIC MOTION PICTURE CO.,
New Rochelle, N. Y.
RELIANCE STUDIOS, 540 W. 21st St.,
New York, N. Y.
SELIG POLYSCOPE CO., 20 E. Ran-
dolph St. . Chicago.
THANHOUSER FILM CORPORATION.
New Rochelle. N. Y.
FRAMES— DISPLAY.
NEWMAN MFG. CO., 715 Sycamore St.,
Cincinnati, O.
LIGHT.
ENTERPRISE OPTICAL MFG. CO..
561 W. Randolph St., Chicago.
MAGAZINES.
PHOTOPLAY MAGAZINE. 608 Dearborn
St., Chicago, HI.
PROJECTING MACHINES.
EDISON, INC., THOMAS A., Orange,
N. J.
ENTERPRISE OPTICAL MFG. CO.. 564
W. Randolph St., Chicago.
RAW STOCK.
EASTMAN KODAK COMPANY. Ro-
chester. N. Y.
SEATING.
STAFFORD MFG. CO.. E. H., 218 So.
Wabash Ave.. Chicago. HI.
SUPPLIES.
AMUSEMENT SUPPLY CO.. 105 N.
Dearborn St., Chicago.
FULTON. E. E., 150 W. Lake St., Chi-
cago. HI.
The advertiser knows his ads are pulling if you tell him where you saw them.
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The YEAR'S FOREMOST
FEATURE PICTURE
ALONE
™E JUNGLE
In Two Sensational Reels
SELIG'S GREATEST WILD
ANIMAL MASTERPIECE
The Picture Without a Parallel
A vivid, gripping and fascinating romance of the
dangerous, animal-infested jungle lands of Africa —
teeming with extraordinary incidents and thrilling
situations.
Read the Review and Story in This Issue of Motography
SEE
Bessie Eyton in the most daring and dangerous role ever enacted by a motion
picture player. The remarkable lion hunt. The heroine's plucky swim for life
while nursued by blood-thirsty beasts. The hand-to-hand fight between man
and bej.st. The escape. The rescue etc., etc.
Released as a Special on June 14th.
MISS BESSIE EYTON
"ALONE IN THE JUNGLE"
SELIG NATURE REPRODUCTIONS LEAD THE FILM WORLD
June 9th— SWEENY AND THEJFAIRY— Comedy
June 10th— DAD'S LITTLE GIRL— Drama
June 11th— A ROSE OF MAY— Comedy Drama
June 12th— TBE FATE OF ELIZABETH— Comedy on reel with;
THE BIRTH OF A BUTTERFLY— Educational
June 13th— THE JEALOUSY OF MIGUEL AND ISABELLA—
Western Drama
June 16th— WHEN LILLIAN WAS LITTLE RED RIDING HOOD—
Juvenile Drama on reel with; SHOOTING THE RAPIDS
OF THE PAGSANJAN RIVER IN THE PHILIPPINE
ISLANDS— Educational
June 17th— TAMING A TENDERFOOT— Western Drama
June 18th— MRS. HILTON'S JEWELS— Drama
June 19th— THE GOLD BRICK— Comedy
June 20th— THE FIGHTING LIEUTENANT— Military Drama on
reel with; FANCY POULTRY— Educational
BRANCH OFFICES THROUGHOUT THE WORLD
►EXECUTIVE OFFICES: 20 E.RANDOLPH ST.
CHICAGO. ILL.,U.S.AJ
POLYSCOPE
COMPANY
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Released Tuesday, June 17th.
"Anonymous Love"
(A comedy sensation in black and white)
Released Wednesday, June 18th
"Hilda Wakes"
(One of those hilarious comedies that you like)
Released Thursday, June 19th
"The Rustler's Spur"
(A thrilling Western drama)
Released Friday, June 20th
"Fear"
(A drama that grips the heart and holds the
interest)
Released Saturday, June 21st
"'Alkali' Ike and the Hypnotist"
(The sanitarium is the place for anyone who does
not enjoy this.)
Released Wednesday, June 25th
"Easy Payments"
(A splendid drama of pathos)
Released Thursday, June 26th
"The Divided House"
(An unique comedy of merit.)
Released Friday June 27th
Witness "A-3 Center"
(A novel dramatic subject that pleases. )
Released Saturday, June 28th
"Broncho Billy's Strategy"
(A feature Western drama with G. M. Anderson.
m
"5
Released Monday, June 9th.
Released Monday, June 9th.
"The Final Judgment"
(In Two Parts)
A thrilling and sensational drama of the Klondike. A drama that grips
the heart and holds the interest from the first flash of the projector to the
last stirring scene of the play. It's marvelous. Special heralds are now
ready. $1.50 a thousand. Beautiful one, three and six-sheet posters can
be secured from your exchange or direct from us.
DEMAND THIS FEATURE.
a
The Most Artistic Posters Made ,are
■ by us.
distributed
Three-
sheet posters of all our Saturday releases will boom your business.
Posters are lithographed in full four colors, 35c each. You can
order these from your exchange or direct from Essanay Film Mfg. Co.,
521 First National Bank Bldg., Chicago. The public are wise. Demand
new, clean posters! Your lobby display will look attractive if you use
photographs of Essanay players, 8x10, $3 per dozen. You can secure
these from the Players' Photo Co., 177 N. State St., Chicago 111.
"P s^s^i/wcm Y^m MoirwIacUuinnCa.
|» 521 First National Bank Bldg.. Chicago, III. 1
■ ■ Factory and Studio. 1333 Argyle Street, Chicago, 111. ■
jj I^^MJ^^M^BMBBM Branch Offices in London. Paris. Berlin. Barrcl-ma ^■■■^■^^■■^^■^^^^
June 28, 1913
MOTOGRAPHY
Three Superb
Presentations
of Sentiment
and Pathos
L^^
Scene from
"Quicksands"
Quicksands
I In Two Reels
Featuring WARREN KERRIGAN in an intensely
interesting dramatic gem of allegory.
One, Three, Six-Sheet Posters and Heralds
MONDAY, JUNE 30, 1913
Pride of Lonesome
A beautiful sketch visualizing the psychological effect
of sweet femininity.
One and Three -Sheet Posters
THURSDAY, JULY 3, 1913
Tale of Death Valley
A daring intrigue perpetrated upon an innocent lover.
One and Three -Sheet Posters
SATURDAY, JULY 5, 1913
AMERICAN FILM MFG. CO.
6227-6235 Evanston Avenue, Chicago
Just say, "I saw it in MOTOGRAPHY." Thank you.
MOTOGRAPHY
Vol. IX, No. 13
HE 3^ 3^ 3^
HANHOUSER
HREE-A-WEEK
n
Sunday, June 15
The Head of the Ribbon
Counter
One of the store's "best customers" wanted
him discharged, another "best customer didn't.
Each threatened to withdraw her patronage if
the proprietor didn't accede to her wishes.
How the unhappy proprietor solved this funny
problem makes a happy story.
Tuesday, June 17
The Snare of Fate
(in 2 Reels)
Written by Lloyd F. Lonergan especially
for James Cruze and Flo La Badie, this feature
will make a hit with every Thanhouser fan of
standing. These film favorites have never been
seen to better advantage. Are you using the
new SIX SHEETS for this and our other
features?
Friday, June 20
No Release
Because of two-reeler of preceding Tuesday
Thanhouser Film Corporation
NEW ROCHELLE, N. Y.
COMING!— Sunday, June 22
The Eye of Krishla
In which Harry Benham does-another Eltinge stunt.
COMING!— All the time— to your lobby
The Thanhouser Playerposter
It solves the posterless-reel problem. Ask your
exchange man the cost.
COMING! Maude Fealy in
Ornamental
Theatres
PLASTER RELIEF DECORATIONS
Theatres Designed Everywhere
Write for Illustrated Theatre Catalog. Send us
Sizes of Theatre for Special Designs
THE DECORATORS SUPPLY CO.
2549 Archer Avenue, CHIC AGO, IL
King Rene's Daughter
Her motion picture debut. Fight for p | [OIPS A-T0-Z I SI
this one! Give your house the prestige Pocket Edition
of a big legitimate "stock" theater!
1 20 Pages
Illustrates, describes and prices everything used in or about the Motion
Picture Theatre and in the allied industries. Costs you nothing. Worth
its weight in gold.
E. E. FULTON
Tell the advertiser you saw it in MOTOGRAPHY.
-150-
W. LAKE STREET
CHICAGO
June 28, 1913 MOTOGRAPHY 7
^iiiiiiifiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiitijiiiiiiiiiiiiiiiiiiiiiiiitiiiiii'iiiiiniiitiiiiiiiiiiiiiiiiiiiiiiiiiiiiuiiiiiiiiiiiiiiiiiiuiiiinii|&
I The Peerless Orchestrion I
| Specially designed and created for Photo-Play E
= Theatres on account of its dimensions =
Model "Arcadian"
The name PEERLESS has come to be synonymous with Automatic Pianos and Orchestrions.
Fifteen years of concentration, organization and close study of the needs of a buying public have been the
means by which this end has been accomplished.
The instrument shown in this advertisement depicts our latest endeavor, and is one of the most successful
styles of the year on account of its adaptability to fit in any place where good music is desired.
Made by
PEERLESS PIANO PLAYER COMPANY
(F. Engelhardt & Sons, Proprietors)
Factories and General Offices: S. JOHNSVILLE, NEW YORK
NEW YORK
14-16 East 33d Street
CHICAO
316-138 South Wabash Avenue
^tiiiiiiiiiiiiiifiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiitiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiliiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiini-^
If you saw it in MOTOGRAPHY, SAY SO!
MOTOGRAPHY Vol. IX, No. 13
General Film Service
SCHEDULE OF MULTIPLE-REEL FEATURES
RELEASE OF SATURDAY, JUNE 21, 1913
"MARY STUART"
Edison, Three Reels
A magnificent production dealing with the life of Mary Stuart, Queen of France and Scotland and pre-
tender to the throne of England, one of the most dramatic chapters of history. Gorgeous costumes,
lavish staging and an especially strong cast, make the film a real masterpiece. It is historically accurate
in every detail and represents months of study and preparation. This is the picture about which Louis
Reeves Harrison said in the Moving Picture World of May 31st: "A beautiful spectacle, characterized by
exhaustive attention to detail and splendid acting, this photo-drama ranks with the best of its kind. • The
settings are admirably chosen, the Throne Room interior crowns the designer with glory, and the hand-
ling of those taking part in the large ensembles reflects great credit on the director."
RELEASE OF MONDAY, JUNE 23, 1913
"THE SNARE OF FATE"
Vitagraph, Three Reels
Edmund Marbury is in financial straits. His beautiful daughter, Marion, is betrothed to Ralph, son of
Andrew Mason, a financier. The elder Mason also loves Marion and plots with Mrs. Marbury, to break
off the engagement with Ralph. The latter is despatched to Africa on an alleged important mission and the
road is clear for the working out of his father's plan. Marion and Mason are married. Although Mason's
wealth has helped him out of his difficulties, Marbury sickens and dies. Later, Ralph, all oblivious of what
has transpired, returns and a violent quarrel with his father ensues. He leaves the house in a rage. Mean-
while, in the chamber overhead, a child is being brought into the world. As Mason sits brooding over
his son's departure, the doctor enters and tells him that the child and Marion are dead. A few minutes
later, when the grief-stricken Mrs. Marbury comes to talk with Mason she finds him dead. Thus she is
left alone to suffer the consequences of her own selfishness.
RELEASE OF WEDNESDAY, JUNE 25, 1913
"THE STRUGGLE"
Kalem, Two Reels
A powerful story of Capital and Labor, with the principal scenes set in a great iron mill. It involves Master-
son, the mill owner, Mooney, his domineering superintendent, Jimmie Blake, a worker; Maggie, his sister
and "Bat" Thomas, Maggie's lover. The workers, smarting under Mooney's driving, go on strike. The mill
is fired and "Bat" and the others figure in some thrilling rescue work. In the end Masterson proves that his
heart is in the right place and makes the "hit" of his career by announcing "Bat" as the new superintendent.
RELEASE OF FRIDAY, JUNE 27, 1913
"A VILLAIN UNMASKED"
Eclipse-Kleine, Two Reels
Robert West, leader of a band of counterfeiters, woos a Mrs. Foster, a beautiful widow. Gilbert Foster, the
son, none too well pleased over the prospect of his mother marrying again, becomes suspicious of West and,
in time, finds him out. Gilbert realizes that he cannot expose West without breaking his mother's heart,
but when West will not promise to give up the idea of wedding Mrs. Foster, the boy appeals to the
police and West is arrested the evening before the ceremony was to take place.
June 28th "THE TRAPPER'S MISTAKE" Pathe-play, Two reels
June 30th "THE PENALTY OF CRIME"- Lubin, Two reels
July 2nd "THE TIGER LILY" Vitagraph, Two reels
July 4th— "SHENANDOAH" Kalem, Three reels
July 5th~ "THE MINER'S DESTINY" -Pathe-play, Two reels
July 7th— "THE FORBIDDEN WAY" Essanay, Two reels
July 9th "A HERO AMONG MEN" Lubin, Two reels
July 11th "HONOR THY FATHER" Cines-Kleine, Two reels
If you like MOTOGRAPHY, tell the advertiser so.
June 28, 1913 MOTOGRAPHY
General Film Service
Quality Films : Reasonable Prices : Efficient Service
There is something refreshingly different about
the pictures furnished in General Film Serv-
ice. The comedies are really humorous, and
they do not offend. The " Western" and "War"
films are thrilling and full of life, but they aren't
"bloody" to the gruesome extreme. The dramas
tell a real, interesting story, most times with a
moral, and contain nothing suggestive or objec-
tionable. The "scenics" show the beauty spots
of the world that you and your patrons could
never see otherwise. The distinction between the
films in General Film Service and others is just
the difference between knowing how to produce
and distribute the sort of pictures that exhibitors
want and the public likes, and guessing. And
the cost of the service is surprisingly low, con-
sidering its evident superiority. Right now is
the best time to investigate. Just tell us you're
willing to be convinced and we'll lose no time
producing the proof.
Send for booklet "General Film Service."
GENERAL FILM COMPANY
200 Fifth Avenue, NEW YORK
Distributing Offices Everywhere
The advertiser knows his ads are pulling if you tell him where you saw them.
10
MOTOGRAPHY
Vol. IX, No. 13
BUY THIS BOOK
"MOTION
PICTURE
WORK"
By DAVID S. HULFISH
618 Pages, Including Index
Price $4.00
THIS BOOK is
invaluable for ref-
erence and instruc-
tion to the thousands
of workers in the motion picture field. Covers
fully the three big branches of the motion
picture business; the making of the pictures,
the operation of all standard types of projecting
machines, and the operation of the moving
picture theater. The drawings, diagrams, and
photographs used have been prepared espe-
cially for this work and their instructive value is
as great as the text itself.
PARTIAL TABLE OF CONTENTS
The Optical Lantern: Elements — Lamp — Lamp:House
— Condensers — Adjustments — Emergency Projection — ■
Slide Carrier — Dissolving Lanterns — Shutters — Slide Align-
ment — Motion-Head Lanterns — Lenses — Lens Tables —
Calculations — Focusing — Remedy for Errors — Lantern
slides. Motion Head: Portrayal of Motion — Optical System
— Types of Shutters — Film Gate — Film Shift Mechanisms
— Continuous Projection — Threading up Motion Head — Feed
— Rewind — Films — Care — Shipment — Operator's Duties.
Specific Projecting Machines: Edison Kinetescope — Motio-
graph — Power's Cameragraph — Pathe's Professional Model —
Standard — American — Selig Polyscope — Edengraph — Lu-
bin Projector. Talking Pictures: Problems — Synchronism of
Phonograph and Picture Machine — Unitary or Dependent Ma-
chines — Synchronous Motors — Greenbaum Device — Cine-
phone — Limitations. Color Pictures: Mechanical — Color-
Photography — Urban-Smith Kinemacolor Process — Operation
— Friese-Green Process. Film Manufacturers.
Fixed Camera Photography: Theory — Lenses — Shutter —
Darkroom — Camera Operation — Image Production — Prin-
cipal Object — Background — Recording Image — Dry Plates
— Exposure — Corrections — Development — Printing — En-
largements — Lantern Slides — Panoramas — Telephotography
- Colored Photographs. Motography: Product Desired —
Classes — Historical — Methods of Production — Author —
Plot — Scenario — Tricks — Producer — Studios — Actors —
Production — Selling Films — Factory Methods — Manufacture
of Films_ — Camera Management — Development — Printing
— Coloring — Buying Equipment — Methods — Trick Pictures.
Operating Motion-Picture Theaters: Value of Good Manage-
ment — Competition — Starting a Theater — Location — Fi-
nancing — Building — Specimen Expense Sheet — Interior De-
tails — Country Theater — Air-dome — Managerial Suggestions
— Accounts — Dull Season — Side Lines.
Our Price in United States, Cuba and Mexico,
$4.00 with a year's subscription to
MOTOGRAPHY
Electricity Magazine Corporation
Monadnock Building Chicago, Illinois
If we are to prepay charges, send 40c additional
EASTMAN
motion picture
film— the acknowl-
edged standard the
world over.
Manufactured by
EASTMAN KODAK CO.,
ROCHESTER, N. Y.
Send for Our Special Price List on
SUPPLIES AND MACHINE REPAIRS
NEW MACHINES OF ALL MAKES
WE BUY AND SELL USED MACHINES
AMUSEMENT SUPPLY COMPANY
Largest M. P. Supply House in U. S.
107 D. No. Dearborn Street. CHICAGO. ILL.
IMMEDIATE SHIPMENT
Ask for Catalog No. 307
E. H. STAFFORD MFG. GO.
218 South Wabash Ave.
CHICAGO, ILLINOIS
We make Lodg:e, Church and School furniture
CHAIRS OF ALL KINDS
TO
THE
TRADE
Negatives developed
.
.
1 c per ft.
Positives printed and
developed (including tinting)
5c per it.
Titles
-
...
8c per ft.
Highest Qua
ity — Lowest P
■ices — Prompt Deliveries
What More Can We Offer?
COMMERCIAL
MOTION
PICTURES
CO. (Inc.)
102 West 101st St.,
N. Y.
River 8724
Get the habit, say you saw it here.
June 28, 1913 MOTOGRAPHY 11
■■■■■KHHaHaBiHKaaflBflHnaHaHaH^IIHl^nHliHHBHi^H^lHHnHHBI^
Are You in the Moving-Picture Business?
Then your advertisement should be in the next issue of
MOTOGRAPHY
We will distribute copies of the next issue of MOTOGRAPHY
to everyone interested in the motion-picture industry at the
3rd Annual Convention
of Moving-Picture Exhibitors
in New York, July 7th to 12th, inc.
This free distribution will be in excess of our regular mailing.
YOU GET THE BENEFIT
Your ad copy should reach us before July 1st to get in this
big number. Reserve your space NOW.
The trade paper is the keystone of the advertising arch,
it must be used to create a favorable impression among the
men who are expected to recommend and sell as well as among
those who will buy, and to familiarize THEM with the
article advertised.
Address
MOTOGRAPHY
MONADNOCK BUILDING
CHICAGO, ILLINOIS
It you saw it here tell the advertiser.
12
MOTOGRAPHY
Vol. IX, No. 13
RELIANCE.
GREAT DRAMAS
'OUSAUTHO'
p4ho..cBAT>TnOf*S
RELIANCE.
THREE ARTISTIC PRODUCTIONS
RC^^T\*OT
-^SATURDAY JUNE 28tt^-
The Beautiful Emotional Actress
ROSEMARY THEBY
IN-
««
THE TANGLED WEB
A Powerful Drama of Love, Hatred and Revenge
BY GARFIELD THOMPSON
In Three Reels and Seventy -Nine Scenes
Special 1, 3 and 8-Sheet Posters
99
ITU
Al
FEATURING THE
SEI
RELIANCE FAMOUS PLAYERS
RELIANCE.
MEW YORK STUDIO
5A-0 WEST 21 %7
STREET
RELIANCE.
M. P. Theater List
We have a correct list of
all the Motion Picture The-
aters in the United States
and Canada. These ad-
dresses are in stencil and
are quickly available for
commercial uses. The price
of the complete list deliv-
ered into your hands is
$50.00. Cash with order.
Electricity Magazine Corporation
Monadnock Bldg. ; : CHICAGO, ILL.
YOUR AUDIENCE
IS; YOUR CENSOR
The approval of your Board of Censorship
may control the character of your films, but
they will not be acceptable to your audience
unless they are projected with a clearness
of detail that brings out the story correctly
in lights and shades.
pausclT|oml>
projection [enses
throw true to life, brilliantly clear, sharply defined
pictures on the screen.
Equip your machine with Bausch and Lomb object-
ives and condensers and reap the benefit that comes
from increased patronage.
The Edison and Nicholas Power Machines are
regularly equipped with our lenses. They can be
procured also through any film exchange.
Our free booklet is of interest and value to owners
and operators.
Write for it today
Bausch & Ipmb Optical (o.
567 ST. PAUL STREET ROCHESTER, N.\E
Binder Closed
Save Your Motography
For Future Reference
By special arrangement with the
manufacturer, we have been able to
secure the only practical magazine and
periodical binder on the market. We
refer to the
Dowst
Magazine Binder
which binds one issue, a dozen issues
or more with a neat book appearance.
This binder has no springs, catches,
strings, clamps, laces or locks, and
does not mutilate the periodical in the
slightest manner.
No mechanical labor necessary.
Simple. Practical. Durable.
A Positive Guarantee
The manufacturers guarantee to us that
every binder is thoroughly tested before it is
delivered, and a further guarantee that it
will simply and practically accomplish
everything claimed for it.
Binder Open
Send for Illustrated Pamphlet
MOTOGRAPHY 1460 Monadnock Block, CHICAGO, ILL.
Just say, "I saw it in MOTOGRAPHY." Thank you.
June 28, 1913 MOTOGRAPHY 1J
Exhibitors'' Opportunity
To See The Latest
KINEMACOLOR
Dramatic-Comedy-Scenic-Fashion and Topical Productions
At The
3rd ANNUAL CONVEN-
TION AND EXPOSITION
July 7th -12th
In The Special
Kinemacolor Theatre
Near Main Entrance (Mezzanine Floor)
fcfc
Seeing is Believing"
Mechanical Display Showing New In-
ventions, Including 35 Ampere Machine
m
the
Kinemacolor Booth
Center Aisle, Main Floor
Make a memo to visit it
If you saw it here tell the advertiser.
14
MOTOGRAPHY
Vol. IX, No. 13
The Approved Machine for Motor Drive
The MOTIOGRAPH Motor Drive Machine
(known as No. 1002 Chicago) has heen approved ior use in Chicago — New York — Boston — Philadelphia and other
large cities, and by The National Board of Fire Underwriters.
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Have you examined our Motor Drive? Our constant speed, fully enclosed motor is lar ahead of the old variable speed
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Visit our booth at the big show in New York City in July, and get acquainted
League Directory
CALIFORNIA.
■MOTION PICTURE EXHIBITORS'
LEAGUE OF CALIFORNIA— Head-
auarters. Pacific Bldg.. San Francisco.
President, Chas. Rothschild; Vice-Presi-
dent, A. R. Oberle; Secretary. W. A.
Cory; Treasurer, N. K. Herzog.
SAN FRANCISCO LOCAL No. 1— Head-
quarters, Assembly Hall. President,
Chas. Rothschild; Vice-President, A. R.
Oberle; Corresponding Secretary, W. A.
Cory; Financial Secretary, K. Herzog;
Treasurer, Max Schirpser.
DISTRICT OF COLUMBIA.
MOTION PICTURE EXHIBITORS'
LEAGUE OF THE DISTRICT OF
COLUMBIA — Headquarters, Bank of
Commerce Bldg., Washington, D. C.
President, W. P. Herbert; Vice-Presi-
dent, Iva La Motte; Secretary, Fulton
BrylawBkl; Treasurer, A. C. Joy.
FLORIDA.
MOTION PICTURE EXHIBITORS'
LEAGUE OF FLORIDA— Headquarters.
Tampa. President, E. F. Tarbell; Sec-
retary. Scott Leslie; Treasurer, Wm.
Sipe.
ILLINOIS.
ILLINOIS STATE BRANCH No. 2—
Headquarters, Schiller Bldg., 64 W.
Randolph street, Chicago, 111. Presi-
dent, J. A. Alcock: Vice-President,
C. A. Anderson; Secretary, Sidney
Smith; Treasurer, Wm. J. Sweeney;
Financial Secretary. Miss Sarah Colson.
SOUTHERN ILLINOIS LOCAL No. 1—
President, Thos. Leouard, Johnson City;
Vice-President, Albert Loy, Murphys-
boro; Secretary, W. P. Phelps, Sparta;
Treasurer, E. W. Atkins, Carbondale.
INDIANA,
ters. Saks Bldg., Indianapolis, Ind.
President, Dr. J. M. Rhodes; Vice-
Presidents, Philip Skera, Sprague
Green, John Trulock, H. L. St. Clair,
C. E. Cole; Secretary, Ed. J. Addy;
Treasurer, A. C. Zaring.
INDIANAPOLIS LOCAL No. 1 — Head-
quarters, 410 Saks Bldg. President,
John A. Victor; First Vice-President,
F. W. Sanders; Second Vice-President,
M. M. Miller; Secretary. E. J. Addy;
Treasurer, J. M. Rhodes.
IOWA.
MOTION PICTURE EXHIBITORS'
LEAGUE OF IOWA — Headquarters,
420 Clapp Block, Des Moines. Presi-
.dent. J. L. O'Brien; Vice-President, J.
:S. Bassett; Secretary, Fred W. Young;
Treasurer, J. L. Tierney.
KANSAS.
MOTION PICTURE EXHIBITORS'
LEAGUE OF KANSAS— Headquarters,
Kansas City. President, C. E. Gla-
mann; Vice-President, Carl Menslng;
Secretary, Geo. McCrum; Treasurer,
Jack Brainerd.
KENTUCKY.
MOTION PICTURE EXHIBITORS'
LEAGUE OF KENTUCKY— Headquar-
ters, Lexington, Ky. President, J. H.
Stamper, Jr., Lexington; First Vice-
President, L. J. Dittmar, Louisville;
Second Vice-President, Sherman Arn,
Maysville; Secretary, L. H. RamBay,
Lexington; Treasurer, A. J. Wellman.
Cattletsburg.
LOUISVILLE LOCAL No. 2— President,
L. J. Dittmar; Vice-President, Irwin
Simmons; Secretary, Max L. Simmons;
Treasurer, Jos. Stenerle.
LOUISIANA.
MOTION PICTURE EXHIBITORS'
LEAGUE OF LOUISIANA— Headquar-
ters, Shreveport. President, D. L. Cor-
nelius; Vice-President, C. B. Ander-
son ; Secretary, E. V. Richards, Jr. ;
Treasurer, C. W. Perry.
MASSACHUSETTS.
MOTION PICTURE EXHIBITORS'
LEAGUE OF MASSACHUSETTS—
Headquarters, 700 Washington street,
Boston. President, Jos. Mack; Vice-
President, Chas. Hodgdon; Secretary,
Alden Washburn; Treasurer, S. H.
Bunce.
MICHIGAN.
MOTION PICTURE EXHIBITORS'
LEAGUE OF MICHIGAN— Headquar-
ters, 247 Medbury avenue, E., Detroit,
Mich. President, Carl Bay, Muske-
gon; First Vice-President, B. L. Con-
verse, Owosso; Second Vice-President,
J. J. Rieder, Jackson; Third Vice-
President, G. R. Durkee, Saginaw,
Secretary,. W. Lester Levy, Detroit;
Treasurer, H. F. Fowser. Lansing.
DETROIT LOCAL No. 1— Headquarters,
399 Hibbard avenue, Detroit, Mioh.
President, Peter J. Jeup; Vice-Presi-
dent, August Kleist; Secretary. W.
Lester Levy; Treasurer. Fred W. Rumler.
MINNESOTA.
MOTION PICTURE EXHIBITORS'
LEAGUE OF MINNESOTA— Head-
quarters, 1403 E. Franklin avenue,
Minneapolis. President, Otto N. Raths,
St. Paul; Vice-President, Thos. Fur-
niss, Duluth; Secretary, E. F. Purdee,
Minneapolis; Treasurer, H. A. Sherman,
Minneapolis.
MISSOURI.
MOTION PICTURE EXHIBITORS'
LEAGUE OF MISSOURI— Headquar-
ters, 413 Gloyd Bldg., Kansas City.
Mo. President, G. H. Wiley; Vice-
President, H. N. Morgan; Secretary,
E. L. Welch; Treasurer, J. S. Tillman.
NEBRASKA.
MOTION PICTURE EXHIBITORS'
LEAGUE OF NEBRASKA— Headquar-
ters, Omaha. President, W. F.
Stoecker; Vice-President, P. L. Mc-
Carthy; Secretary, E. C. Preston;
Treasurer, W. A. Walden.
NEW JERSEY.
MOTION PICTURE EXHIBITORS'
LEAGUE OF NEW JERSEY— Head-
quarters, 734 DeMott St., W. Hoboken,
N. J. President, George A. Robinson;
Vice-President, W. A. Daley; Secretary,
P. M. Kirschner; Treasurer, C. Fred
Ruhlman.
NEW YORK.
MOTION PICTURE EXHIBITORS'
LEAGUE OF NEW YORK— Headquar-
ters, 136 Third avenue. New York.
President. Sam H. Trigger, New York;
First Vice-President. B. E. Cornell.
Syracuse : Second Vice-President, R.
Davidson, Binghamton ; Secretary, H.
W. Rosenthal, New York; Treasurer.
John C. Davis. Saugerties.
MOTION PICTURE EXHIBITORS'
LEAGUE OF GREATER NEW YORK
— Headquarters, 136 Third avenue,
New York City. President. Samuel H.
Trigger; Vice-President, T. E. Sam-
uels; Secretary, Sydney Ascher; Treas-
urer, Grant W. Anson.
NEW YORK LOCAL No. 2— President,
Geo. F. Wright, Albany: First Vice-
President. E. O. Weinberg. Troy;
Second Vice-President, L. C. Smith,
Schenectady; Secretary. J. E. Weid-
man. Albany; Treasurer. J. C. Ro-
senthal, Troy.
OHIO.
MOTION PICTURE EXHIBITORS'
LEAGUE OF OHIO.— Headquarters.
1003 Mercantile Library Bldg.. Cincin-
nati. Ohio. President. M. A. Neff.
Cincinnati; First Vice-President, O. B.
Weaver, Dayton; Second Vice-Presi-
dent, Dr. W. V. Prentice, Toledo;
CLEVELAND LOCAL No. 1— Headquar-
ters, 711 Columbia Building, Cleve-
land, O. President, S. E. Morris;
First Vice-President, A. Mahrer; Sec-
ond Vice-President. C. F. Schroeder;
Secretary, A. P. Anthony: Treasurer.
F. M. Kenney; Assistant Secretary.
Geo. Heimbach.
CINCINNATI LOCAL No. 2— Head-
quarters. 1003 Mercantile Library
Building, Cincinnati. Ohio Presi-
dent, J. J. Huss; First Vice-President,
A. J. Carbin; Second Vice-President,
M. Fishman; Secretary, A. C. Dongel-
stedt; Treasurer, Otto Ludeking.
TOLEDO LOCAL No. 3— President, Dr.
Walter V. Prentice; Vice-President, O.
L. Brailey; Secretary, J. B. Gardner;
Treasurer, W. O. Bettls.
COLUMBUS LOCAL No. 4— Headquar-
ters, Hotel Star. President, J. A.
Maddox; First Vice-President, W.
H. Belknap: Second Vice-President,
J. W. Swain: Secretary. W. R. Wilson;
Treasurer, Max Steam.
DAYTON LOCAL No. 5— Headquarters,
25 Pruden building, Dayton. O. Pres-
ident, R. J. Kastl; First Vice-Presi-
dent W. J. Stillwell; Second Vice-
President, G. E. Fink; Secretary, Her-
man Lehman; Treasurer, W. Rayner.
TROY LOCAL No. 6— President, J. H.
Johnson; First Vice-President, J. \V.
Newman, Piqua: Second Vice-Presi-
dent, Howard Pearson ; Secretary, Fred
Adams, Tippecanoe; Treasurer, Cyrus
Sliafer. Piqua.
SANDUSKY LOCAL No. 7— President,
J. D. Kessler; Vice-President, E. P.
Richart. Port Clinton: Secretary, W.
E. Higgins; Treasurer, Chas. Reark.
PENNSYLVANIA.
MOTION PICTURE EXHIBITORS'
LEAGUE OF PENNSYLVANIA—
Headquarters, 233 Fifth avenue, Pitts-
burgh, Pa. President, Walter Steum-
pflg: First Vice-President. Cresson E
Smith: Second Vice-President, -G. C.
Miller; Secretary, Chas. Roth; Treas-
urer, F. J. Barbin.
PITTSBURG LOCAL No. 1— Headquar-
ters. 233 Fifth avenue. President. F.
J. Harrington; Vice-President, J. H.
Mercer; Secretary, Harry Reiff; Treas-
urer, F. J. Barbin.
PHILADELPHIA LOCAL No. 2- -Head-
quarters,. 142 N. Eighteenth street
President, Walter Stumpflg; Vice-Presi-
dent, Edward A. Jeffries; Secretary,
Chas. H. Roth; Treasurer, John W.
Donnelly.
TENNESSEE.
MOTION PICTURE EXHIBITORS-
LEAGUE OF TENNESSEE— Headquar-
ters, Union City. President, Howell
Graham; Vice-President, W. H. Was-
serman; Secretary, W. C. Morris ; Treas-
urer, Frank Rogers.
WASHINGTON.
MOTION PICTURE EXHIBITORS'
LEAGUE OF WASHINGTON— Head-
quarters, Bremerton. President, A. B.
Campbell; Vice-President, J. L. Shanks;
Secretary-Treasurer, John Rantz.
WEST VIRGINIA.
MOTION PICTURE EXHIBITORS'
LEAGUE OF WEST VIRGINIA—
Headquarters. Moundsville, W. Va.
President, M. M. Weir, Charleston;
First Vice-President, R. L. Harris,
Parkersburg; Second Vice-President,
A. L. Cottrill, Point Pleasant; Secre-
tary L. R. Thomas, Moundsville;
Treasurer, P. W. Bannett, Parkersburg.
HUNTINGTON LOCAL No. 1— Head-
quarters, "It" Theater. President, R.
H. Karnes; Vice-President, J. A.
Burns; Secretary, C. A. Johnson:
Treasurer. Haskel Atkins.
CHARLESTON LOCAL No. 2— Presi-
dent. Stanley A. Piatt; Vice-President.
N. E. Murray; Secretary-Treasurer,
Gus. Bartrom.
WISCONSIN.
MOTION PICTURE EXHIBITORS'
LEAGUE OF WISCONSIN— Headquar-
ters, Mozart Theater, Milwaukee, Wis.
President, Chas. H. Phillips; First Vice-
President, J. W. Clark; Secretary, D.
K. Fisher; Treasurer, Henry S. Klelne.
MOTION PICTURE EXHIBITORS'
LEAGUE OF MILWAUKEE— Head-
quarters. 305 Enterprise Bldg., Mil-
waukee. President, J. R. Freuler:
Vice-President, H. S. Klein; Secretary.
B. N. Judell; Treasurer, T. Saxe.
WHERE TO BUY
Price for listing under this caption.
$1.00 for each classification.
BOOKS.
ELECTRICITY MAGAZINE CORPORA-
TION. Monadnock Blk., Chicago.
DECORATORS.
DECORATORS SUPPLY CO., THE. 2549
Archer Ave.. Chicago, m.
DEVELOPING AND PRINTING.
COMMERCIAL MOTION PICTURES CO.,
102 W. 101st St.. New York, N. Y.
FILM DISTRIBUTORS.
GENERAL FILM COMPANY, 200 Fifth
Ave.. New York, N. Y.
FILM FEATURES.
GENERAL FILM COMPANY, 200 Fifth
Ave.. New York, N. Y.
FILM MANUFACTURERS.
AMERICAN FILM MFG. CO.. Ashland
Block, Chicago.
DIRECTORS FILM CORPORATION, 102
W. 101st St., New York, N. Y.
ESSANAY FILM MFG. CO., 521 First
National Bank Bldg., Chicago.
ITALA FILM COMPANY OF AMERICA,
805 Columbia theater Bldg., New York,
N. Y.
KINEMACOLOR CO., 1600 Broadway,
New York, N. Y.
KLEINE, GEORGE, 166 N. State St..
Chicago, 111.
LUBIN MFG. COMPANY, Philadelphia,
Pa.
RELIANCE STUDIOS. 540 W. 21st St.,
New York. N. Y.
SEL1G POLYSCOPE CO., 20 E. Ran-
dolph St., Chicago.
THANHOUSER FILM CORPORATION.
New Rochelle. N. Y.
LENSES.
BAUSCH & LOMB OPTICAL CO., 567
St. Paul St., Rochester, N. Y.
LIGHT.
ENTERPRISE OPTICAL MFG. CO.,
564 W. Randolph St., Chicago.
ORCHESTRIONS.
PEERLESS PIANO PLAYER CO., St.
Johnsville, N. Y.
PROJECTING MACHINES.
ENTERPRISE OPTICAL MFG. CO.. 564
W. Randolph St., Chicago.
RAW STOCK.
EASTMAN KODAK COMPANY. Ro-
chester, N. Y.
SEATING.
STAFFORD MFG. CO., E. H., 218 So.
Wabash Ave., Chicago, HI.
SUPPLIES.
AMUSEMENT SUPPLY CO., 105 N.
Dearborn St., Chicago.
FULTON, E. E„ 150 W. Lake St., Chi-
cago, 111.
LBFe'U
If you like MOTOGRAPHY, tell the advertiser so.
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Another Startling Selig ■
Feature
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A WILD
RIDE
IN TWO THRILLING REELS
An Exciting Story of Frontier Life in South Africa,
featuring a girl's ride on an Ostrich
Savage Zulus attack and burn the isolated house of an ostrich rancher. The
daughter (Bessie Eyton) escapes and makes a wild and daring ride on the back
of an ostrich to a distant military post to summon help. Romance, drama,
thrills and excitement mark this feature as one of the season's best.
Released As A Special July 12th. Book It To-day
SELIG'S HOT WEATHER BUSINESS
m GETTERS =
June 23rd— THE KENTUCKY DERBY— At Churchill Downs.
Topical review of the great annual horserace.
June 24th— THE MARSHALL'S CAPTURE.
Strong western drama of exceptional merit.
June 25th— PAPA'S DREAM— Delightful comedy— on split reel
with THE CITY OF GOLD— Educational travelogue.
June 26th -WHEN MEN FORGET.
Intense drama teaching strong moral.
June 27th— A WESTERN ROMANCE.
Western story of unique theme and clever action.
June 30th— THE BEADED BUCKSKIN BAG.
Historical romance of early California life.
July 1st— SONGS OF TRUCE— Appealing drama of the blue and
the gray. Excellent for 4th-of-July feature.
July 2nd— ARABIA AND THE BABY — Another crackerjack
equine comedy. On split reel with THE SULTAN
OF SULU — Educational.
July 3rd— IN GOD WE TRUST— Drama of Christmas Eve.
A bully picture.
July 4th— SALLIES SURE SHOT.
Gripping drama of the west.
I
| Coming: "THE NE'ER-TO-RETURN ROAD" 0" T"c Way
□
BRANCH OFFICES THROUGHOUT THE WORLD
•EXECUTIVE OFFICES : 20 E.RANDOLPH ST.
CHICAGO. ILL..U.SA
POLYSCOPE
COMPANY
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Released Tuesday, July 1st
"Re-tagged"
"The Drummer's Umbrella"
(Two corking comedies)
Released Wednesday, July 2d
"The Strongest Link"
(A feature dramatic subject)
Released Thursday, July 3d
"The Life We Live"
(A thrilling Western drama)
Released Friday, July 4th
"What's the Matter With Father?"
(A splendid comedy. Demand this)
Released Saturday, July 5th
"At the Lariat's End"
(A gripping drama of the West)
Released Tuesday, July 8th
''The Daughter of the Sheriff"
(A Sensational Western drama)
Released Wednesday, July 9th
"The Outer Shell"
(A drama of power and passion)
Released Thursday, July 10th
"A Flurry in Diamonds "
(An eccentric comedy that pleases)
Released Friday, July 11th
"The Sign"
(A strong drama that your audience will like)
Released Saturday, July 12th
"Broncho Billy and the Western
Girls"
(A thrilling Western drama with G. M. Anderson)
n
Released Monday, July 7th.
Released Monday, July 7th.
"The Forbidden Way"
(In Two Parts)
" THE FORBIDDEN WAY " sounds the depths of human emotions. It's a gripping and
thrilling melodrama of the underworld. A splendid photoplay that throbs with strong
sentiment and powerful pathos. Its powerful portrayal of character and its masterly
presentation of scenes from the criminal haunts of a great city play upon the heart
strings of human emotions with an eloquence of appeal that rends the
mm
f&v?
very soul
your one,
from us.
Demand this! Special heralds now being prepared. Order
three and six-sheet posters from your exchange or direct
The Public Are Wise — Demand New Clean Posters
THREE SHEET POSTERS of all our Saturday releases will boom your business.
Posters are lithographed in full four colors, 35c each. You can order these
from your exchange or direct from Essanay Film Mfg. Co., 521 First National
Bank Bldg., Chicago. Your lobby display will look attractive if you use photo-
graphs of Essanay players, 8x10, $3.00 per dozen. You can secure these from
the Players' Photo Co., 177 N. State St., Chicago, 111.
/
$8tSL
£21
mm
VN
ir\^
T1 S/S/0/WOW4 Y^tM Mom*laditfto\qCa.
521 First National Bank Bldg., Chicago, 311.
Factory and Studio, 1333 Argyle Street, Chicago, 111.
Branch Offices in London. Paris. Berlin. Barcelona
fmai
Live Music Archive
Librivox Free Audio
Metropolitan Museum
Cleveland Museum of Art
Internet Arcade
Console Living Room
Books to Borrow
Open Library
TV News
Understanding 9/11