Wisconsin Center for Film and Theater Research - / n ^ JSCONSTN" CENTER FOR saHTgaea' '.'J ' ; . i9i b ^OrGl.J ork ; . ;r. 101 "70I p^jCSTb fits ork jire V. jr . 13.; PRQiXTCT features alfa prev.yr. 107 "tb />y>l % HIATOKT outstanding news 69 headlines Y/id s daily '19, IiIT2Rt!ATI QlliL imports & exports 101 exports 1913-1911 101 DIATEIBUTIOU '/Sages state rights 105 indie exchanges,product 11 TliSAPRSA chain situation (article) So JAN31 ’32 9 William S. Hart oArtcraft Pictures To WID: DOUGLAS FAIRBANKS f Lois Weber LOIS WEBER MAURICE TOURNEUR Director THE MAURICE TOURNEUR PRODUCTIONS “SPORTING LIFE”-“WOMAN”-“MY LADY’S GARTER” Marshall A. Neilan ANNOUNCES His First Independent Production “THE UNPARDONABLE SIN” \ By Major Rupert Hughes Starring MISS BLANCHE SWEET Supported by a Typical Neilan Cast Personally Directed by Mr. Neilan and » Produced by His Same Organization Which Made “Rebecca of Sunnybrook Farm” “Out of a Clear Sky” “Amarilly of Clothesline Alley” “Three Men and a Girl” “M’Liss” and “Stella Maris” with Marguerite Clark, etc., during with Mary Pickford the past two years. For particulars address Harry I. Garson, Aeolian Hall, New York . .. " +■ . ' ' .'•»*»’ • > y.’X: ik- **^4-..*^ .. - .. . • - * Allan Dwan M. P. D. A. ‘Producer of Manhattan Madness Modern Musketeer Headin' South Mr. Fixit Bound in Morocco He Comes Up Smiling has severed his connection with Douglas Fairbanks and will produce independently I jl Elsie Ferguson Art craft Star 9 I GEORGE D. BAKER DIRECTOR OF PRODUCTIONS Metro West Coast Studio Releases directed by Mr. Baker \ V- The Tarantula, with Edith Storey and Antonio Moreno The Pretender, with Emmy Wehlen The Shell Game, with Emmy Wehlen The White Raven, with Ethel Barrymore His Father’s Son, with Lionel Barrymore The Wager , with Emily Stevens Outwitted, with Emily Stevens The Demon, with Edith Storey 1ft Toys of Fate, with Nazimova | Revelation, with Nazimova ALICE BRADY 1111111 mi 11 h 111 n mu 111 • 1111 ii 11 ii.t .o r:i m ii 1111 ii 11111 iimiiiiiiiiimi >iimi Miitif 111 mi 111 in 111 itm i n 111 m 11 m i ii i 1111 • 11111 n 111 m 1111111 n 1111111111111111111111111111111111111111111111 < 11 it 1111111111 ■ 1111111111 u i t t m i u 111 r 111111 • 111111 m m 111 11 1 1 ..mini.. 1 1 1111 11 1 1 1 111 1 n 111 1 11 1 n 1 11 1 1 11 11 11 1 1 rm ru i m n in i min tn in i mi i m ittint i n 1 1 11 u u u 1 111 1 1 11 1 11 1 1 ti 11 itniiii 111 mi itiiiittiitmiiiimtitiiminiiiiciirmii >. i ■ iinmimn iiiirriiimmn* Charles Giblyn I M. P D. A. DIRECTOR OF FEATURE PRODUCTIONS Permanent Address: 112 Riverside Drive, New York Telephone,—Schuyler 2056 or Friars Club, N. Y. C. 11111111111111111111111111111111111111111111111111111111111111111111111111111111111 iiiiiiiiiii mmmiimiiimiiiiiimiimiimimmmmiiimmimmtiiiimmuimiuimmmuiimimiiiiiiiumitmuiiuuiumuuuiummmiimimiiiiiin - ... ") CHARLES RAY , . - - I % t'i • Waa iMi? HOBART HENLEY M. P. D. A. Director of "LAUGHING BILL HYDE" The REX BEACH story in which WILL ROGERS starred (You Have Read the Reviews) NOW DOING ANOTHER REX BEACH STORY « for GOLDWYN Which Makes SEVENTH Consecutive Goldwyn Production Reginald Barker M. P. D. A. Just Completing Fourth Special Production Starring Geraldine Farrar for GOLDWYN S' «!!!!!!!!!!!!!!!!!!!! ! !S ! !!!=!!!=^ § Kegards to Wid from Fannie Ward 205 South New Hampshire St. Los Angeles, California = = ii = = = TiiiiiiiiniiiiiiiiiniiiiuiiiitiMiuiiiiiiiiiiiitiiiitMiiiiiiiiiiiiiiiiiiiiiiitiitiiiiiititiiiiiiiiiiii iiKiintiitiiiiiiiiffiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiMiiiiiiiiiiiiiiiiiiiiiiiiniiiitiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiitiiiiiiiiiiiiiiiiiiiiiiiiiiiiiitiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiitiiiniiiiiiiiiiiiitiiiitiiiiitiiiiiititiinittiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiani . . . . . . .................... n 1 1 1 ii 11 11 1 11 ii 11 11 1 1 1 n ... . it 11 n 11111 1 111 • i : i n n 1 1 ■ ...... . . V r u BRYANT WASHBURN PARAMOUNT-ARTCRAFT EDWARD SLOMAN who directed “New York Luck” “In Bad” “Snap Judgment” “Sea Master” “Social Briars” “Money Isnt Everything” “The Frame-Up” “The Mantle of Charity” “Shackles of Truth” “My Fighting Gentleman” “High Play” AMERICAN FILM COMPANY SANTA BARBARA, CAL. MARGARITA FISHER American-Pathe Star Current Releases: “Molly Go Get ’Em,” “Jilted Janet,“Anne’s Finish,” “The Primitive Woman,” “The Square Deal,” “Impossible Susan,” “Money Isn’t Everything,” “The Mantle of Charity.” THE STAR SUPREME / 1 Personal Representative—Adolphe Osso, 1457 Broadway WHERE ARE THEIR LEGS? the audience shouted They thought the picture was out of focus. They stamped their feet, they hissed. AND THEN CAME APPLAUSE!! It was in a little New York Motion Picture Theatre when spectators first saw the CLOSE-UP. They had always seen figures in the far-off. And here was a face as full and close as a mother’s over a cradle-bed. It startled, it shocked, it delighted. David Wark Griffith created the close-up, and later came other historic improvements from the ever-searching brain of that genius, the “cut-back” bringing suspense to the films, the “fade-away,” the “long-shot,” and on and on. Do you realize when you see a motion picture, no matter who the producer, you see a product done with the tools Mr. Griffith created? Others use them now, but he placed them in their hands and taught them how. He exacts no tribute or royalty for their use. He gives them freely to the world. “Mr. Griffith is the great legendary figure of the films, the great inventor and innovator of their youth, yet also the great consistent, progressing genius of today. As inventor of the ‘close-up’ and ‘cut-back’ and half a dozen other technical devices, he might be content to occupy the position of a Masolina, discoverer of perspective and the art of painting. Yet each new production demonstrates that he is a Masaccio as well—an artist of full and splendid naturalistic powers. His is an art of pure emotion which can go beneath thought, beneath belief, beneath ideals, down to the brute fact of emotional psychology.”—(The New Republic.) # “With all respect to his rivals, Mr. Griffith has demonstrated his claim to the sole and only right to make a picture that will go on the big time and stay there at two dollars.”— (Washington, D. C., Heralffi ) DAVID WARK GRIFFITH “Griffith is the One Genius of the Films. He Stands Supreme and Alone.”— (Indianapolis Star.) Producer of “Hearts of the World,” now breaking all records in every principal city throughout the United States. X 7HEN you see a Griffith production, you see the Griffith form of screen * * acting — acting that is so natural that it does not appear to be acting: art that conceals art .”—Louella Parsons. “LILLIAN GISH and ROBERT HARRON should be pointed to as shining examples of what screen lovers should be. There is nothing left for them to learn .”—New York Tribune. I N the twelve-reel Griffith productions. “The Birth of a Nation” and “Hearts of the World,” you saw the Griffith school of acting at $1.50 and $2.00. Mr. Griffith is now producing a series of six six-reel pictures for Artcraft, showing at popular prices, including “THE GREAT LOVE” “LILLIAN GISH and ROBERT HARRON, the most sublime pair of lovers since the great bard’s immortal story of Romeo and Juliet.” —Guy Price, Los Angeles Herald. Mr. Griffith has at all times endeavored to give you his best, and in these Artcraft productions he will give you the same unique and diversified characterization taken from the book of life, keeping entirely away from the old, exaggerated, stereotyped forms of acting. D.W. GRIFFITH FILMS A. L. Grey, General Manager 720 Longacre Building, New York City All the Griffith productions are directed personally by Mr. Griffith and carry the Griffith trade-mark “DG” on the border line of the main title. Evans, L. A. (copyright) "7 ^ Mlllim !!. 1 !. 1 !!!!!!!!!!!!!!!!!!!!!! 11 .. . .. iiiiiiiiimiiimiiii ...... I .. >1111111111111II1111IIII 1111111 1111111111111111111111111111111111111111111111111111111111111111111111111111 1111111111111111111111111111II11111111111111111111111 11 H Taylor Holmes Releasing Through Triangle Film Corporation miiiiiMliiliiiiuiiiiiliiliiiiiiiiiliiiiiuimiiiiimiiiiiiiiiiiuiiiiiimiiiiiiiiiiiiiiiiiiiuiiiimimmimiiiiuimiiiiiiiiiiiiiiiuiiiiiiiiiiimiiuiii SEASON 1918- 19 announces with pleasure his early appearance in Strauss-Peyton (copyright) Over The Rhine A vivid and startling story of Hun frightfulness, based on the hitherto unexposed machinations of the infamous IRON CIRCLE OF BERLIN By Fred. J. Balshofer and Charles Taylor MR. ELTINGE will appear in the double roles of J A CK PERR Y A Patriotic Young American and ELSA VON BOHN In the Employ of the United States Secret Service The Eminent Screen Star Julian Eltinge C. GARDNER SULLIVAN Jluthor of “CIVILIZATION” u Peggy’’ “Hell’s Hinges” “The Pinch Hitter” “Shark Monroe” “Selfish Yates” “Naughty! Naughty!” “Love Me” and other successes Now writing ARTCRAFT AND PARAMOUNT FEATURES FOR Thomas H. Ince mmmm come cPpi-^hing - 1917) STAB/ of GLOEX* Fc> -a. t tt 11 tt 0 ~ Lconcc PEPPET «/*CLUnO A6C0T • „I4?7 BdVy. REV YOPY ) America's PHOTOPLAY SUPREME LUCK IS BUT THE FLEETING SMILE OF FORTUNE THAT SOMETHING' IS THE HIGHWAY TO HER HOME Ok KENNETH WEBB EDWARD EARLE DIRECTOR STAR S. L. Rothapfel says: “These O. Henry Stories are a credit to the industry, that goes for every one of them I have shown. I never saw pictures of this nature get so much applause.” These are the O. Henry Stories One Thousand Dollars Sisters of The Golden Circle Mammon And The Archer Tobin’s Palm Spring Time A’la Carte A Bird Of Bagdad Transients In Arcadia A Ramble in Aphasia < K. Lincoln STARRED IN << American Spirit” TO BE RELEASED SOON FEATURED IN “Lafayette, We Come!” and “Stars of Glory” Released by Affiliated Pictures I mmmwarn J) irector &/* WitMn tlxe^Law: T’Other Deal Otanaer. The Courage (/'Silence. 0 <#' Wis'Ovn ^People, mi V Sm • r /I he Dot Decides. iWoraanhaod. IN PREPARATION/ TR Vailcer Oi !d <3--% o D C Q a c o o o o or o> a o ci G ;d %£>' D %aSO- a ,o SUPER-FEATURE PREPARATION. 0 > Directing, 91 x^a ICTURE ~ T ^^. E£ J P/»RT SUPERvisiors.', QTioN RuntIng, «s riMi; nvoMAM®: Mi / UK: BLUE BIRD! A % MAra: “jVJtfD CMCWT ill! an^ more tlian (-2.0^ ivci\ty ot]\er /eature.s. 9 oovest Z< 2 nd db.ftewYovkT mm mMW . ' , " v ■ f$\ } . ^ > gj|||| | * PAUL SCARDON PRODUCTIONS / FOR VITAGRAPH AUGUST 1915 o OCTOBER 1918 INCLUSIVE The Island of Surprise Hero of Submarine D. 2 Redemption of Dave Darcy The Man Hunt The Dawn of Freedom The Alibi Phantom Fortunes A Prince in a Pawnshop The Rose of the South The Enemy Her Right to Live Arsene Lupin Apartment 29 The Hawk The Maelstrom The Stolen Treaty Transgression Soldiers of Chance The Love Doctor The Grell Mystery In the Balance The Other Man The Bachelor s Children The Golden Goal A Game With Fate Tangled Lives All Man The Green God The King of Diamonds Hoarded Assets PAUL SCARDON M. P. D. A. Strauss-Peyton (copyright) 8 i.i ♦> $ $ $ S $ $ £ :.: :.: Si ii i.i H H H $ $ H £ :.i i.i ♦> V :.: if i.i ♦V i.i ♦ ♦ $ « ♦V #> ♦ ♦ « $ 9 J.t 9 H § 9 $ 9 i.i ♦V V# ♦ ♦ o ♦ ♦ s ♦♦ ♦♦ i 4 i ♦♦ ♦> ♦ ♦ ♦♦ ♦♦ ♦V ♦V ♦> ♦V ♦V 9 « INCE-PARAMOUNT PRODUCTIONS- THOS. H. INCE Presents Miss ENID BENNETT In a Series of Photo-Plays of Dis¬ tinction Under the Direction of FRED NIBLO The Thos. H. Ince Studios, Los Angeles a a ii ii a a a a » $ 9 a ii a a * 9 :: :: 9 9 i.i i.i 9 ♦V ♦V ♦V i.i ♦ # #> ♦ # i.i ii ♦ ♦ ♦ # ♦ # ii ♦ ♦ i.i ♦♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ # ♦ ♦ j; ♦ ♦ *> ♦V ♦> ♦V ♦ * ♦V ♦ # ♦V ♦> ♦V ♦> if ♦ * ♦ ♦ ♦> ♦> ♦ ♦ ♦ ♦ ♦V ♦V 9 ♦ ♦ i.i if ii ♦V i> if if ♦♦ ♦> ♦V ♦ ♦ ♦> if ♦♦ i> ♦ ♦ ♦V ♦> ♦> if if ♦> ii ♦ ♦ ♦V ♦♦ if ♦> if ♦♦ ♦♦ »♦ if ii ♦♦ if if ♦v i.i ♦♦ ♦♦ ♦> ♦> ♦> ♦,< ♦> ♦> ♦> «> ♦/> ♦> ♦> ♦ ♦ ♦♦ ♦> ♦ ♦ ♦ ♦ ♦ * ♦ ♦ Independent Box- Office Consider THEODORE WHARTON “EXPLOITS' OF ELAINE” New Adventures of J. RUFUS WALLINGFORD “THE EAGLE’S EYE” At Your Service New York Office BROKAW BLDG. 1457 Broadway Producers of Successes LEOPOLD WHARTON Ko • Make You Money “MYSTERIES OF MYRA” “PATRIA” Ithaca New York This List “GREAT WHITE TRAIL” SHELDON LEWIS Lumiere Studios, N. Y. (copyright) VIRGINIA PEARSON GAIL KANE : BILLY BITZEPv four special productions will be issued during the ensuing twelve months; four superlative story-pictures released at intervals which will insure the maximum expenditure of time and thought in their making; each an original conception by MONTE M. KATTERJOHN -—who will strive to give you special pictures of extraordinary theme and quality; "specials” worthy of the name because of their artistry, technical details, carefully selected casts, gen¬ eral production bigness, and coherent, entertaining story values. These will range from six to seven thousand feet in length. All production details will be under the individual management of the author—an ar¬ rangement which marks the inauguration of a new departure in the creation of quality mo¬ tion picture entertainment. We believe you will want to exhibit these greater-than-state-rights specials because of their tremendous box-office power—created towards pleasing all of your patrons. Address all communications to yiiiiiiiiiiiiiiiiiiiiiiiM : ' ; : ' : : . ■ ■ . , ■ . . , , ( ; ; ■; ^ . ; ; : , ; , : ERNEST TRUEX Paramount star in John Emerson—Anita Loos productions who, according to \\ id, has made a most favorable impression with a likable pleasing style and oodles of personality. Mr. Truex brings with him a stage following, having created the star roles in “The Good Little Devil” “The Dummy,” ‘ Overnight ” “Very Good Eddie ” “The Very Idea ” and others on the speaking stage HAKKY GARSON presents BLANCHE SWEET in The Unpardonable Sin By RUPERT HUGHES Personally directed by MARSHALL A. NEILAN Ready for Release Early in November Clara Kimball Young In Her Own Company PRESENTS The Road Through The Dark Directed by Edmund Mortimer MOONSHINING JUDGE in TRICKING THE GOVERNMENT HIS OWN PEOPLE ^■narar MOO VOM PPINCE of KHARIKAf? in " BLUE MOOH " , WANS PITTEP in THE QPEAT fieHIUw^ m . .. Wt Jlitvm Vo xV VactYr. LO^vn.U* S'* A* "Pc*me and Fbi-tune ’ Two G-urv TYarv 0* "Cofniii^of tfwL aw ! t* *rV rrvfor ?vry Tit 1 ' V ' V A' ' o' ' X- \\ '' ' ' • lit 1 / FIRST AUTHENTIC STORY “The Lady of the Dugout” IN SIX REELS OF REALISM Disclaiming responsibility for all past pictures for obvious reasons, and ready to stand on the merits of “THE LADY OF THE DUGOUT," and all other stories filmed in this outlaw series, A1 Jennings, the outlaw whose sentence for life was commuted by Presi¬ dent McKinley, who was pardoned by President Roosevelt, who received the nomination for Governor of Oklahoma, and who col¬ laborated with Will Irwin on the outlaw stories published in the “Saturday Evening Post,” declares over his own signature that every film story, henceforth presenting his brother Frank and himself, will be founded on facts. No matter how sensational the thrill, or how deep the emotion, the public will have the satisfaction of knowing it is looking at the genuine article and not moving picture fancy. “THE LADY OF THE DUGOUT,” and all other A1 Jen¬ nings outlaw stories, will be exploited in the open market by 430 South Broadway LOS ANGELES 17 West 44th Street NEW YORK EE FILM ^ PRODUCTIONS THE m WHO MADE 'CROOKEDToTriE END VIUM6 UAMPIRiAND OTHER KEySTONES A TWO-PART WVSTERY COMEDY THEHAUNTED HOUSE BEWILDERING ILLUSIONS MYSTERIOUS VISITATIONS An Edwin Razee Two Heel Comedij will be released every month upon an exclusive franchise in the open market STATE RIGHTS BUYERS CAN BUY OUTRIGHT AT REASONABLE TERNS AND 'CLEAN UP!' pp iv 17 WEST 44 T - H ST. NEW YORK CITY Hi J 'Jatess m *WE ARE GOING TO HAVE EXHlblTOR. CO-OPERATIVE DISTRIBUTION . ALL THE MISTAKES THAT ANYONE MIGHT MAKE CAN’T KEEP II BACK .” MM I TC D CO-OPERATIVE DISTRIBUTION IS fHE Ul ESSENCE, WHOLE BODY AND MEANING ^ OF UNITED AND ITS MOTTO IS: - FOR, THE EXHlblTOR BY THE EXHIBITOR OE THE EXHlblTOR FORTRE EXHIBITOR BECAUSE UNITED ENABLES HIM — U) TO BUY THE SUPER-BEST AT ROCK- BOTTOM WHOLESALE COST PRICE. (2) TO SELL DIRECT TO HIMSELF ELIMIN¬ ATING WASTEFUL INTERMEDIATE CHARGES AND UNNECESSARY OVERHEAD (3) TO INCREASE HIS PROFITS o BY THE EXHIBITOR BECAUSE UNITED GIVES HIM THE POWER “ TO BE INDEPENDENT AND THROUGH HIS ADVISORY BOARD TO OBTAIN THE QUALITY OF PICTURES THAT HIS BOX-OFFICE NEEDS.. OF THE EXHIBITOR r ••• • •' •' BECAUSE9000 OF UNITED’S 10.000 MEMBERSHIP SHARES GO TO HIM AND PUT THE CONTROL OF THE COMPANY IN HIS HANDS /•-. ■ United PictureTheatres ^America ««. J.A.BERST PRESIDENT A NATIONAL CO-OPERATIVE ASSOCIATION OF EXHIBITORS HOME OFFICE 1600 BROADWAY NEVYORK util J' 4 r-f ''f * ' . T? ijgfp “As soon as I heard of America’s Independence my heart was enlisted.” (Lafayette 1777) (PERSHING'-X917) EXHIBfTOR CONTROLLED NEW YORK CITY wmm AFFILIATED DISTRIBUTORS Chains of Theatres an Important Factor Gradually, in the past few years, there has been a decided tendency towards the accumu¬ lation of several theatres by one individual or corporation, particularly the tieing up of all the best houses in one city. In some districts, these theatre chains almost dominate the activities of that particular sec¬ tion, being at times in a position to dictate what releases shall be shown in better theatres and at what prices they shall be booked. In analyzing this situation, and considering it in discussions with some of the more promi¬ nent sales managers here in New York, I have found a general recognition of the fact that there are not anything like ten thousand good theatres showing films in this country, and it is the general concensus of opinion that the actu¬ al figures, which oddly enough no one has ever listed perfectly, will come nearer to registering at about 6,000. For years, the saying that there were fifteen or twenty thousand film theatres has been re¬ cited glibly by the voluble soothsayers of the industry with the result that that saying has taken its place alongside of such classics as “The indusry is still in its infancy” and “The surface of the industry has not yet been scratch¬ ed.” It is very easy to understand how this pe¬ culiar idea as to the number of theatres in this country has held forth inasmuch as there has never, to my knowledge, and I have searched most of the offices in this town in recent years, been a truly accurate list secured of the the¬ atres operating in this country, which would in¬ telligently distinguish between an opry house in a hick town that might show a film once a year, and a live store show in a town of the same size which has progressed to the point of changing twice a week because of the ability of the manager in charge. These so-called lists of theatres that have ex¬ isted and used up postage in circularization for years in this industry, generally registered an appalling percentage of dead houses, repeats, and incorrect names and addresses. One of the principal reasons for the discrepancies which always existed in these lists was the fact that for many years it has been customary, particu¬ larly in the small towns, to change the name of a theatre whenever it changed management, and everyone who has been around the film business knows that theatres have changed management quite frequently In every office, these lists have been in charge of the mailing clerk and every time a mailing clerk was fired, the list suffered be¬ cause the new boy was entirely at sea. Most of the existing distribution organizations will tell you that they have a perfect list of theatres based upon reports made by their salesmen, and yet when it comes down to brass tacks you’ll find that except for a list of customers and immediate prospects, there is no such thing as an accurate existing list which will approach anything like the figures running above ten thousand. I do not for a moment dispute the fact that there are considerably more than ten thou¬ sand buildings in this country that bear the name of “theatre,” and I understand that taxes have been paid on something like fifteen or sixteen thousand theatres, but this of course includes buildings of every sort which could be so labelled. In analyzing the present situation, one out¬ standing fact, presents itself. There are only a very few thousand truly worth while theatres. The figures on the chain theatre situation run about as follows, these estimates having been prepared after a very careful consideration of data collected from several of our best dis¬ tributing companies and from several inter¬ views with well informed sales managers. There are 100 chains in this country which will average ten theatres to a chain. There are 150 chains in this country that will average five theatres to a chain. There are 500 combinations in this country that will average three houses each. There are 1000 instances where two houses are controlled by one man or one corporation. This means that 100 men control 1000 houses; 250 men control 1750 houses; 750 men control 3250 houses and 1750 men control 5250 houses. Figuring that on the outside there are more than 1000 houses separately and individu¬ ally owned that could qualify as first class the¬ atres, we have a total of 6250 theatres. It is undoubtedly true that there are several thousand theatres individually owned in addi¬ tion to this 6250 houses, but there is little ques- • tion in the minds of those well informed but that the 6000 mark amply covers everything that could be considered a first class film the¬ atre. When you think of such theatre chains as the Ascher Bros, in Chicago, the Stanley Interests in Philadelphia, the Saenger Interests in the South, the Jensen & Von Herberg theatres in the Northwest, the Hulsey chain in Texas, the Moss, Loew, Poli and Fox circuits, the Wells, Crandall, Craver and Lynch circuits in the South, the Rubin & Finkelstein circuit in Minneapolis, the Gordon theatres in Massachu¬ setts, the Clune Circuit in California, the Lub- liner and Trinz houses in Chicago, the Jones, Linick & Schaeffer in Chicago, the Kunsky houses in Detroit, the eight prominent theatres in Grand Rapids, the Butterfield Circuit in Michigan, the Keith & Proctor houses in New York and New Jersey, the Wilmer & Vincent houses in Pennsylvania, the several prominent circuits in Cincinnati, the Roland & Clark inter¬ ests in Pittsburgh, etc, etc., it is easy to under¬ stand how the chains of theatres are a very very important factor in the booking of films in every district in this country today. I have not attempted to give here any list or special figures because changes are so rapid in this business and I have only mentioned the names of chains that came to my mind in pass¬ ing. I believe that it is an important thing for everyone connected with the business to cease this silly talk of fifteen and twenty thousand theatres, because it is very misleading and fre¬ quently has rather disastrous results because the figures are accepted as reliable by unin¬ formed persons who want to tamper with the film business either with a view of reforming it or with a view of investing money therein. In discussing the number of really first class theatres, I found that one sales manager who should be rather well informed, felt that the number would not exceed 2500. Another esti¬ mated that it would be nearer 4000, and since he is connected with one of our largest corpora¬ tions, it is possible that he, through having more goods to sell, has broadened his scope of vision, and included theatres which would not normally be considered really first class houses. I believe a conservative estimate would place the number of really first class houses at about 2000, with a second 2000 rating as second class and a third 2000 as third class, with the bal¬ ance, whatever the number may be, distinctly fourth class or worse. The First National Exhibitors Circuit in¬ forms me that they have 4500 Chaplin custom¬ ers. This would naturally carry down to the very smallest houses, and since Chaplin has played in competing houses, probably more than any other star, it is a splendid indication that a conservative figure should be used in es¬ timating a total for the country. With the growing tendency on the part of exhibitor individuals and exhibitor corpora¬ tions to attempt to control all of the worth while theatres in a given community, the dis¬ tributor of films is facing a rather serious prob¬ lem. This is well known to established con¬ cerns, and I am only emphasizing the point at this time for the information of newcomers who may approach this marvelous industry with a nonchalant notion that it is “easy game.” When the fact is taken into consideration that the success or failure of almost any pro¬ duction in any territory is settled in the first thirty or sixty days’ run of the film in that ter¬ ritory, the importance of the chain theatres be¬ comes even more impressive. There are many districts today in which good films have been unable to make a dent because they did not get started under the proper auspices. Figuring the use of eighty release prints, and I believe that number is about the maximum, and allowing for sixty days’ booking, in which there will be some lost time and several extra day runs, we can estimate that each print in the sixty days’ time will be shown in approximate¬ ly twenty-five theatres. If the eighty prints work in twenty-five theatres in the first sixty days, it would register in 2000 theatres, which I believe is a figure that is seldom reached by any offering. When you consider the fact that these book¬ ings, and the success or failure of the produc¬ tion in those theatres influences to a marked degree the amount of bookings to be received in the other available theatres, it is easy to un¬ derstand how important the first 1500 or 2000 theatres are in the process of marketing feature films. I want to commend particularly to the new¬ comer and also to the director or star who is considering independent production, a careful consideration of the above figures on film distribution which is not as simple as it might seem, and yet I want to close with the remark that there was never such a wonderful oppor¬ tunity as there is now and will be in the com¬ ing year for success in the fullest measure whenever a really worth while special feature is presented for distribution. MISS CLARA WILLIAMS Carmen in Carmen of the Klondike” Star of Many Successes of First Triangle Co. No^w dieturning to the Sereen Most Important Event of the Year Answering the question, “What do you consider the most significant happening in the motion pic¬ ture industry between September, 1917, and 1918^”, producers, distributors and exhibitors express their opinions in the following pages. Griffith’s Thought What is more important in the records of the indus¬ try during the past year than the adoption of motion pictures by the War Office as the major medium for propaganda, educational and publicity work? I). W. Griffith. Value As Educational Medium In my opinion, the most important development of the motion picture in the past year has been exemplified in its demonstration of definite value as an educational medium. Long before this year the world accepted the motion picture as the foremost agency of entertainment and amusement extant; but it remained for the activities of the screen this past year to register indisputably the fact that as an avenue of propaganda, as a channel of conveying thought and opinion to the world at large, it can not only be unsurpassed but unequalled by any other form of communication. Thus during the last twleve months the motion picture has added to itself a great function, and has endowed its destiny with a tremendous purpose—that of bringing not only a smile and thrill, not only physical and mental emotions—but also enlightenment and spiritual uplift to its millions of followers. Beyond this important manifestation of its new power which the motion picture has displayed during the past year, it has further proven that it can bring this mental effect to bear not only upon the uneducated, but also upon the educated and thinking people. ]u a greater measure than ever before in its entire history, the cultivated and cultured people of the country have found in the motion picture a genuine appeal to their minds and hearts. The motion picture is therefore no longer the theatre of the masses, but is today the amusement of the masses and classes. College pro¬ fessors, authors, lecturers, men of all the professional and scholastic fields have found in the photoplay the¬ atres as deep and vital a lore to base principles and build dreams upon as they have found in the product of the pulpit, the platform and the library. The motion picture has found its place in the intellectual sun, and its power to kindle the spirits- and touch the imagina¬ tions of legions of people is now adorned with a new psychic ability to reach the soul as well as the heart of mankind. ADOLPH ZTTKOR, President, Famous Players-Lasky Corp. Theatre Owner Becoming Producer I consider the decision of motion picture theatre owners to enter the distribution field, lighting the way to a stable market for independent producers and assist¬ ing present distributing organizations in arriving at a sane, conservative system to do away with the gigantic waste in present methods, to be the most important happening of the year in the industry. C. C. PETTI JOHN, General Counsel, Affiliated Distributors Corp. Nothing New or Sensational Personally I have not noted anything new or sensa¬ tional, as regards either the execution or the presenta¬ tion of motion pictures, that signalizes the past year in the history of the screen. No effort of either the pro¬ ducers or the exhibitors, however praisworthy, seems to me ground for unusual enthusiasm. Apparently this lack of progress is due chiefly to the war. However, if I may be permitted to say so, no eco¬ nomic crises in the affairs of a commercial enterprise should be permitted to interfere in a matter of ai’t. The money spent on the production of mediocre film might just as well have been employed in the execution of pictures which would have left with us only the most interesting recollections. When we recall the films that have captivated our imaginations, whether because of their subjects, their settings, or their interpretation, we must agree, unfortunately, that recent motion photog¬ raphy has shown us nothing new or untried. For more than a year, we are forced to confess, this new art has made no actual progress. Whose fault is it? I have no hesitation in replying, the producers. It has been the fault of the producer, who has sacrificed without scruple and without shame the cinematographic art to what many persons have too often confused with the motion picture industry, the chief aim of which is not primarily to produce a first- class film, but to achieve a good stroke of business. Among the productions of recent months, the one which stands out above all the rest is “Hearts of the World” the masterpiece of the great Griffith, to whom I am happy to pay this public homage. Without ques¬ tion it is the most important, the most intensely tragic photoplay which the American cinematograph has pro¬ duced since the outbreak of the war. LEONCE PERRET Getting Away From Old System Unquestionably, the biggest event was the official declaration that the motion picture business is essential to the nation in wartime. Here is official recognition of our art as a vital, integral part of life—or our govern¬ ment itself. The screen has, I believe, given more con¬ sistent, well considered aid to the carrying on of the war than any other single factor. I am proud of the business of which I am a part and proud of its work in this war. In a hundred ways—from aiding Liberty Loan drives to sustaining the morale of the nation—the movie is doing its mighty “bit.” The films carrying on. The biggest event of production? There has really been no one big event of distribution. Yes. The big event here is the breaking away of stars and directors from producing organizations with their cut and dried system of production and their entrance into the field of independent photoplay making. This departure from the old system means individuality and should mean advancement to the photoplay. Naturally, but a portion of these independent producers will stand the test. But out of this melting pot something good is bound to come. MAURICE TOURNEUR. THE EMERALD MOTION PICTURE STUDIO «saat 4 is &*»&&& 331 i : fl V / t ,; '-i ; ■ 1 1 ■ « 1 ■ f 1' 1. f a - fi 8,750 SQUARE FEET OF STAGES FOR RENT TO PICTURE COMPANIES Made to Order WE GUARANTEE PERFECT Photography 200 Elaborate Interior Sets Floor Space for Twenty Sets Dressing Rooms No Waste of Time For Six Companies A Wonderful Laboratory. We Positively Guarantee the Developing and Printing of Every Foot of Negative and Release Prints. Write for Our Circular and Prices. We Have a Heart. No Hold-Up Game. Address, FREDERICK J. IRELAND EMERALD MOTION PICTURE COMPANY 1717-1729 North Wells Street CHICAGO, ILL. I Appreciation of Open Booking Plan In my opinion, the most important happening in the moving picture industry during the past year—outside of the affairs of war—is the rapid awakening of the mass of exhibitors to the fact that a wide open booking plan is the only safe one for them to adopt. The attempt of some of the producing companies to tie up the exhibitors on a non-cancellable contract looked like a vicious proposition at first, but I believe it is proving a blessing in disguise because it has caused the exhibitor to study the benefits of open booking as never before. You have helped in this awakening. Mr. Laemmle has helped to expose the dangers. I h&ve also noticed a gradual movement among the majority of producers to arouse the exhibitors to the danger of an air-tight contract. Many attempts have been made to effect a monopoly in this business, but the most recent attempt through the medium of the non-cancellable contract is by far the most shrewdly managed of them all. Years ago when a then large picture concern tried to secure a throttle hold on the exhibitors by means of patents, the campaign was so badly bungled by mistreatment of ex¬ hibitors that it fell of its own weight. In the current campaign to control the exhibitors, there is no mistreatment of exhibitors at present; and therein lies the shrewdness or foxiness of the movement. What mistreatment might take place after a monopoly became a fact is guesswork, but the real danger of the present campaign lies or rather did lie in the fact that it was presented in such an alluring way to exhibitors. , The fact that a few, including yourself and Mr. Laemmle, undertook the unpleasant task of ripping the thing wide open and showing it in all its rottenness to exhibitors is a mighty fortunate thing for the showmen who hope to control their own theatres and be their own bosses. As a result of this campaign of exposure, I understand that in cases where the exhibitors oppose the signing of a non-cancellable contract, they are given a special contract which is so rubber-stamped that it contains the usual cancellation clause. According to my way of thinking, this daring attempt to give the exhibitor a sweet choking has been (and may still be) the most significant event in the business. Next in importance is the fact that the regular program feature has been forced to give way to the big special picture because itlie latter offers the highest class on the market. R. H. COCHRANE, Vice Pres., Universal Film Mfg. Co. Exhibitor Cooperative Association In my opinion, the most important happening in the motion picture industry during the past year, is the development of exhibitor co-operative associations throughout the United States. It is my belief that we are listening to the murmur- ings only of co-operative bookings at this time and in the not too distant future a real big organization will be developed along practical business lines, which will be productive of very profitable results to the exhibitors interested. The intensive development of the star series produc¬ tions and the tremendous individual pictures which have appeared during the year, are also worthy of passing notice. SYDNEY. S. COHEN. Warring Factions Disappear I consider the action of the Motion Picture Conven¬ tion in Chicago of inestimable importance, in the fact that the two warring factions of the exhibitors became affiliated and their disappearance as a separate entirety, they having agreed to become a branch of the National Association of the Motion Picture Industry. This action makes it possible to secure as members at least 90 per cent, of the motion picture exhibitors of America. As practically all of the influential producers and distributors are members of the Association, the industry will now be in shape to build up one of the most powerful business organizations in the world, and it goes without saying, this power will be used for good. The President of the United States, The Committee on Public Information, and other Governmental depart¬ ments all look upon the motion picture as a wonderful medium of education, and the Government is taking advantage of this medium by spreading their publicity matter throughout the world in the form of motion pic¬ tures, both of an educational and entertainment char¬ acter. WILLIAM WRIGHT, Sec’y and Treas., Kalem Co. Exhibitor Distributing Organizations In my opinion, the forming of the exhibitors distri¬ buting organizations, such as the First National, Affili¬ ated and the United, will prove to be the greatest development, since they will be able to supply the exhibitors with good films, at the prices that he can afford to pay. I hardly believe that my opinion is shared by the greater number of producing organizations, but never¬ theless, this is my opinion. THEO. W. WHARTON. Becoming an Organized Business The most important thing that has happened in the motion picture industry this year, has been the recogni¬ tion given it by the Government as to its necessary importance in the spreading of propaganda and assist¬ ance in war work. « As to the development of the industry itself, it is quite apparent that we are rapidly becoming an or¬ ganized business. The day of “horse swapping” busi¬ ness transactions is practically over and during no year have more noticeable steps forward been made in this direction than during the past one. Along these lines the industry has become more stabilized as regards the relations between exhibitor and distributor. For instance, today the exhibitor is able to plan ahead with more certainty than ever before. He can sign for various products and feel quite sure that they will be delivered to him as per schedule. He can lay out his campaigns of exploitation just like a retailer in any other business can do. In short the industry is rapidly becoming more of a business than during any twelve months since its inception. I do not mean to say that the industry has become a perfect business in¬ stitution, but surely it is rapidly approaching that point. HAROLD EDEL, Managing Director, Strand Theatre. N. Y. C. Wi d says: “The Pacific Coast is the logical place to make release prints" The Sanborn Laboratories, Inc. is the logical organization on the Coast to do your release print work We are turning out release prints for DOUGLAS FAIRBANKS “SMILING BILL” PARSONS COMEDIES AUTHORS PHOTOPLAY CO. together with many others, as well as making sample prints for NINETY PER CENT of the big productions made on the Coast There must be a reason for this. Think it over. THE SANBORN LABORATORIES INCORPORATED CULVER CITY LOS ANGELES, CAL. We control exclusive rights for the Handschleigh Color Process -o Awakening of The Exhibitor I sincerely believe that the most important happening or development in the industry during the past year is the awakening of the exhibitor to a sense of his real position in the industry. This awakening has taken the form of a realization that he, the exhibitor, is in reality the foundation of the motion picture structure, in view of the fact that his investment is the only permanent one in the business and that upon his efforts depend the development and expansion of the market for motion picture product. With this realization the exhibitor has also discovered that the control of the industry cannot be in the hands of any one faction if the industry is to continue and to grow, unless such faction has complete ownership of all branches and consequent responsibility. He has discovered that it is absolutely illogical for this control to be as it is now-in the hands of producer interests, which only seek to perpetuate themselves by the control of transient elements, such as books, plays, directors and stars, whose value is not fixed, but con¬ tinually fluctuating. And, exhibitors as a whole, I believe, appreciate that it is unreasonable to suppose that producer interests can continue to dominate when their sole idea is to make all of the pictures required for the trade, rather than to adopt a system of encouraging production of quality on a competitive basis which, by the process of elimination wall do away with the unfit or poor material and encourage new product from sources not controlled by at present dominant producer groups. Although the exhibitor is awakening, history, recent and old, shows that co-operative movements, coming about spontaneously among the exhibitors themselves do not work out successfully and the exhibitor is in great danger of placing himself once again under pro¬ ducer control in a new form by supporting co-operative plans, the results of which are painted so glitteringly as to be not reasonably possible. \ It has been stated that I personally object to producer control, just because it is producer control, and I be¬ lieve this to be as good an opportunity as any to state that this supposition is entirely erroneous. I do not object to producer, or any other control, so much as to groups of producers controlling the business when their sole desire is for the perpetuation of their own schemes “and organizations, rather than to encourage and promote progress and the advance of quality in all branches of the industry. Any control which definitely encourages new ideas, new blood and progressive steps, in other words which is vital and which will definitely advance all of us as a collective unit, I firmly believe in and will support regardless of its origin. WM. W. HODKINSON, President W. W. Hodkinson Corp. Increase in Entertaining Pictures To my mind the most important happening of the year in the motion picture industry is that the producers have at last awakened to the fact that the public wants to be amused rather than horrified and the rapid strides the producers have made in the last few months toward the making of more light, wholesome and clean pro¬ ductions. Here’s hoping that they may continue. With cordial regards and best wishes, I beg to remain, H. M. CRANDALL. Crandall’s Thentres, Washington, D. C. Stories of a Higher Type To my mind the most significant developments in the motion picture industry in recent months have been: An apparent development of the public’s taste for the better type of pictures, the increase in the better type of film dramas, a higher type of stories, the disap¬ pearance of the audience that formerly awaited the salacious or “strong” dramas. I feel that the companies that have pinned their faith on cleanliness are coming more fully into their own. As to the types of stories that seem to have gained the greatest popularity with exhibitors and the public, I have seen the steadily increasing popularity during the past year of the comedy drama that is packed with action and “situation,” the popularity of the romantic melodrama that is skilfully presented and screened with good taste in better environments than have hitherto been associated with the thought of melodrama. In distribution the noteworthy tendencies have been increased economies, more sane business management and the realization that war-time conditions made it imperative for the elimination of wasteful practices of the past. SAMUEL GOLDFISH. President Goldwyn Pictures Corp. Doubling of Rental Prices I suppose that you think my idea of the most im¬ portant thing is the distribution of big productions at a fixed rental price of $10, $20 and $30 per day, but old top, I am going to fool you. While I do not think that this is the most important happening this year, I do think that it is one of the important things for the exhibitor to look forward to in the future. Aside from this I do not know of any¬ thing else important except that from the exhibitor’s standpoint (and I happen to be one), I find, upon sign¬ ing contracts for my theatre, they are asking nearly double the rental price this year for the same stars that I played last year, and I cannot figure out how the exhibitor is going to make any money, when paying it all out for pictures. I sincerely hope that someone else will have nerve enough to come out with a fixed price for pictures and thus get the picture industry down to a sound basis and out of the sky-rocket class. Unless this happens, I do not believe the producing or distributing of pictures will ever be a safe investment for anyone. Just a minute! I made a little mistake. On second thought, and looking at your letter head. I believe Wid’s Daily is one of the most important happenings of the year. With best wishes to yourself, and hopes for big suc¬ cess for your publication, FRANK G. HALL, All Interests Under One Head In my opinion the most important event that is taking place in the motion picture industry is the amalgamation of all the interests under one head during this last Chicago Convention. To me this is tremend¬ ous in its scope and offers unlimited possibilities. S. L. ROTHAPFEL, Managing Director, Rialto and Rivoli, N. Y. City. Dolores Cassinelli Starred in Leonce Perret ’ Productions Lafayette, We Come!” Stars of Glory ” and other productions to be announced Adolphe Osso Representative 1457 Broadway New York Vital Factor in Propaganda Replying to your letter of the 28th. ult. in which you asked for my opinion regarding the most note-worthy and significant thing accomplished by the motion pic¬ ture industry during the past year—would say, without hesitation, that I consider the development of the motion picture, during the last twelve months, into a con¬ spicuously vital factor for the dissemination of govern¬ mental propaganda, to be the most important. Had pictures accomplished nothing throughout their short history but to bring the great war home to the people of the United States, they would have vindicated, etern¬ ally, their right to live! Let those who doubt, go to any theatre any night, and listen to the spontaneous applause which greets a scene showing the action of our “Boys”—or French or English or Italian “Boys” —as they go “over the top”! Both through original story, such as our patriotic war dramas, and through picturization of actual war scenes, such as our Weeklies, the motion picture, today, is posi¬ tively developing patriots—dragging the spectator from the smug complacency of his good—and very safe— after-dinner-cigar, willy nilly, across the seas to the panting, sweating, struggling world-drama going on “over there.” Our heretofore lethargic spectator now begins to see and, because he sees, to understand; and all this, because he, himself, has suddenly become an integral part of the titanic struggle, rapidly shifting his own perspective as the swift scenes unroll, until he finds himself, at last, fighting breathlessly, with the French at Soissons—battling with Haig at Ypres —starving with the Belgians at Antwerp—and sweating with the Americans at the Marne—his breath quickens and his heart pounds as he, himself, falls into step with the Drums of the World! Is any other factor in our social or civic life doing this? Can any other factor do it? No! Because pic¬ tures are the only agents we know which teach their lesson solely through the eye—the only medium which can tell a story without a single spoken, written or printed word. Seeing is, indeed, believing! And so. Pride of Patriotism—grim Determination to Win the War—Calm Decision to support every measure of our government unreservedly to that end. is finally— through nightly and daily iteration—instilled, with tell¬ ing force, into the breast of the spectator— a spectator taken from every class of American! Let us not lose sight of the following fact in our earnest endeavor to turn out more and more artistic creations—namely: That today, the motion picture is teaching good citizenship—smashing, irrevocably, the Kipling adage that “East is East, and West is West— and never the twain shall meet”! For, through the motion picture, the West, our great agricultural West, and the East, our great industrial East, are made not only to meet, but to shake hands in a new and ever¬ lasting understanding. The eastern states, busy and competent, with their great steel industries—flaming¬ mouthed as some mighty prehistoric dragon—are sud¬ denly made to understand, through pictures, that the West, with its countless acres of golden grain, is also playing a stupendous part in War Efficiency—by feed¬ ing the entire world! And the West, entirely self absorbed in this mighty undertaking, is also, made to comprehend—again through pictures—that all the smashing, noisy clamor in the dingy steel factories of the East is not just so much distasteful noise and grime, but the battle-song of a million rivets, welding together the mighty “Beams” and “Hulls”—without which, their own wide fields of wheat could never be shipped to feed a starving world! The Need of the Wheat—the Need of the Steel! Twin Necessity, which the East and the West are meeting jointly—how they are meeting this need, is shown to the masses of our great American Public through pictures every day throughout the year. Are we not justified in calling this efficient citizenship? And never let us forget that this mighty lesson in pa¬ triotism is brought home to more people—more often and at a cheaper price—than through any other medium in the world! All other development exhibited by our very active industry during the past year—however far reaching— to me, becomes subordinate. CECIL B. de MILLE Director General, Famous Players-Lasky Corp. Hope for the Future In my opinion, the most important development in the film industry during the past year, has been, of course, its recognition by the Government as an essen¬ tial industry, thereby acknowledging it as the most im¬ portant medium known for propaganda. While dwelling upon the strength of this great in¬ dustry of ours, I am prompted to express what I hope will be the most important development in the coming year, viz., the proper and organized use of this strength by all exhibitors. Simultaneously with the announce¬ ment of the Government’s‘attitude came a manifestation ou the part of one distributor, proving positively that the exhibitor is dormant and unaware of his great power. Deposits were revived, the exhibitor meekly acquiesced. The retailer was made to finance the manufacturer. A condition unfair! To come back to the hope I expressed above, until exhibitors realize what influence their concerted voices can exert in the councils of the industry, they will one and all be individually a prey to the big fellow. I hope that in the coming year we will take this Governmental opinion seriously, and at last get together, not merely for our mutual benefit, but, which is more urgent, for our mutual protection. If we could persuade the Government, we can certainly persuade the exchange. M. KASHIN, Manager Broadway Theatre, New York Independent Producing Units To my mind, the formation of independent producing units headed by stars, constitutes the matter of most importance to the business as a whole. In it I can see the beginning of a period when the exhibitor jvill be able to book a picture for its box office and entertainment value. When the star of a pleasing production will reap the benefits also, both financially and as an artist. When the bad picture will lie on the exchange shelf and the good picture be working with extra prints. When the near star will not be carried on a program at the same prices as a really popular actor’s productions. When the star, the director and the business office will hesitate before doing a story that doesn’t stand a chance of getting across with audiences. If this time ever comes, the showmen of the picture houses will then be able to be something besides theat¬ rical bell hops. J. S. DICKERSON, Manager Watkins Opera House. Watkins, N. Y. FRANCIS X. BUSHMAN BEVERLY BAYNE The Screen’s Idols and Idealists The Year’s Record for Achievement Their Compact Adopted Son Voice of Conscience Under Suspicion Pair of Cupids Red, White and Blue Blood Cyclone Higgins D. D. With Neatness and Despatch The Brass Check Social Quicksands Coming Releases, “The Legacy" and “The Gauntlet ” -n Government’s Recognition of Screen In my judgment, the most important development in the motion picture industry for the past year, is the recognition by all the important governments of the world and their various agencies, that the motion picture is the greatest means of thought transmission so far known to man, combined with the thorough realization, on the part of the industry, that so potent a vehicle of education and influence carries with is a corresponding responsibility. As applied to our country, the motion picture has be¬ come the school of patriotism for the American people, as well as the principal agency of the Government in the war education of its citizens and their resulting duties. WALTER W. IRWIN, Vice Pres, and General Manager, Vitagraph Co. Humanizing Effect of the War In my opinion the greatest happening in the motion picture industry during the year is the sobering and humanizing effect of the war. There has been too much quackery and unreality in the motion picture. Too many producers had an idea that they could get by with trickery and spectacular stuff that had neither truth nor heart appeal. The heroic effort and sacrifice we have been forced to undergo in this desperate struggle as a nation has compelled us to realize that the greatest thing in the world is human nature, after all. We are getting down to the funda¬ mentals. In timefe of great stress and anxiety we are naturally serious-minded, but we also require the saving grace of humor to keep us out of the dumps. The motion picture reflects life, and whatever affects life affects the motion picture. The kind of pictures in demand now are those that tell us the truth about life and at the same time spread a wholesome and cheery influence that gives us heart to meet all tests of courage and sacrifice. War is responsible for a great many things that are evil. But its influence on the motion picture is of the most salutary sort. FRANK A. KEENEY, Pres. Frank A. Keeney Corp. Recognizing Good Quality Aside from the fact that our Government has classed the motion picture as an essential industry, I believe the next important tendency is the recognition of good stories and good directors, both of which are necessary in the making of successful photoplays. With best wishes for your continued success, I am, E. O. WEINBERG, Elmwood Theatre Co., Buffalo, N. Y. More Liberal Booking Policy I think the most important item of the past year has been the more liberal policy shown in regards to open booking, by producer, distributor and exhibitor. Second, the chance to try in a practical way, the co¬ operative plan by exhibitors. Third, that WID’S DAILY is not afraid to defend the exhibitor where they feel an injustice is being done, whether on the production of pictures or their merits, contracts, etc., etc. THOMAS FURNISS, Manager Bushwick Amusement Co. Duluth, Minn. Success of Bigger Pictures The most satisfactory thing in the motion picture business of the past year, in my opinion, is the suc¬ cessful production of bigger pictures, marking the tend¬ ency towards that much desired goal—THE OPEN MARKET—resulting in the elevation of the business by elimination of cheap pictures. J. D. WILLIAMS, Manager First Nat’l Exhibitors’ Circuit Centralization and Co=operation Amid the marked progress in the motion picture in¬ dustry, progress eloquently attested by the magnificent service the industry has rendered, and is still rendering to the nation, whether in speeding up Liberty Loans or spreading the message of the Government through the land—there stands out, in my opinion, that vital ac¬ complishment the crystalization into definite working form, of what has hitherto been merely a recognized but intangible trend towards economic centralization, and tendency towards unity of effort which should em¬ brace production, distribution and exhibition of motion picture product. Centralization and co-operation are no longer mere tendencies and trends, but recognized and essential foi'ces already in operation. Just as on the fields of Europe the once haphazard, unco-ordinated, though well meant Allied efforts to victory produced wasteful and partially disappointing results, and just as Allied success is now here because of co-operative action unified by centralization, so the instrument of progressive and enduring success for the exhibitor army in the motion picture field, namely or¬ ganized cost-reducing co-operation and waste-saving Centralization, is. I am confident, to-day not merely at hand, but already arrived. J. A. BERST. Pres. United Picture Theatres, Inc. Propaganda Work of Stars I may say emphatically that I believe the co-opera¬ tion between the stars of the screen and the producers, as well as others engaged in the various details of pic¬ ture making, in the great drive for the Fourth Liberty Loan, outshines anything else that has happened in the past twelve months. This co-operation and the resultant output has wonderfully demonstrated the power of the screen as a medium for expression of invaluable propaganda, and its possibilities for the awakening of the greater spirit of patriotic service. I may with justice mention the really splendid propa¬ ganda pictures for this campaign which were made by such stars as Mary Pickford. Douglas Fairbanks, Wal¬ lace Reid, Roscoe Arbuckle, Mack Sennett, Wm. S. Hart. Dorothy Dalton, Enid Bennett, Charles Ray, Lillian Gish, of our own and allied companies, as well as those produced by other companies with their most prominent stars. These films will carry home to the people of America as nothing else could possibly do, the great message of the United States Treasury Department, the Nation’s appeal to its people to provide the sinews of war, in the struggle against Prussianism. JESSE L. LASKY, First Vice President. Famous Players-Lasky Corp. S :0 Wid Said:- The decorative art title is a very important essential in maintaining the atmosphere of a production. When the Ince-Triangle art department brought this unusual innovation to the screen they certainly took a great step forward. MON RANDALL DESIGNED THE INCE TRIANGLE ART TITLES I Marketing Conditions Much Improved More things have happened during the past year to make the motion picture industry a modern business enterprise than during any previous year since its in¬ ception. The better motion pictures of today are being marketed in a manner befitting the importance of our gigantic business. The product is being sold not only to the exhibitor but to the public as well, along lines employed by large distributors in other modern in¬ dustries. Service is the keynote of all business success once the quality has become established. During the past year the exhibitor has been given more real service than ever before. Systematic sales plans have been embodied in the distribution of the motion picture product. The haphazard manner of distributing and exploiting the motion picture although not entirely extinct in some cases, is rapidly giving place to more businesslike methods. To my mind there has happened during the past year nothing more important in the industry than the tre¬ mendous progress in the distribution and presentation of motion pictures to a point where today nearly all pic¬ tures are being sold on their merit and the producer and exhibitor profit or lose absolutely commensurate with the quality of the product. In other words, since the Inception of the motion picture business it is only through the distribution and presentation developments of the past year that producers, distributors and exhibi¬ tors alike are liable to calculate their earnings in advance by virtue of the fact that we are now dealing in con¬ crete values. AL LICHTMAN, General Manager Distribution, Paramount- Artcraft. Cooperative Buying What I consider a most vital matter of importance in the past year is the possibility of co-operative buying by the exhibitor from the producer, as this is the avenue to the opportunity, which will very soon show the strength of the exhibitor. This co-operative booking will grow very fast and will surely weaken the Powers as soon as the exhibitor realizes his own strength. I.IARRY RAPF. Organization of Exhibitors’ Circuit I believe the most important happening was the or¬ ganization of the First National Exhibitors’ Circuit. I haven’t time to prepare the argument to back up my opinion. HERSCHEL STFART. Manager Old Mill Theatre, Dallas, Tex. Wid’s Read Everywhere That’s what executives and others who have been through the country during the last six months say. They found it bound and in constant use by alert, live wire exhibitors in every section. You know there are only a few thousand really important exhibitors in this country—and every one of them swears by ' Wicl’s Daily. Independent Exchanges—What They Handle Any omissions in the following list of exchanges and the product they distribute are due to the failure of concerns to supply reports. ATLANTA, Ga.— Consolidated Film & Supply Co., Ill Walton St.—Zeppelin’s Last Raid, Those Who Pay, Her Fighting Chance, Just a Woman, The Belgian, Crucible of Life. Savini Films, Inc.—Gaumont productions, Zongar, The Perfect Model, Shorty Hamil¬ ton, Jester Comedies, Chaplin Keystone re¬ issue, Ivan productions, The Love Avenger. BALTIMORE, MD.— Palmore & Homand, 412 E. Lexington St.—W. H. Productions, Keystone Come¬ dies, Sherry Service. Variety Pictures Corp., 412 E. Baltimore St.-—Jester Comedies, Sunset Princess, My Husband’s Friend, The Woman’s Law, Cle¬ opatra, The Lonesome Trail, Finger of Justice. Major Films Co., 131 Columbus Ave.— Mothers of Liberty, Her Bargain, Lion of the Hills, Lonesome Trail, Girl Who Doesn’t Know, In the Hands of the Law, Boots and Saddles, Power of Evil, The Honor System, Little Mother, Mutt and Jeff Cartoons. Trimont Film Exchange—Sunset Prin¬ cess, Corruption. Boston Photoplay Co., 64 Broadway— Raffles, Public Defender, The Master Crook, Mother, Destiny Wills, Mormon Maid, Libertine, Loyalty, Humility, Wars, Women, Redemption. BUFFALO, N. Y.— Gardiner Syndicate, 47 W. Swan St.— Eagle’s Eye, Roscoe Arbuckle Comedies, Shorty Hamilton, Charlie Chaplin Come¬ dies, Mack Sennett Keystone Comedies, Wm. S. Hart Features, Bessie Barriscale Fea¬ tures, The Unborn, Birth, Neptune’s Daughter, One Day, Heart of New York, Birth of Man, How Molly Made Good, The Salamander, Birth of Character. CHICAGO, ILL.— Bee Hive, 220 S. State St.—Billy West Comedies. Success Film Production, Sloan Bldg.— Nine-tenths of the Law, The Belgian, Those Who Pay, Just a Worpan, Zeppelin’s Last Raid, Her Mistake, Crucible of Life, Devil’s Playground, Distributing Corp. $10- $20-$30 pictures. S. M. Company, Sloan Bldg.—A Woman’s Power, Eternal Peace. Union Film Co., Belmont Bldg.—Hart and Chaplin reissues. DALLAS, TEX.— Specialty Film Co., 107 So. Paul St.— Today, Mad Lover, Grain of Dust, Still Alarm, Berlin Via America, Denny From Ireland, Eyes of the World, Hand of Ven¬ geance, Hart re-issues, Bandit and the Preacher, Hell Hound of Alaska, The Bar¬ gain, Keystone and Kerrigan re-issues, Sins of Ambition, One Law for Both, Lust of Ages. Matinee Film Co., 107 So. St. Paul St.— Berlin via America, Eyes of the World, Grain of Dust, Mad Lover, Today, Cle¬ opatra, The Still Alarm, Denny From Ire¬ land, The Bandit and the Preacher, The Bargain, Hell Hound of Alaska, The Hand of Vengeance, Two-reel Keystone Comedy re-issues, Two-reel Kerrigan re-issues. Southwestern Art Dramas, Inc.—1917*4 Commerce St.—Billy West Comedies, Jes¬ ter Comedies, Shorty Hamilton, W. S. Hart two-reelers, Four Square Productions, Stolen Orders, The Perfect Model, My Hus¬ band’s Friend, Chaplin re-issues, Eagle’s Eye. Consolidated Film and Supply Co., 190014 Commerce St.—Universal Jewel and Blue¬ bird Productions. True Film Co., 1911J4 Commerce St.— The Whip, Babbling Tongues, The Melting Pot, Beating Back. Southern States Film Co., 1900J4 Com¬ merce St.—Zeppelin’s Last Raid, Belgian Her Fighting Chance, Just a Woman, Cru¬ cible of Life. Those Who Pay, Chaplin re-issues, W. H. Productions. First National Exhibitors’ Circuit, 1744 Curtis St.—Alimony, Empty Pockets, Mighty London, The Sign Invisible, Amer¬ ica Is Ready, Sealed Orders, Where Are My Children, For Humanity’s Sake, The Cold Deck, On Trial, Bew T are of Strangers, Idle Wives, 20,000 Leagues Under the Sea, Mutt & Jeff Comedies, Christie Comedies, God’s Law, The Fall of the Romanoffs, Dog’s Life, Shoulder Arms, Pershing’s Cru¬ saders, My Four Years in Germany, Italy’s Flaming Front, Gaumont News, Gaumont Graphic, The War Bonnet, Roundup, A Trip Through China, Passing of Third Floor Back, Tarzan of the Apes, Mothers of Liberty, The Still Alarm, The Light Within, The Life Mask, Daughter of Des¬ tiny, Tempered Steel, Tarzan’s Romance, Rex Beach Pictures. DES MOINES, IOWA— Yale Photoplay Co., 702 Mulberry St.— The Whip, Who’s Your Neighbor, Zep¬ pelin’s Last Raid, Those Who Pay, Nine- tenths of the Law, The Master Crook, Be¬ ware of Strangers, Italian Battlefront, The Belgian, Crucible of Life, The Public De¬ fender. Dawn Masterplay Co., 707 Owen Bldg.— Hearts of the World, The Whip, Redemp¬ tion, Persuasive Peggy, Raffles, I Believe, Marvelous Maciste, Wrath of the Gods, Zeppelin’s Last Raid, The Belgian, Those Who Pay, The Eleventh Commandment, Nine-tenths of the Law, Crucible of Life, Joan the Woman. BOSTON, MASS.— American Feature Film Co., 60 Church St.—The Slacker, Draft 258, Blue Jeans, Revelation, Lest We Forget, Legion of Death, My Own U. S., Million Dollar Dol¬ lies, Toys of Fate, To Hell With the Kaiser, King in Khaki, L’Occident, Whirl of Life, Heart of Maryland, Even as You and I, Cold Deck, The Whip, Masque of Life, Bar Sinister, Call of Her People, Beware of Strangers, Price of a Good Time, Co-re¬ spondent, Man Without a Country, Sirens of the Sea, Pay Me, Come Through, Mother O’ Mine, Model’s Confession, Risky Road, Scarlet Drop, Two Souled Woman, Bride’s Awakening, Doctor and the Woman, Soul for Sale, Beast of Berlin. Eastern Feature Film Co., 57-59 Church St.—Struggle Everlasting, Today, Acciden¬ tal Honeymoon, Mad Lover, Life or Honor, Nine-tenths of the Law, The Devil’s Play¬ ground, Crucible of Life, The Warrior, My Husband’s Friend, One Law for Both, Bab¬ bling Tongues, The Liar, Married in Name Only. Foursquare Pictures, 16 Piedmont St.—Sin Woman, Fighting Chance, Silent Witness, One Hour, Fringe of Society, Great White Trail, Submarine Eye, Cast-off, Whither Thou Goest, Will You Marry Me, Men, Nat¬ ural Law, Lost Chord, Zongar, Eagle’s Eye. R. D. Marson Attraction Co., 26 Piedmont St.—Jester Comedies, Idle Wives, Lust of Ages, Persuasive Peggy, City of Purple Dreams, Garden of Allah, Grain of Dust. Gordon & Mayer Film Corp., 35 Pied¬ mont St.—First National Exhibitors Prod¬ uct, Jewel Productions, Universal Specials, Anita Stewart productions, Gaumont News Weekly. Edward Klein Film Enterprises—I Be¬ lieve. Bear State Film Co., 220 So State St.— The Vigilantes. Classics Films Dist. Co., 208 So. La Salle St.—Belgium, Kingdom of Grief, French Official War Films. Heroes of the Air. Commonwealth Pictures Corp., 220 So. State Et.—Spanuth’s Vod-a-vil. Lee Bell Co., 64 Randolph St.—Toyland Animated films. Frleder Film Corp., 215 W. Randolph St. —Birth of Democracy. Silee Film Exchange, 402 Consumers Bldg.—Mother of Liberty, City of Purple Dreams, Whither Thou Goest, Lust of Ages, Mother Love and the Law, Trooper 44, In Treason’s Grasp, Should She Obey. Supreme Film Productions, 5 So. Wabash Ave.—God’s Man. Unity Photograph Co., 207 S. Wabash Ave.—Berlin via America, Accidental Hon¬ eymoon, Struggle Everlasting, Hart re¬ issues, Birth of Democracy, I Believe, Who’s Your Neighbor, Babbling Tongues, Jester Comedies, Souls Redeemed, Rex Beach Travelogue, Billy West Comedies. • CINCINNATI, O— McMahan & Jackson Film Co., 23 Opera Place—Keystone Comedies, Hart 2-reel fea¬ tures, The Dumb Girl of Portici, Neptune’s Daughter, Purity, Diana’s Inspiration, The Witching Hour, The Burglar and the Lady, The Waif, Should a Girl Be Told, How Molly Made Good. Masterpiece Film Attractions, Seventh and Main Sts.—Lust of Ages, Beware of Strangers, Garden of Allah, Actors Fund Reel, Rex Beach Adventure Pictures, Re¬ demption, Two Gun Man, Struggle Everlast¬ ing, Cold Deck, Bandit and Preacher, Ac¬ cidental Honeymoon, Grain of Dust, Lib¬ ertine, Hell Hound of Alaska. CLEVELAND, O.— ABOUT THE “ FIRST NATIONAL” (The First National Exhibitors’ Circuit) General Offices, 6 West 48th Street, New York, N. Y. An Organization composed of Theatre Owners which purchases productions for its members own theatres. Each member controls the productions so purchased in his own territory After First National Attractions are presented at First National Theatres they are booked to other theatres through tne following: FIRST NATIONAL EXCHANGES A ddress 833 So. Broadway, Los Angeles, California 134 Golden Gate Avenue, San Francisco, California Franchise Holder Territory T. L. Tally ... So. Cal., including counties of San Luis, Obispo, Kern, San Bernardino and all south thereof. All Arizona. Turner & Dahnken . California, north of counties of San Luis Obispo, Kern and San Bernardino. All Ne¬ vada and Hawaii. 1744 Curtis Street, Denver, Colorado 1200 Fourth Avenue, Seattle, Washington 1318 Standard Bank Building, Vancouver, B. C. 110 S. State Street, Chicago, Illinois 24 W. Washington Street, Indianapolis, Indiana 314 So. 13 St., Omaha, Neb. New Film Building, Cor. John R. & Elizabeth St., Detroit, Mich. 400 Film Exchange Building, Minneapolis, Minn. New Grand Central Theatre, St. Louis, Mo. 402 Sloan Building, Cleveland, Ohio 419 Ninth St., N. W., Washington, D. C. 509 Fifth Avenue, New York, N. Y. 509 Fifth Avenue, New York, N. Y. 20 Winchester Street, Boston, Mass. 1339 Vine Street, Philadelphia, Pa. 300 Westinghouse Building, Pittsburgh, Pa. 712 Poydras Street, New Orleans, La. 1920 Main Street, Dallas, Texas Rex Theatre Building, Louisville, Ky. 729 Seventh Avenue, New York City 8 McGill College Avenue, Montreal, Can. 904 E. Broad Street, Richmond, Va. Swanson & Nolan. Exhibitors’ Film Exchange. W. P. Dewees . Jones, Linick & Schaefer. H. Liebler Co. A. H. Blank Enterprises. J. H. Kunsky . Thomas Saxe ... William Sievers . The First Natl. Exhibitors’ Circuit, Inc., of Ohio. Tom Moore . First Nat. Exchange, Inc. Jacob Fabian & E. I. Church. Gordon & Mayer Film Corp.... H. O. Schwalbe . J. B. Clark & R. A. Rowland. E. V. Richards, Jr.. E. H. Plulsey . Fred Levy ... Autsralasian Films, Ltd. Henry Brouse. E. Ferrandini .;. Colorado, New Mexico, Utah, Wyoming and all counties of Idaho, south of Idaho County. All of Alaska, Washington, Oregon, Montana. All counties north of and including Idaho Co. All Canada west of and including Fort William and Port Arthur. Illinois. Indiana. Iowa, Kansas and Nebraska. Michigan. Minnesota, North and South Dakota and Wis¬ consin. Missouri. Ohio. Maryland, District of Columbia and Delaware. New York. New Jersey New England States. Eastern Pennsylvania and Southern New Jer¬ sey. All counties in Pennsylvania east of Fulton, Huntington, Center, Clinton and Potter. West Virginia and Pennsylvania. All of Penn¬ sylvania counties west of and including Ful¬ ton, Huntington, Center, Clinton and Potter. Louisiana and Mississippi. Texas, Arkansas and Oklahoma. Kentucky and Tennessee. All of Australia. All Canada east of but not including Fort William and Port Arthur. Georgia, Florida, Alabama, South Carolina, Virginia and North Carolina. Distributors of Million Dollar Comedies Northwestern Consolidated Film Co., 2020 Third Ave.—Educational, Film Corp., Scenics and Educationals, Ditmars’ Nature Pictures. Gaumont News and Graphic. Foursquare Pictures, Inc., 304 Joseph Mack Bldg.—Today, Mad Lover, Four¬ square Pictures. Joseph Horwitz, 304 Mack Bldg.—Today, The Mad Lover, Bar Sinister, The Sin Wo¬ man, Her Fighting Chance, Madame Sherry, Silent Witness, Great White Trail, One Hour, Fringe of Society, Submarine Eye, The Cast-off, Will You Marry Me, Men, The Natural Law. Strand Features, 201 New Film Bldg.— Charlie Chaplin re-issues, Fatty Arbuckle, W. H. Productions, S. A. Lynch two- reel Comedies, Exclusive Feature Films, Hart re-issues. Who’s Afraid of the Hun. Standard Film Service, 602 New Film Bldg.—Billy West two-reel Comedies, Christy Comedies, Mack Sennett re-lssues, Shorty Hamilton, J. Warren Kerrigan re¬ issues, Mutt and Jeff, Mothers of Liberty, Cleopatra, Would You Forget, Peg of the Sea, Zongar, Art Dramas. State Film, 302 New Film Bldg.-—Frozen Warning, Beware of Strangers, The Bar¬ gain. Bandit and the Preacher, Hell Hound of Alaska, Lone Avenger, Souls Redeemed, Deemster, Mormon Maid. The Snail, Denny From Ireland, The Peddler. Victor Film Co., 302 New Film Bldg.— The Rainbow, The Accomplice, Rosie O’Grady, The Adventurer, Lash of Des¬ tiny, Whoever Finds the Wife, Her Good Name. God of Little Children, Infidelity, The Moral Code, It May Be Your Daugh¬ ter, Cinderella and the Magic Slipper, The Penny Philanthropist, Salvation Nell, The Masque of Life, The Libertine, The Un¬ written Law, Conquest of Canaan. Madison Film Exchange, 607 New Film Bldg.—The Crisis, Enlighten Thy Daugh¬ ter, Tillie’s Punctured Romance, Whirl of Life, Idle Wives, On Trial, Lust of the Ages. Whither Thou Goest, Alimony, Daughter of Destiny, My Four Years in Germany, Passing of the Third Floor Back, Tarzan of the Apes. Fall of the Romanoffs, Light Within, Chaplin Come¬ dies, Gaumont News and Graphic, Ro¬ mance of Tarzan. Tempered Steel. Life Mask, Sign Invisible, New Italian Battle- front Pictures. GREENVILLE, S. C.— Greenville Film & Supplv Co.—The Kai¬ ser Himself, Daughter of War. KANSAS CITY, MO.— Emerald Film Service, Inc., 311 Floyd Bldg.—Lion of the Hills, Fighting in France, W. H. Productions. Liberty Film Co., 4242 Charlotte St.—A Slacker’s Heart, Tillie’s Punctured Ro¬ mance, Whirl of Life. Yale Photoplay Co., 922 Oak St.—Same subjects as Des Moines office. LOUISVILLE, KY.— Big Feature Rights Corp., Rex Theatre Bldg.—Joan the Woman, Whither Thou Goest, Cry of Peace, Neptune’s Daughter, Silver Threads Among the Gold, Where Are My Children. For Kentucky' and Tennessee—The New Million Dollar Chaplin Comedies, Petrova Pictures, Empty Pockets, Babbling Tongues, Today, One Law for Both, The Mad Lover. Marvelous Maciste, The Sign Invisible, Alimony, The Little Girl Next Door, The Whip, The Deemster, On Trial, The New Lockwood-Allison re-issues, Mar¬ ried in Name Only, Sins .of Ambition, The Struggle Everlasting, The Accidental Honeymoop, Traitors Within the Gates, The Romance of Tarzan, Italy’s Flaming Front. Tarzan of the Apes, The Masque of Life, Twenty Thousand Leagues Under the Sea, My Husband’s Friend, A Woman’s Law, Raffles. LOS ANGELES, CAL.— M & R Feature Film Exchange, 730 Olive St.—Lust of the Ages, Warrior, Clansman, Eyes of the World, Ramona, Ivan Pictures. MEMPHIS, TENN.— Kaufman Specials, 52 So. 4th St.—Shorty Hamilton, single-reel patriotic specials, Topics of the Day, Oro Features, Hart two- reels, Mad Lover, On Trial, Alimony, Mar¬ velous Maciste. MILWAUKEE. WIS — Walter A Baier Film Co., Toy Bldg.—A Slacker’s Heart, Civilization, Cold Deck, Where Are My Children? Neptune’s Daugh¬ ter. Bee Hive Exchange, Toy Bldg.—Arbuckle Comedies, Ditmars’ Animal Pictures, New¬ man Travelogues, Mexico Today, Happy Hooligan and Katzenjammer Cartoons, Hits in Photoplays, Ford Weekly, Shorty Hamilton re-issues. MINNEAPOLIS, MINN.— James V. Bryson, Inc., Bijou Theatre Bldg.—Twenty Thousand Leagues Under the Sea, Come Through. B. N. Judell, Inc., Film Exchange Bldg.— Purity, Carmen of the Klondike, Chaplin re-issues, Salisbury Pictures of Wild Ani¬ mal Life. Frieman Film Corp., Film Exchange Bldg.—Whip, Grain of Dust, Lust of the Ages, Hart, Talmadge, Fairbanks and Keenan re-issues. Supreme Feature Film Co., Film Ex¬ change Bldg.—Raffles, The Amateur Cracksman, Redemption, Zepellin’s Last Raid, Just a Woman, Those Who Pay, The Belgian, Nine-tenths of the Law, Cru¬ cible of Life, The Devil’s Playground, Civilization, Where Are My Children? Westcott Film -Corp., Film Exchange Bldg.—Intolerance, Berlin Via America, The Deemster, Mother, The Warrior, Her Husband’s Friend, I Believe, A Modern Lorelei, Loyalty, Masque of Life, Glory, Little Girl Next Door, A Mormon Maid, Rex Beach Traveloques, Humility, Christie Comedies. NEWARK, N. J.— Hatch Film Co., 284 Market St.—The Whip, The Still Alarm. NEW ORLEANS, LA.— First Natl. Exhibitors’ Circuit, 712 Poy- dras St.—The Frozen Warning, Subma¬ rine Eye, Billy West Comedies, Redemp¬ tion, Educational Film Corp. releases, First National releases. Pearce Films, 610 Canal St.—Zongar, Lone Avenger, A Mormon Maid, Enlighten Thy Daughter, Warfare of the Flesh, Little Girl Next Door, Cleopatra, Berlin Via America. Hart re-issues, The Human Or¬ chid, Shorty Hamilton, Still Alarm, A Grain of Dust, Chaplin and Keystone re¬ issues, Eyes of the World, Mad Lover, Today, Birth of Democracy. NEW YORK CITY— K. & R. Film Co., Inc., 126 W. 46th St.— Masque of Life, Silver Threads Among the Gold, Neptune’s Daughter, Melting Pot, Littlest Rebel, Whirl of Life, Fall of a Nation, After the Ball, Birth, Ireland a Nation, Tillie’s Punctured Romance, How Molly Made Good. Hearts of the World, Longacre Bldg.— Headquarters for state rights distribu¬ tion of Hearts of the World. Interstate Film Exchange, 729 Seventh Ave.—Billy West Comedies, Ford Weekly. Merit Film Corp., 130 W. 46th St.—Ivan Productions. Frank Gersten, Inc., 130 W. 46th St.—Re¬ demption, Parentage, I Believe, Just a Wo¬ man, Zeppelin’s Last Raid, Those Who Pay, Crucible of Life, Devil’s Playground, To¬ day, Mad Lover, Struggle Everlasting, Ac¬ cidental Honeymoon, Staking His Life, Who’s Afraid of the Him, The Belgian. Williamson Submarine Film Corp., Long- acre Bldg.—The Submarine Eye, William¬ son’s Submarine Expedition. The Film Market, Inc., Times Bldg.—Sus¬ picion, What Becomes of the Children? M. H. Hoffman, 729 7th Ave.—Suspicion, The Craving, Lost Chord, Grain of Dust, Men, The Cast-off, Fringe of Society, Great White Trail, One Hour, Should She Obey, Silent Witness, Her Fighting Chance. Sin Woman, Bar Sinister, Trip Through China, Eagle’s Eye, Wharton Comedies. For Northern New Jersey.—Missing Link. Bride of Hate, The Phanto'm, Children of the House. Magnet Film Exchange, 729 7th Ave.— Mickey, 2-reel Mack Sennett Comedies, Charlie Chaplin Comedies, Shorty Hamil¬ ton Comedies, Fatty Arbuckle Comedies, The Two Gun Man, Bandit and the Preach¬ er, Hell Hound of Alaska, Staking His Life, Satan’s Pawn, The Convict, The Straight Road. Arrow Film Corp., Times Bldg.—Acci¬ dental Honeymoon, Struggle Everlasting, Eyes of the World, Ramona, Million Dollar Mystery, Women’s Law, Sunset Princess, Kerrigan re-issues, Lockwood-Allison re-is¬ sues, Inspiration, Finger of Justice. My Husband’s Friend. Her Aviator, Huns Within Our Gates. Producers Feature Service, 729 7th Ave.— God’s Man, Whither Thou Goest, Glory, A Mormon Maid, The Land Just Over Yon¬ der. The Marriage Bond. Lust of the Ages, I Believe, A Perfect Model, My Husband’s Friend, The Wife Who Wouldn’t Tell. Ernest Shipman, 17 West 44th St.—Moth¬ er, I Need Y T ou, Lady of the Dugout, The Crime of the Hour, Nugget in the Rough, Berlin via America. Federal Film Service, 145 West 45th St.—- Biograph and Selig re-issues—Mack Sen¬ nett Comedies, Ohas. Murray and Fred Mace Comedies. Mothers of Liberty Picture Co., 145 West 45th St.—Mothers of Liberty, Huns Within Our Gates. Mr. Exhibitor! Follow the Successful Pictures! % HARRY RAPF Presents FLORENCE REED in “The Struggle Everlasting” Directed by James Kirkwood Featuring Milton Sills and Irving Cummings This production has broken records in New York City for continuous booking; having played more than 500 days and still going big. And the Picture Classic of the Year Captain Robert Warwick in “The Accidental Honeymoon” Supported by ELAINE HAMMERSTEIN Directed by Leonce Perret Coming Soon—Big Photo Melodrama “The Sins of the Children” by COSMO HAMILTON Adapted from his world-wide read novel which ran serially in the Red Book, and now published in book form. Featuring ALMA HANLON, STUART HOLMES and MAHLON HAMILTON HARRY RAPF PRODUCTIONS 1564 Broadway, New York Elk Photo Plays, Inc., 126 West 46th St. —Souls Redeemed, Who’s Tour Neighbor?, The Natural Law, Shorty Hamilton series. Emanee Film Co., 145 West 45th St.—W. S. Hart re-issues—The Crisis, Are Passions Inherited, Purity, Ella Wheeler Wilcox Poems, Temptation. The Pioneer Film Corp., 126 West 46th St.—The Cold Deck, Redemption, The Mad LoVer, Submarine Eye, Today, Garden of Allah, Civilization, Hate, Shame, Wl^o’s Your Neighbor?, City of Purple Dreams, Who Shall Take My Life, The Still Alarm, Wives of Men. Modern Feature Photo Plays, Inc., 729 7th Ave.-—Lash of Destiny, Whoso Findeth a Wife, The Rainbow, Infidelity, God of Little Children, Her Good Name, Rosie O’Grady, The Accomplice, The Adventurer, The Moral Code, Pride and The Devil, The Cloud, A Man and the Woman, The Law That Failed, The Inevitable, Great Bradley Mystery, A Mother’s Ordeal, The Auction of Virtue, Little Miss Fortune, Mystic Hour, A Song of Sixpence, House of Cards, A Mute Appeal, The Golden God, The Road Between, Miss Deception, When You and I Were Young, Eye of Envy, Think It Over, Little Samaritan, Behind the Mask, Blood of His Fathers, The Peddler, Who Knows, Loyalty, Peg O’ the Sea, In the Hands of the Law, Girl Who Doesn’t Know, Con¬ quest of Canaan, Boots and Saddles, Power of Evil, Common Sense Brackett, Mother, House of Temperley, A Slacker’s Heart, Public Defender, Master Crook, Power, Marriage Trap. OMAHA, NEB.— A. H. Blank Enterprises, 314 So. 13th St.—Pershing’s Crusaders, My Four Years in Germany, Charlie Chaplin Series, Tar¬ zan of the Apes, Fall of the Romanoffs, Passing of the Third Floor Back, Raffles, The Liar, The Frozen Warning, The Deemster, On Trial, Empty Pockets, The Submarine Eye, Alimony, The Sign Invis¬ ible, The Cold Deck, Human Clay, Sins of Ambition, One Law for Both, Anita Stew¬ art Series, Italy’s Flaming Front, Romance of Tarzan. Fontenelle Feature Film Co., 1504 Har¬ ney St.—War’s Women, Witching Hour, Unwritten Law, Escape, Battle of Gettys¬ burg, Wrath of the Gods, Diana the Huntress, Masque of Life, Billy West Com¬ edies, Hart, Chaplin, Keystone re-issues. PHILADELPHIA, PA.— Monarch Film Service, 1220 Vine St.— Lillian Walker Productions, Sunbeam Films, Art Dramas and Wm. Hodkinson Productions. PITTSBURGH, PA.— Liberty Film Renting Co., 938 Penn Ave. —Lust of the Ages, Submarine’s Eye, Bab¬ bling Tongues, Sins of Ambition, One Law for Both. Supreme Photoplay Productions, 265 No. 13th St—The Still Alarm, Where Are My Children, Masque of Life, Idle Wives, Ital¬ ian Battlefront. Day Film Corp., 412 Ferry St.—Her Mis¬ take, Producers’ Distributing Corp. re¬ leases, Raffles, Lockwood-Allison Series, Sin Woman, Her Fighting Chance, Silent Witness, One Hour, Great White Trail, Marriage Bond, Whither Thou Goest, Fringe of Society, The Cast Off, The Deem¬ ster, Today, Mad Lover, Hate. First National Exhibitors’ Circuit, 300 Westinghouse Bldg.—The Warrior, Tarzan of the Apes, On Trial, Modern Lorelei, Mother, Sign Invisible, Fall of the Roman¬ offs, Frozen Warning, Passing Third Floor Back, Empty Pockets, Beware of Strangers, Charlie Chaplin, (Specials) My Four Years in Germany, Pershing’s Crusaders, Civili¬ zation, Bar Sinister, 20,000 Leagues Under Sea, Garden of Allah, Italian Battlefront, Italy’s Flaming Front, Daughter of Des¬ tiny, Light Within, Life Mask, Tempered Steel. Hatch Film Co., 412 Ferry St.—Whip, Still Alarm. Deseret. Film Co., 52 Exchange PI.—Eyes of the World. God’s Man, Deemster, I Be¬ lieve, Persuasive Peggy, Today. Mad Lover, Zongar, Whip, Redemption, Unwrit¬ ten Law, Birth of a Nation, Spoilers, Til- lie’s Punctured Romance. SAN ANTONIO, TEX.— Independent Film Exchange, 205 Front Bldg.—Folly of a Life of Crime, Feature and Comedy re-issues. Consolidated Film Co., 90 Golden Gate Ave.—Educational Corp. Scenics and Educa¬ tional, National Film Service, Cartoons, Ditmars’ Nature Studies. SAN FRANCISCO, CAL.— All Star Features Distributors, Inc., 191 Golden Gate Ave.—Intolerance, Garden of Allah, Whip, 20,000 Leagues Under the Sea, Struggle Everlasting, Today, Two-gun Man, Hell Hound of Alaska, i.ibertine. Still Alarm, Civilization, Raffles. Grain of Dust, Nine-tenths of the Law, Accidental Hon¬ eymoon, Cold Deck, Bandit and 'Preacher, God’s Law, Carmen of the Klondike, Nat¬ ural Law. M & R Feature Film Exchange, 107 Golden Gate Ave.—I van Productions, Mother, The Crisis, Eyes of the World, Ramona. Consolidated Film Corp., 90 Gates Ave.—- Educational Corp., Scenics and Education¬ al, Ditmars’ Nature Studies. SEATTLE, WASH.— De Luxe Feature Film Co., 2014 Third Ave.—Hearts of the World, Intolerance, Carmen of the Klondyke, The Garden of Allah, The Whip, Redemption, The Cold Deck, The Bargain, The Preacher and the Bandit, The Hellhound of Alaska, Two- reel Hart re-issues, Fairbanks re-issues, Keenan re-issues, Norma Talmadge re-is¬ sues, Grain of Dust, Song Hits in Photo¬ play, Little Girl Next Door, Would You Forgive. Greater Features Co., 2020 Third Ave.— Christie Comedies, one-reel Arbuckle re¬ issues, one and two-reel Chaplin re-issues, Mack-Sennett-Mutual-Key stone two-reel Comedies, A Mormon Maid, Where Are My Children, Conquest of Canaan, The Dumb Girl of Portici, The Witching Hour, Dante’s Inferno, Who’s Your Neighbor, Eyes of the World. W. S. Brewster Attractions, 2020 Third Ave.—Crisis. Warrior, Submarine Eye. Masque of Life. L. J. Schlaifer Attractions, 2022 Third Ave.—Traitor Within Our Gates, Sins of Ambition, One Law for Both, Babbling Tongues, Married in Name Only, Parent¬ age, Human Clay, His Wives, Her Sur¬ render, A Son of Strife, The Girl Who Did Not Care, Concealed Truth, A Mother’s Confession, Sex Lure, A Faded Flower, Birth of Democracy, Idle Wives, Hate, Woman and the Beast, The Unborn, Web of Life, Hero of France, Where Cowboy Is King, Steel Industry of the Northwest, The Evergreen Highway, Hart re-issues, Zongar. • Lambson Film Exchange, 2016 Third Ave. —War’s Women, Girl Who Doesn’t Know. Leon Bories, 2016 Third Ave.—Eagle’s Eye, Foursquare Pictures, releases of U. S. Booking Corp. Grace M. Sanderson, 2016 Third Ave.—• Finger of Justice. Exhibitors Film Exchange, Inc., 1200 Fourth Ave.—First National Exhibitors Circuit Pictures, Pershing’s Crusaders, Ro¬ mance of Tarzan, Still Alarm, Raffles, Empty Pockets, Tarzan of the Apes, Italy’s Flaming Front, On Trial, Alimony, Sign Invisible, Fall of the Romanoffs, Passing of the Third Floor Back. Liberty Feature Film Co., Inc.—Mothers of Liberty, The Deemster, Jungle Come¬ dies. Hodupp Town Photoplay Co., 3431 Olive St.—Deemster, Berlin Via America, Hand of Vengeance, Shorty Hamilton, Kerrigan re-issues, Gaumont News and Graphic, Two Men and a Woman, Married in Name Only, Idle Wives, Sins of Ambition, Souls Re¬ deemed, Denny From Ireland, Peg O’ The Sea, Weaver of Life, The Liar, Sunset Princess, Loyalty, Humility, Web of Life, Blood of His Father, Where Are My Children. Grand Central Film Co., Grand and Lu¬ cas Aves.—Four Years in Germany, Tar¬ zan of the Apes, Romance of Tarzan, Per¬ shing’s Crusaders, Passing of the Third Floor Back, Italy’s Flaming Front, Pe¬ trova Productions, Empty Pockets, Ali¬ mony, On Trial, I Believe, Frozen Warn¬ ing, Sign Invisible. The Crisis, Enlighten¬ ment, Beware of Strangers, Mo-Toy Com¬ edies. Sam Werner, 3628 Olive St.—Witching Hour, Diana, Jester Comedies, Hart re¬ issues. Mothers of Liberty, Who Shall Take My Life?, City of Purple Dreams, Helen Gardner in Cleopatra. United Film Service, 3628 Olive St.—Billy West Comedies, Hart re-issues, Ford Edu¬ cational. WASHINGTON, D. C.— Samuel Cummins, 617 E. St., N. W.—Sub¬ marine Eye, Enlighten Thy Daughter, Birth. First National Exhibitors Circuit, Exhib¬ itors Film Exchange, 420 Ninth St., N. W. —Mad Lover, Today, Mothers of Liberty,. Two-gun Man. Would You Forgive, Re¬ demption, Her Bargain. Guilty Wife, Strug¬ gle Everlasting, Accidental Honeymoon, Shorty Hamilton, Joan the Woman. Kerri¬ gan re-issues, Punch Paragraphs, Literary Digest. Super Film Attractions, 1209-11 E St., N. W.—Zeppelin’s Last Raid, Belgian, Those Who Pay, Just a Woman. Nine- tenths of the Law. Crucible of Life. The Whip, The Still Alarm. Lion of the Hills, Tillie’s Punctured Romance, Cold Deck, ♦ ♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦#♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦#♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦ WWWw w w♦ ♦♦♦♦♦♦♦♦♦ wwwwww*Vwww*♦ 1 8 ♦V 8 if ♦> 8 ♦V V# ♦> ♦V ♦V V# #,♦ ♦ ♦ ♦♦ if ♦ # ♦♦ :.: :: 8 if ♦♦ ♦ # ♦♦ if ♦i if if ♦V « ♦> ♦♦ if if 8 8 8 8 8 ♦V 8 8 1 # * II $ 4> ♦> ♦f ♦> iJ if i* M ♦V ♦> if ♦♦ ♦V $ V# :: ♦> ♦V ♦V i.: if ♦♦ ♦V ♦♦ ♦> if ♦V ♦♦ ♦V if 8 8 8 8 8 8 8 8 8 8 8 8 THE MOTIVE MOTION PICTURE CO. 1919 SOUTH MAIN ST., LOS ANGELES, CAL. ANNOUNCE The release of a series of stories from the pen of UPTON SINCLAIR Author of THE JUNGLE, KING COAL, etc., and UPTON SINCLAIR’S MAGAZINE Each subject will treat in Sinclair’s masterful way, of one phase of the struggles of ORGANIZED LABOR To obtain JUSTICE AND A LIVING WAGE, and to offer a SOLUTION of the problem, FAIR to THE PUBLIC, CAPITAL AND LABOR. The FIRST RELEASE (about January First) will treat of the conditions that brought about the first contract ever entered into between the UNITED STATES GOVERNMENT and A LABOR UNION, “FOR THE PERIOD OF THE WAR” The PUBLIC are entitled to the TRUTH and in this picture they will get it and can decide for themselves the question of GOVERNMENT OWNERSHIP A sweet, human interest story of great ENTERTAINMENT VALUE will carry this message to the AMERICAN PUBLIC and will have an added appeal to the WAGE EARNERS OF AMERICA. THE BROTHERHOOD OF RAILROAD TRAINMEN have endorsed offi¬ cially the first picture and the officers of this company are all prominent members of the Brotherhoods. THE BOX OFFICE VALUE of this series will be the greatest ever offered to the Exhibitor. The cast will include at least SIX STARS each of them to have at least 50 per cent, of the drawing power of MARY PICKFORD This will give you a 300 per cent, picture aside from the NEW and NOVEL FEATURES introduced for the first time by means of the HORSLEY DOUBLE EXPOSURE CAMERA, and the HORSLEY AUTOTALKING DEVICE (Patented October 8th, 1918). This company has been granted the first license under the patents of DAVID HORSLEY, and have engaged his services for the exclusive benefit of this company in the production of this series. The company is capitalized at $200,000, all paid in and is prepared to spend it all on the first subject in order that it may be the best BOX OFFICE PICTURE ever released. GEORGE S. WILLIAMS, President B. M. LYON, Secretary & Treasurer 8 ♦ ♦ ♦V 8 ♦V 8 8 8 is 8 8 8 is iS is :: is is is iS is a ♦v ♦ ♦ 8 ♦V ♦V ♦> 8 8 is *s it iS iS ♦V it it it it it ♦♦ ♦♦ is is it it it it ♦♦ 8 it IS ♦♦ 8 is ♦V § is it it is it it it is is it it « ♦> is it is it ♦V is ♦V V# is it it is ♦ ♦ ♦♦ is a is iS is is un Trial, Raffles, The Amateur Cracksman, War as It Really Is, Parentage, Loyalty, Her Condoned Sin, Are Passions Inher¬ ited?, Wrath of the Gods, Purity, Keren¬ sky and the Russian Revolution, Hart, Fairbanks, Keenan, Talmadge re-issues. CANADIAN EXCHANGES Canadian Universal Film Co., Limited. Branches in St. John, N. B.; Montreal, Que.; Toronto, Ont.; Winnipeg, Man.; Cal¬ gary, Alta., and Vancouver, B. C. Head offices for Canada, 106 Richmond St. west, Toronto, Ont. Clair Gague, general man¬ ager for Canada. Canadian distributors for Universal products. Regal Films, Ltd., head offices, Adelaide St., Toronto, Ont. Branches in St. John, Montreal, Toronto, Winnipeg, Calgary and Vancouver. Canadian distributors for Metro, World, Triangle. Exhibitors’ Distributing Corporation— Paralta Plays and specials, such as The Still Alarm, Nine-tenths of the Law, Ivan Productions. Have taken over the rights on pictures formerly held by Superfea¬ tures, Ltd., and Globe Films, Ltd. Also handles W. H. Productions and such spe¬ cials as Civilization, The Lone Wolf, Eyes of the World, Ramona, The Warrior, The Superman, The Spoilers, The Belgian, Those Who Pay, Bar Sinister, Eagle’s Eye Serial, Billy West Comedies. Head of¬ fices and branch, Toronto; branches, Win¬ nipeg, Montreal and St. John. Charles L. Stephenson, general manager. Famous Players Film Service, Ltd. Ex¬ ecutive offices, Toronto; branches, Toronto, Montreal, Winnipeg, St. John, Calgary and Vancouver. Holders of the Canadian Para- mount-Artcraft franchise. Also distribut¬ ors of Select Program and Goldwyn Pro¬ gram in Canada. Monarch Film Co., Ltd. Subsidiary of the Famous Players Film Service, Ltd. Select and Goldwyn Programs from this office. Mutual Film Corporation.—Head offices for Canada in Montreal. Branches in To¬ ronto and Canadian West. Distributes Mu¬ tual output in Canada. Vitagraph. Head offices for Canada in Toronto. Branches, Toronto, St. John, Montreal and Winnipeg. Specialty Film Import, Ltd.—Head of¬ fices in Montreal. Branches, Montreal, St. John, Toronto, Calgary, Vancouver and Winnipeg. Holders of the Canadian Path* franchise. Fox Film Corporation, Ltd. Head of¬ fices for Canada in Toronto. Branches, Montreal, Toronto and St. John. Western Canada business handled by Dominion Ex¬ clusives, with head office in Vancouver, B. C., and branches in Vancouver, Calgary and Winnipeg. General Film Co. (Canada), Ltd. Head offices in Montreal, with branch in To¬ ronto. Distributor of General Film Co.’s products in Canada. DIVISIONS OF FOREIGN TERRITORIES SOUTH AMERICA— West Indies—Including Cuba, Santa Do¬ mingo, Hayti and Venezuela. Central America—Including the Central American countries proper. The Argentine—Argentina, Paraguay and Uruguay. Brazil. Chill, Bolivia and Peru. EUROPE— United Kingdom—England, Scotland, Ire¬ land and Wales. Scandinavian Countries—Norway, Swe¬ den, Denmark and Finland. France and Switzerland. Spain and Portugal. The Balkan States and Egypt. Holland. Belgium. Russia. Australia is a separate unit. The Orient—India, Burma, Ceylon, China, Japan, Philippines, Straits Settlements. NOTE.—These divisions comprise ap¬ proximately the sections into which the world’s foreign market Is divided. How¬ ever, there is no set and fast rule in mak¬ ing sales. WID’S DAILY $1 „ BINDERS A — A binder keeps your copy orderly and makes it readily convenient for reference. f> f> ♦> ♦> ♦> ♦> ♦> ♦> ♦> #,♦ ♦> ♦♦ M ♦♦ ♦ ♦ ♦ ♦ ♦♦ ♦ ♦ ♦ ♦ #.♦ fi ♦♦ # ♦ ♦ ♦ ♦ ♦ ♦> #> ♦> f.i f ♦ f.i f.i f.i f.i f.i ♦> ♦> f.i ♦> f.i f.i f.i ♦> f.i f.i O ♦> ♦> ►iV ♦> ♦♦ ♦> if ♦♦ ♦♦ if ♦♦ ♦♦ ♦> if ♦♦ ♦♦ ♦♦ if if *♦ ♦♦ if ♦♦ ♦♦ ♦♦ ♦♦ if ♦♦ ♦♦ ♦♦ if ♦♦ ♦♦ ♦♦ if ♦♦ ♦♦ ♦> ♦♦ ♦ fififififif♦ ♦♦ fififi ♦♦ f ♦ f ♦ ♦♦ fififi ♦♦ fi f if ♦ f if if if if ♦ f ♦ f i f ♦ ♦♦ ♦♦ ♦♦♦ f.4 ♦♦ ♦V x> g 8 ♦♦ ♦> ♦♦ ♦♦ if ♦♦ ♦V ♦> ♦# :: ♦> ♦v ♦ f ♦♦ ♦♦ ♦> ♦♦ ♦v ♦♦ if if ♦# ♦ f ♦V f.i if i> f.i if i*f ♦♦ ♦ # if ♦♦ ♦V f.i ♦> #♦ ♦f ♦♦ ♦V ♦ ♦ ♦V ♦V ♦> ♦♦ ♦V #♦ if ♦V ♦> ♦ f ♦> NATIONAL FILM CORPORATION OF AMERICA during the forthcoming year VV7LL PRODUCE 6 De Luxe Specials starring “DAINTY” BILLIE RHODES 26 Capitol Comedies with “SMILING BILL” PARSONS ♦> ♦f ♦♦ ♦# ♦> ♦ # if ♦> ♦ f ♦♦ ♦f f.i ♦v ♦V ♦V f.i ♦# ♦> ♦# f.i ♦v f.i ♦> f.i ♦V f.i if f.i Vf f.i ♦> f.i ♦V f.i if f.i ♦> if f.i ♦f f.i ♦# ♦♦ if f.i if f.i 4ft f.i ♦f f.i f.i 4ft ♦♦ if f.i ♦V f.i ♦ f f.i ♦f f.i if f.i ♦V f.i fi f.i fi f.i f,i f> fi fi f.i f.i f,i fi f,i f.i fi f.i f.i f.i f.if.i f.i f.i f.i f.i f.i f.i f.i f> f.i f.i f.i f.i f.i f.i f> f.i f.i f.i f.i f.i f.i fi f.i fi f.i f.i f.i fi f.i fi f.i fi f.i f.i f.i f.i f.i f.i f.i fi fi f i fi ififififififififvfififififififififi fi fifi fifififififi fi fififi fi fi fififi fi fififififififififififififififififififififififiWfififiV TWO 100% SUPER-DRAMAS That will equal or surpass the records of “Tarzan of the Apes ” and “Romance of Tarzan ” NATIONAL FILM CORPORATION OF AMERICA HOLLYWOOD, CALIF. n 4ft f.i if if ♦V f.i ♦♦ ♦ ♦ f.i ♦♦ if f.i f.i ♦f * ♦♦ ♦♦ ♦f ♦♦ ♦♦ ♦♦ f.i f.i ♦# f.i ♦♦ f.i ♦V f.i ♦> f.i ♦ ♦ f.i ♦f f.i if ♦V ii ♦> f.i if f.i ♦> ♦♦ if f.i ♦V :: ♦♦ ♦V ♦♦ if f.i if f.i ♦V f.i ♦V ♦# ♦♦ ♦♦ f> if ♦♦ ♦V f.i ♦V f.i ♦V f> ♦♦ « f.i if f.i ♦V f.i if ♦V if f.i if f.i if f.i if f.i if f.i ♦f f.i if f.i ♦V « J.: $ £ ♦V f.i J.t :: ♦V f.i § if f.i ♦V Vfi'fiWfiV 4 The Year In Headlines September, 1917— American Exhibitors Association officials meet in New York to complete details of recently formed organization. Fox asks for injunction to restrain Major Funkhouser from preventing the showing in Chicago of “The Spy.” Virginia exhibitors hold convention at Ocean View, Va. Anita Stewart signs contract with Louis B. Mayer of Boston to appear in features. Proclamation issued by President Wilson prevents exporting of film without special license. Herbert Brenon’s “Fall of the Romanoffs” has initial showing. Herbert Lubin and Arthur H. Sawyer purchase Amer¬ ican and Canadian rights for “The Warrior” from Harry Raver. “Today” and “The Mad Lover” are placed on the state rights market by Pathe. Michigan exhibitors at meeting in Detroit form state organization to be affiliated with the American Exhibi¬ tors Association. Exhibitors of Maritime provinces convene at St. John, N: B. C. F. Zittel is appointed general manager of the In¬ ternational Film Service. Henry J. Brock, president of Inter-Ocean Film Co., killed in auto accident. Vitagraph gets temporary injunction restraining Anita Stewart from appearing in pictures for Louis B. Mayer. Perfection Pictures are announced. C. E. Shurtleff is appointed sales manager of Select Pictures. Motion Picture Directors Association occupies new quarters at 234 West 48th St. Paralta Plays, Inc. severs its connection with Triangle. Alice Brady signs with Select Pictures Corp. Pathe secures rights to Russian Art Films. October— Herbert Brenon purchases Lewis J. Selznick’s interest in the Herbert Brenon Film Corp. Famous Players-Lasky Corp. buys the Paragon studio and printing plant in Fort Lee. New England exhibitors convene at the Copley Plaza in Boston. Brenon secures an injunction pendente lite restraining the Export and Import Film Co., Inc., Ben Blumenthal and Chadwick from using the title “The Tyranny of the Romanoffs, with Iliodor.” Clarence L. Yearsley becomes advertising and pub¬ licity manager for First National Exhibitors Circuit. Rules governing amusement tax are explained by Treasury and Internal Revenue officials. Paramount-Artcraft national advertising campaign is launched. Paul H. Cromelin elected president of Inter-Ocean Film Co. to succeed the late Henry J. Brock. Forence La Badie dies of results of injuries sustained in automobile accident. Julius Steger resigns as president of Triumph and Crystal Film companies and is succeeded by Joseph A. Golden. The Motion Picture Exposition Co. is incorporated at Albany. New York exhibitors, in mass meeting, decide to pass on the admission tax to the public. Motion Picture Exhibitors League of New Jersey holds annual convention in Newark. Exhibitors League of Kansas convenes at Manhattan, Kans. Oro Pictures Co. is incorporated with H. Grossman as president. Harry M. Crandall opens the Knickerbocker theatre in Washington. D. W. Griffith returns from making pictures in France. U. S. Exhibitors Booking Corp. capitalized at one million with Frank J. Hall as president and William Old- know as secretary and treasurer. Bessie Love becomes a Pathe star. November— W. W. Hodkinson formulates plans for the W. W. Hodkinson Corporation. Sidney Garrett elected president of J. Frank Brock- liss, Inc. M. H. Hoffman, Inc., closes deal with the Whartons to handle “The Eagle’s Eye.” Charlie Chaplin files a number of suits against com¬ panies and actors to prevent alleged imitations. First number of Bernarr McFadden’s Physical Culture Screen Magazine is issued. John F. Skerrett of Nicholas Power Co., dies. Walter W. Irwin resigns from the American Cinema Commission. Howell Hansel, director, dies. Mutual sues New York Motion Picture Corp. and allied concerns for $400,000 alleging violation of contract. California theatre of San Franci co, Cal., is opened. Gebhardt W. Sahner, president of the Motion Picture Exhibitors League of Pennsylvania, dies. Theodore C. Deitrich resigns as advertising and pub¬ licity director of International Film Service and forms De Luxe Pictures, Inc. with Doris Kenyon as the star. J. Ernest Williamson is awarded verdict of $3,175 against Universal Company for alleged breach of con¬ tract in connection with a picturization of “Twenty Thousand Leagues Under The Sea.” Organization of State Right Distributors, Inc. is com¬ pleted. J. S. Woody becomes general manager of Pacific Northwest territory for Select. Ruth Stonehouse signs contract with Overland Film Co. to produce six features a year. December— Charlie Chaplin secures an injunction against the Film Exchange Inc., the King Komedy Film Co., Inc., Eman¬ uel S. Manheimer. Fred Beck, Louis Weiss, George Merrick and Samuel Berliner, restraining the defendants from producing, releasing or exhibiting spurious Chaplin comedies. Eleven producing companies charge Brooklyn exhibi¬ tors with attempt to boycott Fox and Vitagraph pictures on account of fifteen cents a reel tax. United States District Attorney is asked to investigate complaint. Arrangements are made for the distribution of W. W. Hodkinson pictures through General Film exchanges. American Exhibitors Association opens headquarters in Indianapolis. Essanay announces discontinuance of program re¬ leases and concentration on specials. 6aumont Throughout the entire world this name symbolizes the best in motion pictures. Particularly is this true of the Gaumont News Service. Invaluable foreign connections, a great film library, alert camera¬ men and a trained and capable editorial staff keep up the Gau¬ mont standard. The World’s Greatest Pictorial News Service Distributed in the United States Through the Best Independent Exchanges irk® ^ TUESDAY THE NEWS-REELS OF REAL NWES ALWAYS FIRST ON THE SCREEN vj; “ Gi lamont raphic Gaamont Co. FLUSHING, N. Y. Branches and wide-awake correspondents in all countries <0Qn)or)b A "x ^ i LONDON The Committee on Public Information approves Fox’s the “The Rose of Blood’’ despite Funkhouser’s refusal to permit its showing in Chicago. Jesse J. Goldburg opens state rights sales bureau. Ivan Abramson launches the Graphic Film Company. John G. Adolfl resigns as director for Fox. Members of the M. P. E. L. of A. and A. E. A. hold joint convention in Washington. Paramount-Artcraft forms organization in Havana for distribution in West Indies and Central America. First National Exhibitors Co. of Ohio is incorporated. “Spirit of ’76,” issued by the Continental Producing Co., is seized by Federal officers in Los Angeles as enemy propaganda. Robert Goldstein, producer of the picture, is indicted on three counts. Famous Players-Lasky Corp. places Fred Stone under contract. Fred E. Wright, after an absence of three years, re¬ turns to the direction of Pathe films. Eric Campbell, comedian with Charlie Chaplin, killed in automobile accident. Rivoli theatre. New York, is opened. William Fox takes over the Victor studio, 638 West 43rd St., New York. William D. Taylor signs with Famous Players-Lasky. Epoch Producing Corp. releases “The Birth of a Na¬ tion” to regular motion picture theatres. Hiram Abrams and B. P. Sehulberg, respectively president and general manager of Paramount Pictures Corp., resign their executive offices in order to devote themselves to bringing about a closer relationship with exhibitors. Edgar Lewis sells “The Sign Invisible” to the First National Exhibitors Circuit. January, 1918— Charles W. Gates elected president of Associated Theatres, Inc., at first annual meeting in Minneapolis. Metro plans enlargement of west coast studio. Regal Films, Ltd., Toronto, acquires selling rights in Dominion to all films controlled by Globe Films Ltd., Toronto. Felix Malitz arrested and placed under $5,000 bail, charged with having smuggled rubber into Germany in 1916. Paramount-Artcraft exchange managers convene in New York. Walter E. Greene becomes head of Paramount, A1 Lichtman, general manager. Censorship fight grows active in Los Angeles. James Kirkwood engaged to direct Frank A. Keeney productions. Mastercraft Photoplay Corp. announced with F. Eugene Farnsworth as president and director general. Maryland Exhibitors League starts campaign to secure repeal of censorship law. John Manheimer elected president of Manhattan Ex¬ hibitors Local No. 1. Semi-annual convention of North Carolina Exhibitors Association held in Raleigh. Mutual Film Corp. announces the Screen Telegram. John Emerson and Anita Loos engaged by Jesse L Lasky to work on Paramount pictures. Delegation of picture men visits President Wilson at the White House. Aubrey M. Kennedy resigns as manager of produc¬ tion for Goldwyn. Motion Picture Directors Association gives dinner and dance at the Biltmore. John C. Graham closes contract with Gaumont to dis¬ tribute Paramount-Artcraft pictures in France and her colonies, also Switzerland, Belgium, and Egypt. Famous Players-Lasky Corp. absorbs Paramount and Artcraft. Metro launches Screen Classics, Inc. George Loane Tucker becomes managing director for Goldwyn pictures. February— Censorship is threatened in Virginia. Wm. A. Brady resigns from World Film Corp. Leander Richardson dies of pneumonia. Joseph Kaufman dies of pneumonia. Famous-Players Lasky Corp. starts administrative bureau conducted by Hiram Abrams and B. P. Sehulberg. George D. Baker appointed manager of productions at Metro’s west coast studio. “Smiling Bill” Parsons starts making Capital Com¬ edies for Goldwyn. Louis B. Mayer again assumes control of American Feature Film Co. and Metro Pictures Corp. of New England. Grauman’s theatre is opened in Los Angeles. C. D. Cooley re-elected president at convention of Florida Exhibitors League. William Russell Productions, Inc. formed. Testimonial dinner is given to William Fox at the Astor. Edwin Thanhouser retires as president of Thanhouser Film Corp. Sixth annual convention of Oklahoma Exhibitors League held in Oklahoma City. Birth of a Race Photoplay Corp. is investigated by Attorney General Brundage of Illinois. Oscar C. Apfel joins World Film to direct Kitty Gordon. Mutual is denied injunction restraining New York Mo¬ tion Picture, Keystone Film Co., Domino Motion Picture Corp., and Broncho Motion Picture Co. from re-issuing through other companies than Mutual. March— Mutual adds five new members to its Board of Direc¬ tors. Fight for Sunday opening in Alabama is started. Margaret Mayo resigns as head of Goldwyn scenario department. William L. Sherrill elected president of Producers and Exhibitors Affiliated. Haworth Pictures Corp. organized to exploit Sessue Hayakawa pictures. Goldwyn closes deal with John Olsen and Co. of Scandinavia, for releasing Goldwyn pictures in Sweden, Norway and Denmark. Grand Theatre, Pittsburgh, Harry Davis, owner, is opened. New York State Exhibitors League convention at the Astor, New York. Allied Motion Picture Committee starts campaign for Sunday opening in New York. Stanley V. Mastbaum dies. J. A. Berst resigns as vice president and general manager of Pathe Exchange, Inc., and Paul Brunet Is named as his successor. Capital Film Co. incorporated in Indiana with capital stock of $2,500,000. Julius Steger becomes producing director of Inter¬ national Film Service, Inc. Crawford Livingston elected president of Thanhouser Film Corp. U. S. Court of Appeals decides against Funkhouser in fight over showing of Fox’s “The Spy” in Chicago. Gaumont Company adopts state rights plan of release. Mitchell H. Mark, president of Strand Theatre Com¬ pany, dies in Buffalo. Men You Are Doing Business With On these pages appear the pictures of men who direct the wheels within wheels which go to make up that com¬ plex commercial institution, the Motion Picture Industry Joseph W. Engel Treas. Metro Pictures Corp. John D. Williams Mgr. 1st Nat’l Exhibitors Cir. Frank A. Keeney Frank A. Keeney Corp. William A. Brady W. A. Brady Productions Adolph Zukor Mack Sennett Pres. Famous Players-Lasky Mack Sennett Comedies Corporation Samuel Goldfish Pres. Goldwyn Pictures Corp. Thomas H. Ince Ince Productions Cecil B. de Mille Lewis J. Selznick Director General, Famous Pres. Select Pictures Corp. Players-Lasky Corp. K Harry O. Schwalbe Sec. & Treas. 1st Nat’l Exhibi¬ tors Circuit J. Stuart Blackton J. Stuart Blackton Productions Louis B. Mayer Mayer Productions Hiram Abrams Famous Players-Lasky Corp. Walter W. Irwin Vice-Pres. & Gen’l Mgr. Vita- graph Isadore Bernstein Vice-Pres. Nat’l Film Corp. W. E. Shallenberger Pres. Arrow Film Corp. Robert Lieber Pres. 1st Nat’l Exhibitors Cir. Lee A. Ochs United Picture Theatres, Inc. William Fox Pres. Fox Film Corp. D. W. Griffith Griffith Productions Jacob Wilk Hiller and Wilk P. A. Powers Universal Co. William N. Selig President Selig Polyscope Co. Paul Brunet Vice-Pres. & Gen’l Mgr. Pathe Exchange, Inc. William L. Sherry President Sherry Service George K. Spoor President Essanay Co. Carl Laemmle President Universal Co. W. W. Hodkinson Pres. W. W. Hodkinson Corp. B. A. Rolfe B. A. Rolfe Productions James M. Sheldon Pres. Mutual Film Corp. Walter E. Greene Famous Players-Lasky Corp. Charles C. Pettijohn Affiliated Distributors Corp. William L. Sherrill Frohman Amusement Corp. R. H. Cochrane Vice-Pres. Universal Co. Frederick L. Collins McClure Pictures Corp. Richard A. Rowland Pres. Metro Pictures Corp. L. L. Hiller Hiller & Wilk J. L. Kempner Inter-Ocean Film Corp. Thomas L. Tally V-Pres. Nat’l Exhibitors Circuit Albert E. Smith Pres. Vitagraph Co. Jesse L. Lasky V-Pres. Famous Players-Lasky Corp. 41 Milton Sills Goldwyn Pictures MAY ALLISON Metro Star April— Motion Picture Option Bill is killed in concluding session of the 1918 New York legislature. D. W. Griffith’.s “Hearts of tlie World” opens. H. M. and E. D. Horkheimer turn over Balboa studios to Los Angeles Wholesalers Board of Trade for liquida¬ tion. Convention of Texas exhibitors at Dallas. Lee A. Ochs resigns as president of Exhibitors Trade Review. Society of Motion Picture Engineers holds semi-annual meeting in Rochester. Stockholders of First National Exhibitors Circuit in first annual session. Robert Lieber elected president. H. J. (Josh) Binney organizes Florida Film Corp. to make two reel comedies. Henry McMahon becomes general press representative of Educational Film Corp. Joshiah Pearce, a leading southern exhibitor, dies. Thomas A. Edison, Inc., sells the Edison studio, New York, to the Lincoln and Parker Film Co., Worcester, Mass. Robert Goldstein, producer of “The Spirit of ’76” found guilty of violating the espionage act. Wm. L. Sherry resigns as head of Paramount’s pur¬ chasing department. May— First issue of Wid’s Daily May 8th. John R. Freuler resigns as president of Mutual Film Corp. and is succeeded by James L. Sheldon. Major Funkhouser again arouses protest by cutting scenes from “Hearts of the World” and “My Four Years in Germany.” Mary Maurice, famous “screen mother,” dies. Affiliated Distributors Corp. with capital of $100,000 incorporated under the laws of Delaware. “Pershing’s Crusaders” is shown. John E. deWolf, Herman Katz and their associates purchase Paralta Pictures Corp. Motion Picture Exhibitors Corp. of the Northwest in Seventh annual convention at Minneapolis. Felix Malitz and Gustave Engler, president and secre¬ tary, respectively of American Correspondence Film Co., sentenced to prison. P. A. Powers heads concern which takes over Fire Proof Film Co. plant in Rochester, N. Y., to produce raw stock. Wm. L. Sherry service to distribute Frank A. Keeney pictures. Ricord Gradwell elected vice president and general manager of World Pictures. Russell Bassett, veteran actor, dies. William P. S. Earle becomes World Pictures director. Fire does $100,000 damage to Lasky plant in Holly¬ wood. Tom Moore made a Goldwyn star. Pauline Frederick forms own company to release through Goldwyn. Willard Mack, director. Goldwyn announces doubling of output for coming year. State convention of Illinois Exhibitors League in Chicago. Sessue Hayakawa pictures, produced by Haworth Pic¬ tures Corp., to be released through Mutual. John Barrymore returns to Paramount pictures. Vitagraph secures services of director James Young. J. A. Berst appointed manager of distribution for Di¬ vision of Films, Committee on Public Information. S. Rankin Drew killed in action in France. Major M. L. C. Funkhouser, Chicago censor, suspended. Goldwyn engages Reginald Barker and Charles Giblyn. June— Jesse L. Lasky decides on policy of “cheerful pic¬ tures.” Marion Davies pictures to be released by Select. Federal Trade Commission alleges unfair methods on part of Stanley Booking Corp. of Philadelphia. Dr. O. I. Lamburger resigns vice presidency of Ivan Film Productions, Inc. Sol L. Lesser pays $200,000 for “Hearts of the World” rights for eleven western states. Frank Marion, representative of Committee on Public Information, returns from Spain. Film Exporters of America form association. Benjamin Chapin, Lincoln impersonator, dies. M. H. Hoffman retires from Foursquare Pictures, Inc., selling holdings to George Backer. Fox exchange managers have fourth convention in New York. Famous Players-Lasky Corp. announces a new star in “Cuddles,” renamed Lila Lee. H. O. Davis leaves Triangle and H. E. Aitken assumes active charge of the company. Doris Kdnyon, De Luxe Pictures, to go through Wm. L. Sherry Service. Select eastern branch managers meet in New York. Arrow Film Corp. handles “The Finger of Justice.” Committee on Public Information prevents showing of Universal’s “The Yanks Are Coming” at the Broad¬ way theatre. Film men present arguments against the raising of the tax before Ways and Means Committee in Wash¬ ington. National Association of Motion Picture Industry with¬ draws from Boston Exposition. Directors of Affiliated Distributors Corp. in three days’ session. Trial of Major Funkhouser starts in Chicago. Gail Kane forms own company. Pictures to be re¬ leased through Mutual. Committee on Public Information sends H. C. Hoag- land and Lucien C. Wheeler and C. F. Van Arsdale abroad to establish distribution system for official films. Sol J. Berman, manager of Jewel’s New York ex¬ change, dies. Judge O’Donnell elected president of Pennsylvania Exhibitors League at annual convention. July— Walter E. Stradlin, cameraman, dies. Hampton Del Ruth leaves Mack Sennett forces. Director Wm. D. Taylor enters British Officers’ Train¬ ing Camp. Frank A. Keeney Corp. claims Jewel Carmen despite Fox contract. Exporters notified that film must be shipped to Trade Board representatives. American Film Co. announces distribution through Patlie exchanges with special representative in each. “America’s Answer,” second official war film, opens in New Y r ork. Colonel Jacob Ruppert announces details of Film Clearing House, Inc. Peter J. Schaefer elected president at the M. P. E. L. of A. convention in Boston. Louis B. Mayer and Nathan Gordon form partnership. Arthur S. Kirkpatrick made assistant general manager of Mutual. First National Exhibitors Circuit directors hold three days’ session. Enrico Caruso starts on first Artcraft production. Louis B. Mayer places Anita Stewart under contract. i 3 i • Wives of Mer § mmiimimmmmimmmmmmmmimmmimiiummmmmimimmtimiiiiiimiiiiiitiiiimiiiiimiimiiiiimiiiiiiimmiiiitiiiiiiiiiititiiiiiiiiiimiiiiiiiiiiimmiuiiiiiiiiiiiiiiiiiiiiiiimiiiiiiii T [ MiiMiii r A Florence Reed super feature, one < the real hits of the year. Wid liked E mmimmimiiiimiiiimiiiiiiiiiiimiimimiiiiimitiiiiiiiiimiitmiimHiitmtinitimimtiiiiiimiiiiiitiiimiiiiiiimmmmtmiiiiimmiiiiiiiiiiimiiiiiiiiiiiiiiiiiiiiiiitiiiiiiiiiiiiiiiiiiiimiiiiiiiiiiiiii of [ it. I ilium = Pioneer Film Corporation I 126 West 46th Street New York 1 ... L eOCwrtl Don^ l&nyon ,G.nAndgi-ron VkngigVHlgnftTjg 'FTffdCT'C’k £mlmgbxrr)l PAREX FILM CORPORATION FURNISHING w l m sherry service Executive Office — 729 Seventh Exchanges in Following NEW YORK 729 Seventh Ave. BOSTON 16 Piedmont Street PHILADELPHIA 1314 Vine Street CHICAGO 220 State Street MINNEAPOLIS 14 N. Fourth Street PITTSBURGH 804 Penn Avenue SAN FRANCISCO 180 Golden GateAve. ATLANTA 61 Walton Street SEATTLE 2022 Third Avenue LOS ANGEI.ES 511 West Eighth St. Ave., New York Cities CLEVELAND 823 Prospect Avenue DETROIT 63 Elizabeth Street DALLAS 1905^2 Commerce St. DENVER 1723 Welton Street KANSAS CITY 921 Walnut Street Distributing The Greatest Program in Motion Pictures Today FRANK A. KEENEY PRODUCTIONS FEATURING CATHERINE CALVERT Eight appearances every year in master pictures by noted authors GOLDEN WEST PRODUCING CO. PRESENTING G. M. ANDERSON Famous Creator of “BRONCHO BILLY” in EIGHT BIG. NEW Productions a Year THE BUR LINGH AM Series of 30 subjects for the Ensuing Year DE LUXE PICTURES PRESENTING DORIS KENYON The Exquisite Empress of Expression in Eight Prodnctions Every Year HAROLD J. BINNEY PRESENTING VANGIE VALENTINE The Most Lovable Creature Ever Seen on the Screen—In Eight Productions Yearly TRAVEL PICTURES Booked Solid at Strand Theatre, N. Y. C. 52 BIG PRODUCTIONS A YEAR — OTHER STARS TO BE ADDED J. Stuart Blackton produces “Tlie Common Cause” in co-operation with the British-Canadian Recruiting Mission. Vitagraph signs Bessie Love as a star. William Parke made director general of Education Film Corp. August— Court decides that Sunday shows are illegal in Phila¬ delphia. Major Funkhouser, formally dismissed as Chicago censor. Anita Stewart productions to be distributed through First National Exhibitors Circuit. Metro holds third annual convention at New York offices. Fox announces new brand for coming year. N. A. M. P. I. recommends changes in export regula¬ tions. Tax on theatres, according to seating capacity, to be doubled. Robert W. Priest organizes the Film Market, Inc. Rolfe Productions Inc. starts Houdini serial. Frank G. Hall launches Producers Distributing Corp. with $10, $20, $30 rentals. American Exhibitors Association convention in Chi¬ cago promises to draw big attendance. J. A. Berst resigns as manager of distribution for the Division of Films and Dennis J. Sullivan is appointed to succeed him. Sol Lesser opens ‘‘Hearts of the World” office in Chicago. Evelyn Nesbit becomes Fox star. United Picture Theatres, Inc., announces Dustin Farnum, Kitty Gordon and Florence Reed as first three stars. Affiliated Distributing Corp. selects Leonce Perret’s “Lafayette. We Come!” for an initial attraction. W. C. Thompson is arrested and charged with being a receiver of stolen goods. Round-up of film thieves starts. Motion Picture industry declared essential by Prior¬ ities Committee of the War Industries Board. MABEL BALLIN has played special engagements with VITAGRAPH FAMOUS PLAYERS TRIANGLE GOLDWYN WORLD Permanent address may be obtained from the office of Wid’s Daily a JUNE ELVIDGE § IllllllllllllimillllllllllllllllllllllllfllililllllllllllllllllllllllllllW^ iPiiiiiiiiiiiiiiiiiiiiiiiiiy Re /easea = ■miMiiiiuiiiiiiiiimiimiiiiiiiiMimiiiiiiiiiiiiiiiimmiiMimmiiii = iiiiiiiiiiiuuiiiiiiiiiiHiumiiiiiiiiiiiimiiiiMimiiitiuiMiiiKiiiHii | ‘‘The Power and | The Glory” | “The Cabaret” | “The Oldest Law” “Appearance of Evil” | “The Bluffer” | 1 Personal Management EDWARD SMALL, 1493 Broadway, N. Y. In Preparation Hugh Thompson Leads A Year of Achievement, Working Continually Current Releases “Queen X” . . “Queen of the Sea” . “A Daughter of France ” “Forbidden Path ”. “Soul of Buddha” . “Street of Seven Stars ”. “House of Gold” . “Ashes of Love” . “Secret Strings” . . .. .with Edna Goodrich with Annette Kellerman . .with Virginia Pearson .with Theda Bara .with Theda Bara .with Doris Kenyon .with Emmy Wehlen .with Graphic .with Olive Tell Especially engaged to be featured in “WHEN THE GIANT WAKES’ (now in preparation ) Film Exports and Imports for Twelve Months IMPORTS OF FILMS —X9i7=i9i8 JULY, 1917 — Quantity Value Sensitized but not exposed. .. 5,139,194 $72,493 Negatives . 61,065 21,772 Positives . 182,837 11,261 AUGUST Sensitized but not exposed. . . . 5,528,152 82,099 Negatives. 20,169 5,085 Positives . 40,477 1,890 SEPTEMBER Sensitized but not exposed. . . . 4,331,704 64.229 Negatives . 146,439 12,600 Positives . 777,764 28,559 OCTOBER Sensitized but not exposed. . . . 6,073.516 92,397 Negatives . 139,636 48,193 Positives . 509,017 23,964 NOVEMBER Sensitized but not exposed. . . . 11,797,560 174,773 Negatives . • 83,976 19,603 Posith r es . 460,470 16,897 DECEMBER Sensitized but not exposed. . . . 2,614,378 43.743 Negatives . 26,172 3,915 Positives . 251,016 16,573 JANUARY, 1918 — Sensitized but not exposed. . . . 1,333,972 22,023 Negatives . 38,552 9,709 Positives . 283,612 21,212 FEBRUARY Sensitized but not exposed. . . . 1,938,693 35,005 Negatives . 85,499 30,521 Positives . 159,752 7,906 MARCH Sensitized but not exposed. . . . 2,734,164 51,786 Negatives . 18,206 4,235 Positives . 96,327 5,171 APRIL Sensitized but not exposed. .. . 2,151.070 36,692 Negatives . 15,377 1,943 Positives . 113,130 8,750 MAY Sensitized but not exposed. . . . 3,788,892 62,861 Negatives . 35,475 4,443 Positives . 160,044 15,075 JUNE Sensitized but not exposed. . . . 31,420 1,034 Negatives . 42,797 4,014 Positives . 340,051 19,890 TOTAL, 1917=1918 — Sensitized but not exposed. . . . 47,462,715 $739,135 Negatives. 713,363 166,033 Positives . 3,374,497 177,148 EXPORTS OF FILMS EXPOSED— 1917=1918 1917 Quantity Value July. . 2,738,523 $333,397 August . . 5,547,171 355,305 September . . 5,383,410 429.978 October . . 4.975,482 364.751 November. . 8,891,654 577,522 December. . 9,852,702 579,464 1918 January . .10,309,894 672,457 February . . 6,577,069 338,020 March . . 8,165,608 426,422 April. . 5,795,556 297,011 May .11,313,300 487,087 June . 4,996,207 271,034 Totals.84,546,576 $5,132,448 EXPORTS OF FILMS, UNEXPOSED— 1917=1918 1 9 1 7 Quantity Value July . 6,705,734 $142,640 August . 3,635,712 91,447 September . 2,461,881 59,985 ° ctol >er. 3,449,829 73,875 November. 2,044,351 47,634 December. 1,210,402 40,730 1918 Janua LV . 1,097,989 34,203 February . 1,024,444 30,518 March .14,257,451 396,559 £P nl . 1,576,939 50,596 May .17,542,378 345,437 June . 2,987,954 71,667 Totals .57,995,064 $1,385,291 EXPORTS BY YEARS—EXPOSED FILMS 1913-1914— Quantity Value Sensitized but not exposed 44,717,323 $889,560 Negatives 20,057,144 1,009,469 Positives . 402,704 1 1914-1915— Sensitized but not exposed 61,402,312 967,907 Negatives 10,789,439 411,999 Positives 258,800 1915-1916— Sensitized but not exposed 58,490,788 750,023 Negatives 764,105 225,690 Positives . 6,742,988 256,332 1916-1917— Sensitized but not exposed 52,294.075 802,324 Negatives 950,152 448,252 Positives 3,802,960 227.118 1917-1918— Sensitized but not exposed 47,462,715 739,135 Negatives 713,363 166,033 Positives . 3,374,497 177,148 EXPORTS BY YEARS Quantity Value 1913- 1914 . 32,690,104 $2,282,924 1914- 1915 . 35.987,460 2,498,504 1915- 1916 . 158,751,786 6,757,658 1916- 1917 . 128,549.816 6,633.291 1917- 1918 . 84,557,376 5,132,528 EXPORTS BY YEARS—UNEXPOSED FILMS Quantity Value 1913- 1914 . 155.359,550 $4,264,722 1914- 1915 . 115,067,424 2,591,444 1915- 1916 . 72.298,993 2,220.118 1916- 1917 . 49,486,415 1,125,895 1917- 1918 . 57,995,064 1,385,291 TOTAL OF ALL EXPORTS BY YEARS Quantity Value 1913- 1914 . 188,049,654 $6,547,646 1914- 1915 . 151,054,884 5,089,948 1915- 1916 . 231,050,779 8,977,776 1916- 1917 . 178,036,231 7,759,186 1917- 1918 . 142,552,440 6,517,819 We Bought u The Hearts of the World r for the entire South and Central America Gillespie Bros. & Co. Exporters, Importers, Merchants and Bankers from 1837 LONDON NEW YORK The House of Confidence BUYING 4 SHIPPING MOVING PICTURE FILMS for FOREIGN COUNTRIES Film Department 220 WEST 42nd STREET NEW YORK A Little Talk with American Producers It is one thing to make a picture. It is another to get the maximum earning power out of it. The home market is just one form of yield. The foreign market is equally important. Properly exploited, it brings large net returns. The Inter-Ocean is in a unique position to secure such returns for producers on subjects that haven’t been hawked about. We have a simple requirement: a first look at subjects whose makers are sure they are standard. It will pay such producers not to sign away foreign rights before consultation with us. And there is a possibility that we might like to take over world rights on a few good features during the 1918-’19 American amusement season. INTERS OCEAN FIL/Ai mcorpBra' INTER-OCEAN I3ljlt-DING 218 W. 42™ ST. NEW YORK CITY PAUL H.CROMELIN PRES. SEN'L.MOR. “We Operate Everywhere”—Largest Distributors of Films in Foreign Fields and Sole Exporters of Speer Carbons, Fulco Accessories and Globe Reels. # ttpfcior Pit-fcur Class* attraction Photographed at the risk of life Nagapate. i||ff handsomestar S cruelest look) sa.va.ge we have ever- seen." V ?* 6 Distribution ri dhts th the world controlled 1600 Broadw< New York Ci States Right Percentage Estimates FIRST NATIONAL EXHIBITORS’ CIRCUIT Percentage Southern California and Arizona. 2 y 2 Northern California and Nevada . 3% Washington, Ore., Montana and N. Idaho. 5 Utah, Colo., Wyo., New Mexico and So. Idaho. . 2% Canada (West of Fort Williams). 1% Illinois. 7*4 Indiana . 3 *4 Iowa, Kansas and Nebraska. 5% Michigan . 4 Minn., Wis., No. and So. Dakota. 5*4 Missouri . 3 % Ohio. 6 % New England States . 7*4 Maryland, Dist. of Columbia and Delaware.... 2% New Jersey... 3 % Greater New York . 8% New York State. 4 Eastern Pennsylvania .. 4% Western Pennsylvania and W. Virginia. 4 Canada (Ontario) . 2 % Canada (Quebec and East) . 2 Georgia, Fla., Va. and No. and So. Carolina. 3% Louisiana and Miss. 2 Texas, Oklahoma and Arkansas. 4 % Kentucky and Tennessee . 2 AFFILIATED DISTRIBUTORS CORP. Per Cent. Days New England States . 7% 150 New York State up to and including Poughkeepsie, Long Island and Nor¬ thern New Jersey to Trenton. 8% 215 New York State, North and West of Poughkeepsie . 3% 110 Eastern Pennsylvania, including east of a line drawn North and South through Harrisburg, including same, and Southern New Jersey, all south of a line drawn through Trenton and including same . 5% 100 Western Pennsylvania, all west of a line drawn North and South through Harrisburg, excluding same and in¬ cluding West Virginia. 4% 100 Delaware, District of Columbia, Mary¬ land, Virginia, North and South Carolina, Alabama, Tennessee, and Florida . 8 200 Northern Ohio, all north and including a line drawn through Troy, Co¬ lumbus and Zanesville . 4 100 Southern Ohio, south of line drawn through Troy, Columbus and Zanes¬ ville, and the state of Kentucky, east of a line running North and South with the line between Ohio and Indiana . 3 100 State of Michigan . 4 100 Indiana except the four Northwestern counties, and including Southern Illi¬ nois, except certain counties to be agreed upon with Missouri and that part of Kentucky west of a line run¬ ning North and South with the line between Ohio and Indiana. 3y 8 100 State of Illinois, north of and including Litchfield and river towns in Iowa from Cedar Rapids to Keokuk and Southern Wisconsin including La¬ crosse, Monroe, Wood, Portage, • Waushara, Waupana, Winnibago, Calumet, Antigamie, Monitowoc, Brown, Kewanee Counties and the four Northwestern counties in Indi¬ ana, adjacent to Chicago. 8 Minnesota, North and South Dakota and Northern Wisconsin in north of Mil¬ waukee . 3 Iowa and Nebraska, except River Towns from Cedar Rapids to Keokuk, in¬ clusive . 3 Missouri, except three Northwestern counties, and including certain coun¬ ties'in Southern Illinois, to be agreed upon with Indiana. 3 Kansas, including three Northwestern counties of Missouri. 3 Oklahoma and Arkansas. 3 Louisiana and Mississippi. 3 Texas .. • • 3 Montana, Woming, Utah, Colorado. New Mexico, Arizona, Idaho, Washington Mexico, Arizona, Idaho, Washing¬ ton, Oregon, Nevada, California, Alaska and Hawaii. 11% Balance of 7% % to be added to the cost of distribution. 200 150 100 100 100 100 100 100 300 ERNEST SHIPMAN Percentage Southern California and Arizona. Northern California and Nevada . Washington, Ore., Mont, and N. Idaho. Utah, Colo., Wyo., N. M. & So. Idaho. Canada (West of Fort Williams). Illinois. Indiana . Iowa, Kansas and Nebraska. Michigan. Minn., Wis., N. and South Dakota. Missouri . Ohio. New England States . Maryland, Dist. of Col. and Delaware New Jersey. Greater New York. New York State. Eastern Pennsylvania . Western Pennsylvania and West Virginia Canada (Ontario) . Canada (Quebec and East) ••••••• Georgia, Fla., Virginia and No. and S. Louisiana and Mississippi. Texas, Oklahoma and Arkansas . . . . Kentucky and Tennessee. Carolina. . 2 y 2 3 % 5 2 % 1 % 7 % 3 % sy 2 4 514 3 y 2 6 y 4 7 % 2 % 3 % 814 4 4% 4 2 % 2 3 % 2 4% 2 STATE RIGHTS DISTRIBUTORS, INC.^^ New England, including Maine, New Hampshire, Mass., Vermont, Conn., R. I. New York State. New Jersey. Eastern Pennsylvania .. Western Pennsylvania and West Virginia. (In cases where W. Va. is included in Ohio Ac Ky. Sale) . Maryland, Delaware and Virginia ••••••••*••• North and South Carolina, Georgia, Ala., I la., Tenn., Miss. Michigan. Indiana and Illinois. Wis., Mo., Minn., and la. Ark., La., Texas and Okla. Mont., Ore., Wash., Idaho and Alaska. Ariz., Nev. and Cal... Utah, Colo., New Mexico and Wyoming. Kansas, Nebraska, No. and So. Dakota. 8 14 4 4% 4 7 3% 3y 4 4 11 5% 5 4 % 6 2 % 5% Incorporating Wests Pictures Spencers Pictures International Pictures Amalgamated Pictures Pathe (Australia) Gaumont (Australia) Johnson & Gibson Australasian Films Limited AND Union Theatres Limited Head Offices — SYDNEY, AUSTRALIA owning , controlling and supplying PICTURE THEATRES and FILM RENTING ORGANIZATIONS throughout Australia Fiji Islands Far East New Zealand British New Guiana and Java {and having exclusive territorial rights) to Triangle Select World Vitagraph First National Exhib. Circuit Pathe and Charlie Chaplin Productions Sole Australasian licensees for Simplex projectors and other M. P. accessories Always in the market tor the best films Australasian Films Limited American Representative Millard Johnson Room 601, 602 Godfrey Building Tel. 7824 Bryant 729 Seventh Avenue, New York City Alphabetical List of Features Separately Indexed Under Star and Director Headings From September ist, 1917 to September 1st, 1918 When preparations were begun on this first issue of “Wid’s Year Book,” an effort was made to secure as much informative data as possible, particularly things which had never before been presented in any sort of tabulated form. There has never, up to the present time, been compiled a list of the features made by all com¬ panies, nor has any record been prepared listing these features under the headings of directors and stars. This we have tried to do. In attempting to secure this information, we found tremendous difficulty in checking up to get our lists accurate. There have undoubtedly been quite a number of omissions, but as nearly as it is humanly pos¬ sible, we have tried to verify all of the informa¬ tion herein presented. The influenza epidemic and a printers’ strike has caused considerable additional trouble in pre¬ paring these schedules, and getting them off the press, so that we can say very frankly that while we think this schedule will be of tremendous value during the coming year, we realize that it is not as complete a schedule as will be in the next Year Book. I 11 the first listing, all features will be found in alphabetical order with the releasing company, the date of release, the star, director, and date of the review, if a review of the film appeared in “Wid’s.” This index should be of tremendous value to the entire trade in quickly checking up any subject. In the following two listings will be found the productions of various directors and the produc¬ tions of various stars, with these personages ar¬ ranged in alphabetical order. It is unfortunate that the delay caused by the epidemic and the strike brings this book out some time after the time originally intended, but the next issue of the Year Book will carry a com¬ plete table from September 1st, 1918 to Septem¬ ber 1st, 1919, so that these issues will be in¬ valuable for reference purposes. in o cd ■M CO 3 ® 0) * -H ” S’!*' .2 g « cd cd o, 3S «> o Bo c 53 O 0* g cd u B <5 co s o a Slo -*-» u c o 43 CJ &4> s^ co.2 *o.2 C bo cd «-. u •-■ B> .G H Ob cd PQ U CO u a M" o ri G O C/3 <#£ a; Gob Od o S* WU o ^ bO ^ - co B >» T3 43 G G 43 B 43 bo X3 cd G £ o 43 G s >% Ob ed PQ 00 H \ a a 03 O cd « O a a $m G ed N cd M ed PQ PQ B W « PQ PQ >v 43 G 43 S-M <0 G v cd •*“* Vh so o >* 43 G to 43 03 H G cd PQ •2 *43 B 43 o jd Id £ & •o G 43 B 43 Q cd a •X pq nd 43 > O *43 PQ G o 4-* cd B cd G 4-» CO r^Ti eg *o u. 2 43 J3 5 T3 43 > O PQ PQ CM *-H o G 43 O G cd s PQ ?3 PQ 00 a o' PQ PQ oo eo r4 \ N w PQ PQ PQ PQ OO o' bo bo G B 43 cd 4-* ► > dd C T3 G PQ •rd c o E >» cd B PQ B cd -*-» CO IA 43 ed 43 cd SQ B bO . G ^ •5 G G cd q, .sa aio « 4-» •*4 H B 43 03 u o *"H \ o\ cd 4-> > X o PQ Ob cd G ^ cd u B «-03 43 U t! o G(J 43 a 4) u 43 rt J CO • — G bo cd *-• 43 Q« CO X O B 43 od 4-» nd 2 * edg G* cd G M* 00 G £ o u PQ » i <5 'd- \ 00 G o HJ co G cd W G cd s w cd 03 *G u o u-> 04 43 £ >» li cd s cd B >»>> r-« 43 •*-H _h Sc 2 C o 03 H 4) >* G cd a c a a c l c G 03 w G o co G 03 o W c o CO G 03 O G cd O o cp 43 -h 3S oW a << a cd 03 cd u bo G 3-4 T3 >» O 43 ft a o B G o W PQ *G G cd Ob c •1 o 43 O o 43 03 H bo G £ c ^U«IIIIIIIIIUIItlllllllMIIII1MIMIMIIIIIIIlllllllllllinilllMIIUIIIIIIIIM«lllinMI1IIIIIMIIIIIIIIIIIIllllllllllllMIIUIIIMIItnMIIIIMMIIIlJIUIlllllinilllMIIIIMIIIIMtlinilllllMI>MIIIIMItlllllllltlllllllllUIIIIIMIMIIIIIMII!lllllltllinillllllllf IIMIIIIIinilMIMMIItllM ..111M11 • • 11«: ’ IIIMI • 111.1111M 11111 • I III 1111' James Vincent M. P. D. A. 'tllllllllllllllllllllllllllfllllllllllllllllllllltllllflllllllltlllltlltlllliltillllllllllllllllllllllllllllllMtllflllllltltlllllltllllllllllMllllllllllllllllllllllltllllllllllltllllllllllllMllflllllllllllllllllllllltlllllllllllllllllllllllllllllllMIIIIIIIIIIIIIIIflllllllllllllMlllllllltllllllllllllllllllllllllllllllltlllllMllllllllllllflllltlflllllllllllllllllllM IT ItllllllllllMMIMIIMMHIIIIimilllllllllllllllMlllllllllllllllllllllllllllltlllllllll'HII H MHIIIMMIIM MMII IM IMHIMMMIIIIIIIIMn MIMM MMIMIMIIHM MIMIUMIIHMHMMMIIMMIH I Mill MM MlIHlIMMIMIMMIIMMMIMMHIMMtlll IHIMIIIIIIIMIIIIIIMHII1I II11 llllllll lltlll III llllll I III 111 IIII Mill III! It III I III II I lltlll IIIHIIt III! IIHIIIIIIIMIII IIIIHiflMl - iimHiiiHMiiiimiiiiiiiiiiiiiiiiiiMiiiiiiiiiiiiiiuiifiiiiiiiiiiiiitiiiiiiur *d 0) £ fa o V oi CO G « G 2 fa 00 CO OO rH t—1 \ N ^ 3 fO U O w o g 'd G -M >> s K 43 CD ' M bjO HH 5 o 03 fa Ef S g 0) G »H G O os fa > G O CO 5 CO -3 ’> G Q G o 13 G C« « S 0 £44 G G X) Vh T3fa CD SJ bO G ’& G G 43 U G o 4-* G G CO i3 »-. G *g s £.2 •S * g"g Wfa g, CO X o fa 43 3 fa a 1) bold Go “3 c v CD’S Ew a G D o 43 fa D 43 S a a w VO \ "O 44 G G u. fa < CO G u x o fa G o O fa G •*-* CO G ®Q fa two. ' >\ . J d to a* a 2S u o a> *3 U pq I M PQ pq pq W pq Pm W pq 8 oq o J3 O P< c n e " o'? m t; rt j; s» go *£ Ot 3 ^tn ... CO “ ufa 13 bcO'43 W<<< G 4-» > CD 43 5 O £ o PQ S d G 3 o PQ PQ CO PQ PQ PQ OO CO T-H \ CM CO fa PQ £ « co PQ fa PQ >> CD 15 CO < u G rC G '5 G £ 13 G O (-4 PQ t* G fa o 3 PQ CD G Ui W G G bo fa o G W G K o £ «- g a> o PQ<0> ja s 43 4-> O 0> 43 C/5 > • o c p< > fe»J 4= -m i- u rt ©< £ W C w 43 CO >> © c u rt PQ £ D PQ -*-» CO Ss .B la 10 is « o. IE OJ o tfo O «»H H fa £ w ^ 5 O U o o £ o u CD a ♦h o U u w r o w w Ih P o (L» PQ £ £ t> c Ih O 43 iD 43 -4-* Oj PQ >> no •O ai A PQ W CO PQ S3 u Cti Sj pte JO E b Cw Ih © •X aS PQ -M O 4= CO *0 aj bO £3 C £ o Ih PQ *d o H *•§ s« (J.fi Cl tew 43 ^i'MMMtMMriiuiMniiiiiiitntiiiiiiiiituiiiiiuiiiiiiU!iiiniiiiiitiiiiHiiiinnidiuidiiiiuiiiniii:i(inMMitiiiniiiiiitiMiininitiiiiiniiiniiituiiiiuM « Q •2 a CO C<3 d a v g © o © 3 Ph U M >» a H P< > G 3 £ O ►J g o 4-» 4> C is <3.5 cji—] .2*4 «W O © a co c >* £ a 'O © *m .G © lx O Ut © X u g PP © rO © Ph c '5 2 G m < •Ej 4-* 3 > s a u w © .Q O & © bo a ’ix Pi U Ui bo c s © a G w G a CO 2 G PL, > G Ph g G o S a CO > G A a g > bO 5 < bjO c <; T3 © £ © ► © « G 4-» CO co . CJ © 03 «p « tff . J G CO G G p. « a © © >3 •rX H i* a G J3 o a G >> £ o H G A © X! H G P< A a co > rO © PQ >> a G P« a o U G Ph 8 a T-X N CO T3 ^ G G 1,3 rx JO ■*-» >-> © ^ *S ffa 03 . a« u ►» G O © Pi > a pi pq O G CO W G a G a bO G 4-* »G bO w oo co co a w pH a o 8 E 8 O f-X aj 4-» > G © a o bO G a 03 © a 5 i-CO © . *Q ^ i- zZ aco CO eg' G a c3 pH «*x O ^3 CO G Ph Victor Schertzinger FEATURE DIRECTOR Thos. H. Ince Studios * “The Clodhopper” “The Hired Man” “Sudden Jim” “The Claws of the Hun “ The Son of his Father ’ •o 4» C/) d£ *> d r* s a bO * & (A d d ft 2 8 o a .G 4-> E o £ Q bo PS d o * 0) •G d » d £ G o U p*s o d d o 72 ID w w « w o w w w « s w u w c o £ c .5 o IS £ Sj« PS> (U C •e £ *- o OJ u BPS > c p d bO .d bO s >> a w c o d •C VO \ VO £ d ►4 0) pd H £ B a> d W w *G o J* Oi > D PS d -M w *2 .2 01 s° •Ss co d d p< 2£ o o 4> 3 > o o 8 \ ■'i* £ £ c d c £ d -*-* £2 V — >- . u n> e v " (* PQ to AS d a> 'd o O G O T3 C/2 2 d Ph Km d > d o O d a> 2 O 'd c » O 4> d >£» T ow 2 In O d £ £ aj d T! ’£ wS o 00 I 00 T—I j VO VO CM u w > o *d d PS w ' w H MONROE SALISBURY Recent Release That Devil Bateese JAMES YOUNG After reviewing “Oliver Twist,” Wid said: “Jimmie Young need never make another film to be assured of a place among the truly big directors.” See EARLE WILLIAMS in the“Plea to Buy,” Fourth Liberty Loan Picture. Directed by JAMES Young. “My Official Wife,” the first big four-reel picture to receive World¬ wide recognition. Made by JAMES Young. “Goodness Gracious,” the first of the Burlesque Comedies made by TAMES Young. Have you seen SESSUE HAYAKAWA in “The White Man’s Law” and “The Temple of Dusk.” AIRS. HUMPHREY WARD’S “Missing” Remember MAE MURRAY incomparable in “Sweet Kitty Bellairs.” Remember “On Trial,” “Hearts in Exile”—all successes—ARTISTIC AND FINANCIAL SUCCESSES. rt H 6 £ OltJ M-l rj oW 2 o 1.5 nj Ph K3 S3 03 d u Ph o C.Q o u CU co X o pH (A A c3 O m « 43 4-J »d S3 d O I P A d > & « bo i_ *T3 c 3 o 60 T“H CM O £ *S3 o o * 4> d 3 o w 4-> S3 Cu 3 P* C P M W *o d w. PQ e « •d a> ► « •H > 4> CO o <3.2 £ * •A » bO^ 5a CO d d p, 2B o o T3 © 53 S d s CO 5 CO P3 CO W W d 4-» c3 fc t? C © K D P< a * O w a> £ 5 W) d CJ a CM 2 o £ a> a 41 by S t—< d (>> o « w w t/3 w 53 .o o. E a U o U S w •o W 00 «—I R * d <0 •§ « Cl E d H-» > S3 O >* © •> © h3 ►> d CU ^ G o p a> > 00 OO 00 oo W | a pq 42 o W 44 a u > ’S a a o »H W d ctf 3 H O 3.5 5^ 5 « T}- rH \ OS G o O £ a 42 O 41 bo 3 c3 W o § £ G a G aJ s CCj s a G •M C/3 v 01 4_» 0> OS •—« zz «A ttf ► d F d c/3 aJ cl 0« o o a ^ o a 45 bo u 3 d> 42 oj o >> os H o G O t M 43 •H H ►v ■a ri -I m u 01 ■5 m U MO « a (■v? ~ " n) > ow os 4 « a is m t>0 W w IS o o Oh w 0) •a o T—t Os > *G a 4) 4-J cc{ u •rH to OJ £ 3 pq ci w CX3 Ph ow ccJ 4-> > >v cd d d a c5 VO 42 a J3 PP >* o W 4/ pq 00 rH \ o co V VO 4> 45 4-* dj PM »d o 42 >* W4 a> > W CO 4) rH c H Charles M. Seay Author and Director » M. P. D. A. • William Desmond f IP now making a series of I jffftfci % Western Features Jor ' Jesse D. Hampton :j *W ; / Recent Successes * Wild Life The Pretender 1 v ' ; V / || Deuce Duncan - 1 .‘.vjr •■- JHHHf . ► ► 0) P CO 4> $ <1) H-> •H H s c o CO 6 cd Vh rQ c cd > •G a cd u a 0J « W rt « «K _g ^ — o WN CM T3 J-H > g o « w o v o rt £ N »—< N cd Ph G P o g o •a g pj cd fc CO pH o u c ft c cd u. £ CO 03 C Oj >.S wffi 4> ^ •O c wS'c R V o £ & .P b£ N V CM w c o CO G •C «b cd O P E P-'W CM •g lx 2 4> J3 5 2 o *- o Pi O P3 * cd 4-» CO 4> 0'S S fi iifi M cd cd p« 2 6 O O +j H >% a> V- G •G o »—I \ o\ 2 o £ * cd £ o H-* CO >. o *P o i- ►» lx tx V Ph G o pH G o> g CO o o P5 C cd tJ W CO Pi •G cd a &* oH jC <13 > ^ o o> g rO o & CO ►G £ g i-< *- rx C u T g o > CPJ ^3 H CD < 4 ) E cd C cd i- •G t> .SE Hco VO V VO cd PH b£ P a *o G o E cd Ph a cd Ph ►> cd a cd HJ G H-> A*♦♦ ♦♦ # « « « # «« ♦♦ «# ♦♦ ♦♦ ♦♦ ♦ ♦♦ ♦ >♦ ♦ ♦>♦>f *.♦ ♦,*♦,'♦.*♦* ♦♦ ♦♦ if ♦V ♦♦ ♦ ♦ ♦> ♦V ♦ ♦ if #.i ♦V $ ♦> ♦> ♦> :: :•: ♦> ♦> #.i ♦V ♦ ♦ if ♦> ♦V ♦V ♦ ♦ ♦V #.i ♦ # ♦♦ v# ♦ ♦ 8 8 8 8 8 l? Premier Screen Debut of David Belasco’s Star BLANCHE BATES Supported by HOBART BOSWORTH in Zane Grey’s Famous Novel “THE BORDER LEGION Personally directed by T. HAYES HUNTER ♦ ♦ #.i ♦♦ 8 8 ♦V » 8 8 8 ♦V 1 I 8 8 ♦V 8 8 a 8 8 8 8 8 if 8 8 8 8 8 8 8 ♦ ♦ 8 8 8 ^^t888888888'8*8 , 8'8'8'88'88'8'8 - 8'Ji8'8*8'8'8'8'8'8'8'8*8'8'8'8'8'8'8'8'8'8'8'8'8 , 8'Ji'8'8*558'8'8'8'J»'8'8*8'8'8'8'8'8'8'8'8'8'8'88888'8'8'8*8'»« 0 $ d jj « 5 « hfl s, . 2 d wl ctf cd O. 22 a o> o Oi -> 3 it! w S m CQ o oo rH G o G rQ Ih © B §° 2 u o-2 ’—> o utn c/5 £ J3 H AS SH W o M bJD O a o *55 0 < w G o< G T3 K Sl ■30 c/5 08 ►» G A >> G a. H a o 0 » n > G P B a o 4 -* G G 43 04 o G G o 4 -* o 43 C/3 6 © 4 -> G G 04 co O « B B £ p4 G o -J-» 3 Q >» 43 C o l« S3 © B B \ oo G G P. Pi © 43 w E G 4 -* 'C a to u g s & o « >1 1 - «8 P< 0 $ CO S. G 4 _* « G «> A os 2' j£ CA ct 3 G Pi 20 © O © ^3 co W £ w O O 'G G O 2 43 G U w I G w TJ •O *—* t—t o o VO H \ VO G 04 * © B u o 0< t> •*H £ 2 o o G B G B o £ W « 43 43 © © G G © w G 4 -» > o A »G G G w G © 43 H © G O co G O 'O CO 3 G 04 G G a s o w 04 o £ p. B S W 43 ^ u ^ —» ■'S' T3 i-. 3 *s £ o CO c a> o a •H d 4-* d 3 o s J4 o 3 3 co CO *-H CO QJ CO co d » d t> w 0) > *G lx O W ES d 03 CO £ 0) > a> CO 3 « 33 4 _» 5 51 uQ PS .5 a 73 d d P< ^ d D O PSO e +3 US oo rH o 04 d N O d Ph TS at Ck CO O' O' vo N CNJ o V a o a - lx d W (3 03 o 'd d d 73 0) ^x *3 d d 2 73 C lx d 03 00 N o 2 2 o £ d 33 d & d « CO o 0) 0b 4> « I 03 » lx c d T3 O lx P-l *d o a d W 'd « W rt 2 o O xx 4-* 5 3 Pi P PS I PS a PS PS OO ( oo — 1 rH CVJ m t\i > ^ PS PS PS PS Q 3 M | PS I « tm c 3 o m JVilliam Christy Cahanne PAUL POWELL Feature Director I X3 0) £ 4> > 0) cO s a> " « 0! 5P ►>, M tu « c. SB •V o 0 -M •H H ►> 0 H E £ •a ott! S 3 oK £ o ^ *-) oo \ Tf co CL. cx co W CO I co X >> CO 0) X H 3 £ CX CX co i co CO O oo r-H S ^ a> i to w O e C o WJ2 . 4) «8 Wo >> •tJ co 1-4 PQ •CJ l-> O c a> CO CO cO ^ S tc o C > •0 PS X if C SJ CO CO o N vo c o T3 3 co PQ ►> Ji c X X- -M o >> IS 5 fc- V- .*_) co a; tcm oo T—» • > w c «o H W c 'U in c ^ o_£ .£ co !l cO £ P< C CO H PQ •c c o £ CO PC •O o > a> PC cl -M CO Cft di cO +£ © cO «Q Mk. 5& in co CO CX .SB 4> O tf t) o a a CO CO W CO co CO .^4 K * ( V • iJ CO \ M I l_ . co E * £ s 8 c o CO E cO »-. X < c <0 > c o 4-» CO 4-* O co 3 cO T3 2 > co > £ P eft a CO M i I CO a CO » CO I E 1 CO 8 oo | OO . OO 1 00 ) co CM CM C 1 *^ i vo PQ a; cO CO ^4 o Ui >V +-» QJ O o CO *TD cOT3 §fe u t co c; rt ° P M O CO VO N. Cv O a C o CO W ( o CO pH W a> « os CO «* P3 .2 a to CJ aj a ® g > D u nJ Us U ,2Q P4 CO CO u 43.2 .7 •— D •—i r* • — Cp CJ pH a JO *—1 \ N. VO E Ih O CO P p a; m "2 S w nj Ph 44 H si E c3 > 2 Us o S3 aj aj b0 S3 aJ S a*. a3 ’> > o o > > P w >> O rt CL, P B CO >» p a3 5 a o £ p O >> aj S £ !* a> o -*-* O 4> 2 a> 03 4_i ® os „Q Pi bt t a F ’f» a CO OS aS a £E < 1 > o P cfl o P P Q > tJ o p p t> H e3 43 I H W P o c 03 Pr7 •D qj — .a * « C3 Ph 4> is tu) P 2 H ! oo * o U O o £ £ 4> *s 4> P bo *> Us UH 6 v O oS M o 43 H £ o w o H V cd u. o3 ^P a3 > Ph Ph m o CO O 4> 43 H si «3 N H <2 ^ £ =3£ ^43 -£ ° S u a c- u, u P j (0 .- o.S p bo a3 u. £> 00 H \ X o Ph P P oS ^H M H B o H II O . • P 03 > M OS p PQ p 03 » o CO >» » 43 O Q a tj- 03 03 0> U< ■u* P cU u. ►» H ANTONIO MORENO Vitagraph Star Louise Huff The Screen's Most Delightful Personality Personal Management EDWARD SMALL 1493 Broadway, New York cd -*-» CO > cd m g cd £ g m a p 4-» cd •2 S' «5 Es n E- G £ £ W cn £ S CO r—( CO Eh E o Eh o E G •c G o U3 S £ G to cd >-. r *-T3 Pg a ►AO fi ft «Q *n o o G £ G o 4-* G Cd 4-» CO cd X o s cd £ o v O »—• \ On X O £ ►> e* K ed ► G O U rt G cd * 10 w 3 >1 £w o « c cd £ V (J s * c c WK £ 3 x W CO P cd « G cd be T3 w co. c rt C Q s> a G 0> O ts cd »-) o a a 3 N cd be G O N *G « cd 4-* CO cd £ s° it C/1 cd cd a 5 £ o o o 4-* •tH H E* O G m G cd w D V >-) O 4> G ij ifi G tJ CO r—t \ VO 1—4 VO X o pH »CJ G o iG CO o * .M bo »G a> 4-* a £ o> H G o w £ cd G rQ G cd > X3 a cd u o >» cd 0> « G a> s G «D oG bo G *£ o G m 'G o H VO G 3 > o p M(S S o 43 O bo ^G G a> a C/3 3 rt W cd £ >>^t! e O M o o J3 J3 m ^ ^ w E £ c cd c E rt -m E2 ^/->- / 00 T~H X •'W cd 4-» > cd fi OT £ w o G v V o a « OS G —H cd o ws a CM .Z *G P £ o * * OO •—4 a nd G O «G *D s o o a IG < CO £ G G G cd pH G 3 G cd G pH 8 & V J3 5. a CHARLES SWICKARD Feature Director PRODUCER OF The Light of Western Stars Featuring DUSTIN FARNUM Now Directing BERT LYTELL in Metro Features .iHiiiiMiiiiiiiiitiiiiiuiiiiiiiiiiiiiiiimiMMMniMiiimiiimiiiiiiimimiiiiiiiiiiiiiiiiiiiiimiiiiiiiiiiiiitiiiiiiniiiiiiiiiiiiiiiiiiiiimiimiiimiiiiiiiiiiimimiiiiiimiit: = iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiimiiiiiiiiiiiiiiiiiiiiiiiiHiiiiimiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiij. = || Charles Miller || M. P. D. A. Director of II “The Flame of the Yukon” |[ “Ghosts of Yesterday” if “The Service Star” !i Now Directing = = I) “Wilson or the Kaiser” c E A Screen Classic for Metro EDWARD SMALL Personal Representative 1493 Broadway New York = raiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiMiiiniiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiniiiiiimiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiniii'r = Tiiiilliiiiiiiiiiiiiiliiiiiiiiliilllliiiiiiiliilillliiiiliiiiiiitiiiiiiilllltiiiiiiiiiiiiiiiiiiiiiiiiiiliillliiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiilii? d ca £ •h 4> £ ca O o O «a A 4) H U d o u< o fc c/3 c/3 > *2 p * 2 *3 CO 3 c DC' o d o 9) > £ 2 o O cd CO o n. be r* 3 co E ^ On >% 4=> ca « T3 d ca O c o -*-» d <5 CD uS £ § © E >> L t. « 03 _ © 00 §°- J A £ CA *b Vh 2 o cl *—< C M O l/) E es u £ rH Cc^ cd > o W « •C O' <4 Eh a < V2 co d v W & .E *5 -n u u i£ U-> a £ *Sj 4> « S-H o 'd 1-H ca a 4) 43 H m O 'M cd X u ca > 2 CA *i-i co w d ca d ^ rrt W ca 4_j ’Zj d CA O cs _© £ CA < Ih 3 £ o > 2 2 uo 0) 50 -3 cd CO 03 U 00 C C cd\ — CO u d CD Ih 4) Ih *4H d Ih PP 2 43 CJ 'd w CD J5 6 *—> d >» o 2 Ih 2 a CD a u 03 X cd CO # 00 On 1—c H \ ,— f—1 oS \ ©-s 00 O O' »d d •»H ca CD 43 > (A d *d w 4) -*-> **H 'd d 2 ID 43 Sh 43 Ph H d in >> ca & >» Ih O £ bO *3 Pi CA Cd a> PS PS a > C _ « C u O X u cd u CO U IT) u o D H CO » T-H X u a> E os ca « o S3 cd 1 o PS 0) X cd S3 3 a a Cd a 53 S o bn o rj o •J3 • _H CA f*4 CA c £ o u m 3 X « 64) c 02 oo rH *Q O o ~ H 'o O a x o Ph 0> 3 CO C cd X cd 1 bo 3 W 3 cd a as u <1> PS o 2 H 3 £ o u. « c x o a u P Im 4) 02 g 00 q> i-H * w tJJ cd a CO u o < ^ cd X X 3 a hi X u jd 5 u 00 nd cd o P 2 S >» Id 2 £ H C cd o a s-» x Q ^cd 5 U CS C 3 oT ■m r 1 CA > 3 O w 4-» d * 3 bo 3 cd H p 1-4 o =5^ O 5 D ^ U ^ Cd a O o a hi o t*4 •d o o O a a C/2 CJ P 0) 641 93 N u o CO X S 5 ^ Cd y~* lm 'N U4 ^ 01 hi o rH o O bA _d ►» *—H 2 3 a* h V pq x cd u CO 2 ^ cd <^j ^ o' CJ ^ d o U1 •d Si +-» 04 o d H « V QQ H 2 £ 60 d w 3 rt Ph >> H eu * c o O u S 5 « > -s S3 p$ c bo 5 w O !* S£ o O 6 CTj Ph CO a c d O 01 J-. H a Q. <5 Cl > o oi 43 (3 A a » £ 2 2 a a> u d CJ c co £ ^ 73 ^ UJ *° d a CO a oi o. C/3 o A •o c o £ rt U S3 PQ > PQ •a PQ > •O > e U> IQ C C5 t_ J= U o U O 41 C o ov ■o _c " 5 . w H tfl c o o E 00 rH c ^ x r o W) 53 -S S3 EDWARD WARREN PRODUCTIONS, Inc. SOULS REDEEMED SIX REELS, FEATURING Marie Shotwell Charlotte Ives Sheldon Lewis Walter Hampden WEAVERS OF LIFE SIX REELS, FEATURING Helen Hayes Howard Hall Edna Hibbard Earl Schenck THUNDER=BOLTS OF FATE SIX REELS, FEATURING House Peters and Anna Lehr PERSONALLY DIRECTED BY EDWARD WARREN Edward Warren Productions 1482 BROADWAY, N. Y. C. Arvid E. Gillstrom announces his engagement as Director with' the Fox Film Corporation First Release Jane and Katherine Lee in “Swat The Spy” Written and Directed by ARVID E. GILLSTROM ( a a O 04 » JS Oh a >» 2 o c o •a *- oo CQ i—< ■a 2. m m £ a> s •tH hQ (-1 d O O O JJ To a cd *n C H o V} 2 *c 3 c o Q oo r-i • N, ^ vo *^ i—i N • vo & E* a h-) a> »d H >n s a) d W hQ .5 ^bo s c CQ * O Q two a C txo 3 cd « * a> 02 oo ±; ^ w tv. • m CM t>> Cd A >N a A S C/2 .d a 55 c 3 u C 3 Q a> cd PQ o ■d CO nO wj > d u % £ 2 o a c cl * a c cl c/i TJ Td o a 43 OJD o 2 Ho Cd m t- C3 '-i > cd 04 S3 Q c/5 ^ 2 « S C/1 cd PQ C* PQ P< a> d*a +-* o S3 fc & •H , 50 £ bo d 5 O Vh PQ a v. QJ £ Q 02 E £; *3 ^ ^ S ON c/5 a cd A cd a> A PQ ai hQ .s 5 c$ £ 5 Q u 00 C c E C Cfl nd »-H cd U •d a> i-i od s CJ cd teH o cd -O (U d 02 S CA ^ Cfl 03 lm o 02 J3 t-H «S“ i/i o O ^ d o M | ►> a ◄ •q) pq CO pq a as o pa >> c '> < O p 3 t) Q 02 s, 3 S] u Sp V o o - 1 o (*l ■CS o o a o £ M 11 n 1 n 11 n 11111111111 ■ 11111111 n■ 111111111........ = ... 1. 111111111111111111111111111111111 < 111111111 m 1111111 ■ 11111 i 1111111111111111111111111111 ■ 1111111! 11111111111111111:11111111111111 111 11 iri 11111111111 ■ 1111111 ’ 111:1111111 ■ 1111111 r 1111111111111111 1 1 ■ 111111 ■ 11111111111111111111 ■ 111111111M11 Outing Chester Pictures Travel Classics which Add Distinction to any Program, Produced in co-operation with OUTING The great outdoor MAGAZINE Under Personal Supervision of C. L. CHESTER 120 WEST 41st STREET NEW YORK CITY a c3 a Im © B u o O © CO c3 0) 2 a >* x rt £ C C >» d> r>s E " 3 CM E -* LL >> c o a < © "© O T3 w > *5 & o LL u c cl t™ u. .2 © 2 u 0 ■ ^ CJ So 0 a 0 2 *5 c 0 X E O' < O > 1h +-* 2 © p 2 4“H rH t-O rH \ CO \ »—H CM © O © 4-» CO £ O rH © c3 H H «+H O bJD © ’S a © u > W c a © X X 0 ►—> H n cS > £ o LL 60 3 E c3 04 2 2 M 0 © u O pq c rt > nd © a3 u, aj tH CtJ c3 Pq Pq 00 00 rH rH N \ On rH CM N N. © CO 0 © *+H © « X CO «-4 cd *© a 2 Oj p Jh © CO two O »H c3 2 0 C/3 Ih rt g o "3 u O LL J* u 3 ci c<3 s © H pq a pq 3 PQ pq pq cq « pq Pq d> in U f=H C u LL cfl d> L <9 J= w D is cj Hi 03 s <0 43 H K o fci L2 C S3 ta U. £ o h 3 o © X H X c3 PQ © X H 'O-d o rt O O 52 . © pqcj o Pq CO H N T3 a cj Pq © 0, C/3 s E aJ ed .2^ S3 aj X o Pq 04 C/3 £ 13 -*-* C/3 a ctf © pq a> X -4-* *© a o3 X o Pq ro N co © © X t>> ■*■’ w :§£ 04 tj a 33 u © X H 43 u < O p- «- G -*-» •— © 2 2 c 53 la U. —i “ &! 3 m Cm E PQ « c3 E »H © a aJ O © » -*-» © *0 o CO *d 3 © O «d Ih © C3 U © d> O u c E tfl c UJ fc" d> X3 O O pq 4-» X •S 2 r O © X H PP O o X © X d> £ u u 3 3 E N 'M LL r O d) a CO © X o *? !—4 to CO The Hillcrest Mystery . 3/24/18 Pathe Arthur Miller A Successful Adventure. 6/15/18 Metro Arthur Martinelli a G o< CO CO d G bo G cd ft £ « ft N ft CO 0) > « o I a w * c t£ lJ a ■a | « E £s 2 8 Q G 3 ft G •H cd -*-» G G O s cd PQ m CO V g 5 4—< CO G cd £ cd u co cd a> *cd ft bo G G d o »h PQ XS H CD CO 00 tH N oo ft G * G o W X o P*H OO »H N. N »G G G Vh H G G « X o ft a co 'G G o S5 CD XJ +-> *0 2* G g G G ga 'G Sh G X o ft a w M G G G CD ft »0 G G > G ft » S3 o ■a t- cd O 3 E « o< co N G D M o G G T3 ft U S3 u u o o Js 3 a " >% Pi CO O £ G G a CO a PQ PQ > G ft G G bo G .2 CO > C H 0) O E ^3 c ► o ft G >D t- o CD X3 H / G G B g »-4 <1) -4-» G P D lO G <1) 4> « 0) +■» H - 63 S JS tj ^ a> 43 o « Vh G 43 >> ti 3 © E CO fc- 1—1 C ^ a> £ 3- ^ wi o p G >» £ 2 o O © £ © E UJ & c/3 « m P G *> w >> © E u 3 oo J 5 C. E ^ « *—• *< \ ^ VO G © U X a E 3 E ^ rH C ° C A G s o * *G G G G 4> a e 5t H a a> cu r/3 G G a to > G a u . © Ph 'M e 3 E CO © «J G E ^ “■* P o « CD 43 H G £ 2 o O © © 3 a co *3> Otf? (0 2 *0) s O, CO >» D G CO G © c © E t S « E. XJ -h o ^ E ^ 4=3 o G 55 G G i-4 P 3 o © V 3 © U © O oo tt Cl to .E " T3 UJ (0 G G 43 P« a G G o 4 C^ W c/5 W c © .2 u u cd G w 08 C/D 43 G O G a u cd X ^3 "© E c 3 2 S5 — c, < w G O) C/3 4) 43 C/3 G a a o a G 4) P To Wid— William C. Dowlan Director of Super-Features Triangle Telephone-Bryant-7590-7591-5423 Cable Address, Tamsart; New York Correspondents in London, Paris and Milan ARTHUR W. TAMS MUSIC LIBRARY INC. Music Circulating Library The largest and only complete Music Library in the world. Music of every des¬ cription on Rental. Orchestrations for large or small Orchestras. Costumes Theatrical and Modern for Hire Wigs, Make up Materials, Make up People, Professional Coaches (Musical and Dramatic). 1600 BROADWAY Between 48th and 49th Streets NEW YORK CITY SPECIAL DEPARTMENT FOR ARRANGING, TRANSPOSING, COPYING AND HARMONIZING MUSIC Costume Department Specially Adapted for Use of Motion Picture Productions o o 42 > s *3 « H H PQ 43 W> s "2 S e £ o u PQ d 43 1) u CO 3 u 3 Cf > O co ctf 43 «3 U Cti S c w E 4a s !3 js a * nd aj lH PQ co E ^ £ a a a t: rt a> w nd O o ►Q a> 43 H d 03 a 03 Ki 4> a 03 u o u 03 ft a> u a d 42 d Vh d H — *-i E< «j JC 03 la 40 C cfl >• • mm O u r 1 u* ^ !3 ** un Qt \ w B PQ CJ d >* * 2 2 o fe<0 £ u u \ o ^ a tA nd o o ► 41 •a a m a £ u «i ^ R O « oo “ VO UJ5J. s O' o a a a c CO 6 u cO U v xn 4) ») © C3 t> ■a 04 UJ a bo C 3 o (0 P fi d u d A d d w co 43 H PQ *3 >> O X - C rH 3 >' u ^ Um o T3 cd « w CD O. o o U a £ 2 2 O * o J S 3 3 u ■a o o & a a c w T3 TJ CB U- u fca cd c *— © 02 d fcuo d o N c rt u. o 3 J= co © : 64 ' u • o : © . a ' d d d -*-> d o a * tj a> bo bO d A >» A o U d A CD m d b> H c W TJ CO JJ 3 » d Vh PQ D Dh CO «H a> nd d a U * 0) u o ■3 V J (U 64^ © 3 © ^ a a >> d d a o « {>» d d d d « > d d o i-4 p4 3 "3 & u 3 3 © © 'M u 22 o O CM Qm irT bjO d •l-H d *3 & 3 © J 3 ui TJ d M bO d •»-* *d bo > c X & PH pH Ph p 1 P % £ 2 2 U 00 \ o VO 03 CO 43 H >> o 03 3 B o H 0J -*-» > O' 2 2 2 *43 *03 *03 M B ffi 73 73 7 J 03 03 43 Ph Ph Ph ci 03 cfl H-» -M H-» > > > CO 00 CO N \ oo o\ CM \ Tf* \ \ ro TJ* VO o M 03 a c Id 03 CO 'u s p 03 43 03 43 c H H J4 •a o ■M ■a oo U T-t cl \ C“ hi U 3 J3 O ■a w M c o £ E S ^ 2 P a D CO 73 4 * p m 73 G 43 ► *£ P 14 u O o 14 g p <14 \ bC oo 3 > UJ 2 £ © 43 £ o 03 43 H G o CO 4 > 73 W u G 43 *- 43 i4co o £ *0 3 3 ^ E UJ > p CO 03 43 H 73 03 u- CO 1 * > P P 3 CO CO 73 03 CO P tf l ^ 4h ^ 1H a < in W o3 5S Ph *3 z E «* u M 03 I ^ co 03 PH £ £ z T3 oo OJ ^ W> 5 o> tuD os -C E eg >> a 03 o> o o3 a) >« t-« 3 o fa ►> a a o3 a o3 »-i 0 ) a P O o CJ 03 A 03 CO ;§H X w 3 <5 _J U ?S • £ £ Pi A 03 fa O £ o 43 £ a 03 a 43 H 8 M 3 £ n >> o 73 » U O <+* ~Z tt) U O <34 o o 03 43 H Ph 0) 43 o CO 14 T3 u >3: u . u . ccj . E CO a Ph O c3 -+-i > U 14 14^ CO *s o « 43 H 73 03 u 14 CO 14 r>. E ^ Cd Ov •= o B »-. O N-l 03 # 03 | 2 u CO CO bo c 35 o 03 K Frank Richer Director of Screencraft Productions o O 4> ca A 0) 1/5 ca a> 2 D •H H c 43 bo P ca > >> o a © u 03 Cl u © 3 O w »P D -*-» p 3 ca W T3 ca £ ca B 4) 4* o c o H-* CL u © N 3 C £ ^ (/} *d « PQ « 'd c < c 4> 2 P 4 ) 3 H-» © u u © CL © U 00 C C o c* © £ a> 43 H c ca > HH o o a— CO >> £ CL >> »H 03 >• * On fc* »-H £ 4 ) 2 e 8 £ c ►» ■s 2 2 cS TJ l— © CL b s fc ^ © \ E ^ bO p ca A 4> 43 H P s N »-H On P T3 »—i P O V o 43 _ S * o £ o > £ 2 2 — O 21 * o CL U. C rt 2's fc* LL a co W c o W 2 £ o Ph u p 43 > O A A 4 ) 43 4-» co ca 22 P* © c © N © 0 , 5 * i £ < r< 4> T3 ca a CO p O' 4> 43 H u U # © ’> © c* >> u t- .2 «S o E 4 ) « 4 ) -*-» H a o 4 ) O C 2 2 O z> 3 © z c x © .2 2 CO p p CO a >» o 2 a o 43 H X > L © z .3 *c o 4 ) a co a o H 4 ) 43 > o T3 P o U ca 43 O 73 i c < C3 © z © C t^ U 00 © LU ca 4 ) CO 4> 43 O Wt U c # © fc- co CQ c aC © P P< 4 ) « u CO a w —« o o o Vh CJ U p L- • ca C0T3 ca 43 CO 00 H CO p o o 3 4 ) P s 4 ; 43 P P 43 H O'u a ° ^ p a< o u >> 4> C "T3 a « •H bO «—H PQ >> 43 4 ) £ ca £ E CJ .2 2 ca a >> fc- c © E CO 4 > 43 >> ■- o bo P 43 > C3 ^ & N o3 ^ > 4 > b0 ca XJ p o PQ U P 43 o 5 4 ) 43 4 ) 43 +-» P © PH u © CL p ca 8 o a o o tH O P -2 a >v O CM \ VO o O a c o g-s c be O 03 £g a; . 'Z* aw <0 cd u O ’to o) w *3 Cd P cd P 0) fi Cd O <5 U. o] # c *N -w u u la w 60 OO OO CO -■V w •C H 5 o W s cd <4 >» « c ■o to o a, < w H 44 se rt 5 w « 43 V _3 5 c « E be .- co m 00 rH 0~ £ T3 0> t: *-. cd s a p >> a c cd bo Vh o s > to c cd C/D *C 2 H O c >> & tu 2 cSt J cd S3 o N *c N 2 O o C“ 0.2, EU cd ■M > CvT CO o <1> a> 43 B O +-> -*-» o « 0) 43 H •fit H 43 bfl 3 oJ 43 Ih o > O >> o p C H o C/D C/D o a 3 ^ I* OQ cd O bo c O S & u .c 43 u. bo u rj cd wffi cd u cd P 3 o W nr) cd o w o bo ^cd C o u U VD V Tv u 3 ' & >> ^ !5 d cd »H P o P > £ te .3 IE to S- £ i> \ "S « C/D CM cd P C o TD U C3 u N rH 9 5 a. ^ o (0 *H g G a G u. 4> a G 0 o O v CO 03 4> 4> 4) 43 -♦-* G pH g 03 a o £ W) tuO 03 P 4> X2 H X o i- to C> CS H E rO o C/3 G to C 13 64 JD "3 H o * .3» o> > o »-) o £ G 2 H O) 43 H o C/5 E o u LL (X •O u _ X C « o ,2 a E o X H ^ 00 u ^ ’u S> ^ 73 10 ti U U. a U a o ►* >d 3 O O * e W u Ph *3 rt Ph >> <5 x w c u o X H H S3 s, • o •W H ■§* O' 60 03 -*-> to o w 44 4) O 4> T3 G > c J3 O U o rt 3 Ph •Ei ~ u o S3 Os £ 4> 43 C/3 G 43 J-H 03 m G G a G 4> a G o o u 4> CA G 0) fH 4) G Q CO G 0) £ O 04 C/3 PQ £ 44 o G 43 43 Cl C/3 c * 4) 04 C/3 G 4> s > 5 K o CPq O •+J e +* c/3 f t>* 3" >* G £ 44 G G >< 4) 43 H a C/3 X o Pq o G o w G 4) G pq 4) C/3 u C/5 00 ar « 44 G C/3 G 6 3 -M C/3 G 43 U h o +■» c/) 13 o ^ i/C. 43 •£f s 4) 43 CO >* a i Hugo Ballin Goldwyn Chet Withey Productions Sir Herbert Tree “Old Folks at Home” Bobbie Harron “The Bad Boy” Mae Marsh and Bobbie Harron “The Warf Rat” Seena Owen “A Woman's Awakening” Seena Owen “Madame Bo Peep” Madge Kennedy “Nearly Married” Jack Barrymore “On the Quiet” Billie Burke “The Pursuit of Polly” Dorothy Gish and George Fawcett “THE HUN WITHIN” 6707 Yucca Street, Hollywood, Calif. d cd 6 CTj u © a cd V O O cd P co cd © «—H © (U a V H 3 m a a > •a a JS pH o c fee > £ $ & s C/3 H ho d d W C/3 o cd Q x o P cd £ < s • ^ >> cd j- -M © « Cd a d +■* C/3 cd •d u nd o b 13 •a u cd c/3 *> 13 C s P* u \ a: a d cd s d 03 s C o >> p cl > cd S E c E X X 01 £ 4 , oo C C. C oo © 4* C P U 13 •O 13 O J © a H »d o o O u, d •-p > > *G ’2 P P co *cd 'a * V *3 43 -*-» o nd CO d »cd cd d cd u o 43 H-* CO o d o W p Vh 03 O 43 P H o P *c o u © £ * I- ■s^ 13 cd u >, 4) U & 13 E © d u O B c T3 C On E$ cd *-« c3 m bo d v d Uh O B >» d bo d CTJ *d © © M « u o B 0) a o3 u o o © C/3 cd B W w o b w Ch 43 Ph d £ 2 2 O O 3 E u H U »-H b ^ cd ^ CM d * cd P bO d s cd a C/3 c d © CO bo O cd ^bo B cd U W 2 # a "> 5 cd 2 P P d >> 4-J cd 2 o 4-» O CO CO t-H CM T-H V CM CM t-H 44 o d o *—• 3 PQ -4-» d © V-* o d £ to £ © © 43 43 H H U g 13 2 ^ u U 3 H 13 c g ^ O t-H «-J P' t-H . N o 13 o w w w PQ W C/3 w W 13 X> u 3 H N c \ 13 CM CO C © 43 © G 43 © c/3 XI o3 S o — "cd > Cfl b 13 > cd u H o >1 C/3 w U. 1> £ o p 4-» d d a »-i o p 0> 43 H W tri W 13 M >> Q c 3 CA$ OJ p o o s a} d cr CO d o sc o la J2 o> > t .2 Oa a c/3 d a> s » I 43 0> -c cD vw i 43 73 ^ w c o >» h-3 la r>j C/3 1> J= CJ >» ! 0) G , X o « c/j cd 43 CD S3 c O' n 4-» > 1> JD O £ E > cD (A 03 A 43 tuO M I O c o >» ij bo C/3 43 £ bo P a « 3 C §a >■ a u a > M a O a a « W o « £ £ja « r-< 4> ja H 3 C/1 n) X! u to H 4> O’ ca T3 C £ C m oa c/a >1 O' C3 Ctf a >> 5 X! V (jffl aw T3 O K £ a O o 43 d 2 £ CJ u CO °9 N o rH VO PQ T> W 4) C/} T3 C oo J2 ^ o ^ C* » >» 4* I 3* 3 o G >» £ T3 o 0> c/3 u 4> . a a a 43 PH U C u O ^ CO > 3. E £ & H a T3 o 43 ■ i o3 £ * fe© «- r T3 ^ 1> VO >> v ja H a o a a x u rt a c 3 O > s 2 CJ £ cD A *ri CD a 43 £ >> o> o cD 43 bO 2 G S3 M C 00 > h G o > ^ o CJ 43 X w c n in o ^ CA v c C3 r>» cD C/3 cD A CD 04 04 a w M 4) U c u u es 09 a u> _ W.S 1 /a >> "> 3 .2 o oO s a a a a a CS B M a w a « G P G C 3 £ G w O u tuo g *»h (A G 0) a> G P a> ui G V g P g 3 T3 u ’5 CO ««: o g o w g pi m G G o £ >> G 4* 1) ■§ w w u M « CO V oo •« y—1 W \ C/3 m d> y-i CO > G a> 2 o S-4 G G s CO o <13 a a* © E >. u u « CO J “ < jc ' H < LU 8 4) J3 H « u o E >. u u « 03 c J= © o G £ < c/T 5 a> w « E Nh 03 « <13 G B C/3 0/h M-* H CO a> X CJ c -2 5 G O *0 43 P 1-4 03 G »- O PQ 03 43 H U 2 03 G o Q G C S3 -O a> CO o a> O o p >> G £ G o CJ 0> C C 0/ CO d> cm CO Sr 03 03 P G G CQ PQ £ u O 55 03 £ o G Pm 0> C c o> CO c; w: c/s 3 o 03 -*h 43 bJD •pH tf 03 43 C/3 03 M 43 H 43 two G G 43 W> G G 03 43 P o > 13 U i-H c rr* « 2 E ^ ■*^ on G u o 15 c/s 5 G G a G 44 u G Pn G 43 ■n 4> 4c ^ G O w »G G +■* G G G w cu G u G s c o to S3 £ e w •G G o £ >» G P$ c o to u © T3 C < © L. '5 □ p cS p< 4) E a o £ s c ^ o w u © T3 C <,, bS S3 5J 5= ^ G +-> C/3 G P 43 •Sf G G CO •M 4-» Ih Ih G G £ £ O O fH G s' G « 4-» 4-> > > t'x N N a CM N N O CM t—< 4—1 G G O. a G G G H a 0 G Ih bfl 3 03 to (■ 3 55 JS \ O G ja co a H pq w cn W tn 3 *< S3 n 03 s-H -I ^ 04 G o . £ £ o O G 43 two G *“4 G o U G rO o p^ G 3 ■*-» co to 0> Ip >> to dJ t>v c ^ to CM ^ CM £ o -4-* -*-» o PQ G 43 H G T5 w G O G v- O O 2 ^ 89 CO S3 T3 0> ^ pH H .2 *0 G O 4 c n PQ o « I Pm G G W G O G Ih O O George Fitzmaurice Eastern Penn, and So. New Jersey—First National Exhibitors, Phila.—State of New York, ^ New England and No. New Jersey—“Topics of the Day” Films, 729 Seventh Ave., N. Y. I c i o O So > 9> 3 r Q- O o California, Arizona, and Nevada—Sol. L. Lesser, San Francisco and Los Angeles. ★ Tennessee, Arkansas, and Mississippi — Kaufman Specials, Memphis, Tennessee. ^ o o> £ P to G G o >1 c/i 43 e cd a> -4-* H cd Jh fe ^ E i "S ® TO rH W a e o pq pq W W W W « a 03 6 >4-. 3 w d pq C >, cS 02 o t- i S a 02 «# c S3 E £ CO pH CO * X* a cd cd P4 T3 73 pq M > 03 CO K « s o « w o u M a a cd 43 *43 cd P « 43 pH ■4H •H H 6 « M pq d bo a rt ‘C H v c c XI H a M o pq £ 01 c rt i *r >» T3 cd PQ 43 a CO 43 *0 »H o G 43 O -4—• CO G o n3 3 cd P* cd 4-» > V JZ CQ ■h r 1 "S $ CO 'o Pm 4-» % t> B C3 o Hi o O d. S t-q <^) X .W a> u o 02 S3 ■53 J8 Oq CO a 43 P Hh O 4H *H 5 43 43 H o G M 43 (h cd K o CO u O CO c S *5 O csj cd j-J 43 43 43 H cd > o £ >» T3 3 U CO u i M (A O « >» CA >4-» 43 pq co CO W CO o O 50 fl ’55 aS » C o 'M >> cd UJ a cd m P aj a o * w cd c w o ^ >> cd <34 *u ^J o> C 3 o u- «3 2 \ 3 £ t: aS CD w r O a> « < cd CJ o c L 04 JS £ Id O > S T3 C3 M 43 aS Cd PL, c *3 JD © CJ cd ^ u ^ 2 > as 3 'O a O 0) 43 •*j .S J 2^ T3 S-h CC u u cm O) 43 H i H W in ^ W 2 w La 3 O o > 2 o o * © CJ 0 I* aS P 50 C S as La c M 43 H D 'O C5 03 43 U O D > c B "3 La cd c 3 O » aS C o U La 3 u X s u C cd T,- CM » Pa a w o w c 2 o O o CD CL V) Pl D Ih ° L O P P a 43 u B W La .Si > « CJ (3 C w o as Ph 50 P < D 43 H CL rt aC u os 43 U oS c Oa cd X CJ i> _ waa OS C« CO D 5 m 50 O P o O 4> fa o3 A 0) fa > oj fa fa 03 G O u o Q c CTJ U H T3 s 43 H G ' tt m n fa P-l G o C/3 Ph ■© C © E u eg © © eg a 4) 43 o 43 fH w w § s cn V) O 0 43 43 H fa 03 03 -*-* -*-* > > CO CO \ N 0 CO CO •^J- VO 4) 3 43 H C/3 © > eg G o & *= ^ eg co fa a CJ 43 C/3 G O fa G § >> eg G c l o I 0 I bfl 1 bo G © 'M .© £ 3 O * 43 a ft Pi v JS H P C JS . V u JS O fc c JS -I r ^ a a eg a w A CH pq PS £ £ o P O o > o 4* C rt fa C © E X o fa eg o u © * © _ I o o fa w o3 fa s H o fa T3 tuo a M Ph is o •G H 4) .a H pq G C rt ' cd fa < in c8 © fa c © Q. eg O o fa t3 M 'O T3 G C/3 fa o fa c w Harry Beaumont Goldwyn DIRECTING TOM MOORE Gold'wyn Pictures Tom Moore © O twO G c/5 G G A c c 3 a E CO be be G fa £ u CO UJ *3 u CO £ 4 * UJc >. 03 C4 a> a fa bfl j? al « w >. tfl 11 « Ph o z £ s E G* S 2 2 O UJ v Ct • M * *; co - 23 2d O W> G -*-< 43 two o £ 2d » 0) a E UJ >> 3 a > u > O U 2 G 2 O P G fa 04 £0 c UJ c co: two X G 03 al 43 O U a s >» 2 yj < Uh G 43 04 60 # -o [> UJ 04 - §: UJ 04 bC 1 "a : co : £, o £ O o O ^5 43 twO P o U bO G 2 G © fa 5 © fa o fa c/i 04 T3 u CO a a> T3 04 cm' *T3 Q >> X>t^ 3 C D« CM fa G o G o £ CO 04 a 04 pi 00 04 > U ^ G 03 a ix © o © 43 H 4d G g 4d o 'p o xj Vh o 2d j-. G G G jd O O O •M m m w _ __ G p G G G aJ G G > > > CO co co OO T—1 rH T—( \ N N N I—I CM o co ’—( CM CM N N N \ W CO u-> G yi G G E yi fa G G G Wh o a> (A y5 D 2 P o a> 43 o 43 P o G O H 4) fa 0) 0) 43 43 G H > fa co r—i o r —( N i-« CM C/D Q fa u u a £fa X 04 a o m oo ujS r—( N VO a> fa ca 0) > •H Td O fa G* «u O >* JJ S 5 u r' 1 nd o 3 G o3 a fa V5 U 04 c/5 O oo O LO o Q P G o a CJ > s & 04 Q CO c c © Q > u c y5 «! 22 L> -s P u o o O to S3 A 0) to TO 0) w £ o U o id to CO TO L4 PL c cd -fi u cd tu CO cd 64) \ 3 2 o Q o A TO A Ph s TO a w « a >v . TO ’ CO a PQ o Ph t* TO S3 p a u to £ cd u cd 64) s- cd a TO5 P O o o 3 £ o 2 o v £1 H ft xn rt £ o ft E s c t- 53 ID C H • wm TO » v 3 p, P w ft Pi xn H ft ft ft a ID p £3 OJ p PQ c i- (3 U. C 3 ^ « S v. id a o ft c O co TO P TO CO *3) , ! Jj »—• O P Lh o . N CO 42 TO o u -*H S3 TO i5 * u ■3 u Ua TO la 3 ID T3 u cd O >,2 u \ cd o ^ CN 3 C >> ns CO Pd CO p o H p TO a 3 O CO 3 64) t- V U- UJ ov CD 43 CO TO 42 TO « 3 M P ft ' ) -* i i o 0 > 5 o O M C m « 0 ) o> « « £ d a> O c o ■a u © O w X o p< £ 13 B) g 2« . © ^ bo fc *-• a S ffiO >» T3 ccJ Uh w a go tt 0) 43 H o V O +* s c Cd u O a> u g CO O t-H U \ £ ^ cd J a M a> 43 4-» 43 4-> £ f-H > «S £ 1 “ 2 a 2 co a> c '■£ «3 cd © ^ co a 3 S © n » 0 U a >> u gs E ^ C* E O •4-> o 43 CO 5 o ■4-* (3 aS 43 6 u a c 00 U t-H £ £ •»-« d o © 43 H C o T3 CO 2 aj P-. u o c u o O c o u. to © K o 43 H C cd c *3 a t/J N * X TO > Q G a > CO w CO W M In a> C -a u cd O N M K u cd 5 “5 ^ a> 43 8 O U 6 v O > *S P In d> *D In a> O > ^ a> 4r rH Z N On *s p -3 In cd In • PM © 1) Wi kS “ T-4 CO (/3 5 c cd 43 4-» *43 a Q u O 00 U w a, Cfl W J3 4 -* <43 *4-4 *n o o x u : W fa >» £ o In Q 3 CJ X ^■8 m b m c 43 O rt 3 4-> 3 s U *3 O O O cd r C CO •o > UJ ^ a a w w c o *© u P« O CO »H 3 nj Cm S « ° ^ •a > u © © © C >. S3 co ? b C/3 OV d as 43 U > cd E ^ o ^ 3 vo 75 ^ g o C/5 G W c<5 U o> H O o G > P 03 *3) G .2 *n N H r & o* ^ 1> r-T o ^ Q. P I £ .s X X p to s CJ cd o £ 9* O c/5 E w m w cO G O P P P N r^. o 75 ^ 4> C >» c X 2 O E “ a G rt o G P P a o x> XI W> cd ? o © r i 2 : cd ■ O xs co G £ u w in W M M 1) E "o r O £ cd f- * XJ 1/3 G fcuO 'G w >> o G u u p p £ £ cti < x: a « U 75 O o o E u ^ Cd 5 « C/5 c. C/5 G P 1> a o E •“ oo or G G a G o 03 x H c 4-J XS o 03 5 o3 G CO o3 &o$ CP E E QJ E X* rH « a fcuO ’G G o in o3 tn p cd E jd s p « >> p o Pm CO 03 .G H P P a E G* 0) o .E •5 u cd E _ Z> »G G o C/5 •G 3 (U 5 u cd o> C c a> x 4-> bG V+W Uh o &t. p i cJ c p o ^ u u cd E u <3J X5 G O o s. C/5 w x Cm 03 P *G P C QJ < 1 / ^ «L> 73 ^ U< a/ E E cd » P v G oj C< a O O o3 X o 03 o G p cd E o3 B co g nj Pm M3 H I u S r > G o C/3 T=5 G c3 X C/3 G w O P o O w d cd Q . Tf »-( tH eg co \ N, CO CO 00 cd W) P< a V-i M O PQ rt D 43 -4-* 0 0 -*-» 43 O M w s CO CO ■d a a D d D D •—> -M -f-» d cd 43 H •H r-I E5 > o O rH X o PQ CO cd .a as Oh P4 > s & £ a> C In ^ cd M S3 S3 S3 aj cd cd 3 "3 3 » 4-» 4-» 4-» » 00 CO rH rH rH \ \ eg o\ CO CM rH N N N d O co rH v.; Vh 3 CD 0 «-H rH •lH a H CO CO » d D a a H CO a cd O ■M a 4> c es ~ £- es 7. o s CO "d •rt *-< « CD 43 H £ PQ rO o £ d 43 d o> fll vo ,J% rH N \ •■$- 43 +■> cd PQ c cG c D 4> ^ 2 c \ C3 o u c iL cm d cd o hJ W d 0 cd 43 C cd rd o u < 6 > XI . 'S S I - q a tuO d •»H (3 CD 44 cd £ < » £ d w—H o >>« T3 » is 2 o o o o CO rt M o4 cu a> PC PC bo bo 3 PC >v u 4) * O E 4) tC CO ~ t*< > CD U) u o 2 *3 O -J d o >< D 43 -M aj 4J 73 : E >> rH *3 ^ 3 o ro 5 ^ 3 aj s o rt CJ ,o t3 M cd a o £ 3 E u > E ^ a & o > D 43 H e aJ a pj d c 3 E 3 o 44 »H cd o* CO cd s > cd VH *3 3 E ^ a fc« .d 5/) ° 17 o CU ^ >» two two D • 1-4 CO cd 3 co lH D & CD 4= Oh 6 cd O o U 3 O to i* V #S 4> 2 00 3 v—1 1 E © c. £ CO H 13 cd s o PC u o o w w 'S c ^ *0 c X o “5 1 . C o =r E 7 UJ O 1-1 * 0) te Ph V •J V a « _> ’o “1 u D bo c s 0 rt ca J W T3 ^ «S H 5 > d £ o co £ s > > i£ o u r* >» ~ u 3 J JC £■ 13 _ 0 £ .2 o a> a C/3 43 d PM bo d 43 £ O ►J C >» £ 2 3 O j= © u c UJ o* c/3 0) 43 a o *d a> TJ 43 o Pm c 2 t/3 d £ mm pLi o w c o E „ 5 -s o cm in sm CO bo # c > lj CO rH ^ CK U \ d to O) 6 8 5 o H o 43 O 43 co ca m T3 < hJ o O bO 3 ca 0> H 0> « CO ca -M H CO U »d S3 ca .Q co P w »d « a> £ a 'd W e o CO S3 E ^ CU -xJ bC o U E 1“ CD e a> u u « 55 S3 ca s CO d ca a S3 ’»-< m o PQ S3 43 O V C ^ o w >> c 4) 10 tm *d o .2 Q o D CX C/3 CO CO CO V 43 H ett •«-* 3 a be c cl >4 N bO rt 43 a G a> 43 H >* 43 PM >» 0> CS S3 d O 43 CO d ca 43 to 03 \ 60 m u —< d ca a ts 4> pq a> 43 H d d W . S3 feD u 1 / -T3 -J C 0 > -C^ o O T-« 0 ) U O' a 0 ) pq -d W Pm d a> J >> Jj 00 COs- CO d d 43 Q< d pq S3 *a a> S3 u W a> i> J x o a> ^ c u V * oo rH T3 ^ C «* ^ *s c ^ © t- E o a o £ o 43 £ ft 3 >2; O CA £ ^ e cd S a < * o IZ> a w > "c c d £ T3 W) o3 d g ! '5 •S ! s 4> 0) 43 43 H I H £ C ’> 43 X W co >> © u cd £ 2 2 c u U £ co ft cd ft 4> ft ft > 4) CO S3 7B •- CO cd 43 ■4-J o O s o w +-» cd 4-» X C/3 U o ft ft cd cd u *o 4> a; ft ft CO CO cJ Vi 4) 3 3 ft < ft 4/ 4) 43 43 -4-» -*-> tuo o E E ■*-* cd cd N 4/ u 43 cd U H *o e 3 ft O < o cd > o -ft u cd £ .2 c © c/) cd <3 a o »d cd a t: co I w < 1 X C cd 6 i-4 o O ft c c © '«-> u cd £ c 22 E^ w u c X tfl — d £ © cd £ u o a o W c/i E3 5 2 H 1 ft cd ft 4) 43 C ! r-> W 3 CO S I ft ^ -* >. aj 4) r; 2 2 ft HH 4_> 4_l U. cd cd o c ft ft >. 2 •o o C oo 00 lO N N 00 t-H 1 ^ E 4) > E3 < C/3 E XJ O cd Vh o a 5 >> 4) The C o a C/3 u cd £ © 3 be u cd c o 3 cd £ ft c/i w tvj « a> cr s o O l> o O ixo a cO •—i K rt J3 u « > o J "(« 2; Ml ^ D ctT CO ^ a\ > TT) O 43 >> >-< a> > W CO < J-. E 43 © > © •J 2 "£ 3 ^ cd ^ e © 3J ft C/3 cO « O ft ft w c « o o 1,3 >* *2 © > © -J © .2 - *5 o g. tj IS) W cO (U CO 43 A w w H E cd v- 43 < C cd > C cd > h-( C/3 cd © 3 -J *3 £ r- \ 3 : ^ 43 s CO CO ft > u cd > o ft Ed cd > cd ft O 4/ 43 g 4> 2 — cd I> © © cd ©: <-> T Cd ' ^ C Cd T >v ft CO 4) bX) cO sj a X U 03 rH H O E u a> Q u CJ o' u *-« * c/3 c3 X d < O U d d ’£ = H o> * © Q u 0) ~ # *5 ^ Cd eg *■ rH x H c o T3 co *3 d Ph d 4-* > CO a> S3 •— r* u< ^ • M 0\ £S >* *-« 4) 4-» 00 >> s cu X H d 43 d u bo C HH >» O U p 3 a c CO CO »d d d o »- to >> 03 0) 43 H o £ c >» 2 o O S3 .2 g X Cm & w d CO V X W X o pH X E © H ft d *© d d o PS C/3 2 a d u c o *3 u o o 3 D oo 7\ 1-4 o U d 03 a o PS o w CJ bfl d PS O d Ph © PS > v Ul 3 3 OT m (ii i p< w c o tfl ea £ C/3 a i T3 w w CO W M 4*1 oj f* a> 43 H d o OT £ o3 IH 43 < d > X ft aJ Ih e ° o CO o .2 o nd d co d W CO Ph « bo d d o a> £ d d 5 53 3 CL xr be *S 2 co f- O VO a H u 3-S ea c D p t* o CO >» S3 s-» CO * O I, d d O d CO I T3 C d w CO W gw x CJ £ ■a c o E >> C8 a a a> H v c _ 1) SO > >> 5 CJ cj Ph 1) T3 3 (h rH >-» d u •- © S3 0 a. w OT v 3 1) o JC 6fl 3 £ 3 U U *•“ rH 0. \ C\ M 5 § a) 3 w O 'a> .ft IH W d o g cd *-< «d « d £ o CQ d o 4-> cd ft cd p -M GO C/3 u 4) >> 1) ft U VO Cd ^ J3 H W ?3 CO W PQ E?J & ^ / Jh cd cd w w PQ ^4 cd PQ a cd > o N cd Z a o 5— o c o c < cd M X cd P Cd 0) JS H cd w c/5 ft 4> u O u cd > ft > > co cd c * a> 44 d o co in rt Q > cs > o Z « 73 oo ■a \ D on r ^ buO _d *& d cd 43 O 43 H > JD 3 ca >v 42 cd in % _d "-*-) CO a X P *d & u 3 in a > 3 u u 3 i o> : 3 , A H ■D ’cd > A June Mathis Metro Scenario Writer Jluthor of “TO HELL WITH THE KAISER” announces her arrival at Metro’s New Hollywood Studio Export and Import Film Go., Inc. 0 CONTROLLING 100 Metro Productions for Europe and South America 16 Special Mutual Productions for South America The Houdini Serial for the Entire World Selig Polyscope Productions for the Entire World, excluding England B. A. Rolfe Productions for the Entire World Also Cartoons—Comedies—Special Features. ATTENTION MANUFACTURERS! Perhaps you are progressive enough to realize that there is some¬ thing behind this record. Perhaps we can do the same for you. 729 Seventh Avenue, New York Telephone Bryant 4566-7-8 * r s o O to a To cS © *© T3 u O Um u u Cd aJ Ph © £ c« CO i 2 S 43 H I co w u c rt ’© £ rt 43 as u. a s rt U O <4-* o • ■* a >>" 2 CM Cd X £ * & >i a c CO c ’© rt 43 co »H rt S ctf P P3 0) ■eg c<3 > ^ H *1 CO W © > 2 v <8 U 4 ) O N W W u m w P4 £ U w. «V B W © > C « o p (0 .E * Cd C* u V X5 u a> r a to 55 43 to 5 © 43 H W CO l-j > CT3 p >> cd co co © bo C CO p p > > w 2 « K A © CO © 43 H a « S © »x E © 43 H o U to a ©. p u 1 c o T3 CO 3 ct3 P c o u > o u ^ Cd ro > ^ W <* > d 03 43 CJ o CO © 43 s CTJ K a o CJ u cd a 00 U) d 6^ co a •2 - c C •" o\ &0 \ U a\ ©4 co S d o H C3 C I W Ph c3 'O W efl h c3 CP O +* u .5 c c V . D-Jh C IO X CH < o © a bo P o P 43 © 5 >» CJ U 1> a UJ^ ©4 B W © 43 H P o H Cd rt > s 2 ^ S-* 1) a, c8 6C 4J \ E ^ a ■a (8 K W ^ H U rt Ph >> rt rt •O Q © >* o >x ca oj o t-< CQ a * »P © to 03 to ■*■* o a © 43 H o CJ ao g 03 4-» •T^ H C O C/3 t 2 JSI a <0 > 73 73 o w CA c D X) 3 C* 3 E G 1-1 43 tuO 3 o H >> M 73 3 OL G CO (A 73 G G CO G G s s ft a, G P* X 4) >> PP M 3 X .2 "3 c/3 S 2 ^ c C O oT G £ o A C/3 73 G G w 3 CO W c o CD Q G G +-» G c s O C/3 U 0> TJ C 3 C /) t-H .2 ^ is ^ 3 ^ >y g * G G G rt a> 43 H o CJ CU3 G g Q « > >> X G X O Ph G Ph o> a CD CJ -2 ^ 3 o' W 03 45 H CO 73 73 O O £ X Cu G 73 « 0> 0) C* 03 CJ c 0) U as o -3 U, & co > w 43 H a G P X CJ 5 C 3 t>* •■■ iH ^ N •■* Os > \ G G s > G PP C O C/3 ■3 u 3 X CJ X cj 3 s* G X > o 43 < G G s w 4) Pi O G H O G £ 3 O -a C/3 5 (D •g ~ 3 eg .2 TH 5 03 43 -4-» o s G a> O X cj 'M 2 ^ T—t UJ S >» •a 3 P O Ctf v u o 73 8 s f ^ H r- 43 -*-» G o >< 2 i Ruth Roland Teddy Sampson The Fringe of Society . Special Backer-Hoffman Robert Ellis Her American Husband . 1/27/18 Triangle E. Mason Hopper o 4 -* V H X cd PQ o o 45 a (A c 4> > 4> 4-> C/) >>P UJ O t © 8 > cd £ c o u u M * V) o ^ e* C\ 'd a o « 05 X H tf cd C 4) O C KH x a *c3 c cd > *0 < c/5 J _ .2 •* 45 a a 3 co J 8 tj cd 8 8 o CJ > CD W 8 « « « -o 8 o 8 >> a PC . 4) C **» h C^ 03 ''■' cd a cd « 8 o V U C o c c 03 X c/> «s UJ v a A , •« 0 « XI o £ 8' £ c cl E a !c W 00 rH 13 3 Z ^ a •!■« cd 4 -» CO tJ •tH £ 43 H X o £ 8 £ CM CM X *- t0« 3 tO « 2 r“ «1 *« ► cd U > o c c 1-4 £ cd X *3 C P 8 T3 w c/5 c o £ a >5 *3 c 45 8 cd »d 4) cd a w cd » > cd p u c o 4-1 c/3 CO 75 S > vo ^ CM O ^ j 00 4) X c •O c C %-> W x ti¬ ed ^ ° O X c/) 3 cd £' s ^ OJ Q- co ts w 4) X -*-> 'd c cd c cd 6 o X H c cd 8 U cd a c V CO 3 o X V c o 3 u »d c cd X in P « 8 o « cd X P to .5 '8 £ o Ih m O H >5 o t- o C/} x "5 UJ c jd o £ CJ c U 3 «D c "5 CO a 4> » 4 -* 4> O X H (3 4> 4 -» in s w X H to to .8 B o Ih « c« 4) P to 4> X a> X H O Ih 4> 6 S c P u c « 4-* V) ^ oo ^1 *—I 3 ^ C/5 S cd: fe. o x; CO cd 45 X H. M. H. HOFFMAN SPECIALIZING IN THE SALES AND DISTRIBUTION OF ; WORLD S RIQHTS of NEGATIVES SPEAK TO ME ABOUT THAT SPECIAL! ! LOCAL DISTRIBUTION in NEW YORK and NEW JERSEY Genuinely Efficient 729 Seventh Avenue New York City Williamson Brothers The Submarine Film Corporation J. E. Williamson, General Manager Longacre Building, New York City Originators and Sole Producers of Submarine Photoplays Coming • —A distinguished series of Educational and Scientific - Under-Sea Pictures, produced with the aid of Government Scientists. Further announcements later. o O M •S C/5 d 0) d Q at 0) 43 O CO >» L U 14 H 14t-> cj o> 43 o -*-» +-» o « » o Pi U-’ c >* kj X ti o ►> cl £ T3 M Q 6 E c JS o > j* u at 5 © »lH +-» d © w£ * < 14 : u, cd a d o H 0 3 43 d w pi 0 43 js ffi c d c o c u v > c; o' fifl' Pi u w c <14 J=° Ml la 3 XI tfl o rH u2 ■_ O “ H d Ih 4J 2 k 'O d PI a> 43 H Q m o T3 i> cj c Uoo M 1—t — \o u-c n 3° c Cd 1 ° k-J a m w U aj 4 ) +-* CS ° •C Oa Cjco $3 i> £ o K o s — 4* 03 o j= a co >>2 u ^ 5 a r > Pi pi CO w A o o a OO 00 T—1 T—I LT> CM r—I CO w 0 O -4-* C d -*-> CO •d Ua d o 5 o Cd £ 4> u Ck «r OSr ►» d 0) 0> J* d d >-• -*-» H d in V w 0> * o ■M c/5 E •d d a do d •H -4-* 43 dO 43 bfl d d 43 d CJ X o Ph 3 c/5 3 C0 C 1 ii o > ^ d d a 43 U s d 43 c ^ O CO C cd * C/5 »* ?2 i-i 11 o 'O d 0) +* d o O d o CO d £ £3 O O 4tf °2 s*' O *X (D C c d 43 d U H *3 X} cd 43 H bfl C C Wisconsin Center for Fi/m and Theater Research o U a> ci P a> *—< 4> a> 9 v o. e. o s s w c E is e n ro £5^ £ w OS H 0) 43 H W w O P 4> 43 H C/3 s £ CO E d 43 c c 4) (4 lx c o *■—' bO bo V § c HH E % H d o 45 P w X (A *n lx 03 4-» 4-* c o CO •■8 £ Cn CO Cn .. N T—1 CO 1 -x V T1 'o LO ° OCM^ X CM ■4* \ CM d S3 CO OS IA t/3 4) d X 4) ► O P o 43 CJ 03 Pt| (A 4) bO c 2 £ *n Sx 4) O to d Pi (A *d o •X •8 E-i 2 * o IX « >» 13 o 4) 4> 4) E *8 43 43 is H H H < o o <1) rt 0) *-X H « U M •o m ^ ^ oj o OJ O P u d V C C d U- aj o u a) 43 H £m E w T3 d P £ 03 « p d c <13 u u d £ . 00 >>r* h >• € o > 4> .8 l-l w CO .w £w 3 X CO d c ■ cp ^ £>2 ca (A lx P a k> o3 * u 83 » aj 8 o w a 4) ■a o u < 8 < te 4) w o > U N Qj i—i fc* T—I C3^s geo ► <15 P a •H 03 d 3 O s £ w £ M « a> 43 P I H £ w 3 C4 J= u X be * XJ En a; d u O K3 to 03 s CO C/3 o T3 C 3 E T3 W C/3 bo 03 > CO . u c T3 C/3 a -T3 C •■« nj m X H o P O E a> 83 t> E" “ U-) p \ — ft ttJ M 8 o v J3 H O CO oo »-i *■* 00 ZJi o « w V ^3 o E c> « E ■u: «. OS 03 Pi 03 P 43 tuO C3 d CO a * £ o E CM \ CM 43 w bfl« a two S s 8 « cs« > 8 U PQ M Wnited States rights of these superb, dramatic features Made and Directed by CIL HEPWORTH Great Britain's Foremost Screen Producer NOW READY IN PREPARATION . u ,'Qoming Thro' the ' Y,4fetfea-yer N My :: -God To Thee -Y , From Helen ; Mather's cele u ^ H of a brated novel. (5 reels) v , •.. it. t I -Molly Bawd” ' Stubbs” By Mrs. Hungerford (fjreels) • ' Dick parson Wins Through' The Cobweb" 5 ‘ /‘The Hanging Judge i'X BEAUTIFUL PRODUCTIONS— ALL-STELLAR CASTS M /' t \ -'iff/ m \ _ _ , Cecil Hepworth picturizes the big, vital subjects with the sure art that captivates all spectators AMERICAN AGENTS OF FOREIGN SCREEN CLASSICS Scanned from the collection of The Wisconsin Center for Film and Theatre Research Coordinated by the Media History Digital Library www.mediahistoryproject.org Funded by a donation from Eileen Bowser