azin

PRESIDENT FREULER

Says to

EXHIBITORS

THE man at the head of
a successful newspaper is
always a power in the com¬
munity. Doubtless you have
seen such a man rise to
prominence and power in
your own town. At any rate
if you look about now you
will recognize such a man in
your own community, no
matter how big or how small
your city.

Why?

ECAUSE this man at the
head of the newspaper,
whether he be editor or pro¬
prietor, is enabled to impress
his ideas and opinions upon
the people. His newspaper
is the medium of expression
of his personality. Its success
depends on the success with
which he expresses that per¬
sonality. If his personality
has not the property of popu¬
larity, if he is not in sym¬
pathy with the people, if he
can not interpret his readers
as well as himself, his news¬
paper will be a failure.

MY business has made me
a rather close observer
of newspapers in cities great
and small all over the coun¬
try. I am convinced that the
newspaper which is merely
institutional, which does not
carry this element of person¬
ality of seme big man con¬
nected with it, is always a
failure.

There is a lesson to you
and to every exhibitor in this.

You, too, are a publisher.

NSTEAD of printing a
paper you print your news
and stories and editorials on
the screen from films and
slides. You are just as truly
an editor as the man who sits
at the desk with the editorial
blue pencil. You accept and

you reject. You decide wha*
you will print in the lights
and shadows of your screen.
You are expressing your
personality at every show.
You will succeed or fail by
exactly the same factors as
the editor.

You have the same chance
for power in the community
as the editor.

THIS means responsibility.

You are responsible to
your patrons for good enter¬
tainment, clean entertain¬
ment. You have to be
interesting EVERY DAY.
You can never relax, never
shirk responsibility. If you
do, you get the reaction in
the box office receipts.

You must learn to talk to
your patrons from your
screen just as effectively as
the editor talks from the
printed page of black and
white. It can be done. You
can do it if you will but try.

YOU can talk much more
effectively and enter¬
tainingly than the editor.
Your expressions on the
screen do not have to be in¬
terpreted by a reader’s
imagination because they
are enacted in life right be¬
fore the audience — your
“readers.”

AS the industry progresses
you more and more will
have need for this power of
expression directly to the
people. The various local
and national censorship
problems and fights make a
very good example of this
need.

Be a real picture exhibitor,
and a real power in your
community.

Motion Picture Men “Get Together”

Industry awakening to the necessity
for hearty co-operation — spirit of
unity born at Wilson dinner

THE motion picture industry is beginning to “get
together with itself.” There is a beginning of a
recognition of the community of interest held by the
exhibitor, the manufacturer and the distributor. Several
events in the last few months have given evidence of the
growing appreciation of the necessity for unity. But noth¬
ing has more effectively called this to the attention of both
the public and those within the industry than the first
annual dinner of the Motion Picture Board of Trade, held
at the Biltmore in New York last week.

The strenuous efforts and heated controversies involved
in the fight of the industry against the Hughes Bill, before
the House Committee on Education in Washington, helped
to give the function a significance beyond its face value.

The presence of President Wilson was accepted as a
matter of more than remarkable recognition in some quar¬
ters. The fact that so many persons in the industry should
feel thus flattered is plenty of indication that it is high time
that the motion picture begin to recognize itself.

Exhibitors, Manufacturers
and Distributors Meet

The dinner was attended by approximately one thousand
persons, including a large number of eastern exhibitors,
and officials and representatives of practically all of the
manufacturers and distributors of motion pictures in
America.

The brief but interesting visit of President Wilson at the
dinner was an incident of a very busy day for him. There
was considerable evidence in his address that he has yet
to find out what the motion picture means to the American
public. As is customary in addresses of the kind, the
President threw in some splashes of “local color,” so after
referring to how he liked himself in the pictures he talked
on a number of generalities which might have been con¬
strued to apply to picture censorship, the Mexican situation
or hyphenated Americans.

Guests of Honor
at Dinner

At' the speakers’ table sat J. Stuart Blackton, the toast¬
master; J. W. Binder, Walter W. Irwin, Dudley Field
Malone, George Eastman, Nicholas Power, Roy Howard,
Joseph W. Engel, Fire Commissioner Adamson, John R.
Freuler, Hudson Maxim, W. Stephen Bush, Edwin Mark¬
ham, Bartow S. Weeks, E. A. MacManus, Dr. Cyrus Town¬
send Brady, William F. McCombs and Bainbridge Colby.

But at any rate President Wilson now knows that there
is a motion picture business. In the course of his address
he said:

President Wilson’s
Address

“I wondered when I was on my way here what would
be expected of me. It occurred to me, perhaps, that I would
only be expected to go through the motions of a speech.
And then I reflected that, never having seen myself speak,
and generally having my thoughts concentrated upon what
I had to say, I had not the least opinion of what my motions
were when I made a speech — because it has never occurred
to me, in my simplicity, to make a speech before a mirror.
If you will give me time I will rehearse this difficult task
and return and perform it for you.

“I have sometimes been very much chagrined in seeing
myself in a motion picture. I have often wondered if I
really was that kind of a guy. The extraordinary rapidity
with which I walked, for example, the instantaneous and
apparently automatic nature of my motions ; the way in
which I produce uncommon grimaces and altogether the
extraordinary exhibition I make of myself sends me to bed
very unhappy. And I often think to myself that although
all the world is a stage, and men and women but actors upon
it, after all, the external appearance of things is very
superficial indeed.

“I am very much more interested in what my fellow men
are thinking about than in the motions through whichjthey
are going, and while we unconsciously display a great deal
of human nature in our visible actions there are some very
deep waters within which no picture can sound.

“When you think of a great nation, ladies and gentle¬
men, you are not thinking of a visible thing; you are think¬
ing of a spiritual thing. I suppose a man in public office
feels this with a peculiar poignancy because what it is im¬
portant for him to know are the real, genuine sentiments
and emotions of those people.

Pertaining to
Liars

“I found out what was going on in Mexico in a very
singular way — by hearing a sufficiently large number of
liars talk about it. I think the psychological explanation
will interest you. You know that the truth is consistent
with itself; one piece matches another. Now, no man is an
inventive enough liar not to bring in large sections of truth
in what he is saying. And after all the liars have done
talking to you about the same subject it will come to your

“When you think of a great nation you are not thinking of a visible thing; you are thinking of a spiritual
thing. I suppose that a man in public office feels this with a peculiar poignancy because what it is important for
him to know are the real genuine sentiments and emotions of those people. I am much more interested in what my
fellow men are thinking about than in the motions through which they are going.”

REEL LIFE — Page One

consciousness that long and large pieces of what they said
match ; that in that respect they all said the same thing ;
that the variations are lies, and the consistencies are the
truth.

“They will not all tell you the same piece of the truth,
so that if you hear enough of them you may get the whole
of the truth. And yet it is very tedious to hear men lie,
particularly when you know they are lying. You feel like
reminding them that really your time is important to you
and that you wish they would get down to business and
tell you what is really so, but they don’t. They want to give
an excursion to their minds before they get down to busi¬
ness. And what I particularly object to is a very able man
with a lot of invention coming to me and lying to me,
because then the interview is very tedious and long before
we get down to business. I got to know that story so by
heart that the last time a deputation visited me about Mexico
I thought I would save time and I told them exactly what
they were going to say to me and they went away very
much confused ; they wondered how I had heard it, because
they knew it was not so.

Driving Power That
Moves States

“And yet underneath all of this are those great pulses
which throb in great bodies of men and drive the great
powers of state. And I wonder how men venture to try
to deceive a great nation. There never was a profounder
saying than that of Lincoln’s, ‘That you can fool all the
people some of the time and some people all the time, but
you cannot fool all the people all the time.’

“The best way to silence any friend of yours whom you
know to be a fool is to induce him to hire a hall. Nothing
chills pretence like exposure; nothing will bear the tests of
examination for a shorter length of time than pretence.
At least so I try to persuade myself, and yet there are some
humbugs that have been at large a long time.

“I suppose there is always a rising generation whom
they can fool, but the older heads ought not to permit them¬
selves to be fooled; and I should think that in a year like
the year 1916, when there is to be a common reckoning for
everybody, men would hurry up and begin to tell the truth.
They are not hurrying about it ; they are taking their time ;
but the American people are going to insist upon it before
this year is over — that everybody comes up and is counted
on the great questions of the day. They are not going to
take any excuses ; they are not going to take any pretences ;
they are going to insist upon the goods delivered on the spot.

“And anybody that declines to deliver them is going to
go bankrupt and ought to go bankrupt. Everybody ought
to get what’s coming to them. But I came here to say that
I hoped you would not believe that I am what I appear tc
be in the pictures you make of me. I really am a pretty
decent fellow, and I have a lot of emotions that do not
show on the surface, and the things that I don’t say would
fill a library. The great cross of public life is that you are
not allowed to say all the things that you think.

Picturesque Opinions
on Men in General

“Some of my opinions about some men are extremely
picturesque; and if you could only take a motion picture
of them you would think it was Vesuvius in eruption. And
yet all these volcanic forces, all these things that are going
on inside of me, have to be concealed under a most grave
and reverent exterior, and I have to make believe that 1
have nothing but respectable and solemn thoughts all the
time whereas there is a lot going on inside of me that would
be entertaining to any audience anywhere.

“I am very much complimented that you should have
allowed me to come in at this late hour in your feast and
without partaking of the pleasures of conversation to make
you all, whether you would or not, listen to me talk. My
object in life is not talking. I wish there were less talking
to do. I wish that not everybody had to be persuaded to
do the right thing. I wish that the things that are obvious
did not have to be explained. I wish that principles did not
have to be re-expounded.

“We all in our hearts agree upon the fundamental prin¬
ciples of our lives, of our life as a nation. Now we ought
to tax ourselves with the duty of seeing that those principles
are realized in action, and no fooling about it. The only
difficult things in life, ladies and gentlemen, are the appli¬
cations of the principles of right and wrong. I can set
forth the abstract principles of right and wrong, and so can
you. But when it comes down to an individual item of
conduct, whether in public affairs or private affairs, there
comes the pinch ! In the first place, to see the right way
to do it, and in the second place, to do it that way. If we
could only agree that in all matters of public concern we
would adjourn our private interests, look each other frankly
in the face and say, ‘We are all ready, at whatever sacrifice
of our own interests, to do in common the thing that the
common weal demands,' what an irresistible force America
would be !

Afraid of Certain
Truthful Men

“I can point out to you a few men — of course I am not
going to name them now — whom every man ought to be
afraid of because nothing but the truth resides in them.
Men — I have one in particular in mind whom I have never
caught thinking about himself. I would not dare make a
pretence in the presence of that man even if I wanted to. 1
His eyes contain the penetrating light of truth before which
all disguises fall away.

“Now suppose we were all like that; it would hasten the
millennium immensely, and if Americans were always to
do what, when the real temper of America is aroused, they
do the world would always turn to America for guidance
and America would be the most potent and influential force
in all the world.

“So when I look at pictures, whether they move or
whether they do not move, I think of all the deep sources of
happiness and of pain, of joy and of misery that lie beneath
that surface, and I am interested chiefly in the heart that
beats underneath it all, for I know that there is the pulse
and the machinery of all the great forces of the world.”

I fouiid out what was going on in Mexico in a very singular way — by hearing a sufficiently large number of
liars talk about it. I ou know the truth is consistent zvith itself ; one piece matches another. Nozv, no man is an inven¬
tive enough liar not to bring in large sections of truth in what he is saying. After all the liars have done talking
to you about the same subject it will come to your mind that the variations are the lies and that the consistencies
are the truth.

REEL LIFE — Page Two

Masterpictures, De Luxe, Are Winners

. Perfection, keynote of fourth
group of three 5 Reel Weekly
features issued by Mutual^

PERFECTION in scenic production, perfection in
dramatic theme and perfection in the players selected
to portray the characters, mark the fourth group of
three weekly Masterpictures, De Luxe Edition, released by
the Mutual Film Corporation. Letters by thousands have
poured in from exhibitors and moving picture enthusiasts
all over the country, praising these remarkable film dramas.
They were indeed worthy of the lavish praise bestowed, but
in accordance with the policy of the producers to make
each new feature production surpass the previous one, the
latest releases of the Mutual features have attained the
highest peak yet reached in the field of the silent drama.

Three irreproachable five-act dramas, at total variance
in plot and thrilling situations but identical in the excellence
of the acting and artistic merit of the production, are in¬
cluded in the fourth group to be released. Adventure, in¬
trigue, love, diplomacy and a host of other elements make
up the themes of the engrossing film stories.

BROADWAY STAR HAS
LEAD IN STRONG DRAMA

The first of these Masterpictures, De Luxe Edition, to
appear on the fourth great program is the five-reel racing
drama, The Drifter, is produced by Gaumont. Originality
in plot and excellence in acting are predominant.

The Drifter is a delightful, wholesome love story, full of
heart interest and beautiful pathos. An unusual film drama
in every respect and one that will leave a pleasant impres¬
sion in the minds of all who see it. The denouement fur¬
nishes one of the biggest surprises ever seen in a screen
production.

Popular Alexander Gaden is at his best in The Drifter,
where he plays a dual role with finesse and power. Seldom
has he appeared in a part which gave him such wide scope
or which permits him to display his remarkable histrionic
talents to their fullest degree. Those who have enjoyed
Mr. Gaden’s finished acting in other Mutual Masterpic¬
tures, De Luxe Edition, will be amazed at his clever acting
in this new feature.

Charming Lucille Taft, whose beauty and grace has won
hosts of admirers throughout filmdom, is co-star with Mr.
Gaden in this exceptional racing drama and has never
appeared to better advantage. Early in the film she appears
as a schoolgirl, and all her winsomeness and girlish charm
add much to the delight of the picture. Miss Taft as Faith
will be long remembered as one of the great film character¬
izations.

GRIPPING DRAMA OF
WAR’S BIG PROBLEM

Powder, a gripping five-act drama with a big war prob¬
lem as the basic theme, produced by the American Film
Company, Inc., is the second of the fourth group of Master-
pictures, De Luxe Edition. Arthur Maude, the noted Eng¬
lish actor, is the star in this powerful photoplay, and is
supported by Constance Crawley and an excellent company
selected especially for this feature film production.

This remarkable film drama tells a gripping and power¬
ful story of a powder manufacturer who is approached by

representatives of two belligerent nations, who seek to pur¬
chase the output of his factories. These envoys try to enlist
the aid of a pretty political exile, whose beauty and strategy
they feel Will be a big asset.

A young peace propagandist, the leading character of
the stirring story, is opposed to the shipment of munitions,
although he is engaged to the daughter of the head of the
powder industry. He begins a fight in Congress for the
passage of a bill to prohibit the shipment of war supplies.

One intrigue follows another until a plot is discovered
that will ruin the manufacturer and the hero himself.

Arthur Maude, who is recognized by able critics every¬
where as one of the greatest living character actors, has a
role in Powder which he is emphatic in declaring is the
strongest in his long career, in which time he has played
more than three hundred different parts. He is cast in the
role of a pacifist, who is fighting to prevent the shipment
of ammunition to the belligerent nations of Europe. The
role is a difficult one and taxes his ability to the utmost.
His delineation of the part is forceful and artistic.

“THE SOUL’S CYCLE” IS
UNUSUALLY INTERESTING

What is perhaps the most startling theme ever adapted
for use in the silent drama forms the basic plot in the unique
and wonderful five-act psychological drama, The Soul’s
Cycle, produced by Horsley and released as the third Mu¬
tual Masterpicture, De Luxe Edition, of the week. The
main theme deals with the ancient theory of the trans¬
migration of souls. The idea is developed in a novel and
thrilling manner. Margaret Gibson is the star of the pro¬
duction, in which the Bostock Animals play a prominent
part.

This picture relates the love of a Grecian maiden for a
young artist. She is coveted by an aged and wealthy Sena¬
tor, who, finding that he cannot win her love, has the girl
and her lover thrown into the mouth of a crater. The
Senator is punished for his crime by the gods, who con¬
demn him to wander the earth as a lion until he reunites
the two souls of the youthful lovers.

The scene changes to modern times, where the two lovers
of former centuries meet and fall in love at first sight. There
is another suitor for the hand of the girl, who plots to bring
about the downfall of his rival. A lion, the symbol of the
Grecian Senator, has been captured by the girl’s sweetheart.
The girl makes a pet out of the shaggy beast, and when the
rival in his plot to harm the lover lets the lion loose, the
beast turns upon him instead, and wins his freedom from
the gods.

This delightful fantasy is interpreted by a cast of unusual
excellence in which the beautiful Margaret Gibson is fea¬
tured. Miss Gibson is first seen in the flowing robes of a
Grecian maiden and later as a young woman of the present
day. The role is a difficult' one and calls for the exercise
of all Miss Gibson’s remarkable talents. She is ably sup¬
ported by John Oaker and Henry Watson.

“The Soul’s Cycle,” is one of the most remarkable photo¬
plays ever produced, and every lover of the artistic in
film productions should not fail to see it.

REEL LIFE— Page Three

“Life’s Blind Alley”

Masterpicture, De Luxe Edition

A tensely interesting drama ,
of the East and West, with
an exceedingly novel finish

TAKE a chapter out of the lives of millions of every¬
day, ordinary, living, breathing people, who are liv¬
ing along, striving for a little crumb of hapiness here
and there, and you will have the plot of Life’s Blind Alley,
Mutual Masterpicture, De Luxe Edition, produced by the
American Film Company, Inc., and featuring Harold Lock-
wood and May Allison.

There is no attempt to make the traditional “everything
happy in the end” complexion to the picture play. The five
reels of picture play holds the mirror up to life and reflects
life as it is.

The story follows :

After a long, dry season, Walt Landis, the owner of an
isolated ranch, is in desperate need of water. His cattle are
dying for lack of it. The young ranchman tried to persuade
his neighbors to let him use their water supply, but they
refuse to accept his note, and he has no money.

Walt wins the devotion of Wanpanah, an Indian, by sav¬
ing him from a poisonous snake. But he distresses the red¬
skin greatly by killing the snake. It is Wanpanah’s belief,
according to the traditions of his race, that the snake is
the messenger to propitiate the rain god.

They wait and wait for rain, but none falls. At length,
one day, Walt saves the life of an Eastern millionaire, Adam
Keating. The older man’s daughter, Helen, is sent for, and
comes west to take care of her father during his illness.
Hearing of Walt’s predicament and moved by gratefulness,
the Easterner buys an interest in the young man’s ranch, and
advances money to help him from his distressful predica¬
ment.

As the father and daughter linger, Walt becomes more
and more deeply in love with Helen. After their return
home, he follows them to the East, and lays his heart and
hand at the young girl’s feet. Helen, used as she is to the
more cultivated but more shallow men of the East, sends
the stalwart rancher away, and marries a New York club
man named Fred Sherwood.

Walt, growing more lonely on his solitary ranch, at length
marries Rose McKee, a factory girl, with whom he has come
in correspondence by answering a note she had placed in a
box of collars.

As time progresses, Helen’s blase husband tires of mar¬
ried life. He grows more and more dissipated. On Walt’s
ranch, Rose, used to the rush and whirr of busy life, iy
palled on by the solitude and pines for the city again.

At length, weary of his son-in-law’s dissipations, Helen’s
father sends his daughter and her husband to Walt’s ranch,
in which he still retains a share, to see if life out-of-doors
will not have a regenerating effect upon the young man.

Thrown together, the four find themselves turning natur¬
ally to their tastes. Helen sees the real worth of Walt Lan¬
dis. She appreciates his big outlook on life, his gentleness,
his kindness and his love for life’s greatest things.

Fred finds Rose more to his taste than his wife. He flirts
with her, and she is flattered by his attention. One day,
Walt and Helen discover the two in each other’s embraces.
As they start to cross a stream, Rose and Fred are caught
in the quicksands.

It seems like a solution to their problem to the young
rancher. If the two would only sink to their death, he and

Helen might be
left to face
happiness to¬
gether. But
his higher na¬
ture gets the
better of him,
and he saves
them from a
horrible death.

Helen and
Sherwood re¬
turn to their
home in the
East, mismated
and unhappy
as ever. Rose
and Walt re¬
main on their
ranch with no
bond of sym¬
pathy in com¬
mon to see the
wonder of the
stars together,
and be happy
in the beauty
of nature.

Harold
Lockwood and
May Allison,
the popular
American
stars, carry out
their usual
standard of
excellence
in their un-
usual life
drama. Mr.

L o ckwood

plays the role of Walt Landis, the stalwart, handsome, clean-
minded young rancher, who was denied life’s greatest hap¬
piness because he knocked at love’s portals too early.

Miss Allison is as gentle and beautiful as ever in the
role of Helen Keating. She plays her part with rare under¬
standing. Nell Franzen is splendid as Rose McKee, the lit¬
tle factory girl, whose vision had been marred by the lesser
things in life, and Warren Ellsworth makes a very satisfy¬
ing Sherwood.

Life’s Blind Alley is really human.

Fate is always playing us tricks for which we later pay.

When Helen held the ball of happiness in her hand she
threw it away for a showier thing, but when it was gone,
and the gaudier bauble had disclosed its sham, she longed
for the modest ball which she had thrown far beyond her
reach.

We do things such as that, all of us, every day of our
lives.

Life’s Blind Alley may teach us to value more what is
close to hand.

Harold Lockwood as “Walt Landis,” in
“Life’s Blind Alley,” Masterpicture, De
Luxe, Produced by American

Walt. Landis . Harold Loqjcwood

Helen Keating . May Allison

Rose McKee . Nell Franzen

REEL LIFE — Page Four

Masterpicture, De Luxe Edition

f and that

the serv¬
ants must go,
or that he can¬
not work his pow¬
ers to any avail. The
young millionaire ar¬
ranges a perfect set¬
ting for the gambler’s
experiment, not know¬
ing that “Doc” has
plotted with Mary,
who is to appear in
the shadowy distance,
as the dead wife.

Everything is as planned. The servants are sent away,
and William and Ardini wait for the appearance of Jessie’s
spirit. Her form seems to appear in the distance, William
is almost overcome. After having seen her sister’s husband,
Mary is unwilling longer to be a party to Ardini’s mischief.
She tells her brother-in-law who she is. The same night,
Ardini’s plot to rifle William’s safe is foiled, and the thief
is shot and killed.

It is the beginning of better days for the little actress.
Attracted by her likeness to Jessie, William asks her to be¬
come his bride.

The Dead Alive gives charming little Marguerite Courtot,
the new star of the Gaumont’s constellation, an opportunity
to do some splendid and unusual acting. In the parts of
both Mary and Jessie, the little actress appears in dual roles
on the screen during a great number of scenes. She talks
with herself, walks with herself, sits down and remonstrates
with herself. Her dual role leads her into two entirely
different sides of life, and gives opportunity for a wide
variety of acting.

Sydney Mason, the handsome young juvenile lead, makes
a most charming William Stuyvesant. Henry W. Pem¬
berton’s splendid heavy and character work is well known
to Mutual followers. His work as “Doc” Ardini is most
convincing. In the role of “Old Jim,” James Levering plays
with his usual distinctive understanding of the part.

There are some spectacular scenes in this five-part pic¬
ture. The water scenes, on and off the yacht, are espe¬
cially full of the charm of Florida.

The picture was produced under the direction of Henry
Vernot, the French director especially engaged by the Gau-
mont studios.

Maty I

jess' $ . Marguerite Courtot

William . Sydney Mason

•■Doc” . H. W. Pemberton

Presenting the beautiful and
'popular star of the screen. Mar¬
guerite Courtot, in a dual role

NO matter how much we may scorn spiritualism or
any other psychic phenomena, we are all fas¬
cinated with them. There are none of us,
perhaps, who have not sat enthralled in a charmed
circle, with a group of other spell-bound young¬
sters waiting for the ghost to tap on the table or
knock on the floor above.

It is upon this very curiosity about the vast
unknown that the Mutual Masterpicture, De
Luxe Edition, The Dead Alive, featuring Mar¬
guerite Courtot, is based.

According to the story, “Doc” Ardini, an in¬
ternational crook, who poses as the friend of
William H. Stuyvesant, a young millionaire,
tries to work on the young man’s interest in
spiritualism, to accomplish a daring robbery
in the young man’s sumptuous home. The
story centers about twin sisters, the daughters of
a weak-willed, vacillating drunkard, who comes
under the influence of “Doc” Ardini through his
propensities for gambling. “Old Jim,” the father
of the girls, loses his money in “Doc’s” gambling
house. Out of pity for the old man, the gambler gives
him a small job in his employ. The two girls come to the
city, not knowing in what degrading business their father
is occupied, and decide to keep house for him and to work
at the same time.

Jessie becomes a clerk, and Mary goes on the stage. At
her place of business, Jessie attracts the attention of William
H. Stuyvesant, a wealty young millionaire, who grows to
love her honestly, and asks her to marry him. Before the
girl has given her definite answer to her handsome suitor,
she learns of a raid on “Doc” Ardini’s gambling house, in
which her father, whom she thought employed in a respect¬
able business, shoots and kills a man. Under an assumed
name, her father is held for murder.

Jessie feels that with this disgrace upon her family, she
cannot marry William, and goes away, leaving a note tell¬
ing him that she cannot marry him because of a terrible
secret in her life. She has never told him of her sister
Mary.

Undaunted, Stuyvesant hunts until he finds her, and in¬
sists that she become his bride, in spite of anything which
may have happened. At the trial of Ardini and “Old Jim,”
Ardini is sent to prison for three months, and Jessie’s father
is sentenced to a ten-year term. On leaving prison, Ardini
is in need of money. He learns that Jessie has kept her
family relations a secret. Possessed with an almost un¬
canny hypnotic power, the gambler gains control over Mary,
and forces her to go to her sister and threaten disclosure
of her real identity if the young wife does not give her
money.

Almost immediately after this, while aboard her husband’s
private yacht, Jessie becomes heated with wine and with
the glamour of it all through carelessness falls over the rail
and is drowned. The young husband is inconsolable.

It is at this time that “Doc” Ardini sees an opportunity
to get in some of his smooth and treacherous work. He
makes the friendship of William, and persuades him that
he can bring back to him the spirit of his wife. But the
crook says that he must be alone in the house with William,

Marguerite

Courtot and Sydney Mason, co-stars
in “The Dead
Alive,” Pro¬
duced
by
Gau-
mont

“The Dead Alive”

REEL LIFE — Page Five

Silas Marner

Masterpicture, De Luxe Edition

Picturized by the Thanhouser
Film Company from } the
famous novel by George Eliot

VERY school child is familiar with Silas Marner.

It will be with particular interest to old and young,
then, that George Eliot’s famous novel will be pre¬
sented to the public in visual form, when it will appear as
a Mutual Masterpicture, De Luxe Edition.

In the leading role, as the gnarled and bent old miser so
well known in literature, is the celebrated Shakespearian
actor, Frederick Warde. It is fitting that Frederick Warde
should be chosen for this particular interpretation. He has
always been connected with the highly classical stage as a
Shakespearian player, and his name is always associated
with literary and artistic endeavor.

In support of the well-known player is a cast, the strong¬
est to be mustered from the Thanhouser forces. Louise
Emerald Bates, the attractive actress whose career on
Broadway has made her a general favorite; Mile. Valkyrien,
the beautiful Danish actress; Ethel Jewett, Elise Jordan,
Morgan Jones, Frank E. McNish, Thomas A. Curran, Hec¬
tor Dion and Arthur L. Rankin, all tried and tested players
of the screen world, appear in support of Mr. Warde.

Directing this production was Frederick Warde’s own
son, Ernest Warde, the Thanhouser director, whose pleasure
it was to introduce his father to motion picture histrionism
at the same time he was creating into a living, moving thing,
the great story of literature which his father had often read
to him as a boy.

The story of Silas Marner, it will be recalled, was that
of a man who had become embittered and estranged because
of a false accusation for thievery which had been placed on
his head by a friend whom he had trusted.

Driven from his native town, he had settled down, a
miserable, unhappy weaver far from home, and let one
passion — the love for gold — become the absorbing motive
of his existence. In the town where he plied his trade
lived Squire Cass, the father of two sons. One of them,
Godfrey, by name, was a serious-purposed, conscientious
young man, on whom his father leaned for support. The
other, Dunstan, the younger, was a spendthrift and a
roisterer.

As the elder son grew in favor with his father, and as his
marriage to Nancy Lammeter, the daughter of a most re¬
spectable family, seemed imminent, Dunstan resolved that
his brother should be forced to fall from grace.

Thereupon he succeeded in getting his elder brother un¬
der the influence of rum, as they were on a journey through
the country, and while Godfrey was in this condition, Duns¬
tan inviegled him into marrying a pretty barmaid. When
he returned to sobriety, Godfrey was horrified at what he
had done. He provided for his wife, and returned to his
home. But Dunstan used this knowledge to force money
from his brother’s share.

At length, the younger brother’s rioting used up what
money Godfrey could easily give him. Godfrey was forced
to ask for time. As Dunstan returned from hunting one
night, he stopped in Silas Marner’ s cabin as shelter from
the rain. He discovered the miser’s hidden gold, and tak¬
ing it in his hands, ran from the house.

In the darkness and the rain, he did not see an old well
near by. He fell into it, as he ran, and was drowned. Silas,

Frederick IVarde, famous Shakesperian actor, as “Silas
Marner’’ in the Masterpicture, De Luxe Edition,
of the same name

Frederick Warde
.Louise E. Bates
. . . Morgan Jones
.Thomas Curran

on returning home, was nearly crazed at the loss of the only
thing he loved in the world.

Squire Cass and Godfrey, hearing nothing from Dunstan,
believed that he had wearied of his restricted life, and
thought that he had run away from home. And so Godfrey
married Nancy, and the following New Year’s Eve the
Squire gave a great ball.

That same night, Molly, Godfrey’s bar-maid wife, decided
that she would confront the squire’s son with their child.
But as she reached the road near Silas Marner’ s hut, she be¬
came exhausted from her journey through the snow, and
fell by the way. Eppie, the child, ran to the light shining
from Marner’ s window, entered the house, and fell asleep
by the fire. The weaver was also asleep, and when he awoke
and saw the child’s golden hair shining in the fire light,
he thought it was his gold come back to him. He reached
for it and picked it up in his hands, to find that it was the
curly locks of the child.

The mother’s voice was heard calling, but when Silas
reached her, she was unconscious. She later died. God¬
frey, recognizing his bar-maid wife in the dead woman,
knew that Eppie was his own child. But he did not confess
to Nancy— not until years had passed and life had. granted
them a childless fireside.

Then the Squire’s eldest son told his wife the tale. To¬
gether they went to Marner’ s hut and begged Eppie to come
with them. But she remained true to the old weaver who
had grown to love her more than life itself.

When the old well was drained, the remains of Dunstan
were found, the money box clutched in his hands.

Silas Marner lends itself particularly well to picturization.
It is intensely dramatic, and Mr. Warde, the director, has
succeeded in obtaining the quaint background of English
country life of a former time.

Silas Marner....
His Sweetheart . .
Supposed Friend
Godfrey .

REEL LIFE— Page Six

Three Part Mutual Star Features

“THE SPIRIT
| OF THE GAME”

“LILLO OF THE
SULU SEAS”

“ACCORDING TO
ST. JOHN”

A three part Thanhouser
drama of college life,

starring Edwin Stanley.

A story of the South Sea
Isles in three parts, fea¬
turing Harold Lockwood.

£ A L I S-
TIC, bril¬
liant and
spectacular i s
The Spirit of the
Game, a three-
part Thanhouser
drama based on
the great Ameri¬
can game. Life
at college, on the
campus, in the
“gyms” and the
class rooms is de¬
picted on the
screen with vivid
realism, and
throughout i s
woven one of the
prettiest stories
of the heart ever
presented on a
motion picture
screen.

The Spirit of
the Game deals with a college idol, who
was forced to make the college “eleven”
through his love for a pretty co-ed.
Though having no great love for the game,
he nevertheless sought and obtained a
position on the team. But the best he
could do was to be assigned to the left¬
over squad. It was the day before the big
game, the winning of which meant so much

A big scene from
“The Spirit of the
Game.”

Dick .

The Sweetheart
The Left-over . .
The Sweetheart

. Edwin Stanley
Kathryn Adams
..Morris Foster
. ..Ethyle Cooke

A STRIKING
story of the
South Sea
Isles crowded with
adventure, love, in¬
trigue and the lure of
gold, is found in Lillo
of the
Sulu Seas ,
a three part
Flying “A”
drama pro¬
duced by the Ameri¬
can Film Company,
Inc., for release by
the Mutual Film Cor¬
poration. Harold
Lockwood, popular
star of American pro¬
duction and the beau¬
tiful May Allison, co-
stars in many impor¬
tant productions re¬
leased by the Mutual,
are the featured play¬
ers in Lillo of the

Sulu Seas, Lock-

wood in the role of
Ralph Holt, and Miss
Allison, as Lillo.

At the opening of
May ^Allison, _ as the story Jeb Foster
“Lillo,” in “ Lillo < persuades the pretty

of the Sulu Seas.’ wife of Captain
Rand to elope with

him. They take with them the infant

daughter of Rand. The latter retires

to an island in the South Seas. Mean¬

while, Rand’s daughter, now sixteen, has
grown into a beautiful young woman.

to the college. That night the left-over
stood at the window of his room, watching
Captain Dick Thorton as he walked across
the campus. The rules forbid Thorton, or
any other member of the team, being abroad
at night. Two hours later the left-over
found Thorton drunk in the rear room of
a notorious resort. Dragging Dick back to
the campus, the left-over came upon the
idol’s sweetheart. Quickly he rushed the
drunken man behind a bush, keeping him
there until the girl had passed.

The big game was on. In the stand the
girl watched the pathetic figure of the man
she loved. She was quick to realize the
cause. In the dressing room, the left-over
sat alone. Suddenly Thorton collapsed.
“Take my place,” he commanded of the
left-over. Quickly the left-over stepped
forward, then stopped. A desperate scheme
suggested itself. He was the same size
and build as Thorton! In a moment he
had changed uniforms with Dick and at the
bell took his place in the line up. That
college game went down in history. The
supposed Thorton seemed to suddenly
come to life. His plays were not only
snappy, but so puzzling to the other side
that they could do nothing with him. Of a
sudden the hero faltered, then fell pros¬
trate. His nose guard was knocked from
his face. Then came the revelations.

Ralph . Harold Lockwood

Lillo . May Allison

Jeb Foster . William Stowell

She is known as Lillo. Ralph Holt, son of
a wealthy pearl merchant in New York,
visits the South Seas to study the fisheries
and the business. He meets Lillo, with
whom he falls in love. Near the end of a
cruise the vessel is overtaken by a typhoon
and wrecked. Foster escapes in a small
boat, leaving Ralph and Lillo to their fate.
Later they land on Captain Rand’s island.
Foster recognizes Rand. Foster learns that
Rand possesses a fortune in pearls and
plans to get possession of them. In the act
of stealing the money, Foster is seized by
Rand’s faithful servant. Rand enters the
room and recognizes the tattooing on the
invader’s arm. Foster attempts to kill him
without warning.

Ralph carries Lillo to Rand’s house.
Here they come upon the scene of Foster’s
death. Rand explains the situation and re¬
lates the incidents of his early life. In the
telling, he realizes that Lillo is his daugh¬
ter. Ralph decides that it is his duty to
return and report to his father. Within a
short time he returns to the girl whom
he could not forget.

Depicting an outlaw’s re¬
generation, starring Jack
Richardson and Anna Little.

REA TER
I -*• love has no
^ man than
this, that a man
lay down his life
for his friends,”
(John 15, 13).

Ben Wolf, gam¬
bler, outlaw and
general all round
“bad man,” wan¬
dering into the
town’s sole church
during Sunday
service, happened
across this chapter
from the Good
Book. For the first
time he realized
that the life he had
Jack Richardson, as been leading for
“Ben Wolf” in “Ac- years wasn’t the

cording to St. John.” only thing worth

while in the world.
And Ben Wolf, strange to say, was falling
in love.

Between the two the “bad man’s” re¬
formation was accomplished. Then, when
the supreme moment came, Wolf was ready.

Here, briefly sketched, is the basis of Ac¬
cording to St. John, a three part Mus¬
tang drama, filled with suspense. Jack
Richardson, famous heavy, appears as Ben.

Dick . Tom Chatterton

Bess . Ann Little

Ben . Jack Richardson

The story follows : Ben Wolf, outlaw,
lives the life of a recluse far up in the
mountains. Bess, the only child of the
pastor of the town’s only church, is en¬
gaged to Dick. Bob, her brother, has fallen
in with the town’s rougher element. Bob
loses everything in a gambling resort. He
appropriates the funds of the church, and
loses all to Wolf. Wolf attends church
services and is attracted to Bess, singing in
the choir.

Bob restores the church funds he had
stolen. Just before the stage coach arrives
after reporting a hold-up by a masked
bandit. A cuff-button dropped by the out¬
law is the only clue. Wolf, in the woods,
sees Bob hiding a mail pouch under a rock.
Bess, riding one day with Dick, drops her
handkerchief. They learn that “Wild Eyed”
Bill and his gang are on the rampage.
Dick sends Bess home and starts after the
raiders. Bess’s horse falls, throwing her.
Wolf assists her to remount. Immediately
his inner self undergoes a complete change.
He is lured to the church and hears Bess
sing again. Opening the testament he
comes upon the chapter quoted above.

From his mountain shack he loves and
worships Bess. In the town he comes upon
the reward offered for the unknown out¬
law. From a comparison of the cuff but¬
ton with one worn by Bob, Dick learns the
truth. But his love for Bess forbids him
making the arrest. Wolf goes to his cabin,
and writes an anonymous letter to Dick,
telling him that Wolf is the outlaw wanted.
Ben then waits for the sheriff.

REEL LIFE — Page Seven

Riley Chamberlain and Walter Hiers, in a Laughable Scene
From “Snowstorm and Sunshine.”

SNOWSTORM AND SUNSHINE— FALSTAFF

One Reel — Riley Chamberlin Pulls Some Funny Ones
in His Role of Constable, Judge and Jailer.

Constable . . Riley Chamberlin

Tramp . Walter Hiers

To be arrested for fighting is not an unusual thing, but
causes alter cases. Weary Willie in this case is standing
in an orange grove in the sunny South, throwing oranges at
a man in the Arctic region, who in turn is pelting Willie
with snowballs. The law of compensation works out, for
the frigid man sucks the luscious oranges while thirsty Willie
in Florida fairly drinks the snowballs. But this only hap¬
pens until the law gets Willie. The law is said at times to
be peculiar, but it was never as peculiar as its particular
minion, for as constable he pinches Willie, as judge he
tries him, and as jailer he jugs him, thus falling victim to
these three graces. This looks bad for the knight of the
road until his strange fate leads him again into adventure
which helps him make good his escape. He goes back to
the zero climate, and just as his star threatens to ascend
he finds himself right where he fell asleep at the beginning
of our story, shivering alongside of a brother tramp in
the cold, cold blasts of a stormy winter.

BILLY VAN DEUSEN AND THE VAMPIRE
—BEAUTY.

One Reel. — The Sad Awakening of Two Lovesick Youths.

Starring John Steppling and Carol Holloway.

Billy Van Deusen . John Steppling

Johnny . John Sheehan

Carol . Carol Halloway

Carol, on a shopping tour, drops her perfumed handker¬
chief. Billy and Johnny spy it and both make a rush for
it, each gaining an end, with the result that the little white
square is torn in two. Carol pacifies the two young gen¬
tlemen and gives each one of her cards, but the friendship
between the two is “off.” The eventful night of their call
upon Carol finally draws ’round and Johnny, going to the
florist’s to purchase some flowers, comes upon Billy in
the florist shop. When they conclude their purchases
Johnny finds himself the possessor of an immense bower
of roses, while Billy has secured a young palm tree. By
opening both doors of the shop they manage to squeeze out.
Then comes the problem of getting into their respective
taxis, which is finally solved by opening the tops. Arriv¬

ing at Carol’s she informs them that when one proves un¬
true she will marry the other. Billy comes upon an adver¬
tisement lauding the claims of a certain vampire person,
who guarantees to break any heart for the nominal sum
of five dollars. Immediately he “looks her up.” As a result
of the mysterious interview Johnny receives a note to be
at a certain apartment at a certain time. Carol also receives
an anonymous message to be at the same place, where she
will see the perfidy of her lover. Johnny arrives on the
minute, quickly followed by Carol. The vampire’s charm
“works like a charm.” Johnny falls under her spell. Imme¬
diately the charmer works the charm on him. This is too
much for Carol, who denounces the vampire. But the vam¬
pire professes violent love for Carol, tears off a wig, and
before Carol stands a man. Billy and Johnny fall into a
dead faint. The “vampire” embraces the surprise-loving
Carol.

ifc >}J :}c

“SEE AMERICA FIRST ’’—“KEEPING UP
WITH THE JONESES”— GAUMONT

Split-Reel — The Mutual Traveler Spends the Day with
the Lumberjacks in the Great Minnesota Pine Woods.

Each part of the country has its traditions, and in the
north pine wood country the traditions are those of the
lumberjacks, who are fast disappearing with the depletion
of the forests. In See America, No. 22, the pretty Mutual
Traveler spends the day in the home of these great,
strong, picturesque fellows among their giant pines. She
is shown visiting the shanties, where each lumberjack has
his bunk and the mess cabin, famous for its excellent food.
Then are pictured the two methods of logging — the old,
which was by the use of horses the new, by wire cables,
which drag the logs to the railway. The pretty Traveler is
shown out in the woods with the men at work with their
axes and saws, and she herself takes a hand in chopping
down the great kings of the forest.

Not to be outdone in picturesqueness, Miss Mutual Trav¬
eler is garbed in a costume quite as interesting as that of
the men. On her feet she has dainty moccasins, on her
head a jaunty skating cap, and her body is enveloped in a
gay, warm mackinaw.

This glimpse of the life of Minnesota’s lumberjacks, who
spend all their winter in the woods and come down in gangs
in the spring to the cities, to spend the money they have
saved in one mad carousal before going to work in the mills
for the summer, will be particularly interesting to those who
have read of them.

The industry, and the lumberjack with it, will soon be
things of memory only in the Middle Western states.

Scene From “Billy Van Deusen and the Vampire.”

REEL LIFE — Page Eight

“WON BY ONE”— BEAUTY

One Reel. — A Mixup in Jewels in Which the Suspected
One Finally Triumphs, Despite Odds.

Connie . Wallace MacDonald

Louie . Dick Rosson

Fanny . Neva Gerber

Connie and Louie, representing rival “fake jewelry” con¬
cerns, arrive in Squedunk. Both fall in love with Fanny,
the belle of the town. There is no question in Fanny’s
mind about the one she likes best, for Louie has won her
heart. Each of these ardent admirers, in the effort to outdo
the other, overwhelm her with jewelry. Then a big jewelry
robbery occurs in New York. Connie at once sees his chance
to be rid of his rival. He tells Jeff, the oversuspicious town
constable, that Louie must have perpetrated the crime. To¬
gether they sneak into Louie’s room, where Jeff sees the
assortment of jewelry. He places Louie under arrest. They
start for New York and the town turns out, en masse, to
applaud their valiant protector. When Louie is taken to
headquarters they discover his jewelry is “fake stuff.” His
concern reads in the newspaper of his arrest, and when
Louie reports at the office he is given a big raise in salary
because of all this free publicity. Back in Squedunk Con¬
nie has been making violent love to Fanny, who promises
to marry him. He insists on being married without any
delay. At the last moment he recalls that he has forgotten
his wedding present for Fanny and hastens back to his room
in the village hotel, where he gets the long fake pearl neck¬
lace. As he passes through the lobby, the necklace breaks.
Jeff, ever on the job, finds pearl after pearl. Scenting
mystery he follows the trail, arriving finally at Fanny’s
home, where the ceremony is about to be performed. He
bursts into the house just as Connie takes from his pocket
the empty string, and places him under arrest. Louie, re¬
turning, sees Connie being taken to the jail. He grasps the
situation and prevails upon Fanny to marry him then and
there. At Louie’s suggestion Connie is compelled to act
as “best man” and then marched back into his cell.

* * * * *

“BOOMING THE BOXING BUSINESS”—
FALSTAFF

One Reel. — Running a Boxing School Is All Right, But It
All Depends on the Pupils You Have.

Professor Biff . Frank E. McNish

His Helper . Claude Cooper

Frank McNish and Claude Cooper in the New Falstaff
Comedy, “Booming the Boxing Business.”

Wallace MacDonald in “Won by One a New
Beauty Comedy.

Champion Pugilist . Billy Swan

His Sweetheart . Isolde Illian

Mrs. Henpeck . Carey Hastings

Biff’s Fistic Academy was in trouble. Pupils had fallen
off to an alarming extent. Hence it was with delight that
he welcomed a suggestion from Jim, his faithful helper.
Jim loved the professor and was anxious to see business
improve, one reason being that his own wages were much
in arrears. Jim’s plan was this. He would go out in dis¬
guise and insult respectable citizens who apparently had
bank rolls. At the proper moment the Professor would
stroll on, defend the victim and thrash Jim. He would
then give the man one of his cards, and, if lucky, land a
pupil. The scheme worked like a charm in some cases.
They did strike a snag when Jim tackled a meek-looking
man, and his wife, a suffragette, proved conclusively that
she did not need any boxing lessons. Disaster came, how¬
ever, when the helper met a pleasant young man in the park,
talking to a pretty girl. Jim flirted with the girl, and was
driven away by Biff. Then things went along for a while
as Biff liked to see them. The young man simply yearned
to take a boxing lesson. And at the appointed time he ar¬
rived at the academy. Without warning conditions changed.
The young man beat and battered Biff until he howled for
mercy. Then he accused the helper of “sneering” at his
kind-hearted employer, and polished him off also. After
which he wrote a note, left it on a side table, and departed.
The two bruised gladiators got the note and read it. Here’s
what it said :

“You Poor Boobs — I spotted you rehearsing
your plot before you tackled me, and I jollied you
along. Thanks for the exercise.”

It was signed by a well-known member of the fistic fra¬
ternity.

“I think,” said Professor Biff, sadly, as he finished read¬
ing the note. “I think that we will cut out high financiering
in this game and stick to the tricks we know.” They did.

* * * * *

Jerry’s Millions is the title of a snappy Cub comedy fea¬
turing the eccentric and agile George Ovey, released Febru¬
ary 11. George gets nearly rich, gets nearly married, gets
punched, pursued and pinched and, as usual, regains con¬
sciousness to find most of it all is not true. George’s foot
work is excellent. Jerry’s Millions is a typical Cub release
which is a guaranty of box office results.

REEL LIFE — Page Nine

Billy Armstrong {right) as "Luke Sharpe” in " The Defec¬
tive Detective.” Cub Comedy.

THE? DEFECTIVE DETECTIVE— CUB

One Reel— Introducing Billy Armstrong, New Cub

Comedian as “ Detective Sharpe.”

Luke Sharpe, a detective . Billy Armstrong

Jiggers, his aide . T ommy Hayes

Wild Bill, who escapes detention. .William Welch

John Little ford . Charles Atkins

Evelyn, his daughter . Grace Gibson

Wild Bill, an inmate of Prof. Nutt’s asylum, weary of
confinement, escapes detention by climbing down the side
of the building. His actions are unconventional and ter¬
rorize the peaceful citzens of the city. Bill reaches the
Littleford mansion and peers through one of the windows.
The contortions of his face as it is pressed against the
glass frightens pretty Evelyn into hysterics. Littleford, to
protect his daughter against possible harm, phones to Luke
Sharpe, the human bloodhound, and enlists his services to
catch Bill, offering him a reward of $5,000. Seeing a chance
to make money easily and quickly, Sharpe returns to his
rooms and has Jiggers, his aide, make up as Bill. He
orders Jiggers to meet him at the Littleford home. After
he has made his little speech about catching the terror,
Sharpe goes to the door to bring in Jiggers. That worthy,
however, is late. Bill, the real quarry, is seen climbing
through the window of the house next door and Sharpe,
believing him to be Jiggers, crosses the lawn and goes
after him. Once face to face with Bill, Sharpe sees that
he has a madman to deal with and makes an ineffectual
effort to escape. Meantime Jiggers has arrived and enters
the Littleford home via the window. Making himself per¬
fectly at home he jauntily stalks into the room where
Evelyn is taking a nap. She awakens. Her screams bring
her father, armed with a revolver. Jiggers rushes from the
room and hides behind a chair. Littleford sees Bill in the
house on the other side of the areaway and believing him
to be the man who was in his home but a moment before,
fires away. Sharpe, who is with Bill, gets most of the effect
of the fire. When the smoke of battle clears away Sharpe,
pounces upon Bill and succeeds in landing him. He carries
the unconscious form to the doorstep of the Littleford home
and then steps in the house alone to tell his client that his
quest is successful. Meanwhile, Jiggers escapes the house
and comes face to face with Bill. The two begin a fight
which ends with Jiggers being vanquished and left be¬
hind in Bill’s place. Sharpe, of course, turns over Jiggers
as the real madman, collects his money and is about to de¬
part when a policeman enters with Bill. The jig is up.

Sharpe’s little scheme is exposed, Littleford takes back his
reward and turns it over to the policeman, while Jiggers,
followed by Sharpe, exits in sorrow.

* * * * *

MUTUAL WEEKLY, No. 57— GAUMONT

One Reel — Latest of World-Wide Events Depicted in
Motion Pictures.

Skipping the rope atop the Majestic Hotel, latest of the
fads of New York society buds in an effort to keep slim,
is but one of the many interesting topics of the day pre¬
sented in Mutual Weekly No. 57. Every morning, despite
weather conditions, these young and prominent society buds
appear on the Majestic’s roof and for an hour or two skip
the rope, with the result that they are daily taking off excess
flesh and keeping their figures lithe. Other interesting
news events presented in this popular weekly show Lucille
Taft, popular Gaumont (Mutual) star looping-the-loop in
an aeroplane near the company’s winter studios in Jackson¬
ville, Fla. ; Harvard’s crack hockey team in action at Cam¬
bridge, Mass. ; Lillian Russell, famous stage beauty and
only woman member of the San Francisco Press Club being
presented with a golden key to the city ; the burning of the
absinthe crop in France in an effort to reduce the number
of intoxicants in France; great throngs greeting President
and Mrs. Wilson on their arrival and during their tour of
New York City; scenes in Truckee, Cal., which for the
first time in twenty-five years is all but buried under a snow
storm; “Old Ironsides,” which school children saved from
destruction by raising $150,000, afloat in Boston Harbor;
the British steamer “Princefield” ashore off Cape Henry,
Va. ; and the havoc wrought by the great deluge in and
about Los Angeles, Cal. A number of interesting war
scenes, taken by Mutual Weekly photographers at the front,
are also shown, among them scenes behind the first line
trenches of the French army, where the soldiers are making
themselves comfortable for a long winter siege.

The wide range of subjects covered by the Mutual Week¬
ly under the direction of Pell Metchell, the camera expert
and editor of news films, has made this release one of par¬
ticular value to the exhibitors who have come to recognize
the importance of the topical release as a subject with which
to give the house program balance and variety. The Mutual
Weekly is to be seen in most of the best theatres in all parts
of the country.

A scene from the Mutual Weekly’s pictorial report on the
rope-skipping society women at the Majestic

REEL LIFE— Page Ten

The Girl and The Game

MUTUAL SPECIAL FEATURE

Chapter VII. — Spike’s Awakening —

Produced by the Signal Film Cor¬
poration ; starring Helen Holmes

IT is not enough for Helen Holmes, “the darling of the
rails,” the fearless star of the Mutual special railroad
feature, The Girl and the Game, that she has jumped on
horseback from open drawbridges into the swirling water of
the rivers beneath, that she has leaped from one thundering
train to another, that she has swung herself, suspended by
her two hands on a wire stretched across a railroad track,
and dropped to the top of a moving train.

In chapter seven, the dauntless heroine of the rails is
dragged over a rope from the rear end of a box car to an
automobile, both of which are moving at the rate of fifty
miles an hour. She lands safely in the swaying machine.

When making the picture of this daring feat at Las Vegas,
Nevada, the star of miles and miles of thrilling film thought
nothing of the stunt, and repeated it twice to be sure that
it would come out all right.

Delivering
The Goods

The personal guarantee of Samuel S. Hutchinson, the
master producer and the president of the Signal Film Cor¬
poration, that each succeeding chapter of The Girl and the
Game should contain a bigger and thrillier thrill, is being
proved each Monday with the release of a new chapter of
the Mutual’s special feature. Chapter VII is the greatest
thriller of all. The plot follows :

Rhinelander, to avoid future trouble, moves his camp to
Baird. Coincidentally Helen is transferred to Las Vegas,
a nearby station. When the new wires are up, Rhinelander
and Storm telegraph to Helen that important contracts are
expected on Train Number 19 on Sunday. The plan is for
Helen to bring them to Baird where Storm will meet her
and drive her to the camp.

Seagrue, following Rhinelander’s new move, had located
secondary headquarters at Las Vegas and he learns of the
right-of-way contracts expected by Rhinelander. He is de¬
termined to get these valuable papers in order to embarrass
his rivals and sends peremptory orders to Spike at Ocean-
side to hurry to Las Vegas. After a drunken debauch,
Spike accidentally lands in Oceanside, being thrust off a
train by some of the crew. Helen Holmes happens on the
spot and taking pity on Spike’s plight insists on paying his
fare so that he can continue his journey. Spike, greatly
moved by Helen’s generosity, vows that if he ever gets the
chance, he will prove his gratitude.

The Plot
Thickens

Then Spike discovers that he is in Las Vegas and leaving
the train, wanders about the streets until spied by Seagrue.
When he joins them, Seagrue demands that Spike take
measures to get the contracts away from Helen the follow¬
ing day, which is Sunday. “Then I can tell you,” blazed
Spike, “you don’t get them.” Seagrue looked at his tool in
amazement. The convict’s face darkened. “The man that
harms that girl — ” he raised his voice ominously, “reckons
with me.”

The villains kidnap Helen
from a speeding train

This so enraged Seagrue
that he sprang on Spike, but
the powerful railroader bore
him down. The interference
of Lug and Bill saved Sea¬
grue, and Spike was per¬
mitted to go on his way un¬
molested.

Seagrue instructed Lug
and Bill to kidnap Helen on
Train Number 19, stating
that he would overtake them
at milepost No. 49. The two
villains climb on top of the-
train by means of a rope,
and later, when they noticed
the coast was clear, they let
themselves down to the win¬
dow, climbed in, overpowered Helen and secured her with
stout ropes. By this time Seagrue’s car was speeding along¬
side the rear platform of the train. Bill, an old sailor, con¬
nected the automobile to the train with a rope, and over this
dizzy, vibrating, hazardous flying span Helen’s limp form
was transferred to the automobile.

Storm met the train at Baird, but missed Helen. The
conductor stated that she had surely been on the train when
it left Las Vegas.. Keen for possible knavery, Storm
hastens to Las Vegas in the cab of the locomotive. Mean¬
while, the dashing automobile has nearly run over Spike in
Las Vegas — he knows its destination is Seagrue’s shack,
and guessing the rest, he dashes forward.

Storm and Spike meet before the shack at the same time.
Storm throttles Spike until a complete explanation is made
and Storm, amazed, announces that if Spike proves his
friendship, he will forgive everything that has gone before.

“I mean it,” snaps Spike, “stow the gab.”

Then the
Big Fight

Storm goes to the roof and Spike forces the door. Spike
gets into the room first — where Seagrue and his men are
baiting Helen. Seagrue has threatened to search Helen —
after the papers taken from her are discovered not to be
the wanted contracts. Spike’s sudden entry results in a
terrific fight, during which Spike is floored. Helen spies
some explosive cylinders and seizing one of them threatens
to kill them all. This doesn’t daunt Seagrue — who is only
kept from his foul purpose when Storm’s leveled revolver
comes in through the window.

Helen covers the gang with a revolver while Storm
climbs in, but when she momentarily relinquishes vigilance,
they escape. However, the contracts, also a lot of Christ¬
mas mail for the men at camp, have been recovered and
Helen, Storm and Spike return happily to Rhinelander. The
rugged old construction boss is amazed at the story — espe¬
cially at Spike’s awakening. As the regeneration of the
former criminal impresses itself upon him, his old enmity
fades away and a bond of real friendship springs up be¬
tween the two.

REEL LIFE — Page Eleven

Reel IAfe

The Mutual Film Magazine

Published by the
Mutual Film Corporation

John R. Freuler . President

Edwin Thanhouser,

Vice-President
Crawford Livingston,

Chairman of the Executive Board

Samuel M. Field . Secretary

Felix E. Kahn . Treasurer

J. C. Graham,

Assistant Treasurer
Tf.rry Ramsaye . Editor

Subscription rate, $2.50
year; single copies, 5 cents,
dress all communications to Reel
Life Department, The Mutual Film
Corporation.

71 West Twenty-third Street
New York City
Telephone, Gramercy 501

Variety

“Why do the profits follow the Mutual
Pictures? I’ve got two houses. I use — —

- — - - pictures in one and Mutual in the

other. Every time I switch the Mutual
from one house to the other, the profits
go right over to that house and the other
proceeds to lose money. Why?”

That was the question put up to a film
expert in a big southern city the other
day. A rather spirited debate arose in the
little group of exhibitors and film company
men gathered about. Out of it all came
the common agreement that the Mutual
pictures drew the box office returns because
they presented a \\ ide range of interest and

variety that the - pictures did

not have.

“Those - pictures are good

enough pictures, some of them great, but
everything that concern turns out is on the
same strain,* the same sort of stories in
every release, the same treatment. It gets
monotonous and the people just naturally
refuse to be amused. They want variety
in their film drama just as surely as they
want a mixture of comedy to relieve the
tension of tragedy stuff.”

The diagonsis made in that ante-room de¬
bate is probably correct. At any rate any
observing exhibitor can find a most re¬
markable range of interest in the Mutual’s
pictures, a big collection of stars of widely
varying types, all kinds of stories in the
films, selected from the works of authors
and scenario experts who produce the best
in the world's market for screen literature.

Mutual pictures present particular value
because of this infinite variety. Everything
goes by contrasts. The things which at¬
tract our attention, which amuse us, rest

us, give us entertainment, are always the
things that are “different.” Mutual pic¬
tures are all different. Always new, always
up to a standard.

H* -t* 'K 'fi

Success Grows

Every day or two the Mutual Film Cor¬
poration gets a letter or a message that
tells of the taking over of a string of
theatres by some successful exhibitor.
There is evidence of the constant trend
toward centralization of the exhibiting
business in the hands of the exhibitors
who have learned the business of “pre¬
senting pictures.” The man who does not
know how to run his theatre is losing it
into the hands of the man who does know
how. A certain western exhibitor who two
years ago was ust attaining a modest suc¬
cess with one house in a small town now
iias about twelve houses in the same terri¬
tory.

Week after week President Freuler is
urging exhibitors to study the business of
presenting true entertainment to their
patrons. The future of the motion picture
industry is very highly dependent on the
success of the exhibition side of the busi¬
ness.

The future of that phase of the business
will be worked out. It is up to the exhibi¬
tors now in the business to work it out and
to gather the profits from the successes to
come in the future. Those who do not so
exert themselves will go out of business.

ifc sjc >|c

Boosting

The Atlanta Journal believes more of the
people in its territory ought to be patrons
of the motion picture. Hence a series of
"editorial ads” in which the following ap¬
pear :

Everybody knows that old tale about
the Man Who Wouldn’t Wake Up.

The children would run in and tell
him about the beautiful procession that
was pasing. He’d rub his eyes and say
“Um-hm.” And then he’d go right back
to sleep.

Friend Wife would talk to him about
the gay goings-on in the town and what
fun the neighbors were having and all
that. He would turn over and beg her
to let him take another nap.

So of course, first thing you knew,
the Man Who Wouldn’t Wake Up came
to be a Dull Old Thing. He got fat
and soggy. He was behind the times.
He didn’t know what was going on.
He was a regular Sleepyhead.

He didn’t know what he was missing.

Do you know there are lots of peo¬
ple in Atlanta today who are exactly
where this fellow was — they haven’t the

faintest idea of what they are missing.

They hear about the “Movies” —
“Photo-plays.”

They see the gay posters and the
shimmer of lights at the playhouse
doors. They gather that there’s some¬
thing very entertaining about it all —
but they don’t Wake Up enough to go
after it.

They like plays, they’ll tell you —
REAL plays; but the price is prohi¬
bitive.

They think a ten-cent show can’t
amount to anything.

Gee Whiz !

Why, Man Alive, you don’t know
what you’re talking about.

Don’t you know that today you can
see the very biggest personages of
Stage Life — the stars — the cream — the
top notchers— the bigwigs of the drama,
of the opera, of the ballet — at their
very best in the Photo Picture Plays?

You are of those who think the
Movies are a sort of a toy business —
just as some folks laughed at the tele¬
phone and called it a toy. Ditto the
talking machine.

These “toys” are serious business to¬
day.

The Motion Picture of today is
the wonder of the world — you don’t
KNOW what you’re missing if you are
not seeing it.

Take SCENERY, for instance. You
like scenery?

Your stage actress flutters up and
down a paper staircase, is wooed on a
papier-mache bridge beside a canvas
waterfall under painted pines, and wan¬
ders among gardens stuck with calico
flowers by the stage carpenter and the
property man.

In the Motion Pictures the WORLD
unrolls before you.

Your motion picture heroine gallops
across the REAL open on a REGULAR
horse. She is a Japanese maiden in Old
Nippon itself. She is Carmencita in
Sunny Spain. She is a mountain lass
in the heart of the Blue Ridge and you
can all but hear the sigh of the million
pines and smell the scent of the moon¬
shine that they’re making in a real still.

You see the plays staged in real tropi¬
cal islands, in far cities and in remote
jungles. You go aboard REAL ships
and you view REAL storms. You
journey to the gayest cafes of gayest
capitals. You visit the heart of the
Ghetto and you are whirled across vast
prairies. You go under seas with the
diver and you are spun through space
with the aeroplanist.

You don’t KNOW what you’re miss¬
ing — if you're not a Movie Fan.

Wake up — NOW. Show’s on — NOW.
Take in at least one MOVIE a day
and catch up.

REEL LIFE— Page Twelve

A Five Foot Star

Beautiful and talented
Margaret Gib¬
son, Popular
(M u tual )
Star

Margaret Gibson , despite her stature,
renders telling portrayals in
Mutual’s De Luxe Photddramas.

HEIGHT Five feet.

“Weight, 110 pounds.

“Eyes, blue ; hair, golden brown.

“Favorite parts : — ingenue and ‘rag’ characters.
“Recreations: — expert at horseback riding and
swimming, also motorist.”

This is almost all, except for a few more bare,
cold details of what she had done during her short
life, that the little mimeographed biography had to
tell of Margaret Gibson, the Horsley (Mutual) star
of Mutual Masterpictures, De Luxe Edition.

There is no doubt that she has just those char¬
acteristics she is credited with. But words are such
clumsy tools when it comes to catching up the blue¬
ness of eyes, the golden glints in sun-shiny hair, the
elusiveness and the charm of manners and of per¬
sonality.

If it had been a canvas that an artist had been given,
instead of a greasy sheet of copy paper on which the press
agent was to jot snap judgments of her features, there
would have been a glorious girl, with wind-swept hair and
eyes the color of corn flowers. Those who have come to
know her and to look for her on the screen do not have
to be told that Margaret Gibson is beautiful.

Margaret Gibson was born in Colorado Springs, Colo.,
twenty years ago. She began her schooling in her native
city and continued it until she was twelve years old, in
Denver. At twelve she went on the stage, appearing on the
Pantages vaudeville circuit for over two years. In 1909
she became a member of the Theodore Torch Stock Com¬
pany, of Denver, where she was hailed as an emotional
genius, and was cast in a wide variety of roles.

In 1912 she had an opportunity to become a member of
a film company. She took it. Perhaps her best known role,
while with this company, was in “A Child of the North."
Later she was with several other companies, but left to be¬
come a member of the Horsley (Mutual) contingent in Los
Angeles, Cal.

Her first role for the Mutual was in The Protest, with
Crane Wilbur, in the role of Maggie, the poor little de¬
formed sister.

Her second part was in Could a Man Do More ?

It was after this that she was raised to the ranks of
stardom, with the right to demand her name in bright lights
over the theatre door. Margaret Gibson’s first picture as a
star is The Soul’s Cycle, a Mutual Masterpicture, De Luxe
Edition, in which she plays the dual role of a beautiful
Roman maiden and a modern New York heiress.

This new Mutual star is possessed of unusual understand¬
ing of life and of people. It is this quality which fits her
peculiarly to play the “sympathy” roles for which she is so
frequently cast. She is very young, but she has travelled
and read and studied a great deal, and has absorbed much
that many older people are very apt to overlook.

Although the pretty Horsley star is very serious-minded,
she usually seems care-free and joyous as a bird. She is
very athletic, and as the prim little biography states, she
is an expert horsewoman, a swimmer and a motorist.

In fact, the pretty actress has had a special garage and
stable built to accommodate her little green motor car and
her silky black horse.

They are her two pets, she insists, and furthermore, she
does not know which she loves the most. “Don,” the horse,
is splendid for a ride in the early mornings before work
for the day has begun. The little green motor is at its best
in the evenings, when it can travel miles and miles through
the flowfer-scented air, and leave the memory of worries far
behind.

Miss Gibson is a cook, very much of a cook. She man¬
ages her little bungalow herself, and the servants who take
care of it for her, adore her.

One of them is an old colored mammy, who has been the
little star’s personal maid for a number of years.

“Dinah,” as her name is, wears a gaily colored turban
and a big enveloping apron over her expansive person, and
she trails around after her “honey,” as she calls her little
mistress every minute Miss Gibson is at home.

“Dinah” is very much afraid of the camera. Several
times the directors of the Horsley studio have tried to
persuade her to lend herself to the local color of pictures,
but the old mammy has always backed off and refused.

She believes that “pictures, shure am for beau’ful young
ladies, but not for old colo’ed mammies.”

Little Margaret Gibson’s great ambition is to do work
which will make people better and happier for her having
done it. She loves to play appealing “sympathy” parts.

“I am glad I am a picture actress,” she says, “because
pictures reach so many people that the stage does not.

“I am fonder of ‘rag’ roles than any other type of screen
portrayal,” says the pretty little star.

“When I was on the stage, I could not really do good
work unless I felt that the sympathy of the audience was
with me. I did not care to play vampire roles.

“Of course, in working for pictures, we do not feel the
response of an audience before us, but we know, instinctive¬
ly, and from years of training, what sort of roles appeal to
the public. I always want to be cast in ‘sympathy’ roles,
because I can work best then.”

Critics who have watched the work of this young star
since becoming a member of the Horsley studios are unan¬
imous in their verdict that her career has but begun.

REEL LIFE — Page Thirteen

Popular Mutual Gloom Chasers

The men wfw make
you laugh hav e no
cinch job by any means

FEW professions offer more opportunities to break your
ribs or batter your head, perhaps, than making comedy
for motion pictures.

The Stock Exchange might offer it a close race. But who
wants to rant and tear about and store up money on “the
floor” when one can store up immortality on the screen ?

That is the way more than one of the funmakers appear¬
ing in Mutual comedies feel about it. Doing “stunts” is
much more pleasant than “doing” other people.

Take Riley Chamberlain, the Thanhouser (Mutual)
comedian.

Mr. Chamberlain is a funmaker of several winter’s sea¬
soning. He gave up a career of forty years’ standing on
the legitimate stage, to do comedy stunts for the Mutual.
Mr. Chamberlain’s creed, so he says, is to thank Providence
for everything which comes his way and to believe that
everything is for the best. It is well that the comedian
adopted such an optimistic outlook on life before he choose
pictures as a steady occupation. It must comfort him in
more than one hour of trial and of abuse.

It is his particular lot to be cast, usually, as a mistreated
and despised old fuss budget, who is kicked about and
pinched and twisted, thrown into the sea, and tumbled down
stairs.

Does that sound like fun?

“Knocking down a constable with a brick, he escapes on
the latter’s motorcycle.” This casual little statement ends a
synopsis of Jerry in Mexico, a one-reel Horsley (Mutual)
“Cub” comedy featuring George Ovey.

The motion picture comedians think nothing of bricks
out in California. Bricks on the head, bricks in the nose,
bricks in a brick wall are all the same to them.

Experience with bricks has taught them to take bricks
as they come without too much fuss.

George Ovey threw the brick, the same casual little synop¬
sis says, because he had been bayonetted out of town, thrown
from a three-story window, dragged and beaten soundly.
That was all for one little reel of comedy film.

There are others like it to be produced every week of
George Ovey’s existence.

And still he says, “It’s great to be in ‘Cubs.’ ”

Russ Powell, the heavy-weight favorite of the Vogue
(Mutual) studios, says that there is only one great draw¬
back to weighing 300 pounds and trying to be a screen
comedian at the same time.

“When they roll you into a lake, the camera man has to
be back about 300 feet so that the water won’t rise up and
engulf him. Then he can’t get any ‘close ups’ of a fat man
being drowned.”

Johnny Sheehan, the American (Mutual) funmaker could
tell a tale or two which would curdle the blood of the ordi¬
nary peace-loving citizen. In A Trunk An’ Trouble, a new
Beauty comedy, in which he is playing with Carol Halloway,
he is packed into a small trunk, trundled over rails, thrown
in front of on-coming trains, dashed down hill and kicked
about more generally than a Missouri houn’. In Some Night
he is yanked down by his feet from a high brick wall and
allowed to settle in a limp but cheerful heap at the bottom.

And yet he has refused ten contracts during the past year
which would sever his connections with the celluloid drama.

Budd Ross has been starring in legitimate comedy all his
life, but he declares that his years were lost until he reached
the position of star comedian for the Gaumont (Mutual)

John
Sheehan,
famous
funmaker
of “Beauty”
( Mutual )
forces.

The inimitable
George Ovey,
“Cub”— Mu¬
tual com¬
edian.

company. Pictures have
dealt gently with him, onl)
demanding once that he
paint New York with ham
and eggs, which, he says, is
much more easily accom¬
plished than painting it red.

In the Casino star comedy
entitled Ham and Eggs, Mr.

Ross plays the role of a young
and starving artist who paints
ham and eggs on his empty
plate to make his friends think
he has plenty of food.

In his dreams he paints the
Woolworth building, the Met¬
ropolitan tower and all the
streets with the same delectable
eatables, and wakes up to find
his landlady leaning over him
with her rolling pin.

No matter that the upraised pin
comes down on his nose.

“Bud” Ross appeared in “Flora-
dora,” “The Rejuvenation of Aunt
Mary,” “Who’s Looney Now?”

“The Spring Chicken,” and a great
many other stage hits of the past
years. He’s satisfied, now, with the
pictures.

There are other happy, dyed-in-
the-wool comedians among the
Mutual’s cohorts.

There is John Steppling,

“the nice fat father” of the
American studios, who is
scoring a distinct success as
Billy Van Deusen in that
series of “Beauty” comedies.

Then there is Arthur Cun¬
ningham, the Falstaff player,
who divides his time between
serious drama and comedy. There
is Sammy Burns, the one and only
original Sammy, who stars in a company of his own out at
the Vogue studio. There is Oral Humphrey, the eccentric
English comedian, who is making distinctive humorous pic¬
tures at the American studios.

It is a strange occupation, this one of making people
laugh at the motion picture screen. None of those who
are engaged in it can tell you exactly why they prefer being
juggled about to living a sane and ordinary life. There
is a fascination in its risks.

There is another appeal about the comedy pictures that
is not so often dwelt upon — the big opportunity for the
exercise of individual ability and originality, the ever
present chance to introduce “new business” and to do some¬
thing outside of the script. The reputations of not a few
of the best known screen comedians have been built on
things that “just happened on the spur of the moment.”

The accidental and unexpected is a considerable part of
the interest in every comedy. When an actual accident
happens in a comedy production it is sure to be funnier
than the scenarios intended.

REEL LIFE — Page Fourteen

News and Gossip from Mutual Men

“ Damaged Goods” .set attendance record in Billings,

Mont., showing to Jp,500 at the Regent Theatre. Police
reserves called to handle crowds seeking admission.

E O’KEEFE, manager of the Regent
Theatre company, of Billings, Mont.,
• sends a letter on Damaged Goods, ex¬
tracts from which are printed below :

“With regard tq our success on this pro¬
duction I must say that it far exceeded our
expectations ; we had no idea that it would
draw as it did. Our house seats 500, but
it was not anywhere near large enough to
accommodate the jam. The people were
very much pleased with it, indeed. We
showed Damaged Goods to about 4,500 peo¬
ple, which is the record for Billings for any¬
thing in the show line, either pictures or
otherwise.

“We had such a jam the first night that
we had to call on the police and firemen to
hold the crowds back and let the people out,
and then we couldn’t do it. We had to send
them out of the rear doors on the alley.”

“I must say that The Diamond From
the Sky is a good picture and is getting
better all the time,” writes John R. Runnels,
manager of the Yale Theatre, of Groese-
beeck, Tex. Mr. Runnels finds that each
chapter of this Mutual special feature is a
house filler.

Exhibitors Watch for

These Stolen Films

Exhibitors everywhere are
cautioned against renting, except
from an authorized agent of the
Mutual Film Corporation, the
following reels, stolen December
30 last, from the Mutual’s Chi¬
cago Exchange : —

“The Scoop at Belleville” —
Thanhouser Comedy-drama
“The Queen of the Band” —
Reliance Drama
“Putting Papa to Sleep” —
Novelty comedy
Mutual Weekly No. 46 —
Gaumont

These films were taken from
the Chicago Mutual Exchange
by the supposed representative
of a Chicago Theatre.

Exhibitors, to whom these
films may be offered, are re¬
quested to communicate at once
with the nearest Mutual Ex¬
change.

D. J. Sullivan, secretary of the North
American Film Corporation, says that 10,000
sequels to The Diamond From the Sky
have already been submitted from patrons
of theatres who write that they followed the
entire 30 chapters with a great deal of in¬
terest and feel that they have thought out
a fitting ending to the story.

Writes Galvin Robertson, of Callaway,
Neb.: “Our last Saturday night show was
splendid. The Unsuspected Isles is hard to

beat. It took well with our crowd and I
certainly think it is a hard crowd to please.”

Mr. H. Christensen, theatre manager of
Sioux Rapids, la., is enthusiastic about The
Quest, the Mutual Masterpicture, which he
showed recently in his house.

“It was fine. As long as your Master-
pictures continue in that class I will use
them,” writes the Iowa manager.

Peter Trocchiano, manager of the Pastime
Theatre, of St. Francisville, La., broke all
his house records with a popularity contest,
which he held on Friday evening, January
14th. Mr. Trocchiano advertised his con¬
test for some time before the evening in
good time and he found his house packed to
more than capacity business on the final
night. Georgia Rettig and Maggie Gore re¬
ceived the first and second prizes for beauty,
Lucille Magearlwas awarded the popularity
vote and Emma Brosseaux was elected the
best dressed girl of the town. Mr. Troc¬
chiano gave other prizes to every girl re¬
ceiving 100 votes. As the feature picture of
the evening, the Mutual Masterpicture, The
Flying Twins, a Thanhouser production,
featuring the beautiful Thanhouser (Mu¬
tual) twins, was shown. The following is
taken from the Ohio Times of Saturday,
January 15, 1916:

Replete with action and sensational
climaxes that real lovers of the movies
thrive on the first installment of The
Girl and the Game, at the Columbia,
Thursday evening, was enjoyed by au¬
diences that taxed the capacity of this
popular and comfortable theatre. Evi¬
dence is already at hand to warrant
the statement that The Girl and the
Game, a story of mountain railroad
life, is going to prove the most popu¬
lar and interesting movie serial yet
shown in Portsmouth. There is coher¬
ency to the story, the photography is
splendid, scenic effects magnificent,
and the story is sure to meet with popu¬
lar approval.

It will be well to remember that on
every Thursday night two reels of

this really worth while screen feature
will be shown at the Columbia. It is
conceded to be the best railroad picture
ever made.

A. B. Arnett, manager of the Colonial
Theatre, of Winchester, Ky., expresses his
confidence- in the Mutual in the following
letter :

“I have recently taken over the Colonial.
While it is the prettiest house in town, it
was allowed to run down to the point where
it was losing $100 a day.

“My first move, after having the painter
give the front a liberal coat of white, was
to cut the program to three days af fea¬
tures and three days of regular releases,
using Mutual to fill the regular releases.”

GET MORE BUSINESS ^ —

talks — program chatter — advs. — letters to patrons, etc.
— Costs small — results BIG.— E. W. Sargent, Ameri¬
ca’s leading authority on adv. for exhibitors says of
my work: "Lynch writes snappy stuff — stuff that

people like to read — the sort of talk that make*
business — he makes his talks readable, etc. I can
make steady patrons of your people — get them oomlng
every night — make them so loyal to you that your
competitors cannot lure them away — I can Increase
your average receipts 25 to 60 per cent, with my
snappy talks — personally written for you. — Write right
now for free particulars.

C. H. LYNCH, The Ad Specialist, Spring Valley, III.

Cushman Lighting Plants

GET THE CROWD

Cushman throttling governed engines give
steady voltage. It’s cheaper to make your
“juice” than to buy it. You get a good light
at arc, which makes clear, bright pictures.
Extremely light in weight. 4 H. P. complete
plant weighs only 575 lbs. Not the cheapest,
but cheapest in the long run. Get informa¬
tion describing exclusive features. It’s free.

CUSHMAN MOTOR WORKS, 940 N.. 21st St., Lincoln, Nebr.

REEL LIFE — Page Fifteen

Mutual Releases

Clipper Star Features

Feb. 8 — Lillo of the South Seas (3)

Jan. 28 — The Smugglers of Santa Cruz (3)

Jan. 1 — The Wraith of Haddon Towers (3)

Dec. 11 — Curly (3)

Nov. 20 — The Alternative (3)

Oct. 30— The Idol (3)

Oct. 9 — Pardoned (3)

Mustang Star Features

Feb. 11 — According to St. John (3)

Feb. 4 — The Extra Man and the Milk Fed
Lion (3)

Jan. is — Water Stuff (3)

Dec. 26 — Author! Author!

Dec. 4— Film Tempo (3)

Nov. 13 — This is the Life (3)

Oct. 23 — Buck’s Lady Friend (3)

Oct. 2 — Man Afraid of His Wardrobe (3)

Rialto Star Features

Jan. 12— The Secret Agent (3)

Dec. 29 — A Prince of Yesterday (3)

Dec. 15 — The Ace of Death (3)

Dec. 1 — Lessons in Love (3)

Nov. 17 — The New Adam and Eve (3)

Nov. 3 — The Devil’s Darling (3)

Oct. ao — The Card Players (3)

Oct. 6 — Sunshine and Tempest (3)

Thanhouser

Mutual Weekly

Feb.

24 — No. 60

Dec.

23— No. 51

Feb.

17— No. 59

Dec.

16— 'No. 50

Feb.

10 — No. 58

Dec.

9 — No. 49

Feb. 3— No. 57

Dec.

2 — No. 48

Jan. 27 — No. 56

Nov.

25— No. 47

Jan.

20— No. 55

Nov.

18 — No. 46

Jan.

13— No. 54

Nov.

11— No. 45

Jan.

6— No. 53

Nov.

4— No. 44

Dec.

30— No. 52

Oct.

28— No. 43

Centaur

an. 13 — Marta of the Jungle (2)
an. 6 — The Homesteaders (2)

Dec. 30— The Terror of the Fold (2)

Dec. 23 — The Winning of Jess (2)

Dec. 16 — The Arab’s Vengeance (2)

Dec. 9 — Stanley in Darkest Africa (a)

Dec. 2 — Stanley Among the Voo Doo Wor¬

shippers

Nov. 25 — Stanley and the Slave Traders (a)

Nov. 18— A Polar Romance (2)

Nov. 11 — Stanley in Starvation Camp (2)

Nov. 4 — When Avarice Rules (2)

Oct. 28 — The White King of the Zaras (a)

Oct. 21 — Vindication (2)

Oct. 14 — Stanley’s Close Call (2)

Sept. 30— Stanley’s Search for the Hidden City
(2)

Sept. 23 — The Woman, the Lion and the Man (2)

Casino Star Comedy

Feb. 9— The Spirit of the Game (3)

Feb. 2 — The Knotted Cord (3)

Jan. 26 — The Burglar’s Picnic (3)

Jan. 19 — The Phantom Witness (3)

Jan. 11 — In the Name of the Law (3)

Jan. 4— The Bubbles in the Glass (3)

Dec. 28 — Their Last Performance (3)

Dec. 21 — Ambition (3)

Dec. 18— His Majesty, the King (3)

Nov. 27 — The Valkyrie (3)

Nov. 6 — Mr. Meeson’s Will (3)

Oct. 16— The Long Arm of the Secret Service (3)

American

Feb. 4 — Mammy’s Rose
Feb. 1 — The Broken Cross (2)

Jan. 25. — The Man in the Sombrero (2)

Jan. 28 — A Sanitarium Scramble
Jan. 21 — The Thunder Bolt
Jan. 18 — The Silent Trail (2)

Jan. 14 — The Secret Wire
Jan. 10 — Viviana (2)
lan. 7 — Time and Tide
Jan. 3 — Matching Dreams (a)

Dec. 31— The Mender

Dec. 27— The Tragic Circle (2)

Dec. 24— Yes or No.

Dec. 20 — The Clean-Up (2)

Dec. 17 — Spider Barlow’s Soft Spot
Dec. 13 — The Solution of the Mystery (a)

Dec. 10 — A Broken Cloud

Dec. 6 — The Water Carrier of San Juan (a)

Dec. 3 — Spider Barlow Cuts In
Nov. 29 — The Silver Lining (2)

Nov. 26- The Bluffers

Nov. 22— The Key to the Past (2)

Nov. 19 — Drifting

Nov. 15 — The Substitute Minister (2)

Nov. 12 — To Rent, Furnished

Jan. 16 — Ham and Eggs
Jan. 9 — Alias Mr. Jones.

Jan. 2 — Leave it to Cissy

Dec. 26 — Hunting

Dec. 19 — Cissy’s Innocent Wink

Dec. 12 — Curing Cissy

Dec. s — A Tangle in Hearts

Nov. 28 — The Widow Wins

Nov. 21 — The House Party

Nov. 14 — Beauty in Distress

Nov. 7— Does Advertising Win?

Oct. 31 — Zabisky’s Waterloo

Oct. 24 — The Reformer

Oct. 17 — Ethel’s Romeos

Oct. 10 — A Corner in Cats

Oct. 3 — His Lordship’s Dilemma

Cub Comedy

Feb. 11 — Jerry’s Million

Feb. 4 — The Defective Detective

Jan. 28 — Around the World

jan. 21 — The Girl of His Dreams
Jan. 14 — Jerry in Mexico
Jan. 7 — Jerry in the Movies
Dec. 31 — Jerry’s Revenge
Dec. 24 — Hearts and Clubs
Dec. 17 — The Hold-Up
Dec. 10 — Doctor Jerry
Dec. 3 — A Shot-Gun Romance
Nov. 26 — A Deal in Indians
Nov. 19 — The Fighting Four
Nov. 12 — The Double Cross
Nov. 5 — Twin Brides
Oct. 29 — Jerry to the Rescue
Oct. 22 — The Little Detective
Oct. 15— Taking a Chance
Oct. 8 — A Change of Luck
Oct. 1 — The Oriental Spasm

Beauty

Feb. 13 — Billy Van Deusen and the Vampire

Feb. 8 — Won by One

Feb. 6 — The Laird o’ Knees

Feb. 2 — Billy Van Deusen’s Wedding Eve

Jan. 30 — Walk This Way!

Jan. 26 — Some Night!

Jan. 23 — Mischief and a Mirror
Tan. 19 — Johnny’s Birthday
Tan. 15 — Getting in Wrong
Jan. it — The First Quarrel
Jan. 9 — To Be or Not to Be
Jan. 4 — Billy Van Deusen’s Shadow
Jan. 1 — Settled Out of Court
Dec. 28 — Kiddus, Kid and Kiddo.

Dec. 25 — The Country Girl

Dec. 21 — Making a Man of Johnny

Dec. 18— Two Hearts and a Thief

Dec. 14— A Guard, a Girl and a Garret

Dec. 11 — Nobody’s Home

Dec. 7 — Pretenses

Dec. 4— Making Over Father

Nov. 30 — Billy Van Deusen and the Merry Widow

Nov. 27 — Cupid Beats Father

Nov. 23 — The Drummer’s Trunk

Nov. 20 — Anita’s Butterfly

Nov. 16 — Johnny, the Barber

Nov. 13 — Almost a Widow

Falstaff Comedy

Feb. 10 — Snow Storm and Sunshine
Feb. 8 — Booming the Boxing Game
Feb. 3 — Harry’s Happy Honeymoon
Feb. 1 — A Clevler Collie’s Comeback
an. 27 — Beaten at the Bath
an. 25 — Lucky Larry’s Lady Love
Jan. 20 — Pete’s Persian Princess
Jan. 18 — Grace’s Gorgeous Gowns
an. 13 — Reforming Rubbering Rosie
an. 10— Belinda’s Bridal Breakfast
an. 6 — Hilda’s Husky Helper
Jan. 3 — The Optimistic Oriental Occults
Dec. 30 — Foolish Fat Flora
Dec. 27 — Una’s Useful Uncle
Dec. 23 — Toodles, Tom and Trouble
Dec. 20 — When William’s Whiskers Worked
Dec. 16— Billy Bunks the Bandit

Special Features

Damaged Goods (7 reels)

The Diamond From the Sky (30 Chapters)
The Girl and the Game (15 Chapters)
“Fighting For France” (5 reels)

Novelty

Jan. 21 — Mr. Bumps, Commuter
Dec. 22 — The Innocent Sandwich Man

Between Lakes and Mountains
(Split Reel)

Dec. 20-^The Fiddler

Dec. 15 — A Musical Hold-Up

Dec. 13— The Book Agent

Dec. 8 — The Army-Navy Football Game

Dec. 6— A Janitor’s Joyful Job

Dec. 1 — Betty Burton, M. D.

Nov. 29 — Charlie’s Twin Sister
Nov. 24 — Taming a Grouch
Nov. 22 — Spring Onions

Nov. 15 — The World Series — Boston vs. Philadel¬
phia (2)

Nov. 10 — Love and Bitters

Nov. 8— Something in Her Eye

Nov. 3— The Fortune Hunters

Nov. 1— Putting Papa to Sleep

Oct. 27 — Artillery and Love

Oct. 25 — Hobo Nerve

Oct. 20 — You Can’t Beat It

Oct. 18 — Rip Van Winkle Badly Ripped

Oct. 13 — Gold-Bricking Cupid

Mustang

Jan. 21 — Wild Jim, Reformer (2)

Jan. 7 — The Hills of Glory (2)

Dec. 31 — The Cactus Blossom (2)

Dec. 24 — The Pitch o’ Chance (2)

Dec. 17 — In the Sunset Country (2)

Dec. 10 — There Is Good in the Worst of Us (2)
Dec. 3 — Broadcloth and Buckskin (2)

Nov. 26— The Valley Feud (2)

Nov. 19 — The Warning (2)

Nov. 12 — Man to Man (2)

Nov. s — The Trail of tbe Serpent (2)

Oct. 20 — Playing for High Stakes (2)

Oct. 22 — The Sheriff of Willow Creek (2)

Oct. 8 — Breezy Bill — Outcast (2)

“See America First” — (Split Reel)

Feb. 13 — No. 22 — The Home of the Lumber-jack
Feb. 6 — No. 21 — A Trip Through Duluth, Minn.
Jan. 30 — No. 20 — St. Paul, Minn.

Jan. 23 — No. 19 — The Dells of the Wisconsin
Jan. 11 — No. 18 — Milwaukee, Wis.

Jan. 4 — No. 17 — The Industries of Chicago
Dec. 28 — No. 16 — Chicago, the Gateway of the
West

Dec. 21 — No. 15 — Lexington, Ky., Including a
Trip to the Famous Race Course
Dec. 14 — No. 14— A Trip Through Pittsburgh, Pa.
Dec. 7 — No. 13 — Visit to Interesting Spots on
Rhode Island

Nov. 30 — No. 12 — Mohonk Lake, N. Y., During
Winter Sport Carnival

Nov. 23 — No. 11 — A Tour of Connecticut’s Prin¬
cipal Cities

Nov. 16 — No. 10 — Portland, Me., and the White
Mountains

Nov. 9 — No. 9 — The Berkshire Hills
Nov. 2 — No. 8 — Boston, Mass.

Oct. 26 — No. 7 — A Trip Up the Hudson River
Oct. 19 — No. 6 — Touring Washington, D. C.

Oct. 12 — No. 5 — The Uptown District of New
York

Oct. 5 — No. 4 — The Downtown Districts of New
York

Sept. 28 — No. 3 — Niagara Falls
Sept. 21 — No. 2 — Asheville, N. C.

Sept. 14 — No. 1 — Ausable Chasm, N. Y.

Thanhouser

Dec. 19 — The Political Pull of John
Dec. 14 — An Innocent Traitor (2)

Dec. 12 — Her Confession
Dec. 7 — His Vocation (2)

Dec. 5— The House Party at Carson Manor
Nov. 30 — The Crimson Sabre (2)

Nov. 28 — “All Aboard”

Nov. 23 — The Baby and the Boss (2)

Nov. 21 — Beneath the Coat of the Butler
Nov. 18— In the Hands of the Enemy (2)

Nov. 14 — In the Baby’s Garden
Nov. 9 — The Little Captain of the Scouts (2)
Nov. 7 — The Mistake of Mammy Lou
Nov. 2 — The Commuted Sentence (2)

Oct. 31 — The Fisherwoman

Oct. 26 — The Conscience of Juror No. 10 (2)

Oct. 24 — At the Patrician Club
Oct. 19 — The Spirit of Audubon (2)

Oct. 17 — John T. Rocks and the Fiivver

Vogue Comedy

Feb. 13 — Ignote’s Crocodiles and a Hat Box

Feb. 10 — Paddy’s Political Dream

Feb. 6 — Fickle Madge

Feb. 3 — Sammy vs. Cupid

Jan. 30 — He Thought He Went to War

Jan. 27 — Bungling Bill’s Burglar

Jan. 23 — A Baby Grand

Jan. 20 — Sammy’s Dough-full Romance

Jan. 12 — A Bum Steer

Jan. 10 — Oh, for the Life of a Fireman

Tan. 3 — An Innocent Crook (2)

Dec. 27 — Sammy’s Scandalous Schemes (2)

REEL LIFE — Page Sixteen

\

Whirlwind fun follows the

flirtations of “Fickle Madge”— she is as

changeable as a summer breeze. Her lovers, laughable
Vogue characters, stir up a riot of ludicrous situations. Another
tremendous Vogue comedy with a unique plot providing “slapsticks with
a reason.* ’ Another big box-office success!

Released February 6

Sammy vs. Cupid — Released Feb. 3

A convulsing gymnasium adventure that is as strenuous

as its setting indicates. Five Thousand Laugh-Power Comedy !

Vogue Comedies bring the big crowds — delight — enthuse! They adver¬
tise your theater. They pour big profits into your box office. Book them today !

VOGUE FILMS, Inc.

Executives:

JOSEPH H. FINN
SAMUEL S. HUTCHINSON
Publicity Offices: 222 So. State St.,

Slapsticks With a Reason

Chicago, III.

Distributed throughout
the United States and
Canada exclusively
by Mutual Film
Corporation.

MUTUAL PICTURES

REEL LIFE — Page Seventeen

r^S^SBjkola II *

The Motion Picture Version
of the classic novel b y*

GEORGE. ELIOT

An all-star cast, including
Val-Kurien (Baroness Deuiit3)

Released Februarq 19 —
Produced bij Thanhouser

REEL LIFE — Page Eighteen

More Neat MUTUAL MASTERPICTURES

DE LUXE EDITION

Ctw celebrated co-Mans

ALEXANDER GADEN
GERTRUOE ROBINSON

in a aionderful five-reel drama-

“I ACCUSE !

Released February 21-
Produced 6tj Gaumonf

HARRIS GORDON

and

BARBARA GILROY

in a jeui eL of rare setting-

THE OVAL DIAMOND

Afive-rM drama
Rpk>ased February 24— •
Booh fhrouqh anif
of the sixty- @iqf»f~
Mutual Exchanges

\

REEL LIFE — Page Nineteen

MUTUAL MASTERPICTURES

DE LUXE EDITION

Presents

eautifuC MMKUOiT/KJ i C,

c/Jmerieas (greatest (film Star in.

llUss (Pourtot plays loth girls—
one the pampered wide of a mil¬
lionaire \ tie oilier a beaudg of if
sia^_intl^cliLtcles of in in¬
ternational ^ ^ ^

Vitten and Oirected \du

& HENaYcJ.VEnNOT

RELEASED FEBR(JPlPCy /£

MADE AMERICA BY THE

GAU/WONT CO/WPANV

JACl^rONVlLLE, PLA.. PLUrHING.NY

REEL LIFE — Page Twenty

MUTUAL MASTERPICTURES

De Luxe Edition

rHE most profitable photoplays , from an exhibitor' s
standpoint , are those combining commercial value
with artistic merit; that is, photoplays which attract
extraordinarily big patronage and also provide a high
quality of entertainment.

David Horsley productions are built on these lines.

Take “The Soul’s Cycle,” a five part feature to be
released February 12 as a Mutual Masterpicture, De
Luxe Edition, lor an example.

It has drawing power in that it presents Margaret
Gibson, a beautiful and accomplished actress and a
prime motion picture favorite, as the star; also in that
the name of David Horsley, always associated with
good pictures, is back of it.

In respect to quality, “The Soul’s Cycle” pictures a
subject of great popular appeal, intelligently inter¬
preted by a big cast of artists, and produced on a lavish
scale with careful attention paid to technicalities.

David Horsley productions are profitable to
book — they have the merit to please and are
money makers at the same time.

Bookings obtainable through the branches of the
Mutual Film Corporation in the United States and
Canada.

DAVID HORSLEY PRODUCTIONS

REEL LIFE — Page Twenty-one

/YWTV/Al PICTURES

Edwin Tmanholser,

g (3 REELS)

i A THANHOUSER

EXTRAORDINARY.

^ Which term conveys a world

f of assurance to all who know

the Thanhouser standard.

Featuring

Haded bi/

FMDFMSmmN

RELEASED

WEDNESDAY FEB.Q

Supported by a casl of uniform
power and excellence.

THANHOUSER

FILM CORK

NewRocheuiM

REEL LIFE — Page Twenty-two

REEL LIFE — Page Twenty-three

u

THE

§ Bb

k

MUTUAL SP

game

the

and the

Game” is now known

to exhibitors everywhere as a mar¬
vel of producing originality and sheer
daring. Helen Holmes is Filmdom’s most
fearless heroine. Terrific leaps from bridges—
from speeding trains— hair-raising fights— here¬
tofore unattempted sensations cause spectators
to gasp with astonishment. Climax follows cli-
stupendous succession of surprises !

max in a

The Story In Over 1000 Newspapers!

Millions are reading Frank H. Spearman’s

gripping railroad film novel in the leading newspapers of the

country. Think of this record-breaking newspaper co-operation — over

Think

twice that given any previous serial !

Your patrons want “The Girl and the Game”!

New York World
Pittsburgh Press
Atlanta Constitution
Omaha Bee
Buffalo Courier
Indianapolis Star
Chicago Evening Post
Detroit Journal

Baltimore American
Boston Globe
Cincinnati Times-Star
Kansas City Journal
Los Angeles Tribune
Dallas Journal
Milwaukee Sentinel
Louisville Herald

Philadelphia North American
Memphis Commercial Appeal
New Orleans Times-Picayune
San Francisco Chronicle
St. Louis Globe-Democrat
Seattle Post-Intelligencer
Cleveland Leader
and One Thousand Others.

Clinch Record Receipts

For Fifteen Weeks!

Booking “The Girl and the Game” is booking a certainty— and

not just a solid success, but a monumental box-office triumph! The keenest

competition is snowed under — the slowest nights become the busiest. “The Girl and
the Game” — beautiful Helen Holmes and her daring company —cause crowds to stampede your house.

Act Now! Make the bumper profits flood your cash drawer. Make big
money for fifteen weeks— one two-act chapter released each week. WIRE your
nearest Mutual Exchange today. "

For booking information apply to “ The Girl and the Game ” department
of any Mutual Exchange, or at Mutual Home Office, New York City

SIGNAL FILM CORPORATION

SAMUEL S. HUTCHINSON. President

Publicity Offices: 222 South State Street

CHICAGO, ILLINOIS

REEL LIFE— -Page Twenty-four

'T'he lightning thrills of “The Girl and

the Game” are giant hammer strokes of suc¬
cess for exhibitors. Theatres which have been featuring special
attractions for years announce “The Girl and the Game” has outstripped all
previous attendance records ! Chapter Seven is now appearing— and with over half the
production shown, exhibitors realize that the power of this railroad film sensation is sus¬
tained to the limit in every chapter. The daring exploits of Helen Holmes leave audi¬
ences breathless, shouting, wildly applauding! In Chapter Seven Helen is shot from a
fast train — on a rope — to a speeding automobile— a thrill that creates a pandemonium
of enthusiasm!

Every Chapter Guaranteed
to Show Definite Thrills!

The thrills in each chapter

are guaranteed to exhibitors
by President Hutchinson. Every

chapter has distinct exploits of Helen
Holmes which strike the high
mark for smashing climaxes.

Every chapter is a tremen¬
dous production costing over
$33,000. Over half a million
dollars have been spent on
the fifteen chapters! “The
Girl and the Game” is
the greatest serial suc¬
cess of^all film exper¬
ience!

REEL LIFE — Page Twenty-five

MUTUAL MASTERPICTURE

Released February 10th

All “ Flying A” Productions are distributed throughout the United
States and Canada exclusively by Mutual Film Corporation.

American Film Company, Inc.

SAMUEL S. HUTCHINSON. President
Chicago, Illinois

DE LUXE EDITION

Arthur Maude— Constance Crawley

These celebrated co-stars score

a triumph in this electrifying five-reel

“Flying A” Masterpicture DeLuxe Edition — “Powder!”

A whirlpool of international intrigue re¬
sults when two warring nations attempt to con¬
trol a new American explosive. Moments are tense
with terrors, suspense, thrills, bitter struggles’

The swift political plot uncovers sen¬
sations— the Woman Spy in the confidence of
Three Nations — the Secret Service — the Scourge of
Shells in the War Zone — the blowing up of the
American Powder Mill. The fierce spell of it grips
mind and heart!

i

. ' '•$]

.

: IP

REEL LIFE — Page Twenty-six

MUTUAL PICTURES

The veil of 3,000 years is lifted. An Egyptian
beauty leaves a temple on the ancient Nile to be reborn

into modern society — in her blind quest to learn, “What is Love?”

This enthralling, gorgeous three-part “Flying A” drama

searches out all the human emotions — bares the soul of a woman
so cold, so unresponsive that she is known as “A Modern Sphinx.”

Thrilling adventures beset Asa’s path — the poisoning

of an Egyptian lover — the mysterious passage of three centuries —
the modern occultist’s visit — the modern lover’s success in awaken¬
ing her love and passion.

Superbly staged — swift-moving, big with realism —

this stupendous production features the eminent abilities of

Winifred Greenwood — Edward Coxen

Released Feb. 15

Directed by
Charles Bartlett

When the Light Came

Three-Reel “Mustang”

Drama, with Anna Little and
Thomas Chatterton.

Released Feb. 18

Ella Wanted to Elope

Clever One-Reel “Beauty”

Comedy. Neva Gerber— Dick Rosson

Released Feb. 16

The Battle of Cupidovitch

Another Corking “Beauty”

One-Part Comedy. Carol Hallo¬
way, John Steppling, John Sheehan.
A big round of amusing situations
and surprises.

Released Feb. 20

All Flying A,'* ** Beauty** and
“Mustang” productions are dis¬
tributed thro* out the United States
and Canada exclusively by Mutual
Film Corporation .

American Film Co., Inc,

SAMUEL S. HUTCHINSON

President
Chicago, Illinois

1

_ — _ _ _ _ _

. 1

_ _ _ 1

REEL LIFE — Page Twenty-seven

HIGHEST AWARDS

HELD BY

POWER’S CAMERAGRAPH

Panama-Pacific International Exposition
GRAND PRIZE 1915

American Museum of Safety
GRAND PRIZE 1914

American Museum of Safety
GOLD MEDAL 1913

NICHOLAS POWER COMPANY

NINETY GOLD STREET NEW YORK CITY

PICTURE MACHINES

AT LESS THAN HALF PRICE

EDISON MODEL B. everything new but head which la entirely rebuilt $100.
cost new $225 — MOTIOGRAPH $85. cost new $185.— POWERS 6-A with motor,
everything new but head which is rebuilt $230. or $185 without motor. Powers

No. 5 head on new 6-A outfit, $150. All machines guaranteed first-class condition
and complete in every detail, ready to run picture. Lenses to fit any size picture
desired. — NEW RHEOSTATS with all machines. Ft. Wayne and B. & H. Induc¬
tors, $30 extra with machine in place of Rheostats. — SIMPLEX machine used in
sample room display thirty days $255. Bargains in many other machines, send
for complete list Opera and Folding Chairs all kinds, new and slightly used.
Operating Booths that pass inspection. — PICTURE CURTAINS, $5. ROLL

TICKETS 7'/a0 per thousand. Film Cement and Machine Oil 15c a bottle.

All makes and sizes of Carbons. Orders filled same day received.

LEARS THEATRE SUPPLY CO.

509 Chestnut Street ST. LOUIS, MO.

“BUILT BY BRAINS”

You Can't Show a Beautiful Film on a Poor Screen

When you buy a Minusa Screen you
don’t merely buy it by the square foot.

Minusa Screens are ‘‘BUILT BY
BRAINS” to suit all the particular re¬
quirements of YOUR particular theatre

WRITE FOR OUR LITERATURE

MINUSA CINE PRODUCTS CO.

ST. LOUIS. MO. NEW YORK SAN FRANCISCO

Houser Building 19 W. 23rd Street 117-19 Golden Gate Ave.

Attention, Mr.Exhibitor and Operator

Don’t be foolish to take the blame for tearing and ripping
of new film at the sprocket holes. It is also impossible to
avoid scratching because the film is in an unfinished condi¬
tion when released. The emulsion should not adhere to the
tension springs and other parts of the machine, which causes
all the damage. Exchanges should treat and prepare the film
before releasing with the New Patent Process to cure new
film. New film cured can be passed through the projecting
machine in 6 minutes without danger of scratching or pulling
at the sprocket. Theaters running new film should ask the
Exchange to install the Rex Film Renovator and avoid
arguments.

THE REX FILM RENOVATOR MFG. CO.

COLUMBUS, OHIO

Would You Care

If we could show you how to MAKE MORE MONEY —
how to substantially increase your receipts at a small outlay?

We have a proposition of interest to all Moving Picture
Exhibitors and Managers that has never been placed before
them.

We will sell you a NEW GENUINE POWERS, NEW
1916 MOTIOGRAPH, EDISON OR A SIMPLEX MA¬
CHINE, guaranteed for one year from date of sale, on easy
monthly payments.

Drop us a line today and we will tell you all about our plan.

AMUSEMENT SUPPLY CO.

Sixth Floor, Cambridge Bldg.,

N. W. Cor. Fifth And Randolph, Chicago, Illinois

Distributors of the

Powers, Motiograph, Edison and Simplex Machines
and Genuine Parts.

REEL LIFE — Page Twenty-eight

azine

HIS fireside portrait pictures the charming
Marjorie Rambeau as she will appear in her
first Mutual offering,, “The Greater Woman”,
after the novel of Algernon Boyesen, which
is now in production, under the able generalship of
Frank Powell, at the Powell studios in New York.

MARIE DRESSLER ORGANIZES

Noted Actress Forms

$2 ,000,00 0 Company '

For Mutual Productions

MARIE DRESSLER, famed star of stage
comedy, is forming a two-million-dollar
corporation for the production of a re¬
markable series of pictures for distribu¬
tion through the Mutual Film Corpora¬
tion.

President John R. Freuler of the Mu¬
tual Film Corporation has confirmed rumors of the deal,
following a series of negotiations opened at the Mutual’s
New York offices and closed at the Chicago executive of¬
fices between Mr. Freuler and Mr. J. H. Dalton, husband of
Miss Dressier.

“Contracts have been drawn,” said Mr. Freuler, “and the
formation of the corporation is under way. The organiza¬
tion of the corporation for the production of the pictures
is in the hands of Mr. Dalton, Crawford Livingston and
Mr. Freuler. The organization plans call for a capitaliza¬
tion of two millions, this to give ample capital for the de¬
cidedly pretentious scale on which the Dressier studios will
make these pictures for Mutual distribution.”

It is understood that the first work of the “Marie Dress¬
ier Motion Picture Corporation” — which is the official name
of the new concern, will be the production of twelve two-
reel feature pictures based upon and under the title of
“Tillie’s Nightmare,” the big and highly successful Marie
Dressier hit in which she achieved perhaps her greatest
success on the speaking stage and presenting Miss Dressier
in a part in which she is known to almost every man, woman
and child in America.

This phase of the outlined activities of the new Dressier
corporation and the Dressier-Mutual contracts, now drawn,
are reminiscent of the Chaplin-Mutual contracts which be¬
came operative last March. The Freuler idea of the mar¬
keting of two-reel comedies of high feature quality, with a
big star and strong promotional support, appears to be
working out again in the Dressier plan of twelve high-qual¬
ity two-reelers.

While the twelve two-reelers represent the immediate,
first work of the Dressier-Mutual studios Miss Dressier
has other important plans, including the production of a
series of special feature productions starring a number of
her famous artist friends from the fields of the opera and
dramatic stages. These players are American stars of inter¬
national fame.

Miss Dressier brings to the pictures a powerful drawing
power and a following established by a career of successes
hardly to be paralleled in the annals of the modern stage.
Miss Dressier was born in Canada and began her dramatic
career in an amateur presentation. Her first role was
“Cigarette” in “Under Two Flags.” The next year she
appeared in the next season in the role of “Katisha” in “The
Mikado” on tour with the Baker Opera Company. She then
appeared in a range of light opera parts with the Maurice
Grau Opera Company, gradually increasing her repertoire
to thirty-eight principal roles. Miss Dressler’s first New
York appearance was in the role of “Cunigonde” in “The
Robber of the Rhine,” — written by the late Maurice Barry¬
more — at the Fifth Avenue Theater in 1892. Since then
her career has been a trail blazed with glory and successes,

Marie Dressier.

among which casual review recalls : “Flora” in “Hotel
Topsy Turvey,” “Viola Alum” in “The Man in the Moon,”
“King Highball,” “The College Widow,” “Higgledy-Pig¬
gledy,” “Twiddle-Twaddle,” “The Squaw Man’s Girl of
the Golden West,” “The Boy and the Girl,” “Tillie’s Night¬
mare.” Then, too, she has tours abroad and international
successes to her credit.

As “Cigarette,” the vivandiere, in “Under Two Flags,”
Miss Dressier was declared by critics all over the United
States to have realized the ideal of the author “Ouida,” in
her characterization of the little French girl, better than any
of her predecessors.

The dashing young camp follower with her little canteen
of eu de vie for exhausted and wounded soldiers became
more discussed as a result of Miss Dressler’s interpretation
than it had ever been before since the book was written. It
is not to be wondered at, since “Cigarette” was one of Miss
Dressler’s first successes, that she still refers to it as her
favorite part. The young actress still preserves in her cos¬
tume collection the uniform and canteen of her beloved
“Cigarette.”

Miss Dressier has art, friends, fame and money to put
into the success of her pictures. The Dressier-Mutual con¬
tracts just drawn in the offices of President Freuler are in
line with his recent declaration of policy — “Only big stars

i or the Mutual.”

)

REEL LIFE— 'Page One

MARY MILES MINTER with her con¬
vincing childishness of personality, ac¬
complishes in Bessie Boniel’s interesting
play “The Innocence of Lizette” that
which for an actress of lesser charm and
inferior talent, might easily be impos¬
sible. This is the latest of the Minter
productions, made under the direction of James Kirkwood
at the American Film Company’s studios.

Little Miss Minter is Lizette, the daughter of Ashby
Keene, a once famous actor, who dies leaving her in early
girlhood to the care of Granny Page, his landlady, who
promises him on his deathbed that she will watch over the
little girl while she lives.

Granny Page is of small means. She has a nephew, Paul,
who is the owner of a news stand in an office building. In
the course of time Lizette acquires the habit of visiting Paul
at his news stand and assisting him there in selling papers.

There she attracts the attention of Dan Nye, a supposedly
wealthy man about town, who is actually a blackmailer and
rounder. Lizette’s attention is attracted by the external
fascinations of Nye, who does his best to cultivate her liking
for him.

Another customer of the news stand is Henri Faure, a
man of social position and great wealth who is also a wid¬
ower. He is so impressed with Lizette’s innocence that he
adopts her, much to the sorrow of Granny Page, who has
become deeply attached to the little girl.

Little Lizette is a lover of dolls. She has dolls of all sorts
and sizes. Faure, her new guardian, indulges this passion,
recognizing in it the maternal instinct. When Faure is
compelled to leave the city on a business tour, Lizette goes
temporarily to Granny Page. On her return to the Faure
home, Mary finds a baby on the door step. She at once
decides to keep the infant, and enters the home of her
guardian with the child in her arms. She insists that it is
her own, fearing it may be taken from her, and of course
Faure and his housekeeper are horror stricken.

Lizette has no idea of the physiological conditions in¬
volved with her declaration of ownership. She has a vague
idea that the baby ought to have a father somewhere, but
does not understand that her good name is in any way in¬
volved.

Besought by Faure and the housekeeper to tell who is
the father of her baby, Lizette tells them the first name
that comes into her head — that of Dan Nye. Faure sends
for Nye and accuses him, whereupon the wily blackmailer
scents an opportunity for profit and admits fatherhood.
Faure demands that he marry Lizette which he agrees to
do on the payment of a large sum of money.

While negotiations are in progress, Lizette keeping her
secret meanwhile, the mother of the child, filled with re¬
morse, comes to claim it. Lizette insists that the baby s

Lizette . . . Mary Miles Minter

Faure . Harvey Clarke

Granny Page . Eugenie Forde

hers and is only prevailed on to give it up after irrefut¬
able evidence of the mother’s identity has been given. The
complacent Mr. Nye is sent on his way, a sadder, wiser
man, while Lizette explains that all she wanted was to have
the baby for her own.

This extraordinary plot carries with it possibilities of
misconstruction and mishandling that are sufficiently ap¬
parent, but as the story is told it is a pretty child romance
of the sort that best displays Mary Miles Minter’s extra¬
ordinary genius.

REEL LIFE— Page Two

Who’s Who in “The Perils of Our Girl Reporters”

Helen Greene, who portrays the character of "The Girl Reporter" in
"The Perils of Our Girl Reporters," has run the entire gamut of screen
emotion, from vampire roles to character.

William H. Turner is one of the best knozvn character actors in the United
States. He has played principal parts with many productions, and is now with
"Alias Jimmy Valentine.”

Zena Keefe, one of the cleverest ingenues of the today stage, is best known
for her appearance in “The Fatal Wedding," but her best known film work is
that done in connection with "Her Maternal Right.”

Earl Metcalfe, one of the best known leading men in the country, plays
opposite Miss Greene in “The Perils of Our Girl Reporters," to be released
December 28.

Earl Metcalfe is well known for his work with the Lubin company, his
principal picture success having been in “The Moonshiner’s Wife.”

REEL LIFE— Page Three

SIGNS FRANCELIA BILLINGTON

Appears with “ Big
Bill ’ ’ Russell in the
American - Mutuals

Announcement

is made by Samuel S.
Hutchinson, president of
the American Film Company,
Inc., of the signing of a con¬
tract with Francelia Billington,
one of the most brilliant young
film actresses of today, to appear
in a series of dramatic produc¬
tions opposite William Russell.

Mr. Russell, who is famed
chiefly for his work under Amer¬
ican-Mutual auspices in “Soul¬
mates,” “The Highest Bid,”
“The Strength of Donald Mc¬
Kenzie,” “The Man Who Would Not Die,” “The Torch-
bearer,” “The Love Hermit,” “Lone Star,” and “The Twin-
kler,” is already engaged in going over several new plays in
which he and Miss Billington are to appear.

The negotiations with Miss Billington have been under
way for some time and they have just been completed. Mr.
Hutchinson has just returned from California where he
held the final conference with Miss Billington which re¬
sulted in her signing the American contract.

The engagement of this clever artiste is merely another

evidence of the forward policy adopted by President John
R. Freuler of the Mutual Film Corporation, which is being
carried out by the various allied producing organizations
in their arrangements for future productions.

“Miss Billington is an undoubted acquisition,” said Mr.
Hutchinson today. “She is a thoroughly capable actress of
the type so tremendously valuable in motion picture work.
She is a splendid athlete all round, a swimmer, a crack shot,
an experienced chaffeuse and a horsewoman than whom
there is probably no better in the country.

“The engagement of Miss Billington is, of course, in pre¬
cise accord with our new policy of the biggest stars for
American-Mutual productions. I do not see how we could
have improved on our recent acquisitions.

“Announcement will be made shortly of the news plays
in which Mr. Russell and Miss Billington will appear.
These will include some new dramas of which no men-:
tion has as yet been made, their acceptance having been
made contingent on the approval of the two stars who
are now looking the manuscripts over.”

Miss Billington’s first experience in motion picture work
was with the Kalem company, with which she played leads
for a year before joining the New York Motion Picture
company.

Synopsis oj “GRIMESY, THE BELL HOP”

One Reel Star Comedy — Featuring Alexander Clark.

Grimesy, a tall, lanky, awk¬
ward and equally homely bell
hop, answered the bells in a
small country town hotel. “Uncle
Tom’s Cabin” troupe came to
the hotel and Grimesy immedi¬
ately fell in love with the blonde
ingenue Little Eva and did ev¬
erything in his power to make
her stay in the hotel comforta¬
ble. The first night’s perform¬
ance was very unsuccessful and
the manager of the company de¬
cided to jump the hotel bill and
Alexander. Clark. leave town. He demanded that

Little Eva give him all of her money, which she was going
to use as railroad fare to see her mother, who was ill.
Grimesy heard of the manager’s scheme and hid in one of
the troupe’s trunks. When the trunk arrived at the station
Grimesy jumped out and at the point of a revolver, forced
the manager to give Eva her money back. Eva left on
the train and just before boarding it kissed Grimesy. We
last see the rest of the troupe beating it down the tracks.

* * * *

Synopsis of “JEALOUS JOLTS”

Two Reels — The troubles of the village queen.

The village queen loves Ben, a hay baler. Paddy, a cow boy,
loves the girl and he is the one favored by her parents. Ben
■hides in the dog house one night and it is lassoed by Paddy

The Village Queen . Gypsy Abbott

Her Ma . Margaret Templeton

Her Pa . Arthur Moon

Her Sweetheart . Ben Turpin

The Cowboy . Paddy McQuire

and Ben is given a thrilling ride, nearly ending disastrously.
He escapes, however, and is knocked out and pressed into
a bale of hay by the cowboy. Gypsy’s father steals the hay
and Gypsy is starting to feed the horse some of the hay
when she sticks the pitchfork into Ben. The next day
Ben is buried alive by Paddy. The girl is tied to the chair
by her father but escapes and doing so sets fire to the house.
She is pursued by her father and Paddy. Ben, who has
escaped and donned a diver’s suit, which he has filled with
free air causing him to ascend to the cloud, is shot at and
falls at the girl’s feet. The constable comes upon them
and later they are married, while Ben is chased by his former
wife, a washwoman.

* * *

Rube Miller, the farm yard funster of Vogue Films, has
now in the making one of the most elaborate conglomer¬
ations of animated photography that he ever has produced.
He outrivals Dante in his trips to the infernal regions and
equals Lucifer in his various mythological journeys. One
setting is the richest ever proffered by the Vogue studio,
that of the idyllic heaven, where Rube dallies with dozens
of beautiful houris in luxurious splendor and sentimental
pastimes, only to come to an abrupt ending and discover
that all is an iridescent dream, as fleeting and elusive as the
will-o’-the-wisp. Expenditure is Mr. Miller’s last thought
in this production and it is predicted that it will remain
green in the memory of Vogue picture lovers for many
years to come.

REEL LIFE — Page Four

The Weekly — Reel Life — See America First — Tours Around the World

The world’s largest gold dredge.

Wounded British soldiers arrive in U. S.

Weekly Shows
Battle of Somme

Also pictures the pre¬
view of "Charity ?” in
big Boston theater.

Mutual weekly n0. 102

comes to the front with scenes
from the long to be remem¬
bered Battle of the Somme. The
scenes taken at the battle show big
un fire being directed by telephone
rom the many observation balloons;
the big 75’s being rushed to more ad¬
vantageous positions; the air squad¬
ron preparing for departure at the
first signal; a Zeppelin brought down
by an anti-aircraft gun, all on board
being lost; the cathedral ruins, every¬
thing in line of the guns was de¬
stroyed and scenes of children, who
cannot realize the terribleness of the
war and live up to the adage that
“kids will be kids.”

Also from the battle lines comes
scenes showing M. Daucort, the noted
aviator, who bombarded the Krupp
works at Essen, flying at Paris.

Other scenes of interest shown in
the weekly are; the launching of the
world’s largest gold dredge at Ham-
monton, California; wounded soldiers
on the way home stop at Norfolk,
Va. ; the statue of liberty is per¬
manently lighted; state militia adopt
the new Berthire machine gun at Bos¬
ton, Mass.; new scenic boulevard
opened at San Francisco, Cal.; Presi¬
dent Wilson addresses congress at its
opening; Boston savants view “Char¬
ity?” at Fenway Theater of Boston,
the Rev. Herbert Johnson congrat¬
ulates Jas. Roth, local Mutual man¬
ager on the success of the production;
school children of Washington, D. C.,
sell old newspapers to raise funds for
playgrounds; threshing lima beans at
Ventura, California.

* * *

CERTAIN changes in release dates
of Gaumont single-reel have re¬
cently been made, causing the
substitution of Mount Baker in the
state of Washington for Pasadena,
Cal., announced for _ “See America
First” No. 66. This is released
through Mutual, Dec. 13. The de¬
lightful suburb of Los Angeles, known
as “the city of roses,” will be a “See
America First” subject, the issue ap¬
pearing Jan. 3, No. 69.

Mount Baker is the third highest
peak in the state of Washington.
The pictures show the trail to the
summit, Roosevelt Glacier, some of
the crevasses which pierce it, a picture
of the mountain from the northwest,
Snoqualmie Falls and Snoqualmie
river. The oldest Indian chieftain in
the state is pictured, Tsilano, head of
the Lummi tribe. He lives in a house
built in 1839.

Varied Subjects
in ''Reel Life”

"Freench Sweetmeats "
and "An Argosy From
the North" shown.

THE supremacy maintained by
French candy makers is well il¬
lustrated in “Reel Life” No. 33,
released by Gaumont Company Dec.
17 through Mutual. The pictures are
entitled “French Sweetmeats,” and
show how the delicious candied fruits
are prepared for market.

The second section of the reel is
entitled “An Argosy from the North.”
A vessel just arrived from within the
arctic circle has brought back many
trophies from the frozen north. There
are tons and tons of whalebone, and
the ivory tusk of a mammal now ex¬
tinct. An eskimo who came back
with the voyagers takes to the water
in his native kayak, and demonstrates
how a walrus is speared.

The third section is an illuminating
exposition of “The Fleecy Staple” —
cotton. This will prove a most en¬
tertaining subject as it shows the cot¬
ton fields while picking is in prog¬
ress, ginning, and exporting. There
are also pictures of manufacturing
thread from yarn, and then cloth from
the thread.

A fourth section of the reel is an¬
other picture for the benefit of the
home dress maker, giving another il¬
lustration of “How to Design Your
Own Gown.”

* * *

A COMPLETE re-arrangement of
“Reel Life” subjects brought an
almost entirely different set of
subjects to the screen Dec. 10 in “Reel
Life” No. 32. First in interest per¬
haps is “Where Benedictine Is Made.”
The pictures show the Abbey at Fe¬
camp, France, where the monks have
been making this distinctive cordial
since 1510. The various processes
are pictured, as well as an array of
600 bottles containing imitations that
have been confiscated from time to
time. The process of manufacture is
a secret.

“Radium, the Most Costly Ele¬
ment” is another interesting subject
on this reel. The price of radium has
not followed the cost of high living,
having decreased 50% in recent
years. It is now only worth $37,000
an ounce. The American method of
manufacture from carnotite is shown.
* * *

HENRI LEUBAS, one of the
best known screen actors of
France, makes his first appear¬
ance in the Gaumont photo-novel,
“The Vampires,” in the sixth episode,
“Santanas,” released through Mutual
December 28. Leubas now has the
center of the stage for several
episodes as Santanas becomes the
supreme chief of the Vampires upon
the death of the Grand Vampire.

Life in Morocco
in "World Tours”

Scenes at the castle
of Chantilly and by
the Mediterranean.

THE splendid work being done on
the western front by the French
colonial troops from Morocco has
drawn so much attention to that North
African land that the Gaumont Com¬
pany sent a cameraman to catch for
the screen its most picturesque fea¬
tures. “Life in Morocco” is shown
in “Tours Around the World” No. 7,
released through Mutual December
19. On the same reel are two other
subjects, “The Castle of Chantilly”
and views of the Bay of St. Tropez,
“By the Blue Mediterranean.”

The Moroccan pictures are mainly
of life in the interior, showing the
arrival of a caravan, the unloading
of the camels, a camp of nomads, a
covered street, a village fountain, a
snake charmer, a juggler, and danc¬
ing the tango. There are pretty pic¬
tures of Meknes, a town in the in¬
terior by some called the Versailles
of Morocco. The palace of the sul¬
tan is particularly attractive. There
are views of the gate of Bab-el-Man-
sour built in the XVII century, and
also of a typical street.

The castle of Chantilly consists «f
the “Small Castle” built in the fif¬
teenth century and the “Large Cas¬
tle” built in the thirteenth century.
This was destroyed during the revo¬
lution, but was reconstructed by the
Due d’Aumale in the middle of the
last century. The castle has been
donated to the Institute of France and
is now a museum. The various apart¬
ments are shown: The hall of hunting
trophies, the hall of the guards, the
study, the grand salon, the picture
gallery, and the library.

“By the Blue Mediterranean” pic¬
tures the Gulf of St. Tropez, one of
the most beautiful that wash the
shores of Provence. A tour of the
gulf is taken, showing the wonderful
pines at Foux, the quaint towns of
Ste. Maxime and St. Tropez, and the
ancient citadel defending the latter
place.

* # *

THE recent visit of President Wil¬
son to New York to signal for
the permanent lighting of the
Statue of Liberty is pictured in Mutu¬
al Weekly No. 102. The picture of the
great gift of France in the soft glow of
its reflected lights is particularly effect¬
ive. President Wilson is also seen as
his party was afterward escorted up
Fifth avenue in a blaze of lights. An¬
other picture of the nation’s chief ex¬
ecutive is from Washington', D. C,
when he went to the capitol to make
the opening address to congress.

Homes of Two
Presidents Shown

President Wilson's
and President Jeffer¬
son’s home in Scenic.

BY reason of their geographical
propinquity the homes of Presi¬
dent Thomas Jefferson and Presi¬
dent Woodrow Wilson are shown in
the same issue of Gaumont’s “See
America First” No. 67, released Dec.
20. The reel is called “Picturesque
Virginia.” It shows historical land¬
marks of Charlotte, Staunton, and
Afton, together with some beautiful
mountain scenery.

At Charlotte is Monticello, the
home of Thomas Jefferson. There
are a number of views which give
an excellent idea of the place just
as it looked in the days when it was
the home of the author of the im¬
mortal Declaration of Independence.
The monument to him is shown, com¬
memorating his purchase of Louisi¬
ana.

In the picture of Augusta County,
in which Staunton is located, there
are beautiful panoramic peaks in
Virginia, and the valley. In Staun¬
ton itself the cameraman paid par¬
ticular attention to the birthplace of
Woodrow Wilson. There are also
some views of educational institutions
and panoramas of the mountains and
the valley.

On the same reel is a Gaumont
Kartoon Komic of more than the
usual amount of merry madness put
into it by Harry Palmer who an¬
imates these “made-for-laughter” con¬
tributions to this reel. It is called
“Curfew Shall Not Ring.” His Sa¬
tanic Majesty, the Spirit of Prohibi¬
tion, and Demon Rum figure prom¬
inently in it.

* * *

ONE of the surprises of the last
month has been the eager inter¬
est displayed by spectators for
pictures of the Battle of the Somme.
This is being satisfied weekly by the
Mutual Weekly, which has received
some remarkable pictures from just
behind the firing line. The Mutual
Weekly is made by the Gaumont Com¬
pany at its Flushing, N. Y., _ labora¬
tories, and from the great Societe des
Etablissement Gaumont in Paris,
France, is in receipt of battle negative
by every ship from the sister republic
in Europe. The Somme pictures in
Mutual Weekly No. 102 include “Big
Gun Fire Directed by Telephone from
Observation Balloons,” “Big 75s Being
Rushed to More Advantageous Posi¬
tions,” “Air Squadron Ready to
Leave,” and “Cathedral Ruins.” Im
the same issue is the picture of the
French aviator who bombarded the
Krupp works at Essen.

REEL LIFE — Page Five

where Helen is visiting. In this game Little Bear is play¬
ing. He makes a hero of himself and wins the adulation
of the spectators. Helen signals him into the grandstand as
the game finishes and tells him of the situation in the con¬
struction camp. She appeals to him to get one hundred
workmen to take the places of those who have quit the con¬
struction force to follow the false news of the gold strike.

Little Bear responds to Helen’s appeal by recruiting from
the crowd in the grandstand one hundred men — his state¬
ment to them of the situation stirs their sporting blood.

They board a special train for the place where the con¬
struction force has been working. An employment agent,
in the pay of Holmes, witnesses all this and phones the
lumber king, who gets his foreman, Behrens, on the wire
and causes him to hire a bunch of dissolute cowboys to hold
up the train and prevent the football crowd from taking up
the work laid down by the men who deserted to go to the
alleged gold field.

The cowboy spectacle in this chapter is one of the most
excitable scenes imaginable. A train holdup need not neces¬
sarily be a novelty but this one is. The cowmen come swing¬
ing round the bend on their cayuses with quirts swinging
and spurs digging — a really exciting rush. When the band
turns loose its artillery there is nothing left to be desired by
those who love vivid action and the clash of combat. After
the fight is over there are wounded men scattered all over
the landscape. What the football men did to the cowboys
is also worth seeing.

The special train is ready and the recruits are aboard,
but there is no engineer. In this emergency Helen springs
into the engine cab and throws wide the throttle. The train
moves out.

Just then one of Holmes’ cowboys races alongside the
cab, lassoes Helen, and jerks her out of the engine onto his
saddle. She fights with him, braces herself against the
horse and makes a flying leap back into the cab, where she
resumes control of the throttle.

The closing of the chapter on the screen shows construc¬
tion work under way by the football recruits.

HELEN HOLMES does one of her most
spectacular screen “stunts” in Chapter X
of “A Lass of the Lumberlands,” the Sig¬
nal-made photodrama being released in
fifteen chapters through the Mutual Film
Corporation.

Helen is at ^he throttle of a freight
engine. A cowboy, hired by “Dollar” Holmes, rides along¬
side the cab, lassoes her and drags her onto his saddle. She
braces herself and makes a flying leap back into the cab,
regaining control of the throttle.

Holmes has given his note for $27,000 for the building of
his lumber railroad past the station called Shady Creek.
The note is payable the 16th of the month, by which time
the extension must be finished. He cannot meet the note
by that date, and it is his plan to not complete the extension
of his road because to do so would give his timber rivals
access to the mills and ruin the market for himself. So
Holmes conspires with his crooked foreman, “Big Bill”
Behrens, to engineer a strike of the workmen building the
extension.

Behrens pays a mining prospector to come into the con¬
struction camp with bogus news of a gold strike some
miles distant, and he stampedes the men. They become
crazed with the “news” and desert their work to get to the
place the prospector tells them of.

It is a crucial situation for the small timber holders, but
Helen, with the help of Little Bear, her half-breed Indian
friend, saves the day for them.

It happens that a football game is on in Capital City,
where the executive offices of Holmes’ lumber trust are and

REEL LIFE— Page Six

“THE EYES THAT HOLD”

Fifth chapter of the great
thrilling story “ The Vam¬
pires'' produced by\Gaumont

SITUATIONS of surpassing intensity frame
themselves against a background of sump¬
tuous rooms and lavish gowns, moonlit ivied
walls of old French inns, and hypnotism and
crime and deep intrigue, in Episode Five of
“The Vampires,” which will be released
1 Thursday, December 28.

George Baldwin, a Chicago millionaire, has been
robbed of $200,000 by his cashier, Morton, who then
fled. Baldwin advertised in the newspapers of the
United States and Europe that the person apprenhend-
ing Morton would be entitled to all of the stealings that
might remain.

Philip Guard, a Paris newspaper reporter, determined
to “go after this,” as the American saying is. In his
search for the absconder he had the companionship and
assistance of Normandin, formerly head of the Vampires
but now reformed into straight living. They start out.

As guests at a charming old inn in the Forest of Fon-
tainebleu are Colonel Kastel and his wife, distinguished
persons. Secretly the Colonel is the leader of the Vam¬
pires — the cunningest, most secret and most powerful
band of criminals in Paris.

Arrive at the inn a young American
of elegance, accompanied by a woman
whom he introduces as his wife. Kas¬
tel at once suspects that he is the ab¬
sconding cashier, and determines to
make him his victim, lured by what
may be remaining of the $200,000
theft. The reporter Guard and his
companion Normandin also suspect
the American, and while tracking him
near the inn they see him secrete
something in a gully. Investigating,
they find a casket containing $150,000
in French bank notes — what’s left of the Chicago theft.
They remove it secretly to a room they have engaged at
the inn, a few doors from the chambers occupied by the
Kastels.

Enrique Moreno is an ex-Vampire with enemies in
that organization to be revenged upon. To aid in his
schemes he employs falsely a young and innocent girl,
and places her under his fearful hypnotic power. Aware
of Kastel’s plans, he dresses this girl in Vampire garb —
skin-fitting black tights from neck to heel, the head and
face enshrouded in a black bag, through which gleam the
eyes. Though the unconcealed outlines are full of lure,
the spectacle is a chilling horror to make an audience
gasp.

In the third act of the Fifth Episode the figure in
black delivers a note from Moreno to Kastel saying the
former has a Vampire woman in his power and will
kill her unless the Vampires divide with him their loot.
The episode closes with a struggle between gendarmes
and Morton, the American, who is denounced as a thief
by the woman supposed to be his wife, and whom he in
vain tries to murder. He finally confesses his identity
and his crime, and Philip Guard and Normandin, instead
of the Vampires or Moreno, receive the $150,000 in the
casket.

The struggle between Morton and his woman companion
in their room while the gendarmes are on the corridor side
of their door is extremely spectacular. He hears the noise
of their approach and knows the end of things for him
has arrived. He takes a pistol from his pocket and tries
to kill her, meaning immediately afterward to shoot himself.
The woman struggles with him to keep him from his pur¬
pose and to throw open the hall door to admit the gendarmes.
In both of these efforts she succeeds — and as the policemen
rush headlong into the room Morton fires point-blank at
them, but his shot goes wild and they seize him. In a
moment he is handcuffed, and presently he confesses, at the
questioning of the chief of the French detectives, his guilt
of the Chicago theft and his identity.

Chapter Titles of Gaumont’s “The Vampires”

The Detective’s Head. The Eyes That Hold.
The Red Notebook. Satanas.

The Ghost. The Master of Thunder.

The Dead Man’s Escape. The Poison Man.

The Terrible Wedding.

REEL LIFE — Page Seven

COMMENTS FROM EXHIBITORS

PJ. CONCANNON, secretary of the
Kansas State Branch of the Mo¬
tion Picture League of America,
who is in business at Emporia, Kansas,
deserves credit for the manly fight he
has made and is making against unfair
criticism and accusation in Kansas and
elsewhere, against the motion picture in¬
dustry and those engaged in it. In re¬
cent correspondence with the Mutual
Film Corporation he has outlined his
position.

An article printed in the Emporia Ga-
z.ette, William Allen White’s famous pub¬
lication, contained an editorial entitled
“Movie Censorship,” which was so
palpably based on misinformation and
misconception of the facts, that Mr. Con-
cannon at once replied to it.

The charge made in the editorial was
that a slush fund of $5,000 was main¬
tained by the Motion Picture League of
America for the purpose of having the
censorship law of the state repealed.

‘As to the truth of the statement con¬
tained in your editorial,” wrote Mr. Con-
cannon, in an article which Editor White
printed in the middle of his front page —
“I as secretary of the state branch of
the Motion Picture League of America,

Theatre owners give their
ideas on Mutual produc¬
tions they have shown

am able to show that our treasury con¬
tains the munificent sum of $300.

“At the last National convention of
the Motion Picture Exhibitors’ League,
held last July in Chicago, the new treas¬
urer had the books turned over to him
and at that time the balance in the treas¬
ury was one cent.

“The fact is that exhibitors every¬
where are opposed to censorship and
will use every honorable means to have
the censorship law repealed, but there
is no slush fund to be used nor is that
sort of fund in existence.

“The exhibitors of this state have been
termed ‘outlaws’ which is an insult to
those who are in the business. I can
state of my own personal knowledge that
there is not one picture show in the
state of Kansas that does not comply
with the law in regard to what is shown
on the screen.”

* * *

WHEN Robert Saunders, live wire
manager of the Rex Theater in
Salt Lake City, Utah, booked
Charlie Chaplin’s success, “The Pawn
Shop,” at his house, he bought him $15
worth of paint and labor and got him
the front of a pawn shop painted on a

piece of canvas large enough to stretch
across the front of his house. In addi¬
tion he set some old trunks, jewelry and
clothes around the lobby.

The additional business he did the first
night more than payed for his display,
and it attracted a lot of attention to his
house.

The Rex Theater is one of the houses
controlled by the Swanson Theater cir¬
cuit, which also owns the Liberty and
American Theaters, the latter of which
is accounted one of the very finest pic¬
ture theaters in the United States.

H. E. Ellison, general manager of the
Swanson Theater Circuit, claims “Be¬
hind the Screen” to be Chaplin’s greatest
hit. This picture just finished a very suc¬
cessful run at the American Theater.

* * *

U\t tE wish to express our thanks
W for the attention you have
' ' given the serial picture, ‘A
Lass of the Lumberlands,’ as it has cer¬
tainly proved to be a great success,”
writes J. Dormal, manager of the Dia¬
mond Theater of Duluth, Minn. “Our
house was filled to capacity Sunday. It
was due to your efforts and your medium
of advertising.”

“SIXTEEN YEARS OF KNOWING HOW”

Flicker Facts

BY OPERATING A MOTION PICTURE PROJECTING IMACHINE ABOVE
NORMAL SPEED FLICKER MAY BE ELIMINATED.

BUT

THE GREATER THE SPEED OFJOPERATION THE LESS NATURAL AND
LIFE-LIKE WILL HUMAN ACTION APPEAR UPON THE SCREEN.

Our Intermittent Movement

AN EXCLUSIVE FEATURE OF

Power's Cameragraph

WAS DESIGNEDIWITH THE FOLLOWING POINTS'IN MIND:

1.— FLICKERLESS PICTURES, RUN AT NORMAL
SPEED.

2— MINIMUM WEAR ON FILM.

3 — MAXIMUM STRENGTH AND DURABILITY OF
PARTS.

AN INVESTIGATION INTO THE MERITS OF OUR PRODUCT WILL
ATTEST THE FACT OF THEIR ACCOMPLISHMENT.

START BY WRITING FOR CATALOG V.

Mailed Upon Request

NICHOLAS POWER COMPANY, Ninety Gold St., NEW YORK

REEL LIFE — Page Eight

^ More Than 2000 Theatres -

Are RunningThis Amazing Chapterplay

THEATRES everywhere are “holding ’em

out” with the newest and best of the Helen Holmes
serials — “A Lass of the Lumberlands.” Manager after mana¬
ger is proclaiming it the greatest drawing card he ever had — bigger — better — more
spectacular than any of the previous Helen Holmes productions.

’X^HELEN HOLMES

There are more big scenes in single chapters of “A Lass of
the Lumberlands” than the average serial contains in its entire length.
Daring Helen Holmes holds audiences spellbound by her recklessness. This
phenomenal new chapterplay is delighting the most blase of theatre patrons.
Exhibitors are voting it a real business builder. Stimulate business at YOUR
theatre. Book “A Lass of the Lumberlands” now at any Mutual Exchange.

15 amazing chapters — a new one each week.

Produced by Signal Elm Corporation, Directed by J.P. M-Gowan,

VNOW BOOKING AT68 MUTUAL EXCHANGEf^

Scene from Chapter 9 of
'A Lass cf the Lumberlands

REEL LIFE— Page Nine

FRANK POWELL

Qknouncer

(7He(Peerlesr Emotional OctreST

adapted from ide famous
noVel by (ferirucie (Xi tuition.

%r tuft or t(\e Nance 0 Neil
Mutual 9taf Production? i? wov)
beind daejed at: tke ?ludio?oP
■fctva Frank. Powell Producing Lbrp
oration. Release date Will be
announced duntlyl Booking atn
be arranged at dn/of tke 68
Mutual Exclvan^er.

PRANK POWELL

CXnnouncer

Qroaclrfajt'r ^hrforile f¥ar~

Crranqed from CUcfefnon, Boy&forip
Jhmar&abLe ftacfe SuccefP.

Ok all-ttar cast. (leaded W live cfreat
Bel aSfco star. Aubrey Beattie .itfll Sup¬
port Miff RdmWu. in tki? first of her
Mutual Star Productions'. ~ ^ v
Produced by Frank Wdl Producing

Corporation. Release date announced
skortl/. ~ NoW bookituj at 68
Mutual E fcbancfef:

w\)>i!)ll>»)i)u) iiHMllUnunnnnnn'

AMERICAN FILM COMPANY, INC.,£WWr

RUSSELL

&n epic of t(ve underworld.. CL Cl Mutual flat Product

real storf of a "dip's'" life and powerful acts: Rimed at i

(veroic Sacrifice .Written bf a of Ike American Rim. Coi

convict infincj fmcj penitentiary. at fdnta Barbara, Califc

MarVelouCinitrrealtSm. v " tideaQd tire Week of Dee<

CUtoundincj iuitf (wart appeal. tfroucjfv 68 Mutudt E*

William russell mutual star, productions ^ av.

■the HIGHEST BID- - 'THE STRENGTH OF DONALO McKENZIE--
1 "SOULMATES'- “THE MAN WHO WOULD NOT DIE'-THE TORCHBEARER"

* "LONE STAR-'- 'THE LOVE HERMIT"

MUTUAL

GAUMONT CO., Pntentr

VAMPIRES'

Every second exciting! Every minute thrilling!
Every episode sensational ! This fascinating series
of nine French detective stories— each complete
in three parts — is producing tremendous business
wherever it is being shown.

The VAMPIRES are a ruthless band of
arch criminals who terrorize Paris. A
daring young newspaper reporter takes
it upon himself to rid the city of its af¬
fliction. Criminal cunning is matched
against reckless bravery. Law and right¬
eousness fight for supremacy,

. Pack] your house to capacity
with this nine-chapter serial.

Produced by the Gaumont Co.

Book “The Vampires” NOW
thru any Mutual exchange.

Now BookmqAt
68 MUTUAL
EXCHANGE?

[tfsR

/

-46

m

REEL LIFE- — Page Thirteen

featuring

EARL METCALFE
HELEN GREEN
ZENA KEEFE

I RELEAfED
DEC- 28th.

Produced by

' NIAGARA FILM fTUDlOf

Di reded by

GEORGE TERW1LLIGER

15 ftarlliiuj Motion Picture fieri z^-Eack Complete

Newspaper life as it really is. Real

stories of the thrills of newspaperdom. The
editor tells the girl reporter to “Get the Story!” She
always gets it. But few of us realize the exciting events
connected with the securing of the news of the day. HOW
it is secured forms the basis of this snappy and unique serial
— ‘The Perils of Our Girl Reporters.” It’s a real house
packer. Wire or write your nearest Mutual Exchange at once.

BOOKING NOW

-at €8 Mutual Exchanger

The Stories

‘The

Perils of Our Girl
Reporters”

1. The Jade Necklace

2. The Black Door.

3. Ace High

4. The White Trail

5. Many a Slip

6. A Long Lane

7. The Smite of Conscience

8. Birds of Prey

9. Misjudged

10. Taking Chances

11. The Meeting

12. Outwitted

13. The Schemers

14. The Counterfeiters

15. Kidnapped

REEL LIFE — Page Fifteen

Vogue Films, Inc., Presents

TREED

Featuring Rube Miller

Supported by Lillian Hamilton

THE village grocery store is the setting of
this Vogue comedy. There love, intrigue
and jealousy run riot. There one of the
funniest automobile elopements ever screened is con¬
ceived. The Fierce-Sparrow car of the bride-groom is
good for at least a thousand laughs in itself. Its plunge off the
cliff and into the top of a lofty tree will thrill audiences every¬
where. There are thrills galore. There is slapstick aplenty. Directed by
Rube Miller. The distinctive Vogue comedies are obtainable at! any
of the 68 Mutual Film Exchanges. Liven up your program with them.

VOGUE FILMS, Incorporated

General Olfices, 6225 Broadway, Chicago, 111.

Reason

ck

with

Slapst

<•

REEL LIFE — Page Sixteen

MUTUAL PICTURES MUTUAL STAR PRODUCTIONS

Week of December 25, 1916

No. Brand

05246. - - . ,

05247.Ml,tual

05248

Gaumont

05249

05250

Mutual

Gaumont

05251

Mutual

05252

05253

Star

05254

05255

05256

rVogue 1
Gaumont

No.

05235

Brand

05236

ATrrruaP

05237

Gaumont

05238

05239

Mutual

Gaumont

05240

Mutual

05241

Mutual

05242

Star

05243 |

05244*1

05245

Gaumont

MONDAY, DECEMBER 25, 1916.

Title Class Reels Leads

Indiscretion . Drama 2 Ethel Grandin

TUESDAY, DECEMBER 26, 1916.

Mutual Tours Around the World TheTheve River,

. Travel 1 France: Flor¬
ence in the

WEDNESDAY, DECEMBER 27, 1916. Swiss Alps

Mutual Weekly No. 104. Topical 1

See America First. . .Scenic and
Kartoon Xomics . Cartoon 1

THURSDAY, DECEMBER 28, 1916,

Peter’s Perfect Photoplay .Com. 1 Bud Ross
FRIDAY, DECEMBER 29, 1916.

1

SATURDAY, DECEMBER 30, 1916.

Grimsey the Bellhop ... Comedy 1 Alexander Clark

SUNDAY, DECEMBER 31, 1916.

Jealous Jolts . Comedy 2 Ben Turpin

Reel Life . Magazine 1 The Olive In¬

dustry, the
Most Unique
Basket

Week of December 18, 1916

MONDAY, DECEMBER 18, 1916.

Title Class Reels Leads

Buddy's Christmas . Drama 2 E. K. Lincoln

TUESDAY, DECEMBER 19, 1916.

Mutual Tours Around the World Morrocco, Chan-

. Travel 1 t illy by the

Mediterranean

WEDNESDAY, DECEMBER 20. 1916.

Mutual Weekly No. 103. Topical 1

See America First .. Scenic and
Kartoon Komics . Cartoon

THURSDAY, DECEMBER 21, 1916.

The Rlopement . Comedy 1

FRIDAY, DECEMBER 22, 1916.

. Drama 1 .T. Warren

Kerrigan

SATURDAY, DECEMBER 23, 1916.

Every Lassie Has a Lover. Com. 1 Alice Dovie
SUNDAY, DECEMBER 24, 1916.

Fickle All Around . Comedy 2 Rube Miller

Reel Life . Magazine 1

Mutual Masterpictures

IMMEDIATE DEE
Anna Little
Frank Borzage

_ THE UNDERTOW

Helene Rosson
Franklin Ritchie

THE VOICE OF LOVE

Winnifred Greenwood and
Edward Coxen

A WOMAN’S DARING

Winnifred Greenwood and
Edward Coxen

LAND O’LIZARDS
Anna Little and
Frank Borzage

THE LIGHT

Helene Rosson and
Franklin Ritchie

THE MYSTERY OF THE
RIVIERA

A WALL STREET TRAGEDY
Nat Goodwin

THE HOUSE OF MIRRORS
Frank Mills

FATHER AND SON
Henry E. Dixey

HER AMERICAN PRINCE
Ormi Hawley

DUST

Winnifred Greenwood and
Franklin Ritchie

THE DECOY

Frances Nelson

THE SIGN OF THE SPADE
Helene Rosson and
Alan Forrest

Week of December 25, 1916

MARY MILES MINTER

No. 162 — The Innocence of Lizette —
American

In Five Acts

Week of December 18, 1916

WILLIAM RUSSELL

No. 161 — The Twinkler — American

In Five Acts

MARY MILES MINTER

FLORENCE TURNER

Youth’s Endearing
Charm

Dulcie’s Adventure
Faith

A Dream or Two Ago
The Innocence of Lizette

WILLIAM RUSSELL

&

o*-,rlS

Far From the Madding
Crowd
Doorsteps
A Welsh Singer
_Redeemed

Grim Justice
East Is East

Soulmates
The Highest Bid
The Strength of Donald
McKenzie

The Man Who Would
Not Die

The Torch Bearer
The Love Hermit
Lone Star
The Twinkler

HELEN HOLMES
Whispering Smith
Medicine Bend

Judith of the Cumber-
lands

The Diamond Runners

The Manager of the
B. & A.

RICHARD BENNETT

Philip Holden — Waster
And The Law Says.

The Valley of Decision
The Sable Blessing

MARGARITA FISCHER

The Pearl of Paradise
Miss Jackie of the Navy
The Butterfly Girl
A Night at Tarquizzi
Birds of Passage
The Devil’s Assistant

KOLB AND DILL
A Million for Mary
Bluff

The Three Pals
A Peck O’ Pickles
Lonesome Town
Buttin’ in Der Vest
Decent Deuces

CHARLES CHAPLIN
The Floorwalker
The Fireman
The Vagabond
One A. M.

The Count
The Pawnshop
Behind the Screen
The Rink

PHOTO-NOVELS

Perils of Our Girl Re¬
porters

A Sequel to The Dia¬
mond from the Sky

The Vampires

A Lass Of The Lumber- iS-fL'I '
lands. “S

The Girl and the Game

The Secret of the Sub¬
marine

Fantomas

Mutual’s Growing Roster

“Only Big Stars for 1917”

The Mutual Film Corporation
has announced

MARJORIE RAMBEAU
NANCE O'NEIL

And this week announces:

GAIL KANE

And next week will announce:

??????????

And the next week will announce:

????????????

And the following, week will announce:

??????????????

And we have Mary Miles Minter, Mar-
g,arita Fischer, Charles Chaplin, Richard
Bennett, William Russell,— hein^ of the
first magnitude in class and box office
value.

“Only Big, Stars for Mutual in 1917”

LsVdi)

AMERICAN SIGNS GAIL KANE

Another noted actress
added to growing list
of “ Only Big Stars"

AIL KANE, celebrated star of the screen
and the speaking stage has signed a long
term contract to appear in American Film
Company productions for Mutual distribu¬
tion.

The contract and all formal legal agree¬
ments were closed Friday, December 23,
by the signature of Samuel Sheffield Hutchinson, presi¬
dent of the American Film Company, in Chicago — thus
ending long negotiations which were opened through the
Mutual’s New York office.

Miss Kane is now preparing for her departure for Santa
Barbara where she will begin work at the American
western studios about January 22. She is now appearing
with important success in '‘The Harp of Life” at the
Globe theatre in New York.

“Special preparations for the coming of Miss Kane
have been begun on telegraphic instruction to Santa
Barbara,” said Mr. Hutchinson. “We are selecting for
Miss Kane dramatic vehicles of the type which have con¬
stituted her greatest successes. Also our whole staff
is devoting its efforts toward the selection of the proper
supporting casts for each of the Kane productions. The
selection of the supporting cast is being given unusual
attention, with an eye on both the New York and the
west coast fields.

Gail Kane is the third important star announced for
Mutual productions for 1917. Marjorie Rambeau and
Nance O’Neil, both now at work before the camera at the
Powell Producing Corporation’s studios in New York,
were the first announced following President John R.
Freuler’s declaration of policy, “Only big stars for the
Mutual.”

Gail Kane is one of the most beautiful women known
to the screen. She is of the statuesque type, classically
perfect, yet with the endearing charm of intense human¬

ness. Miss. Kane’s large hazel eyes and her masses of
red-brown hair, are sufficient in themselves to afford an
artist inspiration, to which her perfect features would
at once convert into an obsession.

Miss Kane’s career was begun under Charles Frohman
six years ago. She first appeared under Mr. Frohman’s
management in “Decorating Clementine,” appearing in
the first production at the New Theatre with Winthrop
Ames. Later she was presented in “As A Man Thinks,”
by Augustus Thomas, at the Thirty-ninth Street Theatre
in New York. She was the young actress then picked
by Mr. Thomas to star in his successful play “The
Model,” and later again appeared for Mr. Frohman with
Winthrop Ames in “Anatol” at the Little Theatre. After
that Miss Kane became Chauncey Olcott’s leading lady
in “Macushla.”

The next big Broadway hit of Miss Kane was as
“Myre The Adventuress” with George Cohan in his
Broadway hit, “Seven Keys to Baldpate,” delivering in
this play the famous “Go to Hell” speech, which was one
of the most discussed theatrical bits of all time.

Miss Kane was then selected to appear in Cohan’s
only serious play “The Miracle Man,” put on at the
Broadway Theatre, New York, which launched her for
an appearance at the Astor Theatre two years in suc¬
cession.

Miss Kane then appeared in the last play produced by
Mr. Frohman before he was lost on the Lusitania — “The
Hyphen.”

In her present engagement at the Globe Theatre, New
York, in “The Harp of Life,” Miss Kane is enjoying a
great success. She was booked for this engagement last
year, after she had made a great triumph for herself in
Augustus Thomas’ famous play “Arizona,” in which Mr.
Thomas himself induced her to make her first appearance
before the motion picture camera.

REEL LIFE — Page One

^)y(arcjfarfia ^teller in

Molly “Pep” O’Mally

Robt. Whipple, Jr .

Marcus Renshaw .

Trixie Louella Boniface.

Little Sister Bess .

Robert Whipple, Sr .

. . . M argarita Fischer

. Jack Mower

. . ./. Gordon Russell

. Della Pringle

Baby Marie Kiernan
. Joseph Harris

BUTTERFLY GIRL,” third of the

V ■ f Margarita Fischer series of Mutual-Star
productions produced by the •Pollard Pic¬
ture Plays Company and directed by
I Henry Otto, is one of the most appealing
of the dramas produced under these
auspices, and it affords Miss Fischer with
her splendid staff, a first rate opportunity to appear at
their best.

The story is that of a little girl — “Pep” O’Malley, who
despite extreme poverty of her surroundings, possesses
the wonderful poetic idealism of the Irish child, and,
through the gift of imagery, realizes out of sordid actuali¬
ties, the fairyland of he-r dreams.

Mr. Otto chose for his locale, the make-believe
mountains and valleys, the tinsel and glitter and bright
lights of the San Diego Exposition, amid tortuous streets
of which little “Pep,” who has been consigned to the
care of an aunt, acting in one of the concessions as the
“Butterfly Girl,” makes her wondering wide-eyed way — a
veritable Alice in Wonderland.

Miss Fischer enters into the spirit of the story with
entirely delightful sincerity of treatment, making of the
little waif a character that cannot fail to enlist the sym¬
pathies of all who see the play, being aided most artis¬
tically by a capable cast which includes J. Gordon Russell,
Jack Mower, Joseph Idarris, Della Pringle and Marie
Kiernan.

“The Butterfly Girl,” has the important quality of
appeal to patrons of all ages. Children are certain to be
delighted with it, because “Pep’s” adventures among the
concessions are of the sort that every boy and girl would
delight to duplicate, while the fascination of the play for
older persons is more particularly to be found in the in¬
tensely human quality of the drama which grips the
hearts of all child lovers.

Mr. Russell, who plays Marcus Renshaw, the villain of

Heinie, The Weinie Man

the play, is subtly convincing in his portrayal of the backer
of concessions, who has an eye out for every pretty girl
happening to drift into the turgid current of the Midway,
and his immediate recognition of “Pep,” the little Irish
maid, as an ornamental addition to the street of which he
is “boss,” inspires whole-souled hatred, which is highest
praise, in the hearts of motion picture patrons.

Russell’s pursuit of the pretty girl and her many hair¬
breadth escapes from traps set by him, aided by “Bob”
Whipple, Jr., maintain a constant suspense and serve to
build up a story which for exciting episode and sustained
interest has never been excelled in any of the Fischer
series of plays.

Jack Mower, who plays Whipple, Jr., carries the digni¬
fied role of the governor’s son, who is at the same time
a rambler, seeking adventure, without overstepping the
balance in either direction. In his love affair with little
“Pep” O’Malley, Mower is convincing, and in his wild
adventures involved with the rescue of “Pep” from plots
and schemes of her Nemesis, he conveys the impres¬
sion of intense earnestness.

Della Pringle, who is “Trixie” Boniface, an experienced
woman of the sideshows, “Pep’s” aunt, is given a good
opportunity in portrayal of the professional woman who
has reached the limit of her usefulness as a performer,
owing to the waning of her charms.

Miss Pringle’s acting when she pictures the pathetic
situation involved in “Trixie’s” discovery that she is no
longer considered young enough to appear as “Little
Butterfly,” is real art. The woman of the stage, become
passee, sits before her dressing' room mirror contemplat¬
ing the ravages of time as betrayed in wrinkles and hol¬
lows which had not so impressed her until the brutal
realism of the sideshow manager forced them upon her

REEL LIFE— Pase Two

mmmunmamm

attention, together with the announcement that a new
butterfly, Little “Pep,” has been secured to take her place.

John Steppling as “Heinie, the Weinie Man,” furnishes
much of the comedy, which is of a clean cut sort, well
adapted to the balance of the play. “Heinie” supplies
“Pep” and her little sister “Bess,” who is her constant
companion, with “hotdog” sandwiches and other eatables
from his basket. This character is sure of popularity
since the “Weinie” man has become an established insti¬
tution throughout the United States, and his advent im¬
mediately becomes part of the play’s action.

Scenes in the Midway are realistically portrayed and
they have an interest all their own, since thousands of
motion picture patrons who did not see the San Diego
exposition are here given an opportunity to inspect some
of the principal features of the big show in which the
scene of “The Butterfly Girl” is laid.

The familiar Midway exhibitions are there in all their
tinsel and glamor — the shouting announcers and the girls
in tights on the “samplers” outside the booths. These
lightly clad damsels, some of them wearing wings and
long flowing golden wigs, convince little “Pep” O’Malley
that her dream has come true, for are not the fairies
themselves wearing their wings and smiling down at her
from their precarious perches?

The photographic work is all so good that every
feature of the play is brought out with the utmost dis¬
tinctness. In “Pep’s” wanderings about the grounds she
is constantly under the eye of Renshaw, whose designs
upon the child maintain interest in her adventures from
beginning to end.

Interest in the story grows with the attempt of Ren¬
shaw to get rid of “Trixie” Boniface, and to separate
“Pep” from her small sister “Bess.” Throughout the
play these two children are impressed with the reality of
their surroundings. To them the stage mountains are
real and all the tinsel and paint under the bright lights
of the Midway are elements in the wonderful fairyland
to which they have been transported.

“Pep” O’Malley has been particularly fascinated by
the spectacle of Mount Kilaeua in eruption, the tall
wooden framework seen from the rear doing nothing to
dispel her conviction that this is a real mountain and
the nightly eruption a real convulsion of nature. The

MARGARITA FISCHER MUTUAL STAR
PRODUCTIONS.

The Pearl of Paradise Miss Jackie of The Navy

The Butterfly Girl The Devil’s Assistant

Birds of Passage A Night At Tarquizzi

convincing innocence of Miss Fischer’s “Pep” is what
saves her from being laughed at when in a frenzied effort
to escape the clutches of the evil Renshaw, the child tries
to throw herself into the volcano’s crater and is rescued
from the tangle of timbers behind it by Whipple, the gov¬
ernor’s son, who carries her off to safety.

“THE DEVIL’S ASSISTANT” FISCHER’S NEXT
PRODUCTION.

Margarita Fischer’s next play, “The Devil’s Assistant,”
is believed by Miss Fischer herself and by Director Harry
Pollard of the Pollard Picture Plays Company, producers,
to be one of the most striking as to plot and action, ever
put on the screen under these auspices.

There are distinguished players in the cast with Miss
Fischer, including Monroe Salisbury, Kathleen Kirkham,
Jack Mower and Joseph Harris. The story has to do
with a conspiracy, in which a doctor and a jealous woman
are involved, to ruin the life of the jealous woman’s rival
by making a drug habitue of her through the insidious
beginnings of drug administration for alleviation of pain.

While the drama was not written as a preachment on
the drug evil, it is nevertheless one of the strongest ser¬
mons against carelessness in the sale and administration
of drugs that has ever been written. The play is full
of thrilling episodes and Miss Fischer has an opportunity
to appear at her best.

REEL LIFE— Page Three

THERE is something of the boldness of con¬
ception that characterizes the writings of
Jules Verne in the construction of that
amazing Gaumont drama “The Vampires,”
of which “The Master of Thunder,” episode
seven, constitutes perhaps the most surpris¬
ing installment so far released by the Mu¬
tual Film Corporation.

Nothing is impossible to a villain like Satanas, who
is at the same time a scientist, inventor of extraordinary
devices for taking human life — who calculates to the frac¬
tion of an inch the spot upon which he desires to explode
a destructive bomb and then causes the explosion at the
precise second desired, operating from a point many
miles from the scene.

Episode seven opens with Irma Vep, the feminine
plotter of the evil gang known as “The Vampires,” which
is believed to have been broken up by Philip Guard, the
Parisian journalist and his friend Normandin, under sen¬
tence to life imprisonment, but ordered by the authorities
to go to Algeria before beginning her term of imprison¬
ment, for the purpose of testifying against certain crimi¬
nals there.

What more natural than that this woman criminal
should seek the consolation of her religion, or that a
priest should be summoned to comfort her in her dire
strait. Indeed what more natural than that the priest
should be Satanas, leader of the gang after “Chief Vam¬
pire” Moreno’s execution by the authorities, or that this
resourceful schemer should have already matured a plan
for the rescue of his associate?

The destruction of the ship upon which Irma Vep
sailed as a prisoner for Algeria is a startling bit of dra¬
matic sensationalism. The woman prisoner is confined
in the stern of the vessel, a fact, which coming to the
knowledge of Satanas, permits him to destroy the vessel
with one of his long distance bomb's, on the theory that
Irma may escape, but that if she dies she is better dead
than a life prisoner.

The escape of Irma Vep, her wanderings in the wilds
of Algeria without friends, since she dared not communi¬
cate with Satanas because of the fear that she might be
recaptured — the skill with which she eludes government
agents and spies on her tortuous route to the coast — con¬

tribute in exciting detail to the fascinations of this pic¬
ture, which is made up of a succession of thrills.

The principal appeal of “The Vampires” is that it is
never constrained by the ordinary limitations of construc¬
tive license. The spectator is aware that in the hands
of so astute and learned a villain as Satanas, there is
always a remedy for the most impossible situation — a
solution of the most intricate problem.

The return of Irma Vep to Paris, while apparently
achieved independently of Satanas and his intricate sys¬
tem of wireless communication, is nevertheless shrewdly
suspected to have been brought about by the chief’s
agency and he welcomes his associate back to Paris with
the same nonchalance that might have been expected of
him had she returned from dining with a friend in the Rue
Beauchamp.

Of course the principal aim of the Vampires is to
exterminate the journalistic tribe, headed by Philip
Guard, which was responsible for the execution of
Moreno, and which for years has menaced the very exist¬
ence of the underworld organization responsible for prac¬
tically all the systematized crime of Paris.

To this end the ingenuities and energies of Satanas and
his now reunited band are bent, with the result that
Guard and Normandin are soon confronted with evidence
of their imminent danger. One of the most startling
episodes in this release is the sudden descent of agents
of “The Vampires” on young Guard in his apartment,
where he is tied and left to die a lingering death with
an infernal machine ticking at his elbow. The clock¬
work device is, of course, to give his assailants time to
reach the other extremity of Paris in a taxicab before the
explosion takes place.

The real thrill comes when Normandin breaks into the
house, tosses the bomb into the street where it explodes
harmlessly, releases Guard and rings for the gendarmes,
who catch Satanas before he can get clear of the house
and rush him away to headquarters.

In the mysterious rites and incantations performed by
Satanas and his evil crew in the dimly lighted hall that
is really a disused wine cellar, fifty feet below the level
of the street, an appeal is made to the imagination, to
the human genius for mystery, that constitutes one of the
chief fascinations of “The Vampires.”

CHAPTER TITLES OF GAUMONT’S “THE VAMPIRES”

The Detective’s Head

Satanas

The Master of Thunder

The Red Notebook

The Dead Man’s Escape

The Poison Man

The Ghost

The Eyes That Hold

The Terrible Wedding

REEL LIFE — Page Four

Synopsis of “THE HONEYMOONERS”

Oiie Reel — Featuring George Derr

George is engaged to be married, and
his bachelor friends have considerable
fun at his expense. They are all present at the wedding,
and all swear to abstain from matrimony forever and
ever.

Cupid, however, aided by moonlight, shady lanes, etc.,
soon manages to soften the hard hearts of the bachelors
and one by one they pick their future sparring partners,
and sneak off to the minister’s, are married and swear
everyone to secrecy.

However, George secretly witnesses the weddings, and
later invites them all for a cruise on “Honeymoon Yacht.”
Here he confronts each of his friends with the evidences
of their guilt, and they confess their wrongdoing.

Paddy McQuire in a scene from the
two-reel Vogue Comedy, “A
Lisle Bank.”

As a result of a fall from a horse rac¬
ing over broken ground down the side
of a thirty-foot railroad embankment,
Leo D. Maloney, who plays leads oppo¬
site Helen Holmes in Signal-Mutual
productions, had the ligaments above his knee badly
torn. For purposes of production, Maloney, mounted
on a bare-back horse, was called upon to race through
several scenes in the thirteenth episode of “A Lass of
the Lumberlands.” In one of them he had to ride at
break-neck speed down an embankment. The horse
stumbled over a rail and fell headlong down the bank,
throwing the rider. He struck on one foot and his
leg twisted under his weight, tearing the ligaments loose
above his knee. According to the physician who attended
the case, it will probably be several weeks before he is
able to walk without a slight limp.

* =t=

Synopsis of “A LISLE BANK”

Two Reels — Wherein everyone gets into
oceans of trouble.

The Boarder, in arrears. .Paddy McQuire

The Star Boarder . Arthur Moon

The Widow . Margaret Templeton

Her Daughter . Gypsy Abbott

The Sleuth . Ed Laurie

Gypsy, the charming daughter of the
widow Templeton, who keeps boarders,
is wooed by both Paddy, the boarder in
hard luck, and Arthur, the star boarder.
Paddy fails to pay his board bill and
does not appear at the office in time and
is fired. Then it is that he heads for the
ocean to commit suicide. Meanwhile a
bank has been robbed and the robber has
hidden the booty in an old sock, near the
ocean’s edge. Paddy finds the sock full
of bills and then it is that things begin
to hum. After much excitement Paddy
and the burglar have a struggle on a
jack-knife bridge and both fall into the
water. The burglar is caught and Paddy
is complimented for his wonderful work
of capturing the desperado. However,
he is soon in the depths of despair, when
he finds that Gypsy has married Arthur.
* * * * *

telling of his success with what in the
old days he had contemptuously termed
“fillers,” “that I decided to make a study
of them. Gradually I came to see that
I was overlooking a valuable source of
revenue by not featuring good series of
such single reels. I saw that they were
building up my clientele, bringing new
people and making regular patrons of
those who had before only come occa¬
sionally.

“Motion Picture News had an article
in its December 23rd issue called ‘Con¬
sider the Little Ones — and Profit There¬
by.’ That article might have been writ¬
ten from my own experience, because I
have both considered and profited. It
is hard, I’ll admit, to get photodramas
suitable for a special matinee sometimes,
but I have no such trouble with my sin¬
gle reels. The Gaumont Company has
an ideal split-reel for such matinees. It
goes by the name of ‘See America First,’
but it contains also an animated cartoon
that is always a big factor in pleasing
the children.”

Mr. Golding’s leaflet gives a list of
subjects in the forthcoming single-reel
releases, as well as an illuminative intro¬
duction to each series.

* * * *

* * * * *

The time has gone by when the exhibitor said to the
exchangeman, “Give me a filler.” Now he says, “What
entertaining single reel have you?” This is indicative of
the rise in the general tone of the business, as well as of
the betterment of the single-reel itself to meet the better
demand, just how the exhibitor is impressing the value
of these shorter lengths of film upon his spectators is
well illustrated in the method of advertising employed
by Walter Golding of the Imperial Theater, St. Johns,
N. B.

Mr. Golding issues a leaflet giving a list of the enter¬
taining subjects which he will show in the near future.
At present he is featuring the Gaumont single reels with
great success, “Tours Around the World,” “See America
First” with Gaumont Kartoon Komics on the same reel,
and “Reel Life,” the Gaumont-Mutual Magazine in Film.

“I became so interested in the attitude of spectators
toward the occasional shorter length picture 1 showed
that was not a photodrama,” explained Mr. Golding in

Just as soon as Jack Vosburgh, who is playing the
“heavy” in the William Russell feature, “My Fighting
Gentleman,” arrived at the studio, he. was under fire of
a battery of questioners who remarked the similarity of
his name to that of A1 Vosburgh, formerly an American
actor. They are no relation to each other, the new
player said.

* * * * *

George Periolat, who plays an important role in the
first scenes of “The Gentle Intruder,” the new Mary
Miles Minter feature being directed by James Kirkwood,
is having an easy time this week at the Santa Barbara
studio of the American company. All he has to do is to
lie in bed all day while the camera records his failing
health and death. After three or four days of it, how¬
ever, Periolat says he doesn’t wish to see a bed for a
week. The episode is the foundation for the the story,
for through this death Miss Minter is made an heiress,
defrauded by -an attorney who yields to his family’s craze
for society.

REEL LIFE— Page Five

Helen Holmes' in

A LAW OF TH

AN intensely exciting episode in Chapter
XII of “A Lass of the Lumberlands,”
and one which for daring conception
has seldom been excelled on the screen,
is the race between two mogul loco¬
motives, one driven by Helen Holmes,
heroine of the thrilling lumber camp
story, and the other by professional engineers who know
the art of leaving a “loco” going fifty miles an hour with¬
out breaking their necks, and do it just in time to escape
going in the ditch when their big machine telescopes a
string of freight cars and then rolls over on its side.

As is eminently fitting, chapter twelve of the Signal-
Mutual photo-novel entitled “The Mainline Wreck,” takes
its title from the railroad episode, but there is so much
that is startling about this chapter of the big feature play
that it would have been possible to pick several strong
titles based on happenings almost as extraordinary as the
locomotive race.

For instance, when Young Stephen Holmes, Helen’s'
foster brother, undertakes to reach the goldmining camp
by canoe, using the rapid current of the Onawa river
to beat the train, and one of Millionaire Holmes’ emis¬
saries shoots away his paddle so that he is left to the
mercy of the rapids, with falls a hundred feet high only
half a mile away, there is another situation compelling
breathless interest.

Young Holmes is seen sitting helpless in the frail craft,
which spins like a top in the swirling current. Along
comes the express, with Helen sitting by the window in
a Pullman car. She is a witness to the firing of the shot
which smashes Stephen’s paddle, identifies Blake, the
renegade saloonkeeper, as having fired it, and as the train
stops she rushes to the tall bridge under which she knows
the canoe must pass within a few seconds, drops a 100-
foot rope and drags Stephen to safety.

The big scene in the gold diggings on Shady Creek,
with gold washing apparatus in operation and all the
paraphernalia of the gold camp on view, while young
Holmes disposes of his claim for $30,000 and turns the
money over to Helen in order that she may use it to pay
the graders whose money has been held up because
“Dollar” Holmes has started a run of the Woodman’s
bank, is a show in itself.

For the first time in his evil career, “Dollar” Holmes,
whose scheming mind keeps his opponents in constant
hot water, is given a taste of his own medicine in this
chapter. Thomas Lingham, who portrays Holmes, has
a rather disagreeable experience. After Holmes has
launched the run on the Woodsman’s bank and made him¬
self generally disagreeable after his usual fashion, the
depositors, a rough lot of lumberjacks, discover that
Holmes has drawn all his money out of the bank and
left them stranded without a cent.

With one accord they decide to take their grievance
out on Holmes, who is seized, rushed to the steep bank
of the Onawa and tossed incontinently into the rushing
stream. When Holmes is dragged from the water, more
dead than alive, his maledictions appear singularly sin¬
cere, and Mr. Lingham admits that he probably put as
much force into that particular bit of objurgation as he
ever did into any part.

Will M. Chapman, personifying Jim Blake, the boot¬
legger, handles a Winchester very much as though he
had been a woodsman all his life, in the scene where he
is trying to pick off the occupants of Helen Holmes’ en¬
gine cab, while himself shooting from the running board
of a pursuing locomotive.

Just how much railway rolling stock has been splint¬
ered into matchwood in the filming of this remarkable
play it is impossible to recall, but certainly not less than
$40,000 worth of cars and railway material have been
chewed up in the process.

Taking it as a whole Chapter XII is a highly sensa¬
tional series of episodes without a dull moment anywhere
in the action. As usual Helen Holmes is up and at it
from the gong to the bell, boarding trains, running off
engines, quelling bank riots, rescuing drowning men, run¬
ning down murderers, and making herself generally
useful.

That episode in which Miss Holmes hauls William
Brunton, who is Stephen Holmes in the play, a hundred
feet from the river to the bridge platform by a long rope,
is certainly an extraordinary one, because Mr. Brunton
doesn’t weigh less than 140 and the sheer physical
strength involved is enough to make folk wonder where
the little actress carries her dynamo.

REEL LIFE— Page Six

The Weekly — Reel Life — See America First — -Tours Around the World

“ Mutual Weekly ”
Full of News

Excerpts {tom a
letter of a sol¬

dier at the front

CHIEF amongst the interesting
events pictured in Mutual

Weekly No. 104 are excerpts
from a letter received from a soldier

at the front. These excerpts, which

are following, explain themselves:

“There are no restrictions placed
upon the use of the enormous stores
■of ammunition.”

“The big shells are loaded on little
carts and delivered to the gunners at
the front.”

“An attack started at 10 o’clock this
morning. Observation balloons were
sent up to locate the enemy’s posi¬
tion; the terrific shell fire being di¬
rected by telephone.”

“The Germans could no longer
stand the terrible bombardment and
came running toward our trench
with their hands up calling ‘Kamarad’
‘Kamarad.’ ”

“Notwithstanding unfavorable
weather conditions, our aviators took
a brilliant part in the fighting” —

— “bringing down two enemy
planes.”

“Late this afternoon a batallion
passed us on their return after cap¬
turing the village of Rancourt. These
brave little ‘poilus’ were singing the
Marseillaise.”

Other interesting events shown in
the latest Mutual Weekly are J. C.
Hanson instructs boys of Portland,
Me., to whittle toys from wood; the
Atlantic squadron mobilizes as the
southern commercial congress meets
at Norfolk, Va.; President Wilson
greets sailors at Washington, D. C.;
new city of South Los Angeles, Cali
fornia, christens the largest mail box
in the world. It is _ 32 feet high;
skating on chemical ice in Boston.
Mass.; an exhibition of designs for
Edith Cavell’s monument at Paris,
France; Irish rangers given farewell
at Montreal, Canada; building the
largest wooden ship in the world at
Oakland, California; U. S. Destroyer
“Shaw” launched at Mare Island,
California; Olive May Wilson, the
Santa Claus girl of Philadelphia,
sends greetings to over 25,000 chil¬
dren; strong man gives unique ex¬
hibition at San Antonio, Texas, and
soldiers and jackies in sham battle at
San Diego, California.

THE Educational Committee of
the Omaha, Neb., Women’s
Club, composed of Mrs. W. S.
Knight, chairman, Mrs. Edward
Johnson and Mrs. George D. Barr,
saw “Charity?” at a private showing
arranged for them by L. A. Getzler,
manager of the Omaha branch of the
Mutual, on Wednesday morning,
December 20.

After the showing these prominent
Nebraskan women expressed their
appreciation of the picture in the
following letter:

“We the undersigned members of
the Educational Committee of the
Omaha Women’s^ Club of Omaha,
having this morning attended a pri¬
vate exhibition of the picture film
‘Charity?’ hereby state our apprecia¬
tion and our belief that this film should
be a means of education and uplift
for the welfare of children.

“The picture faithfully portrays
the benefits to be derived from a
homelike atmosphere in public in¬
stitutions. Very sincerely yours,
Mrs. W. S. Knight, Mrs. Edward
Johnson and Mrs. George B. Barr.”

* * *

Richard bennett’s starring
vehicle, “The Valley of De¬
cision,” has been booked for a
three-day run at the Knickerbocker
theat'er in Columbus, Ohio. It will
be shown February 4, 5 and 6.

California's
“City of Roses

Beautiful city of
Pasadena, Cal., in
“See America First”

CHANGES in the release dates of
certain Gaumont single-reels
caused the postponement of the
scenic pictures of Pasadena. Cal., un¬
til “See America First” No. 69, re¬
leased January 3. This beautiful
residence city which might almost be
called a suburb of Los Angeles, were
it not for its distinct individuality,
has long been known as the “City
of Roses.”

Pasadena contains some of the most
beautiful winter homes in the United
States. These have been caught for
the screen by the Gaumont camera¬
man. At a time when the northern
half of the United States^ is covered
with ice and snow, the pictures will
come as a welcome change. Included
in the series are views of the won¬
derful Busch gardens.

Upon the same reel is an unusually
humorous contribution from the ani¬
mating pen of Harry Palmer, the
Gaumont cartoonist. This Gaumont
Kartoon Komic is called “Miss Cat¬
nip Goes to the Movies.” It is an
innocent picturization of Mr. Palm¬
er’s happiest vein of certain foibles
of “movie” spectators. These con¬
tributions of a humorous nature are
extremely popular with motion picture
theater patrons, many declaring that
they find them more enjoyable than
so many of the ambitious photodramas.

Rio De Janiero
and Luchon

Many scenes of
beauty in new
“Tours Around World”

RIO DE JANEIRO, the capital of
Brazil, and the town of Luchon
in the French Pyrenees are the
two places of interest covered by
Gaumont in “Tours Around the
World,” No. 9, released January 2.
In the South American metropolis
there are many things of interest to
us, but none is more beautiful than
the celebrated Municipal Theater,
which forms one of the striking pic¬
tures of the series. There is an ex¬
cellent panorama of the city, as well
as of the Bay of Rio de Janeiro, one
of the best harbors in the world.
Palm-tree avenue and the Mangrove
canal, and the statue of Dom Pedro I
are other interesting views.

The visitor to Luchon via the Gau¬
mont pictures will see charming views
of the French Pyrenees, the valley of
the Lys, Lake Oc, and the wonders
of the trip up the Luchon mountain
railway.

* * ■*

4 4f“T“>HE VAMPIRES” lias been
jj upon the screen long enough
for the Mutual Film Cor¬
poration to report to the Gaumont
Company that there is no doubt but
what the photo-novel will repeat in
America its remarkable box-office
records achieved in Europe. This
was to be expected, the Gaumont Com¬
pany announces, after the cordial re¬
ception given the episodes already
shown reviewers.

* * *

MEMBERS of the Censorship
Board and prominent citizens
of Columbus, Oh;o, were so
impressed by “Charity?” Linda A.
Griffith’s powerful expose of the
illegitimate use of charitable funds
practiced in some types of charitable
institutions, that they requested
H. Heidelberger, manager of the Mu¬
tual’s Columbus branch, to keep the

picture in town for several days
until they could take the matter up
with the local Chamber of Commerce
with a view to raising a fund to se¬
cure the picture for a public booking.
The Columbus citizens who did see
it, believed that it would do the
public a great deal of good to see it,
and are bending every energy to¬
wards that end.

“Charity?” has been booked by the
management of the Knickerbocker
theater to run January 21, 22 and
23. The public viewing of this him,
if the Chamber of Commerce ar¬
ranges to show it, will not take
place till after its run at the Knicker¬
bocker.

“Olive Industry'
“Value of Venom'

Many other interest¬
ing topics shown in
“ Reel Life/' No. 35

REEL LIFE No. 35 contains
many interesting bits of in¬
formation. It opens with scenes
>f the “Olive Industry.” These pic-
ures portVay beautiful olive groves
n the sunny state and one of the*
argest olive groves in the world.
Vou are shown the olives being
licked, both when ripe and green.
The green ones are placed in a solu-
ion to remove the bitter state and
hen put in machines and selected
s to size. The bad ones are dis¬
abled and then the olives are bot-
led and shipped.

“The Value of Venom” is the sec-
nd topic pictured in the magazine
eel and this shows you many edu-
ating views of the different ways the
oison extracted from snakes may be
eneficial.

“A Most Unique Basket,” the third
abject gives you a good idea of
ow the baskets now being used ex-
msively are made from the animal
nown as the armadillo. These little
nimals are in great abundance in
*exas. Here they are caught, killed
nd the insides removed from them,
'hey are then hung out to dry in
he sun and after the next process
re shown as handy baskets. The
ail having been attached to the
ead to form the handle of the
asket.

The fourth part of “Reef Life” is
evoted to “Modish Coiffures.” This
; most interesting to the ladies and
hows the latest styles of hairdressing
v one of New York’s most fashion-
ble hairdressers.

-t-^ HE first week of the new year
sees the Gaumont photo-novel
well under way. The first epi¬
sode to be released in 1917 is “The
Master of Thunder,” scheduled for

ihe screen January 4. It tells of
he successful efforts of Satanas to
elease Irma Vep from prison, but
nds with the death of the chief of
he Vampires in a most sensational
Imanner. This is the seventh of the
tnine episodes.

There will also be the customary
four single-reels. _ The Gaumont
editors have set a high mark for 1917
by their opening offerings. These are
selected with a view to the general
entertainment of every spectator. The
first release of the week is “Reel
Life” No. 35. This marks the pass¬
ing of the old year, being released
December 31. It opens with pictures
of “The Olive Industry in California”
and is followed by “The Value of
Venom,” a picture of the method of
combatting snake bite as developed in
Brazil; “A Most Unique Basket,”
showing the use to which the shell
of the armadillo is put. and “Modish
Coiffures,” another picture in the
hair-dressing series.

“Tours Around the World” No. 9,
is released January 2. It takes spec¬
tators upon a trip to Rio de Janeiro,
Ihe picturesque capital of Brazil, and
for a ramble around Luchon in the
French Pyrenees.

“See America First,” No. 69, is
released January 3. It gives an ade¬
quate showing of Pasadena, Cal., the
“city of roses.” This was announced
for release several weeks ago, but
was withheld until sufficient space
could be secured on the reel for it.
Splitting the reel with this is “Miss
Catnip Goes to the Movies,” a Gau¬
mont Kartoon Komic by Harry
Palmer.

The fourth Gaumont single-reel of
the week is The Mutual Weekly.

REEL LIFE — Page Seven

PERILS OF OUR GIRL REPORTERS

^HE BLACI

V ■ V ling series

dramas wi

I per, produc

I and release

ration, is <

at the same

ing motion picture plays ei

Helen Greene, who pla

Isabel Ralston, a young ne

of a great metropolitan dail

her managing editor into

recalls Poe’s “Murders of tl

out the story there is that e

which defies analysis but

through the human system

Constructively and picto

remarkable drama. Based

tion, to-wit, that the front

one family for more than a

any occupant died, it has be

a play so thrilling that it 1

moment to the last.

To begin with there i

niece of an old old lady, H;

and the imminence of her

sphere, have inspired her re

them to conspire that her c

But Cynthia is more th

type” if you know what

protruding teeth, bulbous eVv_o, complexion, ua.w-

like hands and neurotic gestures are a combination that
would at once attract the attention of the receiving in¬
terne in a psychopathic ward. Cynthia’s smile is as
ghastly as the laugh of a hyena at midnight.

Miss Ralston falls under the evil sway of Cynthia and
her band of harpies who have installed themselves in old
Miss Kennedy’s home, because, having befriended the
old woman once, she has been sent for by the latter in
her extremity.

Then there is Jonas Slaughter, the lawyer, a sort of
relative of old Miss Kennedy, also an occupant of the

house and Fidus Achates of Cynthia, who moves like a
man walking in his sleep, but whose little sharp eyes
are all over the place at once and whose atmosphere is
that of an undertaker’s back room. Slaughter and
Cynthia, together with the dissolute nephew of Miss
Kennedy, plot to kill the old lady and to throw the blame
on Miss Ralston and John Farrar, Isabel’s law office
fiance, who has accompanied her at her request and who
is stormbound as she is in the house of “The Black Door.”

Thej night scene in the rambling old halls and rooms
of Miss Kennedy’s ancient mansion is one that lives in
the memory, because of the mysterious comings and
goings of the murderous gang that watches every move
of the visitors. One can almost hear the windows rattle
in the fierce gusts that drive torrents of rain against
them.

James Kennedy, the nephew, who is egged on by
Cynthia to garrote his aunt in her bed, and who is nerved
to the deed by the administration of cocaine, is recognized
by Miss Ralston, who has been kept awake by the storm,
and brought to book by her for the crime, after she her¬
self has been accused.

The attraction of the piece, aside from its engrossing
mystery, consists largely in the faithfulness with which
the part of the newspaper reporter is played by Miss
Greene, who adopts none of the old time stage devices to
signify that she is a newspaper woman.

The death scene, in which old Miss Kennedy is shown
to have died by violence, and the unmasking of the mur¬
derer, her nephew, are skilfully staged and wonderfully
effective. Mr. Metcalfe’s acting of the part of Farrar in
this episode is worthy of all praise.

The mystery of the “Black Door,” is solved as such
mysteries usually are in the long run, when it is dis¬
covered that Cynthia has been in the habit of telling the
story most industriously, and that it was she who black¬
ened the door with a big brush in order to impress on the
minds of simple folk that the death of Miss Kennedy had
been wrought by some mysterious agency.

“The Black Door” is a thrilling drama, the compelling
appeal of which cannot be comprehended until it has been
seen.

REEL LIFE — Page Eight

“MOST IMPORTANT BUSINESS”

Famous editor's opin¬
ion on the exhibitor's
duty to his patrons.

Gardiner Mack, noted photoplay editor of the Washington Times of Washington, D. C., addresses
the motion picture exhibitors in this issue of Reel Life, on his view of the motion picture theater, its duty
and opportunities. Mr. Gardiner enlarges upon the fact that the motion picture exhibitor did not make
the production, nor did the producer make the picture, but motion pictures made both the producer and
the exhibitor. He has some good publicity advice.

BY GARDINER MACK

NTEREST the community in your theater and the
newspaper will be interested in it by force of circum¬
stances.

That is the very best way an exhibitor can go about
securing the co-operation of his home newspaper in
building up his theater.

Go about the business of conducting your theater
as you would go about the work of conducting any legiti¬
mate commercial enterprise— -but remember all the time
that the commercial element must always be submerged in
the appearance, at least, of artistic effort.

One of the reasons that newspapers have shown so little
interest in the business of the individual exhibitor is found
in the fact that the exhibitor took little interest in it him¬
self. It has been my experience that a large proportion of
the exhibitors— until recently at least — have had what I
might call a speculative interest in their motion picture
enterprise. They have assumed the responsibility of cater¬
ing to the amusement loving public, an amusement hungry
public, as a side line and not as a real business.

I am one of those cranks who believes that the business
of amusing the public is just about the most important busi¬
ness there is in the world. And that the responsibilities that
devolve on the man who caters to the desire for amusement
are the most exacting. I believe that the influence of the
theater is the most far reaching influence that is exerted
upon the people.

It necessarily follows, therefore, that the man who as¬
sumes these responsibilities will not only be a man who
realizes exactly what they are but will try to meet them in
the same serious spirit that actuates the doctor, the lawyer,
the clergyman and the editor — each of whom appeals to
the intellectual side of his clientele rather than the physical,
as does the merchant or the public service corporation head,
— and none of whom, to my way of thinking, has quite so
large a clientele or as sure a way of appealing to it as the
theater owner.

To such a man it is not only valuable but it is absolutely
essential to the success of his enterprise that he have the
support and co-operation of the newspaper. The news¬
paper represents the public, it is the mouthpiece of the pub¬
lic as a whole or in any part in which it might divide itself,
to the other parts or the remainder of the whole.

The theater owner, therefore, would help greatly in inter¬
esting his community in his theater if he devoted much of
his time to interesting the editor of his paper in it. He
would help himself and help the public if he would try to
co-ordinate his ideas of practice with the theory of what
the public wants that is based on the experience of the
newspaper man.

This is neither difficult to do or impossible of accomplish¬
ment. The newspaper editor wants to know all the things
that are being done to interest the public because it is his
business to give such things publicity.

In preparing matter for newspapers it is well for the ex¬

hibitor to bear in mind that a plain statement of his facts
will gain him greater attention and more consistent results
than a flowery description. An artist once said that the
greatest picture has never been painted. And the theater
owner might remember that Mary Miles Minter has never
acted her greatest play — despite the statements of exhib¬
itors to the contrary each time Mary Miles Minter appears
in a new play. Likewise Mary Miles Minter isn’t the dain¬
tiest, most vivacious, most alluring figure on the screen.
She may -be one of these — but all of the public doesn’t like
blondes, or young girls, and the exhibitor is preparing his
statement for the whole public.

A fairly large book could be written as to what the ex¬
hibitor should or should not do to enlist the aid of the news¬
paper in building up his business. But the main principle
to observe is that stated in the beginning — Interest the com¬
munity in your theater. And if your theater is worthy of
the interest of your community, if you make an institution
of it, the newspaper will not overlook the chance to get
more readers, and more constant readers by printing a bit
about you and your enterprises every day or two.

But please remember this — the exhibitors did not make
motion pictures. Nor did the producers make motion pic¬
tures. It was always the motion picture that made the ex¬
hibitor, and the producer. What both want to do is to
strive to be as big as their business.

* * *

Mayor george p.

LUNN of Schenectady,
New York, ex-minister
and congressman-elect, is a
staunch friend of motion pic¬
tures. In speaking of the judi¬
cial decision regarding the clos¬
ing of motion picture theaters
on Sunday, Mayor Lunn spoke
in part as follows :

“I am firmly convinced that
the greater majority of the peo¬
ple of Schenectady are in favor
of motion pictures on Sunday.

“New York State now has
two decisions from the Appel¬
late division of the Supreme Court — one declaring that
Sunday pictures are legal and the other that they are
illegal. The latter is authority for Schenectady and for
that reason we must be governed by their decision.

“Personally I am absolutely convinced that Sunday
pictures, such as have been displayed in this city, have
been of decided good for our people.

“There is no doubt in my mind but that this law should
and will be changed so that the great good that is pos¬
sible through the motion pictures can be utilized on
Sundays.”

REEL LIFE — Page Nine

Sixth day of the run of Mary Miles Minter in the Mutual Star production, “ Youth's Endearing Charm,” at Tally's Broadway Theater,
Los Angeles, California. Mary Miles Minter has firmly established her popularity in Los Angeles and Tally will use all her releases.

“SIXTEEN YEARS OF KNOWING HOW”

SERVICE measure* of WORTH

The Superior Service

RENDERED BY

THOUSANDS

OF

Power’s Cameragra phs

PRACTICALLY SINCE THE
BEGINNING OF THE INDUSTRY,

CONCLUSIVELY DETERMINES
WORTH WITHOUT COMPARISON

IN THE FIELD OF

Motion Picture Projection

Write For Catalog V

NICHOLAS POWER COMPANY, NINETY GOLD STREET, NEW YORK

REEL LIFE — Page Ten

MUTUAL IB

Signal Hilm Corporation PreSenfs

n/xe earless tfihn Star

HELEN HOLMES',).

aIMS OF THE

“We have been holding the people out every night

we play ‘A Lass of the Lumberlands’ and now each night the re¬
ceipts are bigger,” writes J. Gairno, manager of the Amo Theatre of Detroit,

Michigan. On the very first night that he opened with the big new Helen Holmes chapter-
play a crowd jammed his lobby and extended out into the street before the doors were opened. For
capacity business at YOUR theatre, book this spectacular story of the lumber camps — “A Lass of the
Lumberlands.” Fifteen chapters — a new chapter each week. See your nearest Mutual Exchange.

PEEL LIFE — Page Eleven

MUTUAL

"VViikoui A Single RiVal !

THE MUTUAL FILM CORPORATION’S

Featured ONI^f iiv

Dominating the entire World of motion picture
comedians-Without a ri\?al - Charlie Chaplin,
be£an the year of 1916. During the year just
ended he haf not only preserved that reputation,
but has added to it. His greatest success has
been scored in Mutual'Chaplin Specials'.

Charlies' adventures in a skating rink-
as pictured in his Idlest release -proVe
the Versatility of this cleVer f unmaker.
He is creating nevlsituations-inVenting
neri business -enhancing his oVn popular¬
ity, With each neW production -

MUTUAL Fll i;

(Jokn'R lrei 3

Greater Tkatv Etfer For 191? !

$670,000.22 PER YEAR COMEDIAN

MUTUAL-CHAPLIN Specials!

Pursuing it? polig7 of Only Bi£ Star? for Mutual "the
Mutual him Coipoatiou announces that, during the
coming year, Charlie Chaplin Will appear in e\?en
greater Mutual attraction?. The World's greatest"
comedian in the World? greatest comedies.

Exhibitor? should make booking arranf
NOV at air/ Mutual Exchange.

MUTUAL-CHAPLIN SPECIALS

Won) Qlai/iruf:

“^FLOORWALKER.- 'ONE AW
"<%> FIREMAN '<74 VAGABOND’
“%COUNT" - '<J& PAWNSHOP"
“BEHIND THE SCREEN -"<7/!e RINK.”

ONLY Kt
XCHANC

ORPORATION

VeSiaUnk.

MUTUAL

AMERICAN FILM CO. INCJZhawwiSp
(Jlie c?/oted Ptar

m

A quaint story ot happy-£o-/ucky
John Slocumandhisiotfe for Marf,
a Waitress- in a Ned fork boarding¬
house. It contain? real heart- throbs-
a tear or tnb,and more thanafetf Smiley.

fouilhoi the tticfard Bennett
Series of Mutual Star Production?.
cFi\?eAct?. Released tfe Weekof
January 1st-

MUTUAL STAR. PRODUCTIONS'
Ve duri-J RICHARD BENNETT

itovj iljmj:

" PHILIP HOLDEN . Muter."
-AND THE LAW SAYS"

"THE VALLEY OF DECISION ”

BOOKING? NOW AT
ANY MUTUAL EXCHANGE

wm

VOGUE FILMS Inc., Presents

TWO REELS RELEASED DECEMBER 31st

FEATURING BEN TURPIN

Supported by Gypsy Abbott

This Vogue comedy is laid “down

on the farm.” Ben, a hay-baler, is the hero.
Gypsy, the beautiful daughter of a hard-hearted
father, is the heroine. Paddy, a rough and ready cowboy, is
the villain of the piece. Paddy’s jealousy makes Ben’s love
making a rather strenuous pastime. He not only suffers
“jolts,” as the title indicates— but also bumps — lots of them.
At length, however, a rubber diver’s suit and a “Free Air”
hose at a nearby garage enable Ben to foil Paddy’s most vil¬
lainous plot. Laughter reigns supreme throughout. Directed by Robin
Williamson. Released through 68 Mutual Film Exchanges.

Slapstick with a Reason

VOGUE FILMS, Incorporated

General Offices: 6225 Broadway Chicago, Illinois

REEL LIFE — Page Fifteen

;vv"N,v"vv’v \\\ v vv

Thrilling Scenes Ik
Tkiy ftaroii^ ferial!

Featuring

Earl Metcalfe
Helen Greene
Zena Keefe

The reporter’s life is

one of the most thrilling
positions one can conceive.
They face death without a
tremor. They go through any
peril to land “a story.” How
real newspaper stories are ac¬
tually secured forms the basis
of this thrilling new serial —
‘‘The Perils of Our Girl Re¬
porters.” It is new. It is
novel. It is “different.”

f
*

V.

n

f,
f,

lIv

OF DUR

girl reporters

15 STARTLING MOTION PICTURE STORIES-EACH COMPLETE!

Theatre patrons the country over will welcome

this Mutual serial. It is the “something new” in motion pic¬
tures for which they have been waiting. They will pack the theatres show¬
ing it. It means capacity business for 15 weeks. A new story each week. Each story
complete in itself. Featuring Earl Metcalfe, Helen Greene and Zena Keefe. Directed
by George Terwilliger. Backed by a tremendous national campaign of advertising and
exhibitor helps. See the newspapers. Watch the billboards. Wire or write your nearest
Mutual Exchange for complete details.

BOOKING NOW AT 68 MUTUAL EXCHANGE*

/WW by NIAGARA FILM frUDlOf

REEL LIFE — Page Sixteen

Be ReeLJMkj

TXe cMuhial<Ji1jncMa(/azme
JANUARY 6,1917. PRICE 5 CEtte

MUTUAL’S GROWING ROSTER

of

“ONLY BIG STARS FOR 1917”

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The Mutual Film Corporation
has announced

MARJORIE RAMBEAU = &
NANCE O'NEIL - 'JcwwUL.

And last week announced:

GAIL KANE -

And this week announces:

EDNA GOODRICH-'

And the next week will announce:

????????????

And the following, week will announce:

??????????????

And we have Mary Miles Minter, Mar¬
garita Fischer, Charles Chaplin, Richard
Bennett, William Russell, — being, of the
first magnitude in class and box office
value.

“Only Big Stars for Mutual in 1917”

a-v> hJ2J^

MUTUAL SIGNS EDNA GOODRICH

Mutual's “ Only Big
Stars ’ ’ policy gains
Another noted beauty

PRESIDENT JOHN R. FREULER of the
Mutual Film Corporation announces the closing
of a contract with Edna Goodrich, one of the
most popular stage favorites in America, for
her .exclusive appearance in a series of big
features to be released by the Mutual.

Miss Goodrich, who is enthusiastically at
work on her plans for this engagement, will begin actual
rehearsal on the conclusion of an important vaudeville con¬
tract which is now engaging her professional services at the
Park Theater, New York. This necessarily sets the date
of her picture work ahead some weeks.

The announcement of this engagement is in line with Mr.
Freuler’s published policy, “Only Big Stars for the Mutual
in 1917,” and that of Miss Goodrich is the latest of half a
dozen astonishing star contracts closed by the Mutual re¬
cently, these including the engagements of Marjorie Ram-
beau, Nance O’Neil and Gail Kane. Other important con¬
tracts are to be expected shortly.

Miss Goodrich, the latest candidate for honors under the
Mutual flag, is possessed of an extraordinary charm which
renders her appearance on the screen a foregone certainty
of success. Both in the United States and Europe the
young actress has an enormous following.

The highest possible standard of box office earning power
is represented in these star contracts, which include those
with Mary Miles Minter, Richard Bennett and Margarita
Fischer.

“The experience of the Mutual Film Corporation and of
the exhibitor has proved,” said Mr. Freuler, “that the policy
pursued in these contracts is a wise one.

“The engagement of big stars and the principle of the
star production generally are undoubtedly correct policy
from the box office point of view as well as from that of
the public. We are determined to secure the best talent
to be had for Mutual productions and the progress already
made in this direction must be taken as an earnest of our
intentions for the future.”

Mr. Freuler is personally supervising the selection of
directors for the new Mutual stars and is giving direct
attention to the securing of adequate vehicles for the expo¬
sition of their talents.

Miss Goodrich is one of the best known actresses in the
world. A Chicago girl, the daughter of A. S. Stephens of
that city, she graduated from the Hyde Park High School
there and soon afterwards married Nat C. Goodwin, the
marriage being later dissolved.

The young artiste’s first theatrical appearance was as a
member of the celebrated sextette in “Florodora,” after a
successful tour with which she joined Anna Held’s com¬
pany and achieved fame as the highest salaried show girl
on the stage. She later appeared in numerous stage suc¬
cesses. Since 1913 Miss Goodrich has spent a great deal of
her time in Europe and just recently returned to this
country. She is now appearing in a vaudeville sketch of
her own planning, having achieved a great success.

Some of Miss Goodrich’s most popular plays were as
played Jinny Hopper in “The College Widow,” Nell Ruth-
ven in “A Gilded Fool,” Madge Kederly in “What Would a

Gentleman Do,” Grace Morton in “The Easterner,” and
toured with “The Master Hand,” “The Native Son,” “The
Awakening of Minerva,” and “The Runaways.”

REEL LIFE — Page One

KOLB 5 DILL “BELOVED ROGUES”

New production
written especially
f o r comedy duo

THE extraordinary behavior of two simple-
minded offenders against the lav/, who are
serving time in a penitentiary as a result of
their indiscretion, constitutes the basis of a
remarkable photodrama, “Beloved Rogues,”
to be released November 15 by the Mutual
Film Corporation, in which C. William Kolb
and Max Dill are the central figures, with that brilliant
young actress, May Cloy, in support. The production was
filmed at the American studios under the direction of A1
Santell.

Kolb as Louie Vandergriff, and Dill as Mike Amster¬
dammer, with Miss Cloy as Madge, the girl, are very
effective in their parts, which involve many pathetic situa¬
tions and dramatic episodes. Their troubles begin when
the Hardware trust fastens its tentacles on the business of
the two quaint Dutchmen, driving them to the wall with
starvation competition when they refuse to turn their store
over to the combination at the combination’s price.

The efforts of “Dutchy” Vandergriff to take care of the
little girl, Madge Andrews, in the course of which he and
his partner, Amsterdammer, rifle the safe of the Hard¬
ware trust chief, Kennedy — the latter having been the
mining partner of Madge’s father who was robbed of his
property by Kennedy — get them into trouble and ultimately
into prison.

One of the most remarkable crowd scenes ever screened
is that in which the two prisoners, Vandergriff and Amster¬
dammer, succeed in quelling a prison riot, for in this scene
the motion picture fan will recognize several famous players
figuring as part of the mob. Foremost in the melee, head
and shoulders above the rest, is William Russell, a well-
known Mutual star. When “Beloved Rogues” was being
filmed all the Mutual celebrities in the vicinity, having be¬
come interested in the piece, volunteered to go on in the
mob scene, so in addition to Mr. Russell in that spectacle are
George Periolat, Franklin Ritchie and Ashton Dearholt.

Of course the two soft-hearted Dutchmen did not rob
the trust company safe to obtain money for their own
purposes. It was a sort of retributive robbery, their idea
being to use the money Kennedy had
stolen from Andrews to employ spe¬
cialists in curing Madge of blindness.

At all events Messrs. Max and Louie
made themselves so busy in the peni¬
tentiary that they kept that institution
in a turmoil of excitement from the
time they entered until the day they
were mustered out. Their exemplary
behavior resulted in their being made
“trusties” soon after commitment,
and as trusties they began a campaign
for reform among the prisoners.

The love interest in the story is
that in which Jack Kennedy, son of
the trust chief, and Madge Andrews,
daughter of the man Kennedy ruined,
are involved. Young Kennedy’s
courtship of the blind girl which
caused his father chagrin, led to his
being charged with the safe robbery
Max M. Dill. perpetrated by Max and Louie, a' cir-

Louie Vandergriff . William Kolb

Mike Amsterdammer . Max M. Dill

Madge . May Cloy

cumstance that merely emphasized
his affection for the young lady. Miss
Cloy’s acting in the character of
“Madge” is very effective.

Kolb and Dill are masters of facial ex¬
pression. While they are waiting in the
doctor’s office to hear his verdict on the pos¬
sibility of a cure for Madge’s blindness, their
faces run the gamut of human emotions.

With eyes fixed on the door of the private
consulting room, where the examination is
being conducted, they display their nervous
terror that there will be an adverse decisionlV illiam C. Kolb
in every expression and gesture.

The two dromios in their plumber sketch are clever enough
to bring down any house. Kolb and Dill work together bet¬
ter than most teams and in their efforts to find new uses for
a pipe wrnch they almost succeed in tearing down a building.

To watch these two in their operations about the hard¬
ware shop is a liberal education in how not to do your own
plumbing. Max and Louie manage to hang plumber’s tools
all over them and to use nearly every one of the tools in
various odd jobs they are called on to perform. Kolb is
able to do more queer things with a monkey wrench than
any other plumber in the world. Dill puts a jackscrew
under a radiator to get it higher off the floor, bursts the
pipes, and is nearly blown through a brick wall by the
escaping steam.

One of the most effective features of this play is that it
appears from the front to have been produced on the spur
of an inspired moment, without rehearsals. For instance,
it is impossible to believe that Mr. Kolb rehearsed having a
big copper wash boiler fall fifteen feet from a roof and hit
him on the head. This actually happens in the picture, and
it is explained that although the boiler episode went all
right in rehearsal, it fell too soon in the actual taking and
“beaned” Mr. Kolb rather seriously. The actor was in bed
two or three days from the effects of this accident.

Again in the penitentiary, when Max and Louie are lay¬
ing the table for the warden’s banquet, and the two inno¬
cents find it impossible to figure out why people who are
merely going to eat should want so many different knives,
forks and spoons, there is a comedy situation that is certain
to provoke roars of laughter.

May Cloy, who is the feminine fascinator of the piece,
makes a popular hit as “Little Madge” and is “the pet of the
pen” where she succeeds in securing an abnormal number of
visiting days. The play was actually pictured in a state
penitentiary and the results indicate that wherever it was the
prisoners in this institution had a lively time while Kolb and
Dill were on the job. In fact the prisoners were all reluctant
to see the famous comedy duo leave. They expressed the
desire to see them again, very soon, but Kolb & Dill, were
not sure they wanted to return.

REEL LIFE— Page Two

“A LASS OF THE LUMBERLANDS”

Thirteenth Chapter of
the great phot-novel
starring Helen Holmes

KIDNAPING episode, in which Helen
Holmes, the pretty and dashing young
heroine of Camp Dawson, is abducted by
Bill Behrens, one of “Dollar” Holmes’ paid
thugs, who then dries to intimidate the girl
into marrying him under pain of death, re¬
alizing that she is the legitimate heir of “Old
Man” Holmes’ millions, constitutes the most sensational fea¬
ture of Chaper XIII, “A Lass of the Lumberlands,” Mutual-
Signal fifteen part drama.

The chapter is a succession of thrilling episodes and it is
difficult to say which of the many is most sensational. Miss
Holmes makes her escape from the gang in Sam Deering’s
old shack in the heart of China Flats, by swinging out over
a canyon three thousand feet deep, suspended by her hands
on a trolley wire, from which she drops to the roof of a
swaying box car, where she lies exhausted while the train
speeds fifty miles and hour.

That ought to have been enough adventure for one girl
in one day, but not so with Helen. Behrens, who had
boarded the train at China Flats siding when it stopped for
a hot box, found Helen trying to descend from her precarious
perch and grappled her. The young woman succeeded in
making her escape, only to be pursued by th? agent of
Holmes in a thrilling chase from one end of the long train
to the other, over flat cars and box cars, slipping and slid¬
ing on the slanting platforms, until it appears miraculous
that both pursuer and pursued are not precipitated under
the wheels.

When Tom Dawson appears from a stretch of timber
beside the track and picks Behrens off with a Winchester
rifle everybody wonders where Miss Holmes’ assailant will

fall, but speculation is soon ended. Behrens staggers from
the roof of the speeding car in a startling somersault that
lands him in a swamp under a trestle, where he lies ap¬
parently dead.

In this chapter Helen is beset with marriage offers.
Behrens, who is determined to marry her for the sake of
her fortune, is no more important than is Stephen Holmes,
the girl’s half brother, who, unaware of the relationship,
has fallen madly in love with her. When Holmes’ son tells
him of his desire to marry the young woman, the father
is aghast. He makes hasty arrangements with Behrens to
have Helen abducted and rushes young Stephen off to the
city.

From the point of view of the spectator this episode is a
tremendous thrill. Miss Holmes is attacked on the moving
train, tied hand and foot, taken off while the train is still
going at high speed, dragged up the side of a mountain and
rescued in a desperate pictol battle after Behrens, her ab¬
ductor, has tried to compel her to marry him in order that
he may obtain title to “Dollar” Holmes property.

How the young actress manages to come through this
chapter unscathed is one of the eternal mysteries.

The ultimate thrill of the chapter comes when Old
Jack Dill, one of “Dollar” Holmes’ victims, is released from
the penitentiary after spending half his lifetime there. He
was a witness to Holmes’ slaying of Sleepy Dog, the
Klamath Indian chief, whose lands he subsequently obtained
from the Klamath tribe by fraud. The revelation of this
knowledge by Dill to Little Bear, the college bred son of
the old Indian chief, affords a pathetic and intensely
dramatic touch.

REEL LIFE — Page Three

‘SHORTY’ SERIES

Famous Hamilton
to appear in
thrill p ic t u res

HORTY HAMILTON will ap¬
pear in a series of Mutual “Fea-
turettes.”

The Mutual Film Corporation
has contracted with the Mono¬
gram Films of Los Angeles for
the release of a series of fifteen
two-reel dramas under the gen¬
eral title, “Adventures of Shorty
Hamilton,” the first of which en¬
titled “Shorty Hamilton and the
Yellow Ring,” will be released on
January 15.

This is a new series to be put
out by the Mutual as one of its
“Featurette” star productions,
just announced by President John R. Freuler.

Claude Slater, who closed the contract with Mr. Freuler
for the “Adventures of Shorty Hamilton” a few days ago,
is an old Mutual man and an excellent judge of high class
material. He returned to Los Angeles after making the
contract and is now engaged with Mr. Hamilton, who is
an ex-officer of the United States army, in the staging of
the fifth play in the series.

John Hamilton, or “The Loot,” as he is called by his
intimates, is one of the best known motion picture stars in
the country. He served six years in the United States
cavalry and became associated with film enterprises four
years ago, registering an immediate success in western char¬
acter parts because of the precise local color he was able
to inject into cowboy and western types generally. Mr.
Hamilton was for five years a cowboy working on the plains
of Montana and Texas. He had a distinguished career
under Thomas H. Ince, being featured in “The Great
Smash” with especial success.

In the “Shorty Hamilton” featurettes, Mr. Hamilton is
at his best because they portray the adventures of a cowboy
character- — a cowboy who is at the same time used to good
society and clothes in his own home town of New York —
in contact with all sorts and conditions of people who think
he may be a chump because he wears “chaps” and who live
to rue their short-sightedness invariably.

The character is an appealing one from every point of
view. Hamilton is handsome after the manner of an
athletic young plainsman, and he makes love with the grace
of a Don Juan while preserving the simple code of honor
that belongs to men whose lives are spent in the great out¬
doors.

The plays are being expensively produced with a strength
of cast and general technical excellence hitherto unusual
in the production of two-reel features.

“FEATURETTES”

Short Mutuals
all to offer
high quality

PRESIDENT John R. Freuler of the Mutual Film
Corporation announces the coming of a num¬
ber of series of important short releases under
the general designation “Featurettes,” which by
their artistic merit will illustrate the meaning
of the new title — that they are all star and
specialty productions.

Mr. Freuler has long labored to bring about general recog¬
nition of the importance attaching to one and two-reel pro¬
ductions, and success has crowned his efforts to the extent
that offerings formerly characterized as “fillers” by the ex¬
hibitor, are no longer in demand, while there is an ever¬
growing inquiry for the short film of the quality presented
in “Featurettes,” which are one and two-reel productions of
the highest merit artistically and dramatically.

Among Mutual productions that are now classified as
“Featurettes” are four Gaumont single-reel releases, “Tours
Around the World,” “Reel Life,” “See America First,”
“Mutual Weekly,” the George Ovey one-reel “Cub Com
edies,” produced by David Horsley, the Vogue two-reel com
edies and “Adventures of Shorty Hamilton.”

Referring to the greatly improved quality of short release
productions, Mr. Freuler said :

“It is the intention to release as ‘Featurettes’ only produc¬
tions of sufficient speciality and feature quality to insure box
office value and to enhance the artistic and commercial pres¬
tige of short releases. It is my view that no room exists
for the use of ‘fillers’ in any well conducted motion picture
theatre.”

Exhibitors all over the country have come to realize the
importance of one and two-reel attractions because of the
immense popularity achieved by high class Mutual releases
of the “Featurette” type.

* * *

Mr. Strine, manager of the Lyric Theater, Boone, Iowa,
was so bombarded with questions concerning the “Sequel”
to “The Diamond from the Sky” by the fans of his town
that he complained his ticket office was changed to a
question and answer box about that particular picture
and the only way he could do business and save himself
from doing nothing but answer questions was to book
the serial.

W. C. Treloar, manager of the Opera House, Odgen,
Iowa, was absolutely unable to handle the crowds that
thronged to his theater to see the sequel to “The Diamond
From the Sky.” It took twenty minutes to clear the house
on the first showing of this picture and he was forced to re¬
move the orchestra pit and make a rear exit in the building
to be able to handle the multitude of people with any facility.

Most sequels are a disappointment because they do not
hold up to the original interest but “The Sequal to the Dia¬
mond From the Sky” is even more dramatic than the orig¬
inal and with the conclusion of each chapter the whereabouts
of “The Diamond” assumes additional mystery. The
“Sequel” forms a fitting conclusion to what has been pro¬
nounced by many the most mystifying scenario ever written.

REEL LIFE — Page Four

“THE POISON MAN”— “VAMPIRES”

“ Venenos" a new arch¬
villain enters the
thrilling

HERE is a devilish ingenuity in the villainy
of Venenos, new head of “The Vampires,”
who makes his bow in Episode 8 of that ex¬
traordinary series, being released by the Mu¬
tual Film Corporation.

Satanas, former head of the Parisian apache
gang that includes scientists, statesmen, crook-
eu business men and plotting diplomats in its clientele, left
a legacy of trouble to Venenos when he killed himself rather
than be captured.

It was Venenos who because of his scientific attainments
had been delegated by Satanas to accomplish the destruction
of the government tender upon which Irma Vep, feminine
head of “The Vampires,” had been dispatched to Algeria to
testify in a military hearing against certain spies.

Irma’s extraordinary escape, due to the genius of Satanas
and the scientific juggling of Venenos, was compassed at
the expense of the late chief, who poisoned himself rather
than be taken.

Now the situation confronting Venenos was one of extra¬
ordinary peril. Despite all plans of the powerful gang plot¬
ting against him, Philip Guard, the young reporter whose i
brave pursuit had resulted already in the deaths of three of
its leaders, had succeeded in eluding assassins sent against
him, as often by good luck as by good planning. Now there
was an opportunity for Venenos to distinguish himself by
eliminating not only Guard but all the rest of the journal¬
istic crowd with which he was associated.

When the fact came to Venenos’ knowledge that Guard
was to be married soon and that a betrothal dinner had been
arranged at the home of the fiancee, Venenos at once notified
the caterer that the dinner had been postponed one day and
proceeded to impersonate the caterer and his staff with a
force of his own.

An intensely dramatic spectacle is presented in the sudden
arrest of a toast about to be drunk by the guests at the
betrothal party. A bottle of the wine furnished by Venenos’
agents has been sent to the concierge of the building in which
the party is being held, in order that his family may cele¬
brate the event. At the first sip of this wine the janitor
falls dead and his wife rushes into the banquet room just in
time to stop the guests from drinking the wine raised to
their lips in a toast to the bride to be.

Immediately the poisoned wine is removed and pursuit
of Venenos and Irma Vep, who has been the direct planner
of the affair, is resumed. Irma had taken apartments in the
same building with Guard’s fiancee in order that she might
have easier access to the apartments.

Irma escapes from the building after a close chase and
is at once sequestered by “The Vampires,” who realize that
since their plans have miscarried police supervision of their
activities will become more stringent than ever.

When Irma has been hidden in her apartment and guards
have been placed by “The Vampires” to prevent her being
surprised, information is carried to her over the roof of
the building by one of her friends that Guard and his future
wife are to start for .a villa at Chailly in an automobile.
Risking capture she possesses herself of an atomizer filled
with a powerful anaesthetic and lies in wait for the limou¬
sine in which the lovers are to begin their journey. When

triangle

Juliet Musidora in scene front “The Poison Man.’’

the machine arrives at Guard’s apartment there is a big
wardrobe trunk strapped on the running board. From this
trunk steps Normandin, Guard’s Fidus Achates, as Irma
begins spraying the inside of the car with chloroform.

Normandin affected by a shot from the atomizer, is
overpowered by Irma and she hides herself in the trunk,
being carried to Chailly without her presence being sus¬
pected. The young woman who has been rendered uncon¬
scious by the chloroform is immured by Irma but later re¬
leased by Philip Guard and Normandin, who has succeeded
in making his escape from “ 1 he Vampires.”

The capture of “The Vampire” woman and her later
release after a hard fight by Venenos and his friends, form
sensational episodes in the story, which is one of the most
exciting so far released in the fascinating series produced
by the Gaumont company.

REEL LIFE — Page Five

NEW EDITION-DAMAGED GOODS’

Bennett , famous star
revises big production,
ready on February 12

NEW edition of “Damaged Goods,” one of
the most successful photoplays in the his¬
tory of the industry, is announced by the
American Film Company.

This new edition of “Damaged Goods”
will be available to exhibitors in the larger
cities February 12. Arrangements for
special pre-lease runs will be possible through special ne¬
gotiations with the Mutual Film Corporation which will
handle the distribution of the production.

The new edition is a complete revision of the big and suc¬
cessful original production. Richard Bennett, the famous
speaking stage star who is responsible for the production
both on the stage and the screen, personally supervised the
revision of the production at the Santa Barbara studios of
the American Film Company. A large number of entirely
new scenes have been made and incorporated in the new edi¬
tion and the entire picture has been subjected to a polishing
and recutting that has brought it, in the opinion of Mr. Ben¬
nett and the expert staff of the American studios, to a final
perfection.

The box office power of “Damaged Goods” has been
proven some thousands of times and in nearly every center
in the United States.

A new edition of the production was determined upon
after President John R. Freuler of the Mutual Film Cor¬
poration received through the Mutual’s exchanges a large
number of requests for return bookings after the first edi¬
tion of the production was withdrawn from the market Sep¬
tember 1, 1916 An investigation of the records on this pic¬
ture showed that in practically every instance return book¬
ings had proven even more profitable to the exhibitors than
their first runs

“The’production has had a remarkable self-promotion,” ob¬
served Mr. Freuler. “Carrying the original Broadway cast of
Mr. Richard Bennett and his co-workers, and following the
spectacular and successful career of the piece on the speak¬
ing stage the first edition of ‘Damaged Goods’ met a suc¬
cess that surprised even the optimism of the producers. The
picture has been talked about, preached about, and editorial¬
ized about until it is known almost to every person in the
United States. ‘Damaged Goods’ has won friends for the
photodrama and it has created new patrons for the theater.
It is conspicuously successful as ‘a picture with a purpose.’
Opposition and the barriers of censorship have largely been
beaten down by the sane force of a public approval that is
never wrong.”

Synopsis ^/“TAILOR’S TRIMMINGS”

Two Reel Vogue Comedy — A riot of fun.

First tramp . .Rube Miller

His partner . Owen Evans

The tailor . Larry Bowes

His wife . Lillian Hamilton

The fair passenger . Dorothy Armstrong

Rube and Owen, two tramps, enter the town and the first
party they meet, a banker, they hold up. To avoid suspicion
they decide to get work of some kind and while wondering
what it will be they come upon a deserted street car. The
conductor’s and motorman’s clothes are in the car and so
Rube and Owen don the uniforms and start the car. The
motorman, Owen, becomes peeved because the conductor is
collecting all of the fares and so he makes the passengers
board the front of the car and “pay as they enter.” Lillian,
a tailor’s wife, enters the car and begins a flirtation with
the crew. While they are fighting over her she leaves them.
Dorothy, another beauty, gets on the car and when she
leaves the two follow her. She is bound for the tailor’s,
Lillian’s husband, and when she arrives, Larry, the tailor,
takes her out to dinner. Rube and Owen enter the shop
and seeing Lillian order some clothes from her, they hide
in some tailor’s dummies on the proprietor’s approach. From
this point the comedy assumes a whirlwind aspect and until
the picture fades from the screen you are kept convulsed
with laughter.

Synopsis of “JERRY’S WINNING WAY”

One Reel Cub Comedy — Featuring George Ovey.

Jerry . -. . .George Ovey

Hank . George George

The girl . Claire Alexander

The landlady . Helen Gilmore

The father . M. J. McCarty

Jerry in an attempt to rescue a girl from a boarding house,
where she has been placed by her father, first projects him¬
self into a melee with the police in which the latter get
the wettest end of a garden hose. He disguises as a woman
when he next makes an attempt at a rescue. He cannot
resist the temptation to have a little fun with the cop, the
boarder and the girl’s father, who are misled by his costume
and all make desperate love to him. Jerry’s fooling on the
job instead of tending strictly to business gets him to serious
trouble and he does not effect the rescue.

Synopsis of ‘A JACK TAR IN THE MAKING’

One Reel — Third of the U. S. Defenders Series.

This chapter deals with the graduating of the sailor
lads from the landlubber’s class into -seasoned salts before
they are admitted to the warships. Some extensive views
of New Port and Annapolis Naval Academy are also shown
in this reel.

REEL LIFE— Page Six

THE FAME OF CHARLES CHAPLIN

A few words about
“The Rink ” from the
Nation's Biggest Papers

Charles Chaplin’s “Mutual-Chaplin Specials,” the pictures produced under his famous $670,000
contract, are unique in the unanimity of their success and box office earning power. Interesting evidence
in support of this assertion is offered by a browsing review of the press clippings:

LOS ANGELES — Guy Price in the “Herald”
says — “ ‘The Rink’ keeps you laughing — you sit
in your seat and shake all over. That’s the way
he affected the Sunday matinee crowd at the
Garrick, and that audience is usually a hard-
boiled lot.”

NEW YORK — Heywood Broun in “The Trib¬
une,” reviewing “The Rink” at the Rialto says: —
“The new Chaplin is a superman, and though the
hordes of fat villains may rage against him with
pie and soup and siphons they shall not prevail.”

CHICAGO — Mae Tinee in “The Tribune,” says
of “The Rink” — “The effect is to make you forget
the high cost of living, are we prepared, and the
maid question.”

CHICAGO, ILL.— W. K. Hollander in the
“Daily News” says of “The Rink” — “It is Chaplin
from beginning to end — one solid mass of mirth.
There is genuine humor throughout and it actu¬
ally forces one to laugh.”

CLEVELAND, O.— John DeKoven in “The
Leader” — “ ‘The Rink,’ which opened for a week
at the Reel, is, we should say, the best in both
time worn comedy and original stunts that he has
contributed in some time.”

NORFOLK, VA. — “The Pilot” says: — “ ‘The
Rink’ is the eighth of the big Mutual Chaplin
productions, and it is endorsed by Norfolk theater¬
goers as the funniest he has ever made. It was
presented at the Wells today and moves to the
American tomorrow. Maybe it hasn’t attracted
some crowds!”

INDIANAPOLIS, IND.— “The Star”— “Charlie
Chaplin has established a box office record thus
far in his picture, ‘The Rink,’ now showing at the
Alhambra.’

TRENTON, N. J. — "The Times” — “Records for
attendance were broken at Taylor Opera House
yesterday afternoon and evening through the draw¬
ing power of Charlie Chaplin’s newest comedy,
“The Rink’.”

COLUMBUS, O. — “The Dispatch” — “Charlie
Chaplin in ‘The Rink’ continues to bring screams
of laughter from the Pastime audience.”

SCRANTON, PA.— “The Times”— “ ‘The Rink’
is one long, loud enjoyable laugh. Get to see it
at the Manhattan if you have only a few minutes
to spare.”

SEATTLE, WASH. — Melvin G. Winstock in
“The Spectator” — “If you think Chaplin has ex¬
hausted his power, just drop in somewhere and
see his antics in ‘The Rink.’ I saw a lot of fel¬
lows there who sit up and say ‘I dare you to make
me laugh,’ and they came out with a smile that
lasted two weeks.”

LOS ANGELES, CAL.— “The Record”—
“Charlie Chaplin again, likewise a long line of
people waiting at the box office is the situation at
the Garrick this week. In ‘The Rink’ the inim¬
itable Chaplin has an opportunity to prove his
worth. The story gives the finest situations for
his pantomimic art.”

WORCESTER, MASS.— “The Post”— “When
Chaplin comes to town, all the picture fans sit up
and take notice. Chaplin is here today at the
Plaza Theater, the one and only Chaplin of the
films, the funniest man on the screen. The latest
two-reel wheeze of the premier comedian is called
‘The Rink’.”

BALTIMORE, MD. — “Sun’.’ — “Charlie Chaplin
as a champion roller skater on two legs or one
leg or no leg at all was the chief laugh-getter at
the Hippodrome yesterday afternoon in his new¬
est film play, ‘The Rink.’ The theater was packed.
He is easily the feature of the bill.”

PHILADELPHIA, PA. — Kenneth Macgowan in
the “Evening Ledger” — “In ‘The Rink,’ which the
Arcadia, Palace, Victoria and Regent showed yes¬
terday, was unreeled one of the funniest bits
which have come from Lone Star studios.”

PHILADELPHIA, PA.— “North American”—
“Charlie Chaplin, of course, held the floor in the
comedy department during the week. Nearly
every large theater in town showed ‘The Rink’ as
one of its features. Chaplin’s comics are grow¬
ing more and more generally popular.”

SHREVEPORT, LA.— “Times”— “ ‘The Rink,’
now showing for the sixth day at Fichtenberg’s
Dreamworld Theater, has thus far been the big¬
gest success in which Charlie Chaplin has ap¬
peared, from a box office point of view as well as
the general satisfaction it has distributed among
those who have witnessed it.”

JOHNSTOWN, PA.— “Democrat”— “In ‘The
Rink,’ Chaplin is undoubtedly at his very best, not
by the opinion of one person, but the opinion of
hundreds who saw him in it yesterday at the
Park.”

SEATTLE, WASH.— ‘“Times”— “Yesterday The
Strand gave its patrons the greatest program yet
offered, — Charlie Chaplin in ‘The Rink,’ which is
no doubt his masterpiece.”

BROOKLYN, N. Y. — “Times” — “The show at
the Amphion opened last night to a full house and
an appreciative one. Charlie Chaplin in “The
Rink” proved too much for the fifth ribs of some,
and they made the old playhouse re-echo with their
laughter.”

HACKENSACK, N. J.— “Evening Record”— “In
‘The Rink’ Chaplin has outdone himself as a come¬
dian.”

TRENTON, N. J. — “The Gazette” — “Charlie
Chaplin proved a scream in ‘The Rink’ before
three of the largest audiences of the season at
the Taylor Opera House yesterday. At the end it
was voted the best Chaplin picture.”

COLUMBUS, OHIO— “The Citizen”— “Folks
who have seen Chaplin in ‘The Rink’ say Chaplin
never had a funnier film.”

SPRINGFIELD, ILL.- — “The Journal” — “If you
have not enjoyed a good laugh in some time we
suggest that you pay the Lyric a visit today and
see Little Charlie in his latest, ‘The Rink’.”

NORFOLK, VA. — “The Dispatch” — “Did you
go to the Wells yesterday? Couldn’t get in? Well,
that’s what happened to hundreds of others. Bet¬
ter go early today and make sure. The reason?
It’s because in his very latest, sizzling, bubbling
fun geyser, ‘The Rink’ was shown. The crowds
broke all previous big records.”

CHICAGO, ILL. — “Bob Reel” in “The Ameri¬
can” — “Charlie Chaplin is at the Boston in a pic¬
ture so funny that it makes the callous camera
operator laugh. You can’t beat the combination of
those feet and roller skates.”

ATLANTA, GA. — “The Constitution” — “Charlie
Chaplin in ‘The Rink’ proved a magnet for thou¬
sands yesterday who were unable to gain admit¬
tance. On account of the great attendance at the
Strand yesterday the film will be repeated today.”

HARTFORD, CONN.- — “The Post” — “Chaplin is
the best bet in the show business. ‘The Rink’ at
the Palace is' a ‘shriek’ from start to finish.”

CHICAGO, ILL. — Louella Parsons in “The
Herald” — “You have to laugh at him.”

While Chaplin’s latest Mutual comedy
is absorbing most of the limelight just
at present, all the six of Chaplin previous
releases, since the signing of his $670,000
contract, — “The Floor Walker,”' “The
Fireman,” “The Vagabond,” “One A. M.,”
“The Count,” and “Behind the Screen” —
are doing record breaking business and
exciting unlimited comment and enthusi¬
asm wherever they are being shown for
the first time, or at repeat exhibitions.

Some comments, taken at random from
the press, show the reception which has
greeted other Chaplin releases.

UTICA, N. Y.— “The Observer” — on “The Pawn
Shop” — “Capacity houses have laughed all the
week at the antics of Chaplin in “The Pawn
Shop’.”

SPOKANE, WASH.— “The Chronicle” — “Be¬
hind the Screen” — “Crowds were on hand to greet
Charlie Chaplin at the Class A yesterday when he
appeared in ‘Behind the Screen’. It is one of the
most elaborate so far produced by the Mutual
Company.”

SEATTLE, WASH.— “The Times”— on “The
Pawnshop”— “One continuous roar from start to
finish.”

LOS ANGELES, CAL. — “The Express” — on
“Behind the Screen” — “Critics have agreed that
the little laugh maker is funnier than ever in this
burlesque of Movieland.”

LOS ANGELES, CAL. — “The Examiner” — on
“Behind the Screen” — at the Garrick — “The heavy
attendance indicates that it could run at the Gar¬
rick indefinitely to near capacity houses.”

ATLANTA, GA.— “Morning Journal” — on “Be¬
hind the Screen” — “Monday was a red letter day
for hundreds of motion picture fans who visited the
Georgian Theater in ‘Behind the Screen’. It is
one of the best things he has ever done.”

NEW ORLEANS, LA.— “The Item”— on “Be¬
hind the Screen” — “It gives Chaplin the chance of
his lifetime, and if you really want comedy, that
sort which simply forces you to laugh, don’t miss
this.”

PHILADELPHIA, PA. — “The Evening Ledger”
— on “Behind the Screen” — “The world can now
breathe comfortably, for the election seems to be
settled and the new Chaplin film has been re¬
leased.”

DALLAS, TEXAS— “The Herald”— on “The
Pawnshop” — “A riot.”

NEWARK, OHIO — -“The American Tribune” —
on “The Count” — “Proclaimed by every one who
has seen it, ‘The Best One Yet.’ ‘The Count’ is
setting the whole world laughing.”

WASHINGTON, D. C.— “The Star”— on “The
Count” — “This Chaplin picture makes a pronounced
hit. Chaplin has an army of admirers all his
own.”

WALLA WALLA, WASH.— “The Union”— on
“The Count” — “No doubt there have been funnier
things in the history of the world than Charlie
Chaplin in ‘The Count’. But they have never
come to Walla Walla.”

TORRINGTON, CONN.— “The Register”— on
“The Vagabond” — “Under the Mutual environ¬
ment Charlie has steadily gained in popularity,
and today he is the best known and loved movie
star in the world. See him in ‘The Vagabond’
tonight and you will agree with a hundred million
people that he is beyond all comparison, the great¬
est laugh-maker that ever lived.”

REEL LIFE — Page Seven

I

PERILS OF OUR GIRL REPORTERS’

“Ace High ’’ is the
third of thrilling
newspaper stories

A SPLENDID example of intelligent dramatic
construction and direction is revealed in
“Ace High,” a product of the Niagara Falls
Studios — Story No. 3 of the “Perils of Our
Girl Reporters” stories, fifteen in all, re¬
leased by the Mutual Film Corporation.
The story is one involving a smashing
adventure in the dance halls of the East Side in New York,
by Jessie Forsythe, a young girl reporter, who has been in¬
structed by her managing editor to explore that field for
color in writing a series of Sunday stories.

What Miss Forsythe (Helen Greene in real life) really
“dug up,” was the story of the year in metropolitan
journalism- — the actual inside facts with regard to a con¬
spiracy that had long baffled the political editors of the
paper.

In order to ingratiate herself into the favor of “Dago
Mike,” a saloonkeeper politician and cabaret proprietor,
Miss Forsythe undertook to fill the position of
a cabaret dancer who had been taken ill, and MfKk
because her dancing proved a novelty in the i
low hall to which Mike assigned her, she be¬
came a popular favorite. Her society was im¬
mediately sought by McTeague, boss of the
ward, and this, of course, gave Miss Forsythe
her opportunity.

How the young woman became involved in
the quarrel of half a dozen gangsters who
fought for her favor and how she turned the
power thus acquired to good account for her
paper, are told in a series of episodes so in¬
tensely exciting that it is impossible to avoid
falling into the spirit of the play.

The principal fascination about Mrs. Tup-
per’s plays is that they are based on actual
newspaper happenings and are true in story
and atmosphere. There are no impossible
newspaper types in “Ace High.” On the con¬
trary the managing editor who gives Miss
Forsythe her assignment is a real managing
editor, engaged in editing a real newspaper.

The reporters who are shown busy at their
work in the newspaper office from which Miss
Forsythe makes her exit to tackle the slums,
are really and truly newspaper reporters, do¬
ing their regular newspaper tasks.

Helen Greene, who is the star girl reporter of the series,
displays in her acting a very thorough knowledge of news¬
paper work. She carries no notebook and is not forever
wagging a pencil in the faces of her victims. On the con¬
trary she is a very consistent girl reporter of the type to be
found in scores of newspaper offices from one end of this
country to the other.

The scene of the political plotting that results in a desper¬
ate fight out of which Miss Forsythe gets her big story, is
truly depicted. It is in one of the back rooms of “Dago
Mike’s” cabaret that the trouble begins. John Dillon, a
young poolroom keeper of the ward, has made up his mind
that Miss Forsythe is not really a cabaret performer but
that she has been inveigled into the life by some specious
means and he determined on her rescue.

Dago Mike, attempting to frighten Dillon away from the
girl, precipitates a fight in which he is badly worsted by
Dillon, and almost immediately the latter is surrounded by
gunmen of a gang hired by McTeague.

There follows the most interesting replica of a New York
gunman’s fight ever put on the screen. There is something
about the sudden outbreak and fatal ending of this character¬
istic gun battle that is declared by the New York police to
absolutely force conviction of its genuineness.

“If I hadn’t known this was ‘framed’,” said Commissioner
Willis, “I certainly should have believed the fight actually
took place and that its elements were those I have seen mixed
up in similar affairs scores of times. It is the most realistic
gunfight I have ever seen staged.”

In the thick of the fighting, Miss Forsythe is not so brave
as to be unconvincing. She is scared to death when the
shooting begins but not too scared to seize a weapon and de¬
fend her defender when his life in endangered.

Miss Greene, in telling of her preparation for the role of
“The girl Reporter” said a few days ago that she had cov¬
ered nearly every sort of assignment ever handed a
woman in the New York newspaper offices.

“The real woman reporter is not the flighty, fidgety
pencil pushing sort of person we have been used to see¬
ing depicted on the speaking stage,” said Miss Greene.

“On the contrary, she is a rather reserved
and observant young woman, as a rule, given
to listening rather than to talking and to
action rather than to words on gen¬
eral principles.

“In my interpretation of the
character for the screen I have en¬
deavored to epitomize all that I
have learned about the actual news¬
paper worker in petticoats and what
I have learned is a great deal.”

Helen Greene in scene from “Ace High.”

REEL LIFE — Page Eight

l

The Weekly — Reel Life — See America First — Tours Around the World

The wreck of the submarine IT-3 from Mutual Weekly No. 105.

Submarine Is
Shown Wrecked

Arrival of soliders
from Mexican front
also pictured.

ONE of the biggest things ever
caught by the Gaumont camera¬
man will be shown in Mutual
Weekly No. 105. This is the
wreckage of the submarine H-3 at
Eureka, California. In a dense fog
the undersea boat was wrecked and
24 men nearly perished. They were
rescued by the coast guardsmen and
the breeches buoy.

Other events of importance and
interest pictured in the Weekly are
the floating of a 10,000-ton oil-burning
steamer at Quincy, Mass. Andrea
Fenwick christens the “Julia Luck-
enback”; 22d engineers arrive in New
York from the Mexican border;
President Wilson’s daughter leading
chorus, which sings Christmas carols
on the steps of the U. S. treasury;
park employes of New York City re¬
ceive Xmas gifts from Mrs. Russell
Sage; Cardinal Gibbons sends 110,000
telegrams to raise funds for charity;
Jackies of U. S. warship “New York”
provide Santa Claus for kiddies; suf¬
fragists of Washington, D. C., pay
tribute to Mrs. Boissevan; Christmas
tree for animals held in Boston,
Mass.; young Indian wins marathon
at Venice, Cal.; Squadron “A” ar¬
rives in New York City; Colorado
guard receives armored motor car;
Charles M. Schwab pledges big steel
plant to nation’s aid.

THE week of Jan. 7 brings from
the Gaumont studio through
Mutual the customary four
single reels and the eighth installment
of the sensational photo-novel, “The
Vampires.” The first to reach the
screen is “Reel Life,” the Mutual
Magazine in Film, No. 36, Jan. 7.
It shows making “Turpentine from
Waste Timber,” “An Argosy from
the Arctic,” growing “English Wal¬
nuts in the United States,” and how
to “Design Your Own Gown.”

Two days later “Tours Around the
World” No. 10 is released. It con¬
tains wonderful pictures of “The
Foothills of the Pyrenees,” charac¬

teristic scenes of “Life in Egypt,”
and views of Budapest, Hungary.

The third single-reel of the week
is the split-reel, “See America First,”
No. 70, “In the Heart of the Blue
Ridge,” and a Gaumont Kartoon
Komic, _ “The Gourmand.” The
scenic views are of great historical

interest, showing Lexington, Va.,
where are located the Washington
and Lee University, the Virginia
Military Institute, the home of

“Stonewall” Jackson, and the grave
of Robert E. Lee. Another inter¬
esting view is of the celebrated

Natural Bridge.

The fourth single-reel of the week
is the Mutual _ Weekly. No an¬
nouncement of its contents can be
made in advance of its release as
it _ is only made up the day it is
shipped.

" Turpentine from
Waste Timber”

One of interest¬
ing subjects in
"Reel Life" — No. 36

THE recent change in the subject
matter of various releases of
“Reel Life,” the Mutual Maga¬
zine in Film, brings to the screen,
in Number 36, issued January 7, sev¬
eral entertaining series of pictures
which had been previously announced.
First on the reel is “Turpentine
from Waste Timber.” This shows
the method now employed in the
south whereby stumps are removed
from the ground and shattered by
explosives, and the splintered woods
forced to give up their turpentine
by distillation.

The second section of the reel,
“An Argosy from the Arctic,” pic¬
tures the trophies and spoils brought
back from the frozen north by a
whaler. There are views of whale¬
bone, an ivory tusk taken from an
extinct mammoth that perished ages
ago when the far north had a tropical
climate, and the method employed
by an Eskimo in harpooning a walrus.
The ship brought back a native, and
he is seen in his kayak paddling
about just as if big game.

“English Walnuts in the United
States” takes the spectator to a large
California grove. How the pickers
work, how the walnuts are dried and
culled, the methods of the packers
in testing and grading and sacking
are among the interesting processes
pictured on the screen.

A fourth section of the reel is
a chapter in the Gaumont series en¬
titled “Design Your Own Gown.”
These pictures are for women who
plan their own costumes, and have
proved deservedly popular.

# * *

Mary miles minter, the

adorable star of the American-
Mutual cohorts, is on a ram¬
page. In fact, nothing breakable
about the studio is safe these days.
The trouble is, some feminine person
of whom the soulful eyed young star
is not particularly fond called her “a
nice girl.”

“I won’t be called a nice girl,”
says the agitated Mary. “People say
that when they can’t say anything
else. It is like ‘She meant well’ and
‘She’s good to her mother’.”

Not even “Mickey Mutual,” her
green pup, can cheer her up, which
means that fair Mary is in an un¬
happy frame of mind.

* * #

THE Helen Holmes Company, at
work on the Mutual’s success¬
ful serial, “A Lass of the Lum-
berlands,” spent New Year’s Day at
the Tia Juan race tracks, filming
the fourteenth episodes of the con¬
tinued film story. The entire com¬
pany, headed by Helen Holmes, driv¬
ing her own car, and Director J. P.
McGowan motored down and spent
the day in the vicinity of San Diego
and Tia Juana.

In the Heart of
the Blue Ridge

Through famous Vir¬
ginia mountains in
"See America First”

G |N the Heart of the Blue Ridge”
I is the title of “See America
x First” No. 70, reldased through
Mutual January 10. This title is de¬
scriptive of historic Lexington, Va.,
and the country which surrounds it.
First comes a general view of the
town, then a picture of the North
river, a tributary of the James. The
whole nation knows of the Wash¬
ington and Lee University, that cele¬
brated institution of learning estab¬
lished here as Augusta Academy in
1743. When Robert E. Lee was its
president it was known as, Wash¬
ington College, and at his death the
name of the south’s greatest hero
was added. There is a picture of
the university, as well as of the
Lee Memorial Chapel, the West¬
minster Abbey of the Confederacy,
where the great leader of the lost
cause lies buried.

There are also pictures of the
home of “Stonewall” Jackson, of the
monument to this military genius, of
the Washington statue given by the
state to the Virginia Military Insti¬
tute, and of this school, known as
the West Point of the South. The
ruins of Liberty Hall, the school of
the patriotic S’cotch-Irish destroyed
by fire in 1803, stands as a memorial
of the love of learning of the citi¬
zens of a century and more ago.

Near Lexington is the famous
Natural Bridge. It is shown in this
release. This span of earth ranks as
one of the wonders of the world.
It is 215 feet high, 10O feet in
width, and has a span of 90 feet.
Other beauties of nature, including
Lost River, the stream that runs
under a mountain, are also shown.

On the same reel Harry Palmer
has an animated whimsicality called
“The Gourmand.” This Gaumont
Kartoon Komic describes in humor¬
ous fashion the gustatory antics of a
man who believes in high living.

* # *

Notwithstanding that the

Gaumont company is now re¬
leasing a stirring series, “The
Vampires,” its former photo-novel,
“Fantomas,” is still being booked in
a highly satisfactory manner. The
secret of its success lies in the rush
of exciting incidents which crowd
each other for a place upon the
screen. It is similar in style to “The
Vampires,” and the commendatory
reviews of the critics have been as
highly favorable. The one difference
between the two Gaumont series is
that in “Fantomas” one criminal de¬
fies society, whereas in “The Vam¬
pires” it is the entire band of the
arch criminals of Paris in league
against the law. Many exhibitors are
booking “Fantomas” and following it
immediately with “The Vampires.”
“Fantomas” ran in novel form in a
great syndicate of Sunday newspapers
during the summer. In this form it
is already familiar to millions who
are still to welcome the greatest crim¬
inal in the world on the screen.

Pyrenees, and
Budapest Hungary

Bois de Bologne
of Paris,, France,
in ‘ 'World Tours”

AN intensely interesting reel is
furnished from the Gaumont
laboratories in “Tours Around
the World” No. 10, released through
Mutual January 9. Its pictures take
spectators through the foothills of
the Pyrenees, to Budapest, Hungary,
and to see the life of the natives in
Egypt. The Pyrenees are extremely
picturesque. There are deep gorges
not more than eight or ten feet wide,
dashing cataracts, and rugged valleys.
Especially pleasing is the picture of
the Hourat Gorges through which
rushes the Ossau river. Then at La-
runs the Ossau comes out of its
troubled mountain bed to become a
peaceful river.

Budapest, situated on both banks of
the Danube river, is the largest city of
the Kingdom of Hungary. In addition
to a general view of the city there is
a picture of the celebrated Elizabeth
suspension bridge, a good view of the
river boats, and pictures of the houses
of parliament.

Life in Egypt pictures the Proces¬
sion of the Sacred Carpet, taken every
year to Mecca and returned to its
Mosque at Cairo with stately cere¬
monies, the Khedive taking part.
Other pictures show native soldiers,
women transporting water from the
Nile, an Arabian cafe, an Egyptian
market place, and the primitive meth¬
ods of agriculture and irrigation still
practiced.

SINCE branch managers are in
such close touch with exhibitors,
who in turn reflect the desires of
their patrons, the Gaumont Company
keeps in close touch with the men of
Mutual branches. A recent request
for information shows that each reel
is being edited to secure general fa¬
vor. It was interesting to find that the
latest addition, “Tours Around the
World,” sprang instantly into popular
favor. Of this new reel branch man¬
agers wrote:

“Subjects are excellent,” Winni¬
peg; “O. K.,” Des Moines; “Exhib¬
itors speak in highest terms,” _ At¬
lanta; “Exceptionally fine,” Regina;
“Very interesting,” Louisville; “Go¬
ing well,” Albany; “Very good,” Port¬
land, Ore.; and “Going very big in
this territory,” Buffalo.

4 | rHE Poison Man,” is the name

of the eighth episode of
“The Vampires.” It is re¬
leased January 11. All the leading
characters who remain alive after
seven chapters of highly sensational
activities have prominent parts in this
duel between Philip Guard, the brave
reporter, and the arch criminals of
Paris. Juliet Musidora, who has es¬
tablished herself as a favorite, has
many exciting moments in her role as
the queen of the Vampires.

REEL LIFE — Page Nine

EXHIBITORS PRAISE MUTUALS’

FOLLOWING is a letter from Messrs.
Vogt and Moylan, manager of the
Princess Theater of Iowa City,
Iowa. The letter is self explanatory:

“Just a year ago now we began to use
the Mutual Program, so we wish to take
this opportunity to acknowledge our ap¬
preciation of the excellent treatment you
have accorded us during this time. Not
only have we been very well pleased with
the Program as a whole, but we feel that
you and your exchange force at Des
Moines are the most accommodating or¬
ganization we have had the pleasure to
do any film business with. All depart¬
ments have given our wants prompt at¬
tention.

“The Russell, Minter, Bennet, and Fish¬
er Star productions are fine, and Mutual
has our congratulations on them.”

* * *

JI. KIMES, manager of the Pastime
Theater of Protection, Kansas, is a
* staunch admirer of Mutual produc¬
tions. Every week he issues a clever
four paged booklet, the “Pastime
Weekly,” in which he gives the synopsis
of the comedies to be shown at the Pas¬
time Theater and also some news items
concerning future releases to be shown at
the Pastime, together with the week’s
program. Mr. Kimes is a great admirer
of Vogue and Cub comedies, and writes
that they always mean a full house to
him.

* * *

IN an interview with Karl Bornschein,
manager of the Rex Theater at
Hutchinson, Kansas, and one of the
staunchest friends the Mutual owns in
that part of the country, the Hutchinson
Gazette says:

“We will show nothing at the Rex
more than thirty days old,” said Karl
Bornschein, manager of the Rex theater,
last night. “We are going to give the
people what they want, and at popular

Some ideas on Mut¬
ual productions from
prominent exhibitors

prices, too. Beginning next Saturday,
we are going to tun a big free matinee
to the kids. I have always done this
every place I have been, and it has
proven a good thing.

“We will run a Mutual News feature
every week, and it will be right up-to-
date. We will have a Mutual ‘Tours
Around the World.” This will be the
first time it has ever been shown in
this city, and it is a good one. Strictly
educational, colored pictures and all that.

The prices of the leases of all films
have increased, the same as most other
things, but Mr. Bornschein wants it un¬
derstood that he will not increase the
prices. The Rex will continue to be a
5 and 10 cent house at all times.

Mr. Bornschein is having extraordinary
success with “Fantomas,” the Mutual-
Gaumont crook serial. This wide awake
exhibitor has run a motion picture the¬
ater in Larned, Kan., for a long time.
His Hutchinson theater is new.

* * *

W. HUBELL, wide-awake the¬
ater manager of Kansas City,
* Mo., writes: “I started your se¬
rial ‘A Lass of the Lumberlands,’ and it
has made a capacity night for me. I am
so well pleased with it that I thought I
would write and tell you about it. My
patrons are hard to please here, but it
is one serial they like. I run it on a
night the opposition house has a serial,
but I pack it just the same.”

* * *

HUGH HENRY, manager of the Rex
Theater of Denison, Texas, thought
very highly of Mutual’s Mary Miles
Minter production of “Faith” as can be
seen from the excerpts from a letter re¬
ceived from him.

“ ‘Faith’ is a wonderful picture. ‘Faith’
and ‘S. R. O.’ are together here day and
night. Expect a return engagement of
this grand success.”

IN speaking of the Mutual photo novel
“The Lass of the Lumberlands,” B. R.
Williams, manager of a string of five
of the leading motion picture theaters in
Detroit, Mich., writes as follows:

“I beg to state that I cannot speak too
highly of this wonderful photoplay, both
for plot characters and photography.

“We have this serial booked in our five
houses and find the drawing qualities
are of the best.”

* * *

WE. SCOTT, branch manager of
the Mutual Film Corporation at
* Denver, Colorado, reports that
the Mutual features are breaking all rec¬
ords in that city.

The Strand Theater, one of the largest
houses, showed the Mutual Star Produc¬
tion “Miss Jackie of the Navy,” featur¬
ing Margarita Fischer, on December 24.
The thermometer stood around the zero
mark all day and evening, but regardless
of this they played to over 5,000 patrons
at an admission price of ten and fifteen
cents. This picture is the talk of the
town and had weather conditions been
favorable during the four days’ run they
would have broken a record.

Mr. Scott also states that the Mutual
Star Production “A Dream or Two Ago,”
featuring Mary Miles Minter, broke all
records for admission to this house on
Thanksgiving day.

* * *

MUTUAL Masterpictures have proved
so popular with the patrons of the
Elmwood Theater, Chicago, Illinois,
of which H. E. McDorman is manager, that
he ran two on one week’s program. Mr.
McDorman runs an all-feature program
and the two Mutual masterpictures which
were so honored were “The Sign of the
Spade,” featuring Helene Rosson, and
“East Is East,” in which Florence Turner
is starred.

Make Your Own Electricity with Cushman Electric Plants

The Government order after inspection, before shipment

Extremely light weight and compact; 4 H. P., 2 K. W.
Outfit complete, weighs around 500 lbs.

Complete with all equipment — easy and ready to set
up and run.

Throttle Governor, connected to Schebler Carburetor,
assures clear, bright and steady pictures.

United States Bought 66 Cushman Outfits

The Illustration shows 66 Cushman Electric Power Plants ready for
shipment that were purchased by the U. S. Government for use at Army
Posts and in the field.

Cushman Motor Works

940 North 2 1 st Street LINCOLN, NEB.

REEL LIFE— Page Ten

MUTUAL

umivuai Lighting fcttectt
I tv “A LAtt OF THE lumberiand?

In lighting effects, the newMutual
chapterplay, “A Lass of the Lumber-
lands,” is as unusual and superior to other seri¬
als as it is in plot, action and enactment. Some of the
wonderful night “effects” are positively startling.
It is almost uncanny to behold flashing headlights,
brilliantly lighted Pullmans and tremendous bon¬
fires, depicted on the screen with such reality.
Theatre patrons everywhere are proclaiming
this chapterplay wonderful. Turnaway business
is the rule. Fifteen startling chapters — a new one
every week. For bookings see your nearest
Mutual Exchange.

Now Booking At
68 MUTUAL EXCHANGE?

SIGNAL FILM CORPORATION

Preset itfr

HELEN HOLMES^^^®

a LASS OF THE

uimberlanp*

A Spectacular Chapterplay of the North Woods'

AMERICAN PUM COMPANY, INC.
(ZyiHounceP

Cdno %dual SI<

tyojyubxytf&xforiie

at -y-

THIS announces the acquisition of another new American-
Mutual Star — Miss Gail Kane. Amon& the foremost artistes
of the screen and sta&e, Miss Kane occupies a most promi¬
nent position. Her charming personality and her extraordinary
dramatic talent have won for her an exceptional reputation in
the photoplay world.,

Miss Kane will be presented in a series of super-produc¬
tions to be made at the studios of the American Film Co., Inc.,
and to be distributed through the 68 Exchanges of the Mutual
Film Corporation throughout America. A number of remark¬
able plays have been secured in which Miss Kane will be starred.

This announcement is made in furtherance of the Mutual
Film Corporation’s new policy for 1917 — “ {F$ig Stars Only.” It
is merely another indication of the Mutual plan to present only
the leading stars in productions of the highest quality. An¬
nouncements of releases of the Gail Kane-Mutual Photoplays
will be made shortly. Exhibitors are requested to confer with
their Mutual Exchanges for detailed information.

cDii'/ri6ulors>

MUTUAL FILM CORPORATION

^Jok^^reuIeiiR'eP

“BIG STAR? ONLY*

tyrocfucerP

AMERICAN FILM COMPANYJNC

(^comelSHK^iHfoH'PreS:

POLLARD PICTURE PLAYS’ CO.,7We/i/f

MARGARITA FISCHER

vAc BUTTERFLY GIRL

A/ow “Play in g:-

“THE PEARL OF PARADISE”
“MIST JACKIE OF THE NAVy”
Coming

“THE DEVIL’S ASSISTANT"

“A KNIGHT AT TARQUIZZI”
“BIRDS OF PASSAGE"

'Boohing Now At Mu/uai 'EjfchangeT.

A whimsical late of Ike SideSkowS.
A Story which ends in a Surprising*
fashion atop aTiawaiian volcano.
FiveAcfS. Directed byHenryOllo.
Hkird of Ike Margarila FiScher-
Mulual PkoloplayS.ReleaSed Ike
week of January Eigklk.

— A

VOGUE FILMS Inc., Presents

((TL/v I

TWO REELS RELEASED JANUARY 7th

FEATURING RUBE MILLER

Supported by Lillian Hamilton

This is a real futurist production.

Much of its action occurs in the Hereafter.
A Paradise such as few can conceive is the setting
for many of the incidents. It all happens after Rube is in¬
jured in a quarrel. He finds himself before St. Peter. He
is conducted within the Pearly Gates. There he finds danc¬
ing girls, woodnymphs, sprites and coryphees to entertain
him. Just as he is beginning to appreciate his surroundings
he awakes. In reality he has been dreaming. He finds
himself on an operating table in a hospital. “The Land of
Nowhere” is a most unusual comedy offering. It is avail¬
able for booking at all Mutual Exchanges, u -J

VOGUE FILMS, Incorporated

General Offices: 6225 Broadway Chicago, Illinois

Slapstick with a Reason

MUTUAL

tfewspiperlifeFroKiTheIn?ide "

-InThir Thrilling. J5 Chapter Serial!

Society life and adventures in the slums— black¬
mailers in dress suits and “yeggs” in ragged raiment— crafty
Celestials from the Oriental quarter and suave international spies from
abroad — all these and others are woven into the fabric of this amazingly unique
serial of newspaper life — told from the “inside”.

FIFTEEN 5TARTLINC MOTION PICTURE STORIES -EACH COMPLETE

Motion picture fans are finding this big new Mutual serial

surprisingly fascinating. They are following it with the utmost interest.
Theatres playing it are taxed to their capacity every week. It is the “something
different” in pictures that has been so long awaited. Produced by the Niagara Film
Studios. Featuring Earl Metcalfe, Helen Greene and Zena Keefe. Directed by
George Terwilliger.

NOW Booking At 68 Mufual EXckan^es

Product Ay NIAGARA. FILM STUDIOS'

MUTUAL STAR PRODUCTIONS

MUTUAL STAR PRODUCTIONS

Week of January 15, 1917

KOLB AND DILL

No. 165 — Beloved Rogues — American

In Five Acts

Week of January 8, 1917

MARGARITA FISCHER

No. 164 — The Butterfly Girl— Pollard

In Five Acts

MUTUAL PICTURES

Week of January 15, 1917

MONDAY, JANUARY 15, 1917.

No. Brand Title Class Reels Leads

05278

05279 Monogram Shorty and the Yellow Ring- Shorty Hamil-

. Drama 2 ton

Adventures of Shorty Hamil¬
ton No. 1.

TUESDAY, JANUARY 16, 1917.

From Gibraltar

05280 Gaumont Mutual Tours Around the World to Algeciras

. Travel 1 In Tunisia (No.

Africa)

Bois de Bou-

WEDNESDAY, JANUARY 17, 1917. logne (Paris)

05281 Mutual Mutual Weekly No. 107 .. Topical

05282 Gaumont See America First. . . .Scenic and 1 A Trip to Mt.

Kartoon Komics . Cartoon Lowe, Cali¬

fornia

THURSDAY, JANUARY 18, 1917.

05283 Cub Jerry’s Big Doings . Comedy 1 George Ovey

FRIDAY, JANUARY 19, 1917,

052S4 Mutual A Jack Tar in the Making. Top. 1

Uncle Sam’s Defenders No. 3.

SATURDAY, JANUARY 20, 1917.

05285 . 1

SUNDAY, JANUARY 21, 1917.

(F28" Vogue Tailor’s Trimmings . Comedy 2 Rube Miller

05288 Gaumont Reel Life . Magazine 1 Oranges ih Cali¬

fornia
The Air
The Hydro-Ski

No.

05268

05269

Brand

Mutual

05270

Gaumont

05271

05272

Mutual

Gaumont

05273

Cub

05274

Mutual

05275

Star

05276

05277

05278

Vogue

Gaumont

Leads

Pyrenees Life in
Egypt, Buda¬
pest

Blue Ridge
Mountains

Week of January 8, 1917

MONDAY, JANUARY 8, 1917.

Title Class Reels

When Hands Are Idle... Drama 2

TUESDAY, JANUARY 9, 1917.

Mutual Tours Around the World

. Travel 1

WEDNESDAY, JANUARY 10, 1917.

Mutual Weekly, No. 106. Topical 1

See America First ... Scenic and 1

Kartoon Komics . Cartoon

THURSDAY, JANUARY 11, 1917.

Jerry’s Winning Way. . .Comedy 1 George Ovey

FRIDAY, JANUARY 11, 1917.

Our Boys at the Border . Topical 1

Uncle Sam’s Defenders, No. 2

SATURDAY, JANUARY 13, 1917.

The Honeymooners . Comedy 1 George Derr

SUNDAY, JANUARY 14, 1917.

A Lisle Bank . Comedy 2

Reel Life . Magazine 1 Making Kid

Gloves
Pickles
Good Teeth

MARY MILES MINTER

KOLB AND DILL

Youth’s Endearing
Charm

Dulcie’s Adventure
Faith

A Dream or Two Ago
The Innocence of Lizette
The Gentle Intruder

WILLIAM RUSSELL

Soulmates
The Highest Bid
The Strength of Donald
McKenzie

The Man Who Would
Not Dio

The Torch Bearer
The Love Hermit
Lone Star

A Million for Mary
Bluff

The Three Pals
A Peck O’ Pickles
Lonesome Town
Beloved Rogues

t"

I).

CHARLES CHAPLIN

The Floorwalker
The Fireman
The Vagabond
One A. M.

The Count
The Pawnshop
Behind the Screen
The Rink
Easy Street

The Twinkler
My Fighting Gentleman

PHOTO-NOVELS

The Perils of Our Girl
Reporters

The Sequel to The Dia¬
mond from the Sky
The Vampires
A Lass Of The Lumber-
lands.

The Girl and the Game
. The Secret of the Sub¬
marine
Fantomas

RICHARD BENNETT
Philip Holden — Waster
And The Law Says.

The Valley of Decision
The Gilded Youth

MARGARITA FISCHER

The Pearl of Paradise
Miss Jackie of the Nav:
The Butterfly Girl
The Devil’s Assistant ^
A Night at Tarquizzi
Birds of Passage

MUTUAL FILM EXCHANGES

Albany, N. Y.

Amarillo, Tex.

Atlanta, Ga.

Baltimore, Md.

Bangor, Me.

Boston, Mass.

Buffalo, N. Y.

Butte, Mont.

Cairo, Ill.

Chicago.

Cincinnati, O.

Cleveland, O.

Columbus, O.

Dallas, Tex.

Denver, Colo.

Des Moines, la.

Detroit, Mich.

El Paso, Tex.

Escanaba, Mich.

Ft. Smith, Ark.

Fargo. N. D.

Grand Rapids, Mich.

Houston, Tex.

Indianapolis. Ind.

Kansas City, Mo.

Los Angeles. Calif.

Louisville. Ky.

Memphis. Tenn.

Milwaukee, Wi=.

Minneapolis, Minn.

Newark. N. .1,

New Haven, Conn.

New Orleans, La.

New Yor-k City, Mutual Film
Exchange

New York, Western.

Oklahoma City.

Omaha, Neb.

Philadelphia, Pa.

Phoenix, Ariz.

Pittsburgh, Pa.

Portland, Oregon.

Salt Lake City. Utah.

San Antonio, Tex.

San Francisco, Calif.

St. Louis, Mo.

Seattle, Wash.

Sioux Falls, S. D.

Spokane, Wash.

Tampa, Fla.

Washington, D. C.

Wichita, Kan.

Wilkes-Barre. Pa.

Toronto, Canada.

Calgary, Canada.

Montreal. Canada.

St. John, Canada.

Vancouver, Canada.

Winnipeg, Canada.

733 Broadway
302 E. 4th St.

146 Marietta St.

412 E. Baltimore.

127 Franklin St.

1106 Boylston St.

106 Pearl St.

American Theatre Bldg.

4th St. & Commercial Ave.
Consumers Bldg.

224 E. 7th St.

750 Prospect Ave., S. E.

422 N. High St.

1807 Main St.

1724 Welton St.

Cohen Bldg.

97 Woodward Ave.

Corner W. San Antonio Ave.

and S. Santa Fe St.

1019 Ludington St.

17 North Sixth St.

119 5th St.

7-8 Hawkins Bldg.

805 Franklin Ave.

150 North Illinois St.

928 Main St.

825 So. Olive St.

410 So. 4th St.

500 So. Main St.

301 Enterprise Bldg.

22 North Sixth St.

25 Branford PI.

130 Meadow St.

S16 Perdido St.

71 W. 23rd St.

126 W. 46th Si

Box 978 7-15 Walker St.

1413 Harney St.

257 N. 12th' St.

142 W. Adams St.

420 Penn Ave.

9th and Davis St.

123 E. 2nd South St.

209 Alamo Plaza.

162 Turk St.

1311 Pine st.

1933 3rd Ave.

201 Wms. Fine Arts Bldg.

4 08 W. First Ave.

1325 Franklin St.

419 Ninth St.. N. W.

316 Barnes Bldg.

61 S. Penn Ave.

15 Wilton Ave.

702 4th St., W.

345 Bleury St.

39 Waterloo St.

963 Granville St.

48 Aiken Bl., McDermott Ave.

MY/TVAL

Mr.ExhibitoT

for a liter.

He says

Givemea- REEL LIFE

(uvemea- TOURSAROUND
- EWORLD

\ • A'. - 1

Givemethe MUTUAL WEEKLY

Jive me a - SEEAMERICAF1RST

5Gaarooi}t|

I

6 a a moot Co.

FLUSHING, N.Y

JGa(in)ont>

Tke Mutual ElwMa^azme

(Januar/ IS, Ityt/l

PRICE 5 CENTS

A\aiie OMU

To appear its,
two-part comedies

Bid SiarS1 Only
For AYvtiual

MUTUAL S GROWING ROSTER

*++

1 I I

III

ONLY BIG

+«M‘

I I I

s | | The Mutual Film Corporation

! f ! has announced

of

STARS FOR 1917”

MARJORIE RAMBEAU
NANCE O’NEIL
GAIL KANE

And last week announced:

EDNA GOODRICH

And this week announces:

MARIE CAHILL

And the next week will announce:

??????????????

And we have Mary Miles Minter, Mar¬
garita Fischer, Charles Chaplin, Richard
Bennett, William Russell, — being, of the
first magnitude in class and box office
value.

“Only Big, Stars for Mutual in 1917”

ANNOUNCING MARIE CAHILL

Noted actress soon to
appear in series of two
part Mutual comedies

PRESIDENT JOHN R. FREULER of the
Mutual Film Corporation announces the
closing of a contract with Miss Marie
Cahill, under the terms of which that brilliant
young actress will appear in a series of two-
part comedies to be released every two weeks.
The date of the first release has not yet
been set, but studio operations are already under way in
New York where the Mardan Photoplay Company, under
contract with the Mutual Film Corporation is preparing for
immediate work in connection with Miss Cahill’s engage¬
ment.

Miss Cahill is the latest among many distinguished stars,
including Marjorie Rambeau, Nance O’Neil, Gail Kane and
Edna Goodrich, with whom contracts have been recently an¬
nounced by Mr. Freuler, and the engagement of the clever
comedienne is renewed evidence of the Mutual’s determin¬
ation to live up to Mr. Freuler’s announced policy “only big
stars for the Mutual.”

Miss Cahill and her associate stars added to the already
strong array of talent in the Mutual forces, including Mary
Miles Minter, Richard Bennett, Margarita Fischer, and
Charlie Chaplin — the world’s greatest comedian.

Other contracts with equally famous artists are now in
process of negotiation and these will be announced from time
to time as they are brought to completion.

Marie Cahill is known from one end of the country to
the other as one of the cleverest comediennes on the Ameri¬
can stage. Before signing a contract with the Mutual Miss
Cahill had appeared but once in films, when her most suc¬
cessful comedy, “Judy Forgot,” was screened.

Miss Cahill is to be surrounded by a thoroughly capable
company of actors and actresses, Mr. Freuler having de¬
clared an intention to give personal attention to the selec¬
tion of her support.

Because it is Miss Cahill’s idea that a comedy, to be effec¬
tive must be short and snappy, two part productions will be
the limit of any picture in which she appears under the pres¬
ent contract.

“La Belle Marie,” as she is known among her friends of
the profession, has a way of dispensing original comedy
business that is distinctively her own and just as distinctively
popular with a fun-loving public. The first of the Cahill
comedies will be “Flirting with Romance,” and this is said
to be one of the screamingest things in which the young
actress ever has appeared.

Among Miss Cahill’s most pronounced successes on the
speaking stage in recent years were “Molly Moonshine,”
“Nancy Brown,” “Marrying Mary,” “The Boys and Betty,”
“The Opera Ball,” and “Flirts.” As a comedienne she has
probably a larger following throughout the country than any
other laughmaker.

Miss Cahill is a native of Brooklyn, N. Y. She made her
first stage appearance in that city in “Kathleen Mavourneen”
and later her regular professional debut at Poole’s Eighth
Street Theatre in “C. O. D.” Her next appearance was as
“Patsy” in Charles Hoyt’s “A Tin Soldier,” and after that
she appeared at the Shaftesbury Theatre in London in
“Morocco Bound.” Later productions in which Miss Cahill
scored successes were “Sporting Life,” “A Runaway Girl,”
“Monte Carlo,” and “Three Little Lambs.”

Miss Cahill is one of the many famous artists who have

Marie Cahill, new Mutual star.

gone for inspiration and study to Madame Ada Dow Currier,
the gifted woman to whom Julia Marlowe owes her begin¬
nings in her dramatic career.

Madame Currier was a stock actress who attained distinc¬
tion under the name of Ada Dow during the days of Barrett
and Booth, and later became a producer and a teacher. It
was she who first saw the talents in Julia Marlowe, then a
young girl of an English family in Cincinnati, and who took
the famous Shakespearian actress into her home and trained
her for several years, before she actually presented Miss
Marlowe at her debut in New York City.

To Madame Ada Dow Currier’s doors have come many of
the stage’s most successful women, including Maude Adams,
Maud Hoffman and Agnes Miller.

REEL LIFE — Page One

CHARLIE CHAPLIN -‘EASY STREET’

7 he famous comedian

Charlie, the Outcast . Charlie Chaplin

Edna, the Beautiful Organist . Edna Purviance

Eric, the Bully . Eric Campbell

appears for the first
time as a policeman

ASY STREET,” the new Chaplin-Mutual
* comedy to be released January 22 is con-

Kmm sidered by Charlie Chaplin to be one of the

* best things he has done, since it affords him

1 opportunity to “make love and fight,” which
elements, in a recent magazine article, the
comedian declared to be the basis of all good
dramatic construction.

Chaplin’s love affair in “Easy Street” — a play that deals
with the seamy side of life in the poorer quarter of a large
city — involves the pretty organist of an East Side mission,
Edna Purviance, of course. When the comedian, garbed
as a down-and-out tramp, had run the gamut of human ex¬
perience in dives and free lunch emporiums of New York,
he turned, as do so many thousands, to the mission, where
by good management or a specially pathetic appeal, the des¬
perate may obtain a slice of bread and oleomargarine and
a cup of coffee, together with an offer of salvation.

Chaplin’s tramp had reached this mission-house coffee
stage when he encountered the sympathetic gaze of the
pretty organist and forthwith revised his entire outlook on
life. When this “down-and-outer” heard the voice of the
charming young religious devotee, and witnessed the in¬
effable grace of her movements, he formed a conclusion
that there must remain certain hope of grace in a world
capable of producing this transcendental beauty. He de¬
termined once more to face the struggle for an honest living.

Charlie’s principal embarrassment for the time being
was that at the moment when these virtuous thoughts as¬
sailed him, he had, concealed under his coat, the mission
collection box, which he had “lifted” on entering, as a
mere matter of form, and whch, since encountering the
pretty organist with the soulful eyes, he had been unable to
restore to its rightful place on the wall.

Anyone who knows Chaplin will be able to visualize him
under these embarrassing circumstances and to realize that
although he appears for the moment to be torn with con¬

flicting emotions, those of love and mammon, the worthier
motive will prevail, and “Edna, the organist,” will find her¬
self ere long involved in the throes of a whirlwind courtship
with the indefatigable Charlie as Cupid.

In fact speculation on this point is at once ended, for
Chaplin turned the collection box over to the mission
preacher with the nonchalance of a prince bestowing largess,
and, having relieved himself of this incubus, at once began
the pleasurable task of making love to Edna.

The young mission worker, convinced that out of her
handsome tramp’s obsession she would be able to work his
conversion to paths of permanent righteousness, encouraged
Chaplin, who perked up like a wilted sunflower after a rain¬
storm, held his head high and dignified his rags with the
radiance of high purpose. What he really wanted, though,
was a chance to do the heroic in behalf of his petticoated
benefactor — to rescue her from the hands of an assailant,
carry her out of a burning building or dive into the river
after her.

And after waiting patiently at the gate of opportunity
Charlie got his chance. Bill Campbell, drunkard and bully,
whose pet diversion was “cleaning out” the mission and
“beating up” the preacher, approached his periodical task
with enthusiasm, only to be met by an athletic young con¬
vert in ragged raiment but filled with the resolve of high
purpose, whose hands and feet all seemed to strike and kick
simultaneously and before whose vigorous onslaughts Mr.
Campbell went down to the oblivion of the whipped bully.

The fact that Campbell had whipped several policemen
on the Mission beat and admiration for the prowess dis¬
played by the young convert led to Charlie’s being enrolled
on the regular force and given Easy Street to patrol.

Edna Purviance as the young missionary organist is a
revelation. Miss Purviance takes very kindly to the part
and is particularly fascinating in it. The scene in which
she permits Chaplin’s somewhat rash advances is one char¬
acterized by good acting on the part of Charlie’s able coad-

REEL LIFE— Page Two

jutor, who maintains her missionly reserve under somewhat
strained circumstances and still gets into the action with her
usual cleverness.

According to advance information concerning re¬
hearsals of this play, Chaplin at first proposed to take the
part of the missionary in order that his affair with the
beautiful Edna might have a better chance to fructify, but
on second thoughts the comedian decided that it would be
undignified for a clergyman in his canonicals to descend
from the pulpit and beat up the irascible “Bill” Campbell.

They tried it once in rehearsal and the way Charlie
handled himself as a minister was funny enough to suit
anybody, but, after considering the matter, Chaplin thought
too much restraint was demanded of him as a clergy¬
man and he took on the policeman’s job.

“Now I can go to that villain, Campbell, as
hard as I like,” said Charlie, and when the
piece was tried out next time the wisdom
of the decision was made apparent.

Chaplin used a real policeman’s
club in the first rehearsal but in
spite of his efforts to hit lightly,
he mauled the unfortunate
Campbell all over the lot. Next
he used a stuffed club and with
this he was able to “belt” the
unregenerate “Bill” just as hard
as he wanted to.

Chaplin’s makeup as the
policeman is a triumph. The uni¬
form he wears was made spe¬
cially to order and yet it is the
worst fitting uniform ever worn
by a policeman in the world’s
history. It is artistically ill-fitting.

It bags just where Charlie told the
tailor to bag it and it pinches just where
the comedian wants it tight fitting. The
ensemble is precisely what was intended
and when the champion funny man emerges
from the shadows in “Easy Street” he is
funnier than ever.

The fun in this production is cumulative. It starts off
very quietly, works up to some speed in the first fifteen
minutes and finishes in a blaze of glory.

There are some of the most remarkable types of human
wreckage in this picture that ever were gathered under one
roof. In selecting his “bums” for the mission scene, Chaplin
haunted the water front with a few chosen friends and
astounded some human ragbag every little while by hiring
him at five dollars a day to “act on the stage.”

“That always gets ’em, even more than the money,”
said Chaplin, in talking the matter over. “I had dozens of
tramps offer to go on for nothing just to get in the picture,
but the ones I picked were worth paying for. Each one is
a type in himself. Those I rejected looked like the common
run of waterfront loafers, but my actors in “Easy Street”
are aristocrats of Bumland. The clothes some of them wore
in this picture couldn’t be duplicated anywhere.”

The fact that Campbell had been one of a gang of
thugs employed frequently on election and other political
jobs by crooked politicians and heelers of the ward, gave
him the opportunity to assist certain white slavers in their

plans for Edna’s abduction, the former bully having realized
Charlie’s admiration for the young woman and having deter¬
mined to punish his assailant by this means.

Of course the newly uniformed policeman was equal to
all such machinations and rescued Edna from her abductors
in a desperate fight, during which the venturesome Campbell
received another whipping.

This play is full of fast action throughout, and it affords
Chaplin many opportunities to display his remarkable genius
for making fun. He is all over the shop and doing some¬
thing every minute. The piece is full of laughs and it seems
certain to be as popular as “The Rink” and other recent
Chaplin successes.

Concerning this production, Mr. Chaplin
said a few days ago that it was one that
he has. had in mind for a long time.

“If there is one human type more
than another that the whole wide
world has it in for, it is the police¬
man type,” said Chaplin.

“Of course the policeman isn’t
really to blame for the public
prejudice against his uniform
— it’s just the natural human
; revulsion against any sort of
;■ authority — but just the same

I everybody loves to see the
• ‘copper’ get it where the
chicken got the axe.

“So to begin with, I make
myself solid by letting my
friends understand that I am
not a real policeman except in
the sense that I’ve been put on for
a special job — that of manhandling
a big bully. Of course I have my
work cut out tackling a contract
like that and the syfnpathy of the
audience is with me, but I have also the
element of suspense which is invaluable in a
motion picture plot. The natural supposition
is that the policeman is going to get the worst
of it and there is an intense interest in how I am to come out
of my apparently unequal combat with ‘Bully’ Campbell.

“There is further contrast between my comedy walk and
general funny business and the popular conception of dignity
that is supposed to hedge a uniformed police officer. Now
that ‘Easy Street’ is ready for release, I feel satisfied
that it will be one of the biggest hits of the series. Anyway
it makes the professionals laugh and that is a pretty good
sign.”

This is the first time in all his stage career that Chaplin
has ever appeared as a policeman, though he has been busy
fighting police officers ever since he made his first bow on
the screen. Once during his early engagements on the
speaking stage Chaplin played the police officer in “Box &
Cox” and he declares to this day that he was the hit of the
piece. The uniform he wears in “Easy Street” is to be
raffled off at a bazaar for the benefit of the Red Cross. It
cost $125 and the bazaar promoters propose to start it at
$200 with Chaplin’s club, helmet, belt and big shoes.

Charlie Chaplin as the
policeman in “Easy Street.”

CHAPLIN-MUTUAL PHOTOPLAYS

The Floorwalker
One A. M.

Behind the Screen

The Fireman
The Count
The Rink

The Vagabond
Easy Street
The Pawnshop

REEL LIFE— Page Three

EXHIBITORS MUST CO-OPERATE

Canadian editor talks
to exhibitors on value
of the Neivspaper space

In this issue of Reel Life Will McLaughlin, well known photoplay editor of the Ottazva Evening Journal,
Ottawa, Canada, gives to the exhibitor his ideas on the necessity for the exhibitor and the newspaper co¬
operating. Mr. McLaughlin has some very good advice for exhibitors.

by will McLaughlin

HE MUTUAL FILM CORPORATION is
to be congratulated on its efforts to bring
about, through the medium of “Reel Life,”
a better understanding between the editors
of photoplay departments of the press and
the exhibitor. The topic is a live one. An
open discussion of a question that so vitally
affects the future of Motion Pictures cannot help but prove
beneficial to the photoplay editor and particularly to the
exhibitor. My one experience as photoplay editor of the
Ottawa Evening Journal will no doubt correspond with the
experience of photoplay editors in cities of an average popu¬
lation of 100,000 to 250,000 people.

Prior to the inauguration of a Photoplay Department in
the Journal, the exhibitors of this territory were receiving
absolutely no publicity. The lack of interest shown by the
exhibitors in my earlier efforts to stimulate a greater interest
in motion pictures is none the less surprising than their latter
attempts, through coercion and threats to discontinue their
advertising, to force the paper to open its photoplay depart¬
ment and permit the use of the columns as an outlet for
press matter coming from their own publicity agents. Any
intelligent exhibitor will readily agree that a newspaper pub¬
lishing a motion picture department that caters to the in¬
terests of the motion picture patron is of infinitely more
value to his theatre from an advertising point of view than
a newspaper which permits its columns to be used as a
“dumping ground” for the limpid and vapid press-dope of a
“circus stunt” theatre publicity agent.

Mr. Exhibitor, the newspaper in your territory publishing
a motion picture department that makes a direct appeal to
the people who patronize your theatre is deserving of your
heartiest support and co-operation. In carrying your dis¬
plays in that paper’s motion picture pages you are reaching
the very people upon whose patronage the success of your
business depends.

The American motion picture patron is not interested in
what comes from you personally or in the effusive articles
of your press agent. The average picture patron is more
interested in what is doing in the world of photoplay. The
picture-goer wants to know everything possible about his or
her favorite player, stories of their home life, of their loves,
likes and dislikes ; their adventures while on “location” work,
how they rehearse, who their directors are, what pictures
they are making at present and what they are going to do
in the future.

A photoplay department conducted on the above lines, a
department full of “pep” and edited in a way that appeals
to all classes of the motion picture patrons is deserving of
the heartiest co-operation and assistance of the exhibitor.

W. McLaughlin.

The exhibitor can show his appreciation of the photoplay
editor’s efforts to stimulate interest in motion pictures and
at the same time add prestige and increase the attendance of
his theatre by using the photoplay department as an advertis¬
ing medium.

At the present time, with the censorship question looming
on the horizon, threatening the very life of the industry, and
the legitimate producers using every method to belittle this
most wonderful form of amusement, the future of motion
pictures depends upon the support of the press.

Mr. Exhibitor! You can’t afford to antagonize the press of
your territory because the photoplay department is not con¬
ducted to your personal satisfaction and in the interest of
your particular theatre.

REEL LIFE — Page Four

The Weekly — Reel Life — See America First — Tours Around the World

U. S. Tractor No. 1, at Presidio, Texas. A moving school room for section gangs.

Front Mutual Weekly No. 106

feCHOOL

CAR

The Making
of Kid Gloves

Together with other
subjects of interest
in "R eel L i f e.”

NO doubt every person who has
ever drawn on a pair of fine
kid gloves has wondered by
what manufacturing processes the
well-fitting hand covering has been
made. The Gaumont Company sent
a cameraman through one of the
finest Frelfch factories, and what his
lens caught has been introduced into
"Reel Life” No. 37, released through
Mutual January. 14. The gambling
kid in the meadow is first shown,
and the last picture is miladi as she
draws on her elegant sixteen-gloves
preparatory to going out for the
evening. In between lies a remark¬
able revelation in pictures. First is
shown the selection of the skins, the
scraping, the tinting, the scraping and
the smoothing on revolving stones.
Then come the cutting of the pat¬
tern, the sewing, the attaching of
the buttons and the embroidering.

Another section shows how pickles
are prepared for market in one of
America’s biggest plants. Every¬
thing is shown from the picking of
the cucumbers to the labeling of the
jars. The picture is a worthy com¬
panion to the previous set, “The
Great American Dish” — pork and
beans.

Both models and graphic drawings
have _ been employed in the section
of this reel showing how to preserve
the teeth. There are pictures of the
proper way to brush the teeth, as well
as cross-sections of a tooth which
show how decay makes its insidious
attack. The pictures close with a
pledge for school children which is
calculated to have them cleanse their
teeth twice daily.

How fish are protected in irrigat¬
ing ditches is an interesting subject
on this reel. Ordinary gates where
the water flows out upon the land
permit the fish to pass also, and they
die. The new waterwheel gate that
cleanses itself and prevents the pass¬
age of fish is pictured.

* * * *

EE AMERICA FIRST” No.
71, released January 17,
takes the spectator for
a trip up Mt. Lowe, the popu¬
lar peak that lies twenty miles
from Los Angeles, Cal. On the
same reel is a Gaumont Kartoon
Komic, animated for the screen by
Harry Palmer. It is called “Mr.
Common Peepul Investigates.”

The fourth Gaumont single-reel of
the week is The Mutual Weekly. As
this. is not made up until the day it
is issued, no advance notice of its
contents is to be had.

Gibraltar,

Tunis and Paris

Many beautiful
spots visited in
“Tours Around World.”

Gibraltar has for so long

been a synonym of strength
that a picture of this British
fortification at the western entrance
to the Mediterranean will be a wel¬
come sight to spectators of Gau-
mont’s “Tours Around the World,”
released through Mutual January 16.
There is also a picture of the
Straights, as well as of the Spanish
sea-port of Algeciras, six miles west
of Gibraltar. It was at Algeciras
that there was a European confer¬
ence to discuss the Agadir incident
which Germany almost succeeded in
making a cause for war several years
before the great conflict.

Typical scenes in the French Pro¬
tectorate of Tunis are also shown
in this issue. These include street
scenes, mosques, fountains, Arabian
women, and “kif” smokers. Olives
are raised in large quantities along
the sea-coast, and there is an op¬
portunity to contrast these groves
with those of California shown in
Gaumont’s “Reel Life” No. 35.

The Bois de Boulogne is the largest
park in Paris. Upon this reel are
shown the Avenue Bois de Boulogne,
leading to the park, as seen from the
Arch of Triumph, and the Dauphine
Entrance to the park.

* * *

4 trpHE TERRIBLE WED-
ji DING,” what one reviewer
. calls “a whirlwind of hair-
raising feats,” is the final episode
of the Gaumont-Mutual photo-novel,
“The Vampires.” It reaches the
screen January 18, the big feature
of the Gaumont program of the week
of January 14. This chapter marks
the end of the organized band known
as the arch criminals of Paris. Their
capture, which brings about the death
of many of them, is most exciting.

The first single-reel release of the
week is “Reel Life,” No. 37. This
issue of the Mutual Magazine in film
has pictures of the Kid Glove Indus¬
try, Producing Pickles, Care of the
Teeth, and Irrigating Fish Wheels,
showing how fish are kept in the
irrigation ditches of the far west.

“Tours Around the World” No.
11 reaches the screen January 16. It
has pictures “From Gibraltar to Al¬
geciras,” “In Tunisia,” and of the
Bois de Boulonge,” Paris’ largest
park. The pictures of Gibraltar are
particularly timely since this is the
gate to the Mediterranean held by
the British. At Algeciras was held
the European council that grew out
of the Agadir incident.

Up Mt-Lowe
California

Popular trip made
in Gaumont’s "See
America First” No. pi

A POPULAR trip made by many
who visit Los Angeles, Cal.,
is the climb up Mt. Lowe, situ¬
ated twenty miles from the city. Its
summit is reached by first taking an
incline cable railway, an electric rail¬
way, and then transferring to the
back of a burro. Pictures of the trip
are shown in Gaumont’s “See Amer¬
ica First” No. 71, released through
Mutual January 17. The mountain
top is 6,100 feet above sea-level, and
from it a wonderful view of the
coastal plain, the city, the ocean —
and, to the east — the mountains is
obtained.

The incline railway runs from
Rubio Canyon to Echo, over the
steepest part of the mountain, with
a maximum grade of 68 per cent.
At Echo, 2,200 feet above sea-level,
the . electric railway is taken for
Alpine, the terminus. The railway
is four miles long, and has 127 curves
and 18 bridges. The longest stretch
of straight track is only 225 feet. On
the journey an impressive grove of
wild olives is passed, as well as the
site of the 3,000,000 candle-power
searchlight that flashes over the val¬
ley every night.

Qn thV same reel is an animaUtl.

arawing itr the Gaumont Kartoon
Komic series by Harry Palmer. Its
title, “Mr. Common Peepul Investi¬
gates, more than hints at the hu¬
morous search by the consumer for
the reasons for the present high cost
of living. These animated cartoons
are highly popular in all classes of
houses, contributing largely to the
success of this, split-reel. Exhibitors
who give special matinees find this
reel exceptionally valuable. It com¬
bines the educational value required
by those who watch over amusements
for children with innocent entertain¬
ment of a humorous nature.

* * *

THE GAUMONT COMPANY has
been receiving so many com¬
plimentary notices upon the suc¬
cess of. its four weekly single-reels
that it is only natural inquiry should
be made to bring to light the rea¬
sons for the high level of excellence
maintained. Upon developing the
Greater Mutual Program, to the
Gaumont Company was allotted spe¬
cialization in the field of single-reels.
This was a wise move on the part
of Mutual, since Gaumont was pe¬
culiarly well adapted for the work.
It had in its American, English and
French libraries approximately five
thousand subjects suitable for use in
single-reels.

Placing of
Steel Bridge

Many other events
of importance in
Mutual Weekly No. 106.

tfXyftfTUAL WEEKLY” No.
lyl 106 contains many events
of importance and interest.
Chief amongst these are, placing of
a new million dollar steel bridge
weighing 11,200,000 pounds at Omaha,
Neb. ; the arrival of Thomas W. Law-
son of “frenzied finance” fame at
Washington, D. C., to discuss al¬
leged “Teaks” in peace negotiations,
the testing of the world’s greatest
aero motor, developing 300 horse¬
power at Springfield, Mass., and the
beating of contract speed of the new
Destroyer, developing 32 knots an
hour off the coast of Maine.

Other events shown in the latest
“Weekly” are the opening of the
Franklin Park toboggan at Dorches¬
ter, Mass. ; society folk opening
Waldorf Ice Parlor in New York
City; celebrating the Mardi Grai
of the north in Philadelphia, Pa. ;
moving school room, which follows
railroad section gang at Los An¬
geles, Cal.; Terre Haute, Indiana,
buys its own coal mine and will
supply common people with coal at
cost price; fumigation of building
at Galveston, Texas, causes fire; the
King of Greece receives General Sar-
a^il at Athens^ Greece; eight army
men fly to Philadelphia from Hemp¬
stead, .N. Y., making the flight of
165 miles in 97 minutes; scenes of
the army service corps and their
army work shop at London, England ;
workers in ammunition factories of
Marseilles, France, build their own
barracks ; the Russian pope at Paris,
France, blesses the ambulance do¬
nated by Russian citizens of Paris ;
oldest bell in the world, cast in
Spain, A. D., 1247, arrives at Oak¬
land, California, in time to ring in
1917; oldest converted church, land¬
mark burns in New York City, and
U. S. Tractor Company No. 1 in
action at Presidio, Texas.

* » •

THE problem of selection and also
of making new pictures was met
by Gaumont through a thorough
system of reports from Mutual
Branch Managers. These men are in
daily touch with exhibitors. There are,
of course, other sources from which
come reports on exhibitors, but the
sentiment of the entire country is
gauged primarily through the Branch
Managers. These reports are sifted,
analysed and discussed at staff meet¬
ings of the Gaumont editors, and such
changes of policy made as seen to
be required. In this fashion the
Gaumont single-reels are kept up-to-
the-minute.

REEL LIFE — Page Five

‘TERRIBLE WEDDING’-'VAMPIRES’

The ninth installment
brings desperate fight
and also a big punch

pursuit of the band of scientific criminals whose activities
had terrorized Paris.

The sensational finale is a tremendous fight in which
gendarmes break in on the wedding of Irma Vep, feminine
advisor of the robber crew, and Venenos, chief vampire,
killing the entire band with the exception of Irma, who tries
to avenge herself on Philip before being run to earth her¬
self and is shot at the feet of the intrepid journalist by his
wife.

The final chapter of the exciting series constitutes a
strange mixture of the occult and the adventurous Augus¬
tine, wife of the concierge in Guard’s apartment house, who
saved the lives of Philip, his fiancee and their guests, when
Irma Vep attempted their wholesale poisoning, consults a
clairvoyant, who reveals to her the locale of the forthcoming
wedding feast and permits a raid by the police.

The chapter is full of thrilling incident. For instance,
Jane Guard, Philip’s wife, looks out of a window and is
promptly lariated by one of Veneno’s men, formerly a
vaquero, dragged from her home and made a prisoner.
While the incidents of the play are drawn with a strong brush
and tread the verge of plausibility, the acting is so excellent
and the stage management so perfect that boldness of con¬
ception heightens effectiveness rather than lessening it.

The photography of “The Terrible Wedding” is quite up
to standard of Gaumont pictures and in the great final re¬
volver battle it is remarkably fine. The love element in the
final chapter is furnished by Augustine and Normandin, the

widow of the janitor and Guard’s Fidus Achates.

Juliet Musidora in scene from "The Terrible Wedding."

TERRIBLE WEDDING,” ninth and
final instalment of Gaumont’s “The Vam¬
pires,” one of the most remarkable mystery
dramas ever produced, will be released
January 18 by the Mutual Film Corpora¬
tion, and in it will be found the culmination
of an extraordinary series of adventures
encountered by Philip Guard, reporter for the Matin, in his

Juliet Musidt

T

ADVENTURES OF “SHORTY”

“ Shorty ” and “ The
Girl ” in another tale
of border romances

HE TIGER’S DEN,” story No. 2 of the
fit “Adventures of Shorty Hamilton,” pro¬
duced by Monogram Films and re-
■ leased by the Mutual Film Corpora¬

tion, is a thriller that bids fair to make
motion picture audiences sit up and take
notice.

It is very doubtful whether any of Mr. Hamilton’s ad¬
ventures has been characterized by so many extraordinary
hair-breadth escapes as this one is. The atmosphere is that
of the Mexican cattle ranch and the action involves that
curious set of international happenings which develop out
of American contact with Mexican family life.

There is a terrific gun fight in which Shorty “shoots up”
a Mexican haciendado. The attractiveness of the play is in
its remarkable scenic effects and the extraordniary rapidity
of its action. In the course of the drama Shorty engages in
a dozen gun fights, makes love like Don Juan, puts regiments
of Mexicans to flight, wears chaps with consummate grace,
handles a gun like a real cow puncher, and wears a sombrero
with the grace and abandon of a vaquero.

REEL LIFE — Page Six

ENDORSES MUTUAL PICTURES

Better Films Committee
of Illinois Mother's Con¬
gress selects screen subjects

LIST of selected films suitable for children’s
programs in the motion picture theatres has
M been compiled by the Better Films Com-

mittee of the Illinois Congress of Mothers

t and Parent-Teachers Associations, of which

Mrs. Frederic Michael is chairman.

In making up this list Mrs. Michael has
not been satisfied with taking the word of the producers for
their releases, nor the suggestions offered by the National
Board of Review, nor the criticisms of the newspaper
critics. No film has been placed on this list which has not
been seen by some one or more of the women who form this
Better Films Committee, and carries with it their personal
endorsement that it is in every respect suitable for children.
The word “children” in this case does not mean only the
little ones under twelve years of age but also the adolescent
child of from twelve to eighteen years.

“I am sure this will be good news to the exhibitor who is
interested in special programs for children and those who
are contemplating starting such entertainments,” said Mrs.
Michael. “Here is a list already prepared and waiting for
them — and they can be sure that there will be no complaints
from the mothers that they are not showing the right kind of
subjects.”

It is a very severe test to which the pictures are sub¬
jected before they are considered worthy of being included
in these recommendations for the women who are passing
judgment on the films are themselves mothers or are repre¬
sentative women who have been working along this line for
some time. The names and addresses of the producers are
given so the exhibitor may know just where to obtain the
films desired.

The productions of the Mutual Film Corporation occupy
a conspicious place in the first bulletin issued. Among the
pictures which have been approved by these most exacting-
critics are “Rumpelstiltskin,” “Robin Hood,” “Faithful
Shep,” “Helen’s Babies,” “Doll House Mystery,” “Little
Life Guard,” “Pirates Bold,” “Rivals,” “Runaways,” “Little
Dick’s First Case,” “Her Filmland Hero,” “His Majesty the
King,” “Burglar’s Picnic,” “Reel Life,” and “Jack and the
Bean Stalk.”

The plan of this Better Films Committee is to send out
this bulletin to all motion picture theater managers who are
interested in this work. This will tell them when they can
secure the right kind of pictures and guide them in planning
their program. The first list is simply the foundation step
in a scheme which involves a regular weekly pamphlet con¬
taining the titles of additional films which have been ap¬
proved. To aid in the compilation of these lists the women
are going to the various producers and asking that they be
allowed to see any films which might be deemed worthy for
this publication.

“I have been so pleased with the few productions of the
Mutual Company which have been seen by my committee,”
Mrs. Michael enthusiastically remarked, “that I am going to
ask permission to see all the output of this company as soon
as released and also many of the older features and short
subjects which had been recommended to me.”

Experience has taught the organizations interested in this
movement for better films for children that a program must
not be too educational. There should be romance, fairy

Mrs. Frederic Michael, Chairman of the Better Films Committee of
Illinois Congress of Mothers and Parent-Teachers
Associations.

tales, comedy, as well as travel, nature study and history.
The adolescent child particularly must be taken into consid¬
eration. The committee is particularly pleased with the
magazines of the screen, the news of the day and the travel
pictures and believes they should form a part of each pro¬
gram of this class.

Again quoting Mrs. Michael : “I mention particularly in
this respect Mutual’s four weekly subjects — ‘Reel Life,’
the magazine of the screen; ‘See America First,’ ‘Mutual
Weekly,’ and ‘Mutual Tours Around the World’- — for these
give an educational trend to the program in a manner which
not only does not antagonize the children into feeling they
are having pictures which are ‘good for them’ forced upon
them, but are subjects which hold their interest and add to
their enjoyment.”

Mrs. Michael, whose address is 5325 Indiana Avenue,
Chicago, Illinois, would be very glad to receive suggestions
from exhibitors as to pictures shown in their theatres which
they believe would be valuable additions to their list. She
would also be very glad to send this list to all interested
exhibitors.

REEL LIFE — Page Seven

PERILS OF OUR GIRL REPORTERS’

Helen Greene in
a thriller story of
revolutionists plot

/ / HE WHITE TRAIL,” fourth of the Edith

^ H * Sessions Tupper newspaper dramas, pro-
• ■ duced by the Niagara Falls Studios and is¬

sued under the general title “The Perils of
Our Girl Reporters,” is one of the most ex-
citing of the fifteen stories.

In this play Rhea Fernol, portrayed by
the clever young actress Helen Greene, is assigned to secure
by any means in her power, the secret key to a Mexican

revolutionary code through the
medium of which ammunition
and supplies are being sent
into Mexico for the use of
certain revolutionary bands.

The plot is one that takes
Miss Fernol to Washing¬
ton, and in the elaboration
of which she is afforded an
opportunity to display her
clean cut conception of the
behavior of a newspaper
woman in certain crises.
In a reception at
which the chief of the
revolutionary propa¬
ganda was host,
Miss Fernol
managed to

Helen Greene in a scene from “ The White Trail.

secure posession of the much sought key by the simple device
of setting fire to a wastebasket full of discarded papers and
thus directing attention in another way until she had rifled
the drawer containing the desired document.

The principal recommendation of Miss Greene’s acting in
this cleverly constructed play is its naturalness. The young
woman has studied newspaper methods and the behavior of
newspaper women to excellent effect and in her representa¬
tion of the girl reporter she is convincing.

In the opening of the drama when Miss Fernol receives
her assignment from the managing editor of the great metro-
politian daily which has employed her, the newspaper office
is absolutely true to type for the simple reason that it is
actually a metropolitan newspaper office, that the big fellow
on the main desk is a famous newspaper editor and that the
reporters seen about the office at their work are really and
truly newspaper men engaged in their daily tasks.

Earl Metcalfe, who plays the physician and fiance of Rhea,
is a very satisfactory hero and he has a chance to do some
active work in behalf of the intrepid young woman.

In the course of the drama Miss Fernol is abducted by
the Mexicans and confined in a house in Washington to
which doctor (Kemble) follows and effects a sensational
rescue. In command of a band of rescuers Dr. Kemble cuts
through the wall separating two houses and there finds Miss
Fernol bound, under the guard of two armed Mexicans.

The situation is one calling for finesse and bravery at the
same time. Miss Fernol manages to communicate her
thoughts to Kemble by winking her eyes in dots and dashes
according to the Morse code, and out of this remarkable
message he plans his rescue.

The scenes in a newspaper office in “The White Trail”
were actually filmed in a large newspaper office, the editor is
a well known newspaper man and the reporters some of the
city’s best reporters.

Synopsis of “DOUBLE REVENGE”

American drama, featuring Warren
Kerrigan.

Stage Robber . J. Warren Kerrigan

His Pal . Pauline Bush

Another of the robbers .. George Periolat

The young stage robber and his girl
accomplice are dividing the loot from
their recent hold-up when an older mem¬
ber of the gang comes upon them and
demands part of the loot. They refuse
to give it to him and the man tries to
force the girl’s share from her. He is
set upon by the younger man and then
leaves swearing revenge. He sees a sign
offering a reward of $1,000 for the cap¬
ture of the stage robbers and tells the
sheriff the whereabouts of the other two.
The younger man is arrested and impris¬
oned. The older man gets the reward
and is proclaimed the hero of the hour.
The girl meets the older man and sees
him hide his money. She hides a stolen
mail sack in the same place and after lib¬
erating the younger man she leaves a
note telling where the real robber can
be found. The sheriff and his party come

upon the other man in the act of digging
up his money and finding the mail sack
arrest him. The girl and the younger
robber cross the boundary line and deter¬
mine to lead a new life.

* * *

Synopsis of “ALMOST A FRIAR”

American drama, featuring Warren
Kerrigan

The Man . J. Warren Kerrigan

The Girl . Jessalyn Van Trump

Her Mother . Louise Lester

The old mountaineer and his religious
son live near an old mission, where they
see the friars wend their way over the
mountains every morning. The father
wishes the son to become a friar so the
son packs his belongings and starts for
the mission. On his way he meets a girl
and not being able to concentrate his
mind on the mission he feels the call of
love and seeks out the girl’s mother and
asks for work. Later he marries the girl
and with their little baby they set out for
the old mountaineer. The old man is
furious when he finds out that his son has

not become a friar, but when he sees his
wife and little baby there is a happy
reconciliation.

* * *

Synopsis of “A CIRCUS CYCLONE”

Vogue comedy, featuring Paddy
McQuire.

The Artist . Ben Turpin

The Girl . Gypsy Abbott

Baron Moon . Arthur Moon

J^sbo, the Dog-Faced Boy .

. Paddy McQuire

Ben, a struggling artist, is in love with
the daughter of a wealthy widow. He is
thrown out by the girl’s mother and
Baron Moon, a fake baron, is received
royally. Ben discovers that Moon is a
janitor in a side show next to the con¬
cession where Paddy, as “Jasbo,” the
dog-faced boy, works. Paddy quits his
job, however, and gets one as a model
with the living models. Ben puts in a
one man circus. The baron steals a neck¬
lace from Gypsy’s mother and is finally
caught. Then the mother gives Gypsy to
the deserving Ben.

REEL LIFE — Page Eight

“A LASS OF THE LUMBERLANDS

1*

Helen learns of her
right to the fortune
of ‘ Dollar" Holmes

HELEN HOLMES' extraordinary adventures ^elen Dawson . . . Helen Holmes

in A Lass of the Lumberlands, approach

their culmination in “The Indian’s Hand,” “Dollar’ Holmes . Thomas C. Lingham

Chapter XIV of the extraordinary Mutual- Tom Dawson . . . Leo Maloney

Signal photo-novel, since the young woman Blake . J. P. McGowan

becomes for the first time aware of her actual

title to the name and fortune of old “Dollar” The episode in which Holmes is shown refusing to re-
Holmes, arch conspirator of the lumber trust and bitter marry the woman who has borne him a son displays the old
opponent of the Independent lumber interests, of which Joe lumber pirate in a demoniac mood, his face distorted with
Dawson, Helen’s foster father, is the head. rage and his eyes agleam with hate of the elements involved

Miss Holmes, wh6 is the epitome of action , in his impending downfall. Against this passion of

throughout the exciting episodes of the rage, Helen Holmes interposes her

is given ^ justice be

^ Helens

t<> " IMNr

be

effective

„ his daughter, whose deter-

One of the most sensational and resource have foiled

episodes in the whole drama liim in so many of his schemes directed

is that in which Little Beai | ^Nk/^ against the Independents,

leaps from a precipice into a moun- ^^■^■■141 , .

tain torrent between precipitous walls of There. ,s a £neTw complication in the de¬
rock in an effort to escape capture by the $& 1 termination of Jim Blake, the fonner co¬
myrmidons of Holmes, and is fought ofif 'vX' conspirator with , Holmes, to force Mrs.

from the jagged rocks by Holmes in a des- Holmes, Stephens mother, into an elope-

perate effort to insure his death. The plunge * nient with him. This unfortunate woman,

into the torrent from a great height is spec- refused honorable marriage by the man who

tacular to a degree and the struggle for life Miss Helen Holmes, starring in deceived her, and confronted with a wretch-

is so realistic as to suggest that there actual- "A Lass of the Lumberlands.” ed future, takes twenty thousand dollars

ly was considerable difficulty in towing the from Holmes’ safe and is caught in the act

swimmer ashore. Of course the story is beginning to close by Blake, who threatens to bring about her arrest unless she

and Holmes, whose devious operations in lumber and human consents to run off with him.

life have calloused his heart, is face to face with the fruits The scene between Holmes and his supposed wife, when

of his own villainy He is confronted with the necessity of the woman demands marriage and is rejected and reviled by
telling his son Stephen that he is illegitimate, because, through Holmes, is one of the best bits of acting in the play. The
a curious twist of fate Stephen has met and wants to marry tragedy 0f the situation is emphasized by the appearance of
Helen Dawson actually Helen Holmes, his half sister. young Stephen, who is chief sufferer from Holmes’ evil

It is this little contretemps which drives the lumber baron courses and> ironicall enough, his best bei0Ved.

to make a clean breast of affairs to his son, and in this same r , . . ,, . . ,

connection he is compelled to face Helen Holmes, his The fight at the depot where Florence has gone to meet
daughter Blake, is an excellent bit of stage management. Blake is

C The' chapter is arranged to give Miss Holmes a rushing £st ab°ut f b°ard *he train when he is closed in on from
time of it between her receipt of the message from her foster three sides by Tom Dawson, Joe Dawson and the members
brother, Stephen, that he is critically ill, and her final con- °f ,the Pohce department who have been summoned by

fronting of Holmes with a demand that he marry Stephen’s Holmes to Prevent the escaPe of Blake wlth the $20,000.

mother worthwith, or accept the consequences. Some people affect to believe that nobody ever gets

Miss Holmes is confronted with the necessity for perilous really hurt in a screen fight. Well, in this little affair at the
travel by canoe through rushing rapids, by train over in- train, Dawson lands on Blake’s solar plexus with an ap-

secure bridges, by mountain trail and motor car, her usual proved uppercut of the quick-landipg type that put Jim

luck carrying her through these various phases of her Corbett hors du combat at Carson City,
journey right side up with care. There is no doubt that Leo Maloney intended to “draw

The mountain scenery in this chapter is perhaps the most that punch,” using the vernacular of the ring, but he didn’t

picturesque of the entire drama, which has been character- put the English on it soon enough. The expression on the

ized by some of the most rugged outdoor scenes ever face of the man who went down is such as to indicate plainly

screened. In one episode of the play a herd of deer is seen what happened to Blake. There are half a dozen mixed up

bounding away from the railway track and any woodsman in the affair which is a very snappy piece of stage action,

knows when he sees those deer clearing dead and down \fim- Blake puts up a fight that is worth going miles to see and

ber with tremendous bounds, that they were never rehearsed is one of the most realistic stage combats witnessed for many
by any motion picture director. a day.

REEL LIFE— Page Nine

EXHIBITORS PRAISE MUTUALS

Some new comments
from theater men on
Mutual productions

A UNIQUE lobby display advertis¬
ing the Mutual-Chaplin comedy
“The Pawnshop” was used by Mr.
Gore, proprietor of the Liberty Theatre,
Los Angeles. Across the bottom of a
large frame, conspicuously placed in the
lobby of the theatre, ran a banner read¬
ing “Charlie Chaplin’s latest hit, ‘The
Pawnshop.’ ” On the right was a card¬
board set of a pawn shop with its typical
three balls, and at the left other stores,
while at the back was a drop on which
was painted scenery and running legends
describing Charlie Chaplin in general and
his actions in “The Pawnshop” in par¬
ticular.

As the machinery is started from the
door of the pawnshop emerges a minia¬
ture Charlie Chaplin with his familiar
hat, cane and shoes, next a policeman
hurries in pursuit and after him comes
the proprietor. The three figures rush
across the street and exit through the
door of the store opposite. At the same
time the drop is moving and displaying
new announcements regarding the Mu¬
tual-Chaplin production. Soon the fig¬
ures appear again from out the pawn¬
shop.

Mr. Gore plans similar display on each
Chaplin comedy and with this combina¬

tion of a Mutual-Chaplin and a clever
lobby display the Liberty is not large
enough to hold the crowds.

* * *

PRIVATE JOHN HOSIE of the Two
Hundred and Thirty-eighth Forestry
Battalion, British army, stationed
at Whitby Camp, Surrey, England, is the
same Hosie who played “the old in¬

ventor” in the original cast of Mutual’s
“The Secret of the Submarine,” which
has enjoyed a tremendous vogue in this
cofintry and Canada.

Mr. Hosie joined for active service on
the French front more than six months
ago and he is now, with the latest Cana¬
dian detachments in training for trench
warfare under British officers at Whitby.

In a letter written to a Canadian friend,
the former actor describes life in camp
and refers to the spirit of the Canadian
soldiers as one of impatience to get
through with preliminaries and begin
actual fighting.

In the accompanying picture received
by Mr. Hosie’s friends in Canada from
Whitby Camp, he is shown at the wheel
of the “Tin Jessie,” running a couple
of officers over to headquarters after “in¬
spection.”

* * *

KOLB AND DILL, the Mutual-Amer-
ican funny men, are having another
Broadway showing this week. The
Garrick Theatre is using “Lonesome
Town” in which the two comedians are
featured, as their headliner.

* * *

IT. GAINES, of Globe, Arizona,
was so enthusiastic over the box
• office receipts the night he was
showing the Mutual Star Production,
“The Pearl of Paradise,” starring Mar¬
garita Fischer, that he sent a telegram
to the Mutual Film Corporation, saying:

“ ‘Pearl of Paradise’ is certainly some
picture. Made a big hit with our patrons.
Big house with strong opposition.”

“SIXTEEN YEARS OF KNOWING HOW”

What Is Your Answer?

ARE YOU GOING TO ACCEPT PROJECTION
TROUBLES AS NECESSARY EVILS
OR

ARE YOU GOING TO BE ONE OF THE GREAT
MAJORITY OF EXHIBITORS WHO USE

Power’s Cameragraph

Write for the name of our dealer in your territory
Ask Him to Show You

OUR INTERMITTENT MOVEMENT— OUR LOOP
SETTER-OUR TAKE-UP

These Exclusive Devices Were Designed to Eliminate Your Troub es

Catalog “V” Mailed Upon Request

NICHOLAS POWER COMPANY, NINEJY GOLD STREET, NEW YORK

REEL LIFE — Page Ten

MUTUAL

CL Sensational Serial!

A PRETTY GIRL— alone—

amid rough lumberjacks, fighting

gamely against the mighty lumber trust —
that in brief is the basic situation in this big new
Mutual serial, “A Lass of the Lumberlands.”
Nowhere in all the world could more unique
settings be found for a story than in the big
North Woods and in a railroad construction
camp. The author and director have taken full
advantage of the opportunities offered. Daring
Helen Holmes has endeared herself to every
motion picture fan by her work in “A Lass of
the Lumberlands.”

HELEN HOLMEf

IN

aLA£ °*the _

UNBBRUNDt

A Senfdnona! Chapter-p/af of the North WoodP

FIFTEEN CHAPTER!" 7 - ~ ™

DIRECTED BV J*P*M?GdWAll

Every exhibitor knows well the drawing power of Helen
Holmes. In “The Girl and the Game” she scored a tremendous triumph.
She has won a high place in the affection of the “fans.” Now in “A Lass of the
Lumberlands” she is packing theatres everywhere — scoring a more pronounced suc¬
cess than ever before. Every mail brings letters from exhibitors proclaiming that
fact. You can bring success to YOUR theatre by running this newest and best of
the Holmes productions — fifteen chapters — a new chapter every week. “A Lass of
the Lumberlands” is backed by a tremendous national advertising campaign. The
story is appearing in hundreds of newspapers. Ask your nearest Mutual Exchange.

REEL LIFE — Page Eleven

< mm

MUTUAL

Mutual Film Corporation^

C 4nnouncef

(.Another NeW Mutual Star

C 7he Fascinating J3eautip

|N ACCORDANCE with its policy of ‘‘Only
Bi& Stars For Mutual" — the Mutual Film Cor¬
poration has signed still another celebrated
actress— the fascinating beauty Edna Good¬
rich. Since the day of her debut in “Floradora"
and up to the present, the public has paid homage to the
beauty of this charming star. Her ability to portray
difficult roles conclusively proves that her claim to fame
rests not on beauty alone. Some of the most famous
authors are supplying the manuscripts from which Miss
Goodrich’s plays will be prepared. The star will be
afforded every opportunity for the display of her re¬
markable talent. The same ‘‘quality" atmosphere that
has made ‘‘Tiffany’s" unique, will mark each Goodrich
production — causing it to stand out supreme and un¬
equalled amid all other photoplay offerings. The title
and release date of the first Edna Goodrich Mutual Star
Production will be announced soon. Exhibitors are in¬
vited to confer with Mutual Exchange managers for
complete information re&ardin& the new Mutual Policy
for 1917 — ‘‘America’s greatest stars in the world's
greatest plays."

Mutual PilmCorporation

Q^John. QJFreu/er 'President

68 Exchanges in America^

AMERICAN FILM COMPANYClNC., £WtA>

<^ie ^umouP Stars*

I KOLB © DILL

I “BELOVED ROGUE?" I

Awholesome dumaiic offering in five
acts*. Sixth of the Kolb&Dill - Mutual
phobpla/s.Released the week of January 15th
CLvaitefc. “ APECK. O’ PICKLES"
AMILLION PORMARY-^BLUFF”
“LONESOME TDWN’*-#THREE PALS"

%rt Booking Ai68 Mutual Exchanges.

'VjLocttLz Press Saur:-
“Kolb 5-Dill have made good so emphatically
in Films, it is probable they will quit the speak¬
ing stage for all tim z.QrAxcfeler Herald.

'Kolb&Dill are making a great hit at the
Fortola and filling the house every night
as wellas at matinees.” SadaBadara n-esr.

VOGUE FILMS Inc., Presents—

“A LISLE BANK”

TWO REELS RELEASED JANUARY 14th

FEATURING PADDY McQUIRE

Supported by Gypsy Abbott

UNUSUAL thrills and sensational feats

of daring are mingled with the laughs in this
Vogue Comedy. Two of the characters make a hair-
raising leap from the topmost point of a 175 ft. jack-knife
bridge into a stream below. The story has to do with a
looted bank and the concealment of the plunder in an old
sock. Paddy, turned out of his boarding house, finds the
sock and has a merry time eluding the police. The sock
and its contents pass from hand to hand, always keeping

just ahead of the pursuing detective. At the finish, Paddy, the real
burglar, the girl Paddy loves, and the young man with whom she is elop¬
ing, all are cornered at the foot of the raised bridge. And then comes
the biggest sensation of all. Pack YOUR theatre with this Vogue
Comedy. Now booking at all Mutual Film Exchanges.

VOGUE FILMS, Incorporated

General Offices: 6225 Broadway Chicago, Illinois

Slapstick with a Reason

REEL LIFE— Page Fifteen

Real Newspaper Stories

IivTkis Sensational Serial!

“Get the story!” ordered the city editor as he sent the girl

reporter forth to run to earth the confidence man. She picked up a

clue. She followed the trail till it lead her to the man she sought. Then, at the

point of a gun, she held him at bay and got the “story.” This is but one of the unusual
thrills in the new Mutual serial, “The Perils of Our Girl Reporters.”

THE

girl reporters

FIFTEEN STARTLING MOTION PICTURE 5T0RIES - EACH COMPLETE

Each story in this big new serial is founded on fact — based on a real inci¬
dent in newspaper life. The stories are perfectly enacted by a cast headed by Earl Met¬
calfe, Helen Greene and Zena Keefe. Geo. Terwilliger directed the production. Theatres playing
this new Mutual serial are “holding ’em out.” YOUR theatre can do the same. Fifteen chapters
—a new chapter each week— each story complete in itself. Now booking at all Mutual Exchanges.

Booking MOW Ai 68 Mutual Exchanges

PioduaMbp NIAGARA FILM STUDIOS

REEL LIFE — Page Sixteen

MUTUAL STAR PRODUCTIONS MUTUAL STAR PRODUCTIONS

Week of January 15, 1917
KOLB AND DILL
No. 165 — Beloved Rogues — American
In Five Acts

Week of January 8, 1917

MARGARITA FISCHER

No. 164 — The Butterfly Girl — Pollard

In Five Acts

MUTUAL PICTURES

Week of January 22, 1917

No. Brand
05289-90 Mono¬
gram

05291 Gaumont

05292

05293

Mutual

Gaumont

05294

Cub

05295

Mutual

05296

American

05297-

■98 Vogue

05299

Gaumont

MONDAY, JANUARY 22, 1917.

Title Class Reels Deads

Shorty in the Tiger’s Den .

. Two-reel Drama

Adventures of Shorty Hamil¬
ton, No. 2 . .

TUESDAY, JANUARY 23. 1917.

Mutual Tours Around the World

. Travel

Bordeaux to Pauillac . France

Monastery of St. Thessalonica . Greece

Gorges of the Nive . French Pyrenees

WEDNESDAY. JANUARY 24. 1917.

Mutual Weekly, No. 108. Topical

See America First . Scenic Historic Vir-

Kartoon Komics ...and Cartoon ginia

THURSDAY, JANUARY 25, 1917.

Jerry and the Outlaws . Comedy George Ovey

FRIDAY, JANUARY 26. 1917.

Afloat and Ashore . Topical

Uncle Sam’s Defenders, No. 4. .

SATURDAY, JANUARY 27, 1917.

A Double Revenge . Drama

SUNDAY, JANUARY 28. 1917.

A Circus Cyclone. . . 2-Reel Com.

Reel Life . Magazine

J. Warren Ker¬
rigan

Ben Turpin,
Paddy McQuire
X-Rays in War-
Time

Decorative But¬
terflies

Salt: The Cheap¬
est Necessity
The Real Hula
Hula

No.

05278

05279

05280

05281

05282

05283

05284

Week of January 15, 1917

MONDAY, JANUARY 15, 1917.

Brand Title Class Reels Leads

Monogram Shorty and the Yellow Ring

. Drama 2

Adventures of Shorty Hamil¬
ton No. 1.

TUESDAY, JANUARY 16, 1917.

Gaumont Mutual Tours Around the World

. Travel 1

WEDNESDAY, JANUARY 17, 1917.

Mutual Mutual Weekly No. 107. .Topical
Gaumont See America First. . . .Scenic and 1
Kartoon Komics . Cartoon

THURSDAY, JANUARY 18, 1917.

Cub Jerry’s Big Doings . Comedy 1

FRIDAY, JANUARY 19, 1917.
Mutual A Jack Tar in the Making . Top. 1
Uncle Sam’s Defenders No. 3.

Shorty Hamil¬
ton

From Gibraltar
to Algeciras
In Tunisia (No.
Africa)

Bois de Bou¬
logne (Paris)

A Trip to Mt.
Lowe, Cali¬
fornia

George Ovey

05285 American

05286

05287

05288

Vogue

Gaumont

SATURDAY, JANUARY 20, 1917.

Almost A Friar . 1

SUNDAY, JANUARY 21, 1917.

Tailor’s Trimmings . Comedy 2

J. Warren Ker¬
rigan

Rube Miller

Reel Life

Magazine 1 Oranges in Cali¬
fornia
The Air
The Hydro-Ski

MARY MILES MINTER

Youth’s Endearing
Charm

Dulcie’s Adventure
Faith

A Dream or Two Ago
The Innocence of Lizette
The Gentle Intruder

WILLIAM RUSSELL

Soulmates
The Highest Bid
The Strength of Donald
McKenzie

The Man Who Would
Not Die

The Torch Bearer
The Dove Hermit
Lone Star
The Twinkler
My Fighting Gentleman

PHOTO-NOVELS

The Perils of Our Girl
Reporters

The Sequel to The Dia¬
mond from the Sky
A Lass Of The Lumber-
lands.

The Girl and the Game
The Secret of the Sub¬
marine

SERIES

Fantomas
The Vampires
Adventures of Shorty
Hamilton

KOLB AND DILL
A Million for Mary
Bluff

The Three Pals
A Peck O’ Pickles
Lonesome Town
Beloved Rogues

CHARLES CHAPLIN
The Floorwalker
The Fireman
The Vagabond
One A. M.

The Count
The Pawnshop
Behind the Screen
The Rink
Easy Street

RICHARD BENNETT
Philip Holden — Waster
And The Law Says.

The Valley of Decision
The Gilded Youth

MARGARITA FISCHER
The Pearl of Paradise
Miss Jackie of the Navy
The Butterfly Girl
The Devil’s Assistant
A Night at Tarquizzi
Birds of Passage

MUTUAL FILM EXCHANGES

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THE MUTUAL FILM. CORPORATION
ANNOUNCES

THE ORGANIZATION OF THE

EMPIRE AIL STAR CORPORATION
Presenting Charles Frohman
Successes In Motion Pictures

THIS RELEASES TO THE SCREEN
A WEALTH OF STARS .AND DRAMA
OF THE GREATEST MAGNITUDE
AND VALUE <*> <£?

UNLIMITED FACILITIES ARE
AVAILABLE FOR THE PRODUCTION
OF MOTION PICTURES THAT
SHALL STAND SUPREME IN
QUALITY AND DRAWING POWER

FUTURE ANNOUNCEMENTS WILL
TELL OF STARS AND PLAYS TO BE
PRESENTED <*> <*> «*>

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'I

‘PARDNERS — Starring Charlotte Walker

Picturized from the
famous novel of same
title by Rex Beach

ARDNERS,” a story of Alaska, by Rex

■ Beach, presenting Charlotte Walker, one of
U the best known emotional actresses on the

■ American stage, is scheduled for Mutual re-
lease January 29.

Mr. Beach’s story follows the fortunes of
Justus Morrow, a young Englishman of
family and some wealth, who went to Alaska to make his
fortune during the heyday of prosperity on Caribou Creek,
leaving his wife, a brilliant young actress, and small son,
in order that he might win fortune for them out of the
glacial rocks of the Klondike.

During the early days of his induction into the society
of Rampart City, a typical mining town of the early 90’s,
Morrow made himself understood and respected by “clean¬
ing out” the gambling house run by “Single-Out” Wilmer
and “Curley” Bud, Wilmer’s partner, a performance that
won for him the instant respect of “Bill” Joyce, a miner
and “quick draw” exponent of the difference between right
and wrong, who took Morrow into partnership.

It was during the melee at Wilmer’s gambling hell that
R. Alonzo Struthers, Sunday supplement photographer,
representing a syndicate on American newspapers, snapped
the troublous scene, with Morrow and “Bill” Joyce celebrat¬
ing the victory of the former, and incidentally made pictures
of subsequent scenes in which a score or more of miners
and dance hall women were displayed drinking at tables,
dancing and generally carousing.

Struthers, impressed with the splendid action of the pho¬
tographs that resulted from his flashlight activities, showed
them to Morrow, who recognized that Struthers had staged
the more picturesque of the dancehall scenes, participating
in them himself and permitting another man to operate the
flash.

Morrow pointed out to Struthers that his wife would be
sure to see the pictures if they were printed in the United
States papers and forbade him to use them, thus letting the
photographer into an understanding of the fact that Mor¬
row was well connected and that his wife might “start
something” if she recognized him as involved in a gambling
house row.

After Struthers’ departure by the outgoing boat and the
long mail delay of arctic weather, Morrow was struck
speechless one day to receive notice of suit for divorce filed
by his wife in San Francisco. It did not take Morrow long
to start for the States, accompanied, of course, by his
pardner, “Bill” Joyce. Nor did it take long, once the young
miner arrived in San Francisco, to discover that Struthers
had sent broadcast, for Sunday publication, pictures taken
by him in the gambling house, but that worse than all, he
had substituted the head of Justus Morrow on the dance
hall pictures of himself, taken in various familiar poses with
dance hall women..

Without definite knowledge as to where he might find his
wife, Morrow, half-crazed with grief, accidentally dis¬
covered her and the tiny son, singing in a vaudeville house
in San Francisco, but was refused an interview by the
indignant woman who believed that the camera could not
lie.

In this crisis “Bill” Joyce proved equal to the occasion.
He invaded the apartments of Mrs. Morrow by a ruse,
demanded an explanation on behalf of his pardner, threat-

Charlotte Walker, starring in “Pardncrs.”

Olive . Charlotte Walker

Justus Morrow . Richard Tucker

Alonzo Struthers . Leo Gordon

John Graham . Charles Sutton

ened to kill half the police in San Francisco if she didn’t
listen to him quietly, sought and found Struthers and
dragged him to the family confessional with a gun muzzle
in his ear — in short, brought Mrs. Morrow to a realization
of the folly of hasty judgments and left “pardner” with
his wife in his arms and “the kid” squeezed up a delighted
little bundle between them.

In this strongly dramatic story Miss Walker is given a
splendid opportunity for the display of her remarkable
talents and there is no doubt that the play will be popular
with all classes.

REEL LIFE — Page One

CHARLES FROHMAN
STARS AND PLAYS IN
MUTUAL PICTURES

illllllUIIIIIIUINIIIIIIUIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIlipiM

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THE stars and plays of the
Charles Frohman Com¬
pany have been captured
for the pictures. The an¬
nouncement is made con¬
currently by John R. Freuler, presi¬
dent of the Mutual Film Corporation,
and Alf Hayman, representative of the
Charles Frohman Company interests.

Mr. Freuler and the Frohman inter¬
ests have just completed the organiza¬
tion and incorporation of a two and a
half million dollar producing company
to make the pictures for Mutual distri¬
bution. The new concern has been le¬
gally christened “EMPIRE AFL
STAR CORPORATION,” with the
amplifying sub-title of “Charles Froh¬
man Successes in Motion Pictures.”

THE project stands unique among
picture promotions in that the
capital stock of the concern is
fully paid up and none is offered for
sale. The new company will maintain
offices in New York, Chicago and Eon-
don, with studios in New York, Califor¬
nia and Chicago.

A number of the Frohman stars of
major magnitude have been placed un¬
der special picture contracts and opera¬
tions are to begin at once.

The announcement carries special
significance in connection with Mr.
Freuler’s declaration of policy “ big
stars only.”

THE magnitude of the project is
reminiscent of the daring stroke
by which Mr. Freuler employed
Charles Chaplin for Mutual comedies
at a salary of $670,000.

“The ground work of policy which
has borne fruit in this announcement
was laid way back in 1915,” observed
Mr. Freuler. “I am pleased, at this
time, to point to my assertion that for
1917 the Mutual Film Corporation
would be interested in only the stars
and productions of the first quality and
that ‘no proposition is too big for Mu¬
tual.’ The Mutual Film Corporation is
fortunately equipped and ready to deal
with the biggest possibilities in the in¬
dustry, and to carry through its projects
and plans with safe assurance.

“It is particularly significant of the
future of this industry that I am now
able to say this. Such a project as the
Frohman transaction we are now an¬
nouncing was not conceivably possible
two years ago. We are on the way.”

The new picture company brings to
the screen the famous array of Charles
Frohman successes and the Frohman
players; also a corps of directors
trained in and chosen from the fields of
the highest attainments in Europe and
America.

Augustus thomas, eminent

dramatist, whose name is a
part of the institution of the
Charles Frohman Company, becomes
an important factor in the new produc-

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REEL LIFE — Page Two

THE BIGGEST NEWS
IN THE HISTORY OF
MOTION PICTURES

. . . . . . . . iiiiiiiiiiiiiiiiiiiiiitiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiuiin . ill . .

ing corporation. Mr. Thomas is the
scenario chief and advisor to the picture
producing interests of the Charles Froh-
man Company, standing there in the
same relation that he has held so long
with so much distinction in relation to
the Frohman stage productions.

Mr. Thomas' is an authority on light¬
ing effects and the New York studio of
the corporation is now being con¬
structed and fitted with many new and
novel appliances for the production of
such effects planned by him.

The western studios will be similarly
equipped.

^^T*T is the intention of the new con-
I cern to give the name of Charles
^ Frohman the same high value in
the motion picture field that it has had
so long in the theater of the speaking
stage,” says the official Charles Froh¬
man Company announcement.

“It was one of Mr. Frohman’s princi¬
ples, strictly adhered to all through his
long managerial career, to deal fairly
with the authors who wrote for him and
to see to it that they were always
promptly and well paid for their work.

IT was “C. F.” who first introduced
sliding scale royalties for authors.
Before his coming, playwrights were
usually paid so much a week for their
work, without regard to the business
done, and even that stipend, often mea¬
ger, was frequently not forthcoming
with any regularity. “C. F.” believed

that if an author could write a play that
could earn big money he was entitled
to his share of the receipts and the more
the play earned the more the author
ought to get.

The new corporation will pursue the
same policy. The authors whose plays
it produces will be assured of the same
courteous and honorable treatment they
were accustomed to at “C. F.’s” hands.
They will be given full and complete
weekly statements of the receipts upon
which their royalties are based, just as
they are when they write for the legiti¬
mate stage.

FOR the first time in the history of
the film business the author will
be given full, complete weekly
statement of the receipts upon which
his royalty is based.

WORK on the first of the Froh¬
man Mutual pictures will
begin in New York about
February 1st. Announcement will be
made later of the title of the play and
the name of the star who will appear.

It will be the policy of the picture
concern to produce only the great suc¬
cesses of the Frohman offerings, pre¬
senting the star of the original stage
presentation and using the complete
original casts in so far as it proves pos¬
sible to re-engage the players in the sup¬
porting parts.

iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiitiiiii!iiiimnTnii!i

REEL LIFE— Page Three

‘A LASS OF THE LUMBERLANDS’

Dollar Holmes' plots
are foiled and Helen
comes into her own

THE struggle for the possession of Little Bear’s
warrant for the Indian lands is the theme
around which all the action revolved in
"Retribution,” the fifteenth and closing chap¬
ter of the Mutual-Signal photo-novel, “A
Lass of the Lumberlands,” in which Helen
Holmes has played the role of the dauntless

heroine.

When Little Bear went to his death in the icy waters of
the Merced River he carried with him the warrant which
would ensure to its possessor a clean title to the land. This
chapter resolved itself into a game of warrant, warrant,
who has the warrant? Holmes makes the first move and
scores a point by getting ahead of Tim Morrisey when
both are searching along the river for some sign of Little
Bear’s body. As Holmes drags a coat out of the water
and from a pocket draws the coveted deed Morrisey ap¬
pears around a rock ready to fight for possession of it,
but Holmes is too quick with his gun and goes off victorious,
and then begins the play of wits between the two factions
to establish their right to the land.

Among the other interesting incidents of the chapter is
a splendid free-for-all fight which lasts for many minutes
and ends in many bruises and sore heads, which marked
the effort of Llolmes to drive Tom Dawson off the land.
He is foiled in this attempt, however, by Tom’s men,
who were the better fighters.

Holmes has many opportunities to display his villainous
nature and his wily cunning. One of the most tragic
scenes is that in which Holmes, forced against his will into
a marriage with Stephen’s mother, returns to his home and
finding the two there in a blinding passion declares that
just because they went through a marriage ceremony is no
reason why his wife and son should live in his home, and
ordering the servants to pack their bags drives them from
the house.

There is rapid action for Holmes all through this
chapter. What he does must be done quickly, and he is
in most cases the pursued instead of the pursuer. He does
not allow' his hand to be openly displayed, however, and
inviegles someone else to carry out his plans for him. What
he cannot get his gang to accomplish he tries to make the
law do for him by swearing out a warrant for the arrest
of the people who are holding property to which they have
no just claim.

Two of the most sensational episodes in the whole drama
follow in the efforts of Dawson and Helen to secure the
warrant from Holmes, and there is not a moment from this
time until the end of the story that the tense, breathless ex¬
citement is allowed to abate. The whole photo-novel has
been a series of thrilling incidents, and it keeps up its
record to the end.

The excitement starts with the ultimatum of the sheriff
to Dawson that unless he can present the warrant within an
hour he will have to clear off the land. Then Helen’s
womanly intuition comes to the rescue and at this psycho¬
logical moment she catches sight of Holmes stepping into
his limousine and points him out as the man who has the
warrant they desire. Then they are off. It takes about
one-half second for the sheriff and his deputies to jump into
their machines after Helen and Dawson and the chase is on.
Up hill and down they spin through beautiful mountain

Helen Holmes, heroine of “A Lass of the Lumberlands.”

scenery with bullets flying in all directions. Just as the
chase is at its height the chauffeur, as the result of a well-
aimed shot, slumps down in his seat, the machine swerves
and headed straight for the edge of a precipice dashes
over the side bounding from crag to crag to the valley
below.

The story ends quickly with Helen and Dawson happy
in their possession of the warrant, and their possession of
each other, with Stephen and his mother smiling happily
down upon them.

REEL LIFE — Page Four

THE ADVENTURES OF “SHORTY”

Shorty gets mixed up
in a thrilling and mys-
terious diamond theft

THE tall grass atmosphere of the cow ranch,
with herds of long-horns, rat-tailed cayuses,
lariats, revolvers, chaps and sombreros, with
“Shorty” Hamilton as the central figure in
a series of tremendously thrilling episodes,
constitute the picture background of “Shorty
Goes to College,” No. 3 in the series of the
“Adventures of Shorty Hamilton,” produced by Mono¬
gram Films and released by the Mutual Film Corporation.

The beauty of these plays is their wild western flavor —
the scent of the wide ranges that blows off the screen as
soon as “Shorty” makes his appearance in chaps and spurs,
followed by his faithful pony whose intelligence is such as
to endear him to every lover of animals.

The adventures of “Shorty” on the Arrowhead ranch
are just such adventures as might be expected to develop
in such a locale — the dance in the bunkhouse, the keg of
beer in the saddle house, the row that starts over nothing
in particular and the spectacular fight that develops out
of so insignificant a beginning.

Anita Keller, “Shorty’s” sweetheart, who is determined
to win him away from the rough life of the frontier, is as
usual much in evidence, and it is to assuage her grief at
his rough associations that he goes to college and as is to
be expected, tries for the football team. That “Shorty”
makes the team but registers zero in his studies is also to
be expected, but the unexpected develops when the trans¬
planted cowpuncher falls in love with the dean’s daughter,
Ruth Estey, and Professor Wade, who is devoted to the
college girl, plots to ruin him.

Given this for a basis the plot moves along with extraor¬
dinary speed, ’’Shorty” playing half-back on the football
team and living the strenuous life generally with Anita on
his trail determined to overcome the obsession of her hero
for the professor’s daughter.

The arrest of “Shorty” charged with stealing uncut
diamonds, the property of Wade, professor of mineralogy,
is brought about through a combination of their grievances

“Shorty” Hamilton in a scene from “ Shorty Goes to College.”

by Wade and Anita, and this treatment of their star half¬
back causes the football men to run Wade off his feet and
duck him in a horse trough.

In fact “Shorty Goes to College” is a succession of as
exciting episodes as can well be imagined in one motion
picture play.

The fact that “Ruth,” the pretty college girl, turns out
to be a somnambulist and is really responsible for the dis¬
appearance of the diamonds, adds to the complication.

Synopsis of “STICKY FINGERS”

Two Reels. Vogue Comedy Featuring
Paddy McQuire.

The Boys... Paddy McQuire, Billy Mason

The Girl . Lillian Hamilton

The Boy’s Fathers .

. Larry Bowes, Harfy Huckins

The Detectives. .Geo. Monberg, Glenn Gano

Two college boys, finding their funds low
meet a young lady and manage to “borrow”
fifty dollars from her purse, without her
knowing it. The theft is reported and the
next day the boys write their fathers asking
them for money. The boys borrow fifty
dollars from a pawnbroker and manage to
slip it back into the girl’s purse. The boys’
fathers arrive and are arrested as the
thieves. The girl however gets the real
thieves and they all meet at the police sta¬
tion. Here the girl finds her money is all
intact and the matter is thought to be
cleared up when the pawnbroker comes on
the scene and demands his fifty. A most

exciting chase follows and the boys are
finally caught.

* * *

Synopsis of "JERRY AND HIS PAL”

Cub Comedy, featuring George Ovey.

Terry is fond of animals and wins the
friendship of the Zoo elephant by the
copious use of peanuts. He is discovered
feeding his pet, and the keeper runs him
off the lot. In the hall of his tenement,
Jerry hears a girl crying. He enters the
room and finds that the girl’s father is a
drunkard, and spends all of his money in
the saloon. Jerry asks the girl to accom¬
pany him to the saloon to get her father,
but she has no one to leave with the baby.
Jerry remembers his pachyderm pal, and
brings him from the Zoo. The elephant
tends the baby while Jerry and the girl
tr'" to persuade her father to come home.
Thev have no success, for Jerry is thrown
out. Jerry then goes to the house, gets the
elephant, and proceeds to wreck the saloon.
The sight is too much for Mary’s father,
who reforms and all ends happily.

Synopsis of “NATURE’S CALLING”

One Reel. American Drama Featuring
J. Warren Kerrigan.

Jack . J. Warren Kerrigan

His Mother . Louise Lester

His Sweetheart . Pauline Bush

Jack, a young easterner, goes west for
his health. Here he and his mother get
to love the country and the boy sends for
his sweetheart to come out and visit them.
At first the girl is wrapped up in the
country and has great times exploring the
surrounding mountains with Jack. He pro¬
poses to her and she accepts him. The west
begins to pall on the girl and she longs for
society and New York. Finally, unable to
stand it any longer she tells Jack that she
must go home and begs him to return to
civilization with her. Jack refuses however
and, feeling the call of nature, sends the
girl home and remains with his mother to
enjoy the western country.

REEL LIFE — Page Five

PERILS OF OUR GIRL REPORTERS

Helen Greene foils
a plot enveloped in
adventurous mystery

Helen Greene in a scene from “Many a Slip.”

HELEN GREENE, the brilliant young actress
whose success in Edith Session Tupper’s sen¬
sational series of newspaper plays, “The
Perils of Our Girl Reporters,” is one of the
motion picture proverbs of today, is more
than ever at home in “Many a Slip,” story
No. 5 of the series of fifteen striking two
part dramas issued by the Mutual Film Corporation and
produced by the Niagara Film Studios.

Miss Greene is featured as the princess Stephanie of Zer-
vinia, whose sympathies were with the Entente Allies be¬
cause of her French descent, and whose country as well as
her personal freedom were threatened by the Teutonic Allies
on this account. The princess had been affianced without
her consent, for reasons of state, to Prince Charles, a roue,
and through the influence of renegade members of her own
entourage, had been confined in a castle until she should
consent to the arrangement.

William Cahill, taking the role of Barry, foreign corre¬
spondent of a Paris newspaper, is assigned by his managing
editor to rescue the princess, and the young writer accepts
this mission with some misgivings but with a determination
to succeed in it.

In the development of the plot it turns out that the young
woman shut up in the castle tower is not the Princess Ste¬
phanie at all but “Jerry” Conklin, a clever newspaper woman
of New York (Helen Greene), who has been assigned to
interview the princess and learning her story has succeeded
in liberating her and in taking her place in the castle cell,
whence Barry rescues her after a series of adventures that
are all well carried out from the newspaperly point of view,
which is plausibility.

Featured in “Many A Slip” are Earle Metcalf, as Edgar
Marshall; Arthur Matthews as Revignol, a French aviator;
Charles Eldridge as the editor; and William H. Turner as
the Prime Minister.

The story is a succession of exciting episodes each of
which is more engrossing than the last and the cumulative
effect of which is to establish an atmosphere of adventurous
mystery, particularly fascinating in view of the engaging
personality of Miss Greene in the role of Princess Stephanie.

* * *

CHAPLIN WAITS FOR SUNSHINE.

WING to the unusual character of the latest Charlie
Chaplin production, “Easy Street,” involving, as it
does many big scenes which while they appear to be
“interiors,” are really “exteriors,” necessitating sunlight for
their success, Mr. Chaplin has been compelled to announce
the postponement of release on No. 9 of the Chaplin series
from January 22 to February 5, preferring to delay com¬
pletion of the comedy until conditions for its successful film¬
ing are perfect.

In his announcement of the postponement, Mr. Chaplin,
while expressing regret at the delay, points out that it is
his determination to permit nothing but the best to be
released and that he would prefer producing nothing at all
to assuming responsibility for poor photography. He re¬
marks incidentally that 30,000 feet of negative have already
been used in the effort to perfect 2,000 feet of laughs.

As is widely understood, the rainy season on the Pacific
coast is now at its worst and frequently when the producing
companies are doing their best work, dark rainy and cloudy
weather will supervene, rendering operation impossible dur¬
ing its continuance.

REEL LIFE— Page Six

The Weekly — Reel Life — See America First — Tours Around the World

A Trip Thru
Historic Virginia

", See America First"
takes the spectator
through Virginia.

4 tr T ISTORIC VIRGINIA” is the
I — I title of “See America First”
"*■ No. 72, released by Gau¬
mont through Mutual January 24. It
is devoted to Williamsburg, Hamp¬
ton, Old Point Comfort and Norfolk.
These places and the surrounding ter¬
ritory are rich in American history,
for in this vicinity the cavaliers made
their first settlements of the colony
named in honor of England’s virgin
queen.

At Williamsburg are pictures of
the old “powder horn” built in 1714,
the court house, and Bruton Parish
Church, the Court Church of Colonial
Virginia. The present building,
erected in 1710, is claimed to be the
oldest Episcopal church in continuous
use in America. There is a good pic¬
ture of William and Mary college,
founded in 1693, as well as of the
Moore house, the dwelling on the
James river in which were drawn the
terms of surrender of Lord Corn¬
wallis. There are also pictures of the
spot near by where the British sur¬
rendered October 19, 1781, and the
Peace Monument erected one hun¬
dred years later by Congress to com¬
memorate the event.

At Hampton is pictured St. John’s
Church, the oldest but one in America,
where services have been held con¬
tinuously since 1628. At Hampton
Roads the stretch of water where
the battle between the Monitor and
Merrimat was fought is shown, as
well as the beautiful resort hotel at
Old Point Comfort.

There are comprehensive views of
Norfolk, and pictures of the light¬
houses at Cape Henry.

On the same reel is an animated
cartoon by Harry Palmer called “Ab¬
sent Minded Willie.”

# * *

HAVING made the release of the
final chapters of its sensational
photo-novel, “The Vampires,”
the Gaumont Company has only four
single-reels to offer as its contribu¬
tion through Mutual for the week of
January 21. However, a great many
exhibitors are only beginning to get
“The Vampires” as there has been
such a demand for it that the Mutual
Film Corporation has been unable to
supply the demand with the prints
sent from Paris.

The first single-reel of the week is
“Reel Life” No. 38, the Mutual Maga¬
zine in Film. This contains pictures
of “Oranges in California, “The
Air,” “The Hydro-ski,” “Automatic
Apple Graders,” and “How to Re¬
move Shattered Glass.”

January 23 brings to the screen the
Gaumont “Tours Around the World”
No. 12. The pictures take spectators
on a trip from Bordeaux, France,
down the Gironde river to Pauillac.
Although Bordeaux is the fourth port
of France it is situated 60 miles in¬
land. There are also pictures of the
Monastery of St. Thessalonica in
Greece, and of the Gorges of the
Nive river in the French Pyrenees.

“See America First” No. 72, which
has on the same reel an animated
cartoon by Harry Palmer, is released
January 24. It shows places in “His¬
toric Virginia,” picturing Williams¬
burg, Hampton, Norfolk, Hampton
Roads, and the site of the surrender
of Cornwallis. The Gaumont Kartoon
Komic is entitled “Absent Minded
Willie.”

The fourth single-reel of the week
is the Mutual Weekly which is manu¬
factured at the Gaumont Laboratories.
* * *

EUGENE CASTLE, Pacific coast
cameraman for the Gaumont
Company, has returned to San
Francisco after a visit to Southern
California in the interest of “Reel
Life,” the Mutual Magazine in Film,
and “See America First.”

Bordeaux and
St. Thessalonica

Scenes in war-ridden
countries of France
and Greece in "Tours"

THE war has turned the thoughts
of the world in admiration
toward France, the one nation
that did not seek war yet has
sustained its awful shock so heroically.
It is certain that the close of the
war will see a general exodus of
sight-seeing Americans to the sister
republic. With this in mind the
Gaumont Company has filmed fcr
American spectators some of the
sights which will be seen on a tour
of France, aside from pictures of
devastation in the war zone. The
first series of pictures in Gaumont’s
“Tours Around the World” No. 12,
released through Mutual January 23,
shows Bordeaux, France, and sights
along the river down to Pauillac, near
the coast, noted for its wines.

Although the fourth port of France,
Bordeaux is situated 60 miles inland
on the Gironde river. A beautiful
picture is of the Place des Quinconces,
one of the city’s principal promenades.
Another is the monument in honor
of the Girondists. The city’s import¬
ance depending upon the sea, there is
a comprehensive view of the quays.

The Monastery of St. Thessalonica,
located just outside Salonika — now in
the hands of the allies — is typical of
monastery life in that part of Greece
which recently was redeemed from
Turkish rule. The pictures show in
detail the manner of living of the
men who have turned their backs on
man the better to glorify God in the
mountain country. The monasteries
derive their income principally from
the raising of olives and the breeding
of pigs.

Annual Rose
Carnival Shown

Mutual Weekly No. 107
also pictures many
events of interest

Mutual weekly no. 107

contains many subjects of in¬
terest. Amongst the more im¬
portant of these subjects are the an¬
nual rose carnival and midwinter
floral pageant at Pasadena, California;
the “N-I,” new submarine is christened
at Seattle, Washington, by Mrs. Guy
E. Davis; the Wanola, a schooner, is
stranded near the Boston light at
Hull, Mass.; Harry K. Thaw, about
to be arrested on serious charge, at¬
tempts suicide; world’s greatest kelp
harvester, plaything of the seas, and
the first one of it’s type to ever be
wrecked at San Diego, Cal.; old de¬
partment store in New York city
burns causing shop girls to flee for
their lives and the inauguration of
Governor J. M. Cox of Ohio.

Other interesting events in the
Weekly are the San Franciscans en¬
joying winter sports in the snows of
the Sierras at Truckee, Cal.; oranges
being harvested at Chuluota, Florida;
Harvard hockey squad in action;
oriental “tink,” Korean sorceress al¬
leged to possess occult powers, pre¬
sented to National Museum at Wash¬
ington, D. C. ; crack 23rd New York
regiment arrives in Brooklyn; 2nd
field New York artillery arrives in
New York City; New York policemen
on three weeks diet test; Evening Bul¬
letin’s sixth annual running classic
won by Oliver Millard in San Fran¬
cisco, Cal.; speed test for coast guards¬
men held at San Francisco, Cal.; busi¬
ness men and society of New Orleans
welcome 1917 racing season.

The Air and
Hydro-Skis

Amongst subjects of
interest in Gau¬
mont’s "Reel Life”

THE stir created in scientific cir¬
cles when air was first liquefied
has not yet subsided, and even
the layman has been able to appre¬
ciate some of the wonderful things
which can be done with liquid air.
The Gaumont Company has caught
some of these for the screen in its
highly entertaining and instructive
picture called “The Air.” A goldfish
swimming in a bowl is dropped into
a liquid air bath and immediately
removed so hard that it is broken
with a hammer as if made of marble.
The same process is repeated with
the blossoms of flowering plants.
Other experiments with air show how
one can be asphyxiated with his own
breath, how nitrogen is a diluent of
the oxygen in the air, and how a
substance burns in pure oxygen. The
pictures are in “Reel Life” No. 38,
January 21.

Another entertaining subject on the
same reel visualizes the orange in¬
dustry in California. There is a view
of a 6.000-acre orange grove, and
then follow pictures of the processes
of picking and handling. It may
come as a surprise to some that the
oranges are given a bath and disin¬
fected before they are sorted.

The next picture is interesting foi
all who enjoy water sports. It is a
series of views of a hydro-ski. This
is apparently two baby canoes braced
together, the occupant of the queer
water craft standing with a foot in
each as if in big shoes. In reality
he is standing upon treadles which
work a wheel placed between the two
canoes at the stern. The contrivance
is guided with a paddle.

How apples are automatically
graded for the market is a picture
on this reel which shows the care
taken in packing them according to
size. The machine is complicated in
mechanism, but the process is under¬
stood at a glance.

On the same reel is a short pic¬
ture in the series “Things Not Gen¬
erally Known.” It shows how shat¬
tered glass is removed from the floor
with wet absorbent cotton.

LOS ANGELES, CAL., the home
of so many producing com¬
panies, has long been regarded
as the city in which competition is
the keenest between producers to get
their film on the screen. It is there¬
fore a matter of gratification to the
Gaumont Company and the Mutual
Film Corporation to announce that
the Mutual Weekly has a seven days’
run at Clune’s Broadway Theater, the
finest motion picture house in Los
Angeles. It is used from Sunday to
Saturday, inclusive, to be succeeded
by the next issue.

* * *

THE Gaumont Company will give
some idea of the territory
coveted by Italy and promised
that country by the Allies in case of
final success, Dalmatia. The pictures
will show the rocky coast of that land
to the east of the Adriatic sea. They
will be a section of “Tours Around the
World” No. 14, released February 6.

* ■ * *

LOS ANGELES, CAL., is to be
pictured in Gaumont’s “See
America First,” No. 75, re¬
leased February 14. Among other
California cities recently pictured in
this series are Pasadena and San
Diego. There was also a picture of
a trip up Mount Lowe.

REEL LIFE — Page Seven

A

MU

Mutual Film Corporation^

QAnnounceS

cAnother NeW Mutual <5>tar

CONTINUING its policy of “Big, Stars
Only” for 1917, the Mutual Film
Corporation announces the early
appearance of Miss Marie Cahill in
Cahill-Mutual Photoplays. This popular stag,e
favorite is too well known to require an intro¬
duction either to exhibitors or to playgoers.

For several years she has been known as one
of Broadway’s most successful stars. In
“Marrying Mary “she scored one of the great¬
est personal triumphsever achieved by aplayer.
Now her sunny smile, blonde beauty and win¬
some personality are to be offered theatres
everywhere in Cahill -Mutual Photoplays.
Miss Cahill will appear in a series of twelve
two-reel Mutual Photoplays. They will be
released every other week for twenty- four
weeks. The date of release for the first Cahill-
Mutual Photoplay will be announced shortly.
Exhibitors are requested to make reservations
now at the 68 Mutual Exchanges.

Mutual RlmCorporation

Qybhn /&Freu7er ’President

68 Exchanges in America^

MUTUAL FILM CORPORATION

Presents'

Charlie Chaplin
“Easy Street”

Another new Chaplin release Ninth of the Chaplin-Mutual
which break? all previous Specials.FehaSed the week of
records' for oriqinal comedy January Twenty -second. Tkroucfk
Situations. Hook. ‘Easy Street . G8 Mutual Film EychancfeS. ~

Chaplin-Mutual Specials Now Playing :

'THE HOORWALKERT-THE COUNT ’ -'ONE A'M "

“THE FIREMAN "-"THE VAGABOND"- THE RINKA
"THE PAWNSHOP"- "BEHIND THE SCREEN”

MUTUAL FILM CORPORATION

/ o4 unouncer

ADVENTURES^

{HORTY HAMILTON

* ASERIESOF IS

TWO REEL DRAMAS

tfeaturinq Skorly Ham illon . Orisp, breezy
bales' of tfe west. Spiced wild ctaYen lure .
^fifteen cfecdure£teS'—eac/i complete.

‘Ife First:—

JHORTY break*.

<EYEUOWRlMC

RELEASED JANUARY 15th.

A story of ife US Secret Service.

A yeB/qfirlsaclveHturef in C/nnaioWn.
Produced 6/ Monogram Films’

DISTRIBUTED THROUGH THE EXCHANGES
OF THE MUTUAL FILM CORPORATION

MUTUAL FILM

ANEW

friar

RICHARD

Ui£ Sin? We do.
By hvo and hvo,
We pay dor—

Revised, re-edited,with a new prologue
and a new conclusion. Belter than the
first edition winch Wa?withdrawnSever-
al monilxS’a&o after playing to record
houses' at 25c and. SWacUniSSionS*.
All prints' are new. An entirely new line
of paper and advertising help?.

CORPORATION cA-wv\ouMc<tr

EDITION or

BINNETT

Released February 12th to exhibitor,?
inlarge citie? for long run?. Pre-relea?e
by fecial arrangement. Special atten¬
tion. to long engagement?, in big thea¬
tre? at advanced admission price?. See
your neared Mutual Exchange at once
for full details'.

PRODUCED BY AMERICAN FILM. CO. INC.

Booking* NOW

-at Mutual Exchanger

MUTUAL

iii

UOURS before

the “newsies’’ be¬
gin their hoarse cries on
the street — somewhere in the city — perhaps

in some millionaire’s palace — perhaps in some filthy
tenement district — perhaps in the mazes of China¬
town — or in the gloomy confines of the night court —
busy reporters have been gathering that “story.”
How it was done — the perils encountered by the
reporter to secure her “copy”— the cleverness required
to run criminals to earth — uncover strange conspira¬
cies — thwart evil plots— form the theme of the new
Mutual serial, “The Perils of Our Girl Reporters.”

GIRL REPORTERS

FIFTEEN STARTLING MOTION PICTURE STORIES - EACH COMPLETE

*7e&kuring

EARL METCALFE
HELEN GREENE
ZENA KEEFE

Produced by

NIAGARA FILM 5TUDIOT

Directed by

GEORGE TERWILUGER.

Real stories of

newspaper life — told
from the “inside.” Cram¬
med with thrills— abounding
in “human interest” — pro¬
duced with care— enacted by
real stars — photographed
with skill — directed by a
genius. Playing to capacity
in theatres the country over.
Booking now at 68 Mutual
Exchanges.

The Stories in

“ The Perils of Our Girl
Reporters”

1 The Jade Necklace

2 The Black Door

3 Ace High

4 The White Trail

5 Many A Slip

6 A Long Lane

7 The Smite of Conscience

8 Birds of Prey

9 Misjudged

10 Taking Chances

1 1 The Meeting

12 Outwitted

13 The Schemers

14 The Counterfeiters

15 Kidnapped

Booking NOW At 68 MuluaJ Exchanger

VOGUE FILMS, Inc Presents

:els released January 21st

FEATURING RUBE MILLER

A RAPIDLY moving street-car furnishes
the locale for most of the scenes in this Vogue
Comedy. As conductor and motorman of this wan¬
dering equipage, Rube Miller and Owen Evans are provided
with some unusual opportunities for fun making. After
robbing a country bank they disguise themselves in the uni¬
forms and proceed to conduct themselves as no conductor
or motorman ever acted before. They flirt outrageously
with the feminine passengers and wind up in a tailorshop,
where, as animated dummies, they provide even more fun.

Ere ihe subject ends the audience discovers them back on the street-car
again, attempting to escape from an auto load of police called to quell
the riot in the tailorshop. This Vogue Comedy fairly scintillates with
real humor and is also marked by the performance of several seemingly
impossible feats. Vogue Comedies are real business builders. They add
the final touch of lightness to your program. Bookings can be made at
any Mutual Exchange.

VOGUE FILMS, Incorporated

General Offices: 6225 Broadway Chicago, Illinois

Slapstick with a Reason

signal p„ .

JCORPO^J

1 ft***?

MUTUAL

*PfcSfr;

luwtk

I

IP Acfmfiil.i’t ]l

j £ach vvee^e^ yu

assft f

BREAKING HEcq^ / f

Booking nj^fij Ifc*

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B“S?r Ik

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mm £

- : ^

MUTUAL STAR PRODUCTIONS MUTUAL STAR PRODUCTIONS

Week of January 29, 1917
CHARLOTTE WALKER
No. 167 — Pardners— Mutual

In Five Acts

Week of January 15, 1917
KOLB AND DILL
No. 165 — Beloved Rogues — American
In Five Acts

MUTUAL PICTURES

Week of January 29, 1917

MONDAY, JANUARY 29, 1917.

No. Brand Title Class

5300-01 Monogram Shorty Goes to College. .Drama

Reels Leads

2 Adventures of
Shorty Hamil¬
ton, No. 3

05302 Gaumont

05303 Mutual
05304 Gaumont

05305 Cub

TUESDAY, JANUARY 30, 1917.

Mutual Tours Around the World

. . .Topical 1

WEDNESDAY, JANUARY 31. 1917.

Mutual Weekly, No. 109. Topical 1

See America First . Scenic 1

Kartoon Komics. . . .and Cartoon
THURSDAY, FEBRUARY 1, 1917.
Jerry and His Pal . Comedy 1

Teheran (The
Capital of
Persia)

Coast Resorts of
Normandy
( France)

Winter in the
Vosges Moun¬
tains (France)

San Diego, Cali¬
fornia

George Ovey

05300 Mutual

05307 American

05308-09 Vogue
05310 Gaumont

FRIDAY, FEBRUARY 2, 1917.

Scouts of the Sea and Sky . Top. 1

SATURDAY. FEBRUARY 3, 1917.

Nature’s Calling . Drama 1

SUNDAY, FEBRUARY 4, 1917.

Sticky Fingers . Comedy 2

Reel life . Magazine 1

Uncle Sam’s De¬
fenders, No. 5

J. Warren Ker¬
rigan

Paddy McQuire
Making Lace by
Machinery
Toddles: New

York’s Latest
Dance

Raising Fresh
Water Fish
Design Your
Own Gown

Week of Jamiary 22, 1917

MONDAY, JANUARY 22, 1917.

No. Brand Title Class Reels Leads

05289-90 Mono- Shorty in the Tiger’s Den .

gram . Drama 2

Adventures of Shorty Hamil¬
ton, No. 2 .

TUESDAY, JANUARY 23, 1917.
05291 Gaumont Mutual Tours Around the World

. Travel 1

Bordeaux to Pauillac . France

Monastery of St. Thessalonica . Greece

Gorges of the Nive . French Pyrenees

WEDNESDAY, JANUARY 24, 1917.
05292 Mutual Mutual Weekly, No. 108. Topical 1

05293 Gaumont See America First . Scenic 1

Xartoon Komics . . .and Cartoon
THURSDAY, JANUARY 25, 1917.
05294 Cub Jerry and the Outlaws . Comedy 1

FRIDAY, JANUARY 26, 1917.

05295 Mutual Afloat and Ashore . Topical 1

Uncle Sam’s Defenders, No. 4. .
SATURDAY, JANUARY 27, 1917.
05296 American A Double Revenge . Drama 1

SUNDAY, JANUARY 28, 1917.
05297-98 Vogue A Circus Cyclone . Comedy 2

05299 Gaumont Reel Life . Magazine 1

Historic Vir¬
ginia

George O’ey

J. Warren Ker¬
rigan

Ben Turpin,
Paddy McQuire
X-Rays in War-
Timer

Decorative But¬
terflies

Salt : The Cheap¬
est Necessity
The Real Hula
Hula

MARY MILES MINTER

Youth's Endearing
Charm

Dulcie’s Adventure
Faith

A Dream or Two Ago
The Innocence of Lizette
The Gentle Intruder

WILLIAM RUSSELL

Soulmates
The Highest Bid
The Strength of Donald
McKenzie

The Man Who Would
Not Die

The Torch Bearer
The Love Hermit
Lone Star
The Twinkler
My Fighting Gentleman

PHOTO-NOVELS

The Perils of Our Girl
Reporters

The Sequel to The Dia¬
mond from the Sky
A Lass Of The Lumber-
lands.

The Girl and the Game
The Secret of the Sub¬
marine

SERIES

Fantomas
The Vampires
Adventures of Shorty
Hamilton

KOLB AND DILL
A Million for Mary
Bluff

The Three Pals
A Peck O’ Pickles
Lonesome Town
Beloved Rogues

CHARLES CHAPLIN
The Floorwalker
The Fireman
The Vagabond
One A. M.

The Count
The Pawnshop
Behind the Screen
The Rink
Easy Street

RICHARD BENNETT
Philip Holden — Waster
And The Law Says.

The Valley of Decision
The Gilded Youth

MARGARITA FISCHER
The Pearl of Paradise
Miss Jackie of the Navy
The Butterfly Girl
The Devil’s Assistant
A Night at Tarquizzi
Birds of Passage

MUTUAL FILM EXCHANGES

Albany, N. Y.

Amarillo, Tex.

Atlanta, Ga.

Baltimore, Md.

Boston, Mass.

Buffalo, N. Y.

Butte, Mont.

Chicago.

Cincinnati, O.

Cleveland, O.

Dallas, Tex.

Denver, Colo.

Des Moines, la.

Detroit, Mich.

El Paso, Tex.

Escanaba, Mich.

Fargo. N. D.

Grand Rapids, Mich.

Houston, Tex.

Indianapolis, Ind.

Kansas City, Mo.

Los Angeles, Calif.

Louisville, Ky.

Memphis, Tenn.

Milwaukee, Wis.

Minneapolis, Minn.

Newark, N. J.

New Haven, Conn.

New Orleans, La.

New Yor-k City, Mutual Film
Exchange

New York, Western.

Oklahoma City.

Omaha, Neb.

Philadelphia, Pa.

Pittsburgh, Pa.

Portland, Oregon.

Salt Lake City, Utah.

San Antonio, Tex.

San Francisco, Calif.

St. Louis, Mo.

Seattle, Wash.

Sioux Falls. S. D.

Spokane, Wash.

Tampa, Fla.

Washington, D. C.
Wilkes-Barre, Pa.

Toronto, Canada.

Calgary, Canada.

Montreal, Canada.

St. John, Canada.

Vancouver, Canada.

Winnipeg, Canada.

733 Broadway
302 E. 4th St.

146 Marietta St.

412 E. Baltimore.

1106 Boylston St.

106 Pearl St.

American Theatre Bldg.
Consumers Bldg.

224 E. 7th St.

750 Prospect Ave., S. E
1807 Main St.

1724 Wei ton St.

Cohen Bldg.

97 Woodward Ave.

Corner W. San Antonio Ave.

and S. Santa Fe St.

1019 Ludington St.

119 5th St.

7-8 Hawkins Bldg.

805 Franklin Ave.

150 North Illinois St.

928 Main St.

825 So. Olive St.

410 So. 4th St.

500 So. Main St.

301 Enterprise Bldg.

22 North Sixth St.

25 Branford PI.

130 Meadow St.

816 Perdido St.

71 W. 23rd St.

126 W. 46th St.

Box 978 7-15 Walker St.

1413 Harnev St.

257 N. 12th St.

420 Penn Ave.

9th and Davis St.

123 E. 2nd South St.

209 Alamo Plaza.

162 Turk St.

1311 Pine st.

1933 3rd Ave.

201 Wms. Fine Arts Bldg.

408 W. First Ave.

1325 Franklin St.

419 Ninth St., N. W.

61 S. Penn Ave.

15 Wilton Ave.

702 4th St., W.

345 Bleury St.

39 Waterloo St.-
96 3 Granville St.

4 8 Aiken Bl., McDermott Ave.

MUTUAL

Nomatterwhat

yourproo'ram-always

mix rr with

GAUMONT

SINGLES

6aamont Co.

FLUSHING, N. Y»

♦ ♦♦ 4

New* Edition. oP

DAMAGED
GOODS

Flfie Screen? most
Successful classic
re- edited and
perfected bi/Mif
'Rickard Penned
distinguished actor
and Star of ike
production. Presented
byAnteriaanFilm Gb.Jnc.
Available aleSckanqe?
ofMuiual Filmy
Corporation; •

TkeMubial FilmMaqazme

PRICE- FIVE CENTS

Q-ebVuxxryl 3 , iQly.

fj/tiS publication;
is iSSTted
CCS apart —
of the Mutual
Film Corporations
"Service beyond
tkc films".

It qocSinto eVer/'
motion picture .
tkeatrein Obne/ica.

Directed by Frank Pawell

RELEASE DATE TO BE
ANNOUNCED LATER

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NANCE O’NEIL
MRS. BALFAME”

Censor Perils Pendind

OL 'BirdS’oye VierV o£ tfuz QfeneraL Situation ^

INFORMATION gathered from
many sources and printed be¬
low, relating to the activities of
officious propagandists in favor
of motion picture censorship
legislation in twenty-four states,
conveys sufficient indication of
the immediate necessity that exists
for co-operation between all branches
of the motion picture industry to com¬
bat unjust restrictive measures at
present pending in many state legis¬
latures. Here is a brief summary of
the situation:

ARKANSAS:

In the Arkansas State Legislature a bill
is pending that makes illegal the exhibi¬
tion of any motion picture unless passed
by the state film censorship commission
of Arkansas. The commission is to con¬
sist of three members appointed by the
governor. All possible co-operation to
defeat the bill is asked. This bill, believed
introduced for graft purposes as those
fathering it, have only one or two mo¬
tion picture houses in their districts.

COLORADO:

Censorship bill modelled on Kansas
law has been introduced. Parent Teach¬
ers’ Association having secured recogni¬
tion by Denver exchanges of the Associa¬
tions reviewing staff, is opposing legal
censorship. The Rocky Mountain Screen
Club, however, is much exercised over
the situation and is asking help.

ILLINOIS:

A bill is to be presented at this session
of the Illinois legislature proposing to es¬
tablish a board of censors to consist of
five members, these to be paid from fees
collected from the motion picture inter¬
ests.

IOWA:

In Iowa a bill is to be introduced by
Representatives Lee and Horchems, who
have been elected on their censorship
attitude in part. The Iowa Exhibitors’
League, A. H. Blank, president, is closely
watching Iowa legislation.

KANSAS:

The Kansas Branch of the Exhibitors
League reports that it seems impossible
to eliminate censorship altogether as had
been hoped. The following is the plan
upon which the Kansas League is work¬
ing: A bill has been introduced reducing
the censorship fee from $2.00 to SO cents
per reel and to have the censoring done
by the Welfare Board. The Welfare
Board is reported to be friendly ,to the
motion picture people.

MICHIGAN:

A censorship bill similar to the law
of Ohio has been introduced, the charge
to producers to be $1 for single reels and
$2 for multiple reels, etc. Local ex¬

change men and exhibitors are calling for
help.

MASSACHUSETTS:

A bill providing for the Board of Cen¬
sorship with salaries of $2,000 per year
and charging $1 for single and $2 for
multiple reel pictures was introduced on
January 12th.

MISSOURI:

Censorship bill has just been intro¬
duced providing for a Board of Censors
to pass upon both the films and adver¬
tising matter.

NEBRASKA:

A bill is pending in the Nebraska leg¬
islature providing for the creation of a
motion picture censorship board. The
National Association of the Motion Pic¬
ture Industry is investigating.

NEW YORK:

There are five bills pending in New
York state. Those introduced by Assem¬
blymen Kelly, Goldstein, Dowling and
Callahan contain clauses excluding mo¬
tion picture houses from Sunday closing.
The Callahan bill provides for opening
afternoon Sundays.

A bill by Assemblyman Welsh provides
for local option exercised by municipal
authorities throughout the state.

NORTH CAROfelNA:

Censorship bills are pending and there
is opportunity to lower the tax in the in¬
surance rate now legalized in that state,
if action is taken at once.

OKLAHOMA:

Censorship bill is pending, recommend¬
ed by the State Superintendent of the
Public Instruction, who has made an
active campaign in favor of this bill. In a
letter to the National Board of Review,
this official says: “If the moving picture
men who talked to me a year ago had
kept their promise and assisted me as
they agreed to do, it is very doubtful if
I would have made my recommendation
this time. I am not in favor of local
censorship such as they have in Kansas,
but I do believe, in fact know, that this
business ought to be regulated in a way
not to show some of the pictures to chil¬
dren which are now being shown.”

OREGON:

A bill making it a felony to manufacture,
import, distribute or exhibit any indecent
or obscene article, picture, etc., including
motion pictures, was introduced Janu¬
ary 15th.

TENNESSEE:

Censorship bill has been introduced at
the request of the Council of Women of
the State and is being backed by them in
the legislature.

UTAH:

A drastic censorship bill is pending in
Utah, fathered by Representative Chez.
This bill provides that after April 1 it

shall be “unlawful for any person, associ¬
ation, firm or corporation to exhibit any
motion picture unless same shall first have
been examined and approved by the state
superintendent of public instruction, ex¬
cept such films as are used in institutions
of learning.”

TEXAS :

A bill is pending in the legislature clos¬
ing all motion picture theaters on Sunday.

VERMONT :

In Vermont: An act is pending for regu¬
lating the attendance of children at mo¬
tion picture shows. It prohibits exhibitors
from admitting children under fifteen years
old unless they are accompanied by their
parents or guardians.. There is another bill
to prohibit the exhibit of unfit motion pic¬
tures — those of a vulgar or immoral char¬
acter or which depict burglaries, train rob¬
beries or acts which constitute felony. A
maximum fine of $500 or six months im¬
prisonment or both.

WISCONSIN:

A Sunday closing bill was introduced in
the Wisconsin legislature last Monday.
This bill is designed to close all houses
in which public exhibitions of whatever
sort have been held. A fight is being made
to except motion picture houses and a com¬
mittee is being formed to fight the measure.

WASHINGTON:

A bill providing for the censorship of
motion pictures in the State of Washing¬
ton will be introduced this week.

WASHINGTON, D. C.:

Congress is considering a revised edition
of the Smith-Hughes bill of last year.

WEST VIRGINIA:

A censorship bill is pending in West
Virginia.

QUEBEC :

Pending censorship measures in Mon¬
treal are being combated by a combination
of all the exchange men in Montreal with
the Quebec Retail Merchants’ Association.
These people ask the co-operation of the
Mutual Film Corporation.

ONTARIO :

A movement is in full swing in Ontario
to organize the motion picture exhibitors
of the province to oppose unjust legisla¬
tion and taxation. It is feared in Ontario
that a tax of ten per cent of the gross re¬
ceipts is shortly to be levied on all the¬
aters. The film exchanges will also be af¬
fected by an increased license fee or an
increased censorship fee.

CITY OF CHICAGO:

There is at this time a censorship bill be¬
fore the city council of Chicago, provid¬
ing for abolition of the present board of
censors composed of nine members , and to
substitute a city censor who shall have in¬
dividual responsibility for all films and ex¬
clusive power to prohibit exhibition of
products not meeting with his approval.

REEL LIFE — Page One

Neti Edition. cs^°

congratulations on the remarkable drawing
powers of the piece, which transcended any¬
thing before known.

Among the testimonials received dealing
with the original picture production of
“Damaged Goods” are the following:

A. W. BLANKMEYER, Manager Grand Cir¬
cus Theatre, Detroit, Mich. — “We cannot refrain
from congratulating you on your film ‘Damaged
Goods.’ We not only consider it good from the
box office point of view. It is a triumph morally
and socially as well.”

EDWARD J. O’KEEFE, Manager O’Keefe
Theatre, Atlantic City, N. J. — “ ‘Damaged Goods’
broke all records for attendance at our theatre
today. This is the best drawing play that was
ever in the house. It is a whirlwind.”

H. M. THOMAS, Strand Amusement Company,
Omaha, Neb. — “We have broken all records with
‘Damaged Goods.’ We had to use seven police¬
men and a surgeon to handle the crowd.
‘Damaged Goods’ is the best box office attraction
in this country today.”

A. G. FORBES, Manager Class A Theatre.
Spokane, Wash. — “ ‘Damaged Goods’ has caused
the biggest sensation in Spokane of any picture
that was ever shown here. We have turned
them away at every performance. We had 16,000
paid admissions at 25 cents between 30th and
November 7th, inclusive. Cleaned up $2,100."

WALTER F. SCOTT, Manager Savoy Theatre,
Wilmington, Del. — “Arranging for extension of
time on ‘Damaged Goods.’ Had to call police to
handle fighting crowd trying to get into theatre
last night. There were three hundred persons
waiting in line before the theatre opened in the
morning. ‘Damaged Goods’ is the talk of the
town and it has given this theatre a big boost.”

CHARLES L. HILLES, Unique and Lyric
Theatres, Eau Claire, Wis. — “ ‘Damaged Goods’
broke all records at the Lyric Theatre in Eau
Claire. The people literally fought to get in.
I never saw anything like since I have been in
the business. The nearest approach was with
‘The Birth of a Nation.’ ”

H. A. SIMS, Manager Liberty Theatre, Salt
Lake City, Utah. — “ ‘Damaged Goods’ showing
to packed houses each performance. It has
broken all house records for this theatre. I con-

STAR-#The celebrated Mr.
Richard Bennett, famous player
and student, whose successes
have run impartially on Broad¬
way and “on the road.”

CAST OF CO-WORKERS—
The original Broadway cast with
which Mr. Bennett achieved his
famed success with "Damaged
Goods” on the speaking stage,
including Adrienne Morrison,
who is the gifted Mrs. Bennett.

ENDORSEMENT OF
AUTHORITY — The testimonials
of approval from hundreds
of the greatest men and women
of America have placed a seal
of propriety and authenticity on
this production and have given
it a repute that no other film
production enjoys.

“Damaged Goods” was first released late
in 1915 and was withdrawn from the
market while still running to successful
houses the following September. Since that
time the public has not seen “Damaged
Goods” at any point in the United States.
This means that there are no old prints out
to work in competition with the new edition,
an added point of value to the larger
theatres planning long runs.

In many theatres of the larger cities
“Damaged Goods” has been played as many
as six times. In its new form, after a
thorough revision and material strengthen¬
ing by Mr. Bennett, whose small children
appear with him in the prologue to the re¬
vised version, this wonderful drama seems
certain of continued popularity.

During the original run of “Damaged
Goods” more than 100,000 testimonials were
received from men and women in all circles
of society who had seen the play and been
impressed with its extraordinary educa¬
tional value.

At the same time exhibitors throughout
the country were wiring and writing their

AMAGED GOODS” on first
edition took in considerably
■ more than a million dollars at
I M the box offices of the motion
picture theatres of the United
States. The new edition of
“Damaged Goods,” available to exhibitors
February 12, brings with it proven merit
and an element of newness which 'promises
an equal if not greater earning power.

Since the first announcement of the new
edition reservations and bookings have
been made by important theatres in many
centers. “Damaged Goods” in the new edi¬
tion is coming back to sweep the country
again.

The picture presents' several, points of
special value :

PROVEN pulling power, on the basis of a
record of astonishing repeat bookings on the first
edition.

NO COMPETITION — in that it is the only
picture on the subject, whereas every other
“sermon picture” has competitors by the score.

TIMELINESS — in that its theme is as old as
civilization and as new as tomorrow, and that
until the disease curse is wiped out the picture
will have a mission.

REEL LIFE— Page Two

sider it the strongest feature ever produced and
advise every exhibitor to take advantage of it.”

E. H. DUFFY, Chicago Staff, Mutual Film
Corporation. — “ ‘Damaged Goods’ is being shown
in Freeport, III., at 25 cents and 35 cents ad¬
mission, in a five-hundred seat house and is doing
$550 on thg day.”

J. S. WOODY, Branch Manager, Mutual Film
Corporation, Seattle, Wash. — “ ‘Damaged Goods’
has just closed a record engagement in Tacoma.
With the Seattle bookings it totals twenty-seven
days for the two cities. The most remarkable
thing is that Tacoma’s population is less than
100,000 and never in its history has there been
so long a continuous run.”

C. M. CHRISTENSON, Branch Manager,
Mutual Film Corporation, Cleveland, O.— “Under
separate cover we are mailing you photograph
•showing crowds standing in line to enter the
Bank Theatre at Akron, the attraction being
‘Damaged Goods.’ This picture has broken all
records here and think it will do so wherever
it is shown.” ,

CHRIS. G. BEHRENS,^ Family Theatre,
Davenport, la. — “We are playing ‘Damaged
Goods’ to capacity business. We have been fight¬
ing the crowds since the play was first produced
and crowds gather hours before the doors are
open. Our lobby and the sidewalks for half a
block have been jammed from 7 to 10 o’clock
every evening.”

J. M. MULLIN, Branch Manager, Mutual Film
Corporation, Albany, N. Y.— “The Lincoln
Theatre here is playing to capacity business with
‘Damaged Goods’ and the management has al¬
ready booked the film for second run. They
turned away more than 1,000 people at the Lin¬
coln last night and fifteen hundred were unable
to get in the previous evening.”

W. J. DRUMMOND, Branch Manager, Mutual
Film Corporation, Spokane, Wash. — “Beg to ad¬
vise you that ‘Damaged Goods’ played the Class
A. Theatre of this city October 30 to November 7,
inclusive, to 16,000 paid admissions at 25 cents.
Mr. Forbes, the manager, realizes a profit of
$2,100, more than twenty per cent of his invest¬
ment in the theatre which is $10,000. ‘Damaged
Goods’ is the biggest motion picture success ever
seen here.”

MARTHA P. FALCONER,

Chairman Social Hygiene Sec¬
tion, National Conference of
Charities and Corrections. — “The
use of your film distinctly added
to the success of the social
hygiene section. No one ques¬
tioned the accuracy of the story.

Everyone was deeply impressed
with the marvelous success you
have achieved in bringing out
every phase of the social
problem.”

H. M. SPAULDING, General
Secretary, Alton, Ill., Y. M.

C. A.- — “I believe that every
man and boy in this country
should see this picture and we
count ourselves fortunate that
we were permitted to present it. The day is pass¬
ing when a few old mossbacks may by their objec¬
tions keep pictures of this kind out of our associa¬
tions and churches.

E. W. FIEGENBAUM, President Men’s and
Boys’ Club, Edwardsville, Ill. — “I saw your mov¬
ing picture, ‘Damaged Goods.’ As I looked into
the eager faces of the men witnessing the exhibi¬
tion I felt that your admirable play would carry
conviction into the very souls of those who were
there. I wish that every man might have an
opportunity to see this wonderful picture.”

REV. ALEXANDER H. GRANT, Des Moines,
la. — “ ‘Damaged Goods’ is a powerful and eloquent
sermon. It is exceedingly plain spoken upon a
subject which requires plain speaking. Every
preacher of righteousness ought to give thanks
for such co-operation in his work as is furnished
by this epoch-making production. I have never
seen the wages of sin and ignorance so vividly
set forth.”

GEORGE C. RUHLAND, Commissioner of
Health, Milwaukee, Wis. — “Your photoplay pro¬
duction of Brieux’s powerful drama ‘Damaged
Goods,’ succeeds admirably, I believe, in driv¬
ing home the lesson which the author means to
teach. There is nothing offensive in the photo
production of the play and T believe society will
be the better for seeing it.”

ESTELLE LAWSON, Chairman welfare com¬
mittee, Los Angeles, California, City Council. —
“I am most heartily in favor of the film play,

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George Dupont . Richard Bennett

His Mother . Maude Milton

The Girl of the Streets .

. Adrienne Morrison

Henriette Locke . Olive Templeton

Mrs. James Forsythe. .. .Josephine Ditt

Senator Locke . John Stepp ling

The Doctor . Louis Bennison

The Quack Doctor ... .William Bertram

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‘Damaged Goods’ being shown in Los Angeles.
It is dignified, scientific, and a necessary, if ter¬
rible warning. I consider it to be a public bless¬
ing that such a play has been screened.”

MRS. J. D. TAYLOR, President Los Angeles
Federation of the Parent-Teacher Association —
“I have seen ‘Damaged Goods’ on the screen,
and must say that the educational value of the
play cannot be over-estimated. It is my belief
that everyone ought to see it and there is no
doubt in my .mind that the time is coming fast
when such plays will be deliberately fostered for
their protective value.”

The new edition of “Damaged Goods” is
“Damaged Goods” perfected, with all its
box office value renewed.

REEL LIFE — Page Three

East)) Street"

m, w/acft My- C/tayle? Spencay Cftaplin chef considerable

ASY STREET,” the
^ latest Chaplin-Mutual
comedy, to be released
February 5, cost as
J much per foot of
negative as the re¬
ported cost of “In¬
tolerance.”

Of course, “Easy Street,” is not so
popular nor so fashionable a thor¬
oughfare as was Belshazzar Avenue.
Babylon, but the people of “Easy
Street” are a busy lot and, withal,
expensive to do business with.

“Easy Street” is a far more pre¬
tentious ’production than any pre¬
vious Chaplin offering has been,
being one of those studio rarities — a
Chaplin pet. To put it plainly Chap¬
lin himself was so obsessed with the
merits of “Easy Street” from its first
rehearsal, that he wouldn’t release it
until it was up to his standard of ex¬
cellence.

“Easy Street” has taken three
weeks longer to produce than does
the average Chaplin comedy, Mr.
Chaplin’s determination to have
everything just right causing the de¬
lay, which appears to have been
justified, because critics who have
followed Chaplin from his begin¬
nings on the screen insist that this
is the best thing he has done.

Just how it is possible to get hit
on the head with a redhot stove
tossed from a third story window,
and still survive, is one of the amaz¬
ing problems developed in “Easy
Street.”

Chaplin’s adventures as “The
Sparrow Cop,” who dons police¬
man’s uniform to protect pretty
Edna Purviance, organist of “Easy
Street” mission, from insult by
“Bully” Campbell, are excruciat¬
ingly funny.

Campbell is six feet four inches
high and Charlie is five feet four.
Campbell is twenty-eight inches
across the shoulders, has a fist like
a York ham, an arm like a leg, a leg
like Caesar’s column and a head so

hard that twenty-two policemen
belting it with clubs can’t even make
a dent.

The sight of Chaplin in police uni¬
form, swinging his club with un¬
utterable swagger, suddenly con¬
fronted with this tremendous bully

“THE FLOORWALKER”

In which Charlie obtains a job in a
department store and immediately
thereupon begins to make things hum,
especially the wax dummies.

“THE FIREMAN”

Charlie joins the fire department and
through his heroism wins the hand
of the fair Edna.

“THE VAGABOND”

Our friend Chaplin becomes a
“knight of the road.’’ Of course he
meets a fascinating country girl.

“ONE A. M.”

At One A. M. Charlie comes home
much inebriated and sets out to get
acquainted with the slippery floors
and stuffed animals in his home.

“THE COUNT”

From tailor’s assistant to a count and
one who manages to get a wonderful

of the slums who is bent on his an¬
nihilation, bespeaks action, and ac¬
tion there is without delay. Chaplin
gets behind Campbell and whales
him eight times over the head with
his club, but the giant doesn’t even
know he has been touched.

feed and make love to a beautiful
girl is the gamut run by the inimitable
Charlie in this production.

“THE PAWNSHOP”

We discover Charlie as a clerk in
the pawnbroker’s shop, who captures
some daring thieves and partakes of
some of Edna’s cooking.

“BEHIND THE SCREEN”

A glimpse into the life of the assist¬
ant director of a motion picture com¬
pany. Charlie upsets all of the “sets”
and the attractive Edna dons overalls
and helps him.

“THE RINK”

Charlie proves his ability as a
champion roller skater and cuts quite
a figure in the rink.

“EASY STREET”

The funniest of them all. Chaplin
appears as a policeman for the first
time in his career.

REEL LIFE — Page Four

IN “The Smite of Conscience,”
seventh of “The Perils of Our
Girl Reporters” stories, torn
between love and duty, Exton
Manley, a New York lawyer
of reputation and genius, sur¬
rendered to the former, and, as
he believed, sent an innocent man to
the gallows in order that the woman
he adored might escape the penalty of
murder.

Helen Girard, the woman in the
case, married to a drunken and worth¬
less specimen of the criminal wealthy
class, refused to accept support from
Girard, on discovering his mode of
life, and while living in his house to
conserve her family reputation, ac¬
tually supported herself by writing
special articles for a morning news¬
paper.

Being assigned to study the socio¬
logical aspects of the New York night
courts, Helen Girard met Lawyer
Manley in the course of her work and
was frequently thrown into his com¬
pany by reason of the similarity of
their hours and scenes of activity.

The thrilling story of Helen’s
struggle with her drunken husband for
the possession of a pistol with which
he had declared his intention of kill¬
ing her after she had been forced to
kiss him — of her becoming uncon¬
scious and of Girard’s being found
dead beside her with the discharged
revolver between them, is graphically
told.

James Hale, the butler, who had
sworn vengeance on hi^ employer,
was arrested for the crime and prose¬
cuted by Manley to a conviction and
sentence of death. Only after the
man’s sentence did Manley realize the
full enormity of his action, he having
. been convinced Horn the beginning
that the woman he loved had fired the
shot which killed Girard in order to
save her own life. When she failed
to confess to him he believed that she
had killed with intent, but his affec¬
tion for the supposed slayer forced
him to protect her at another’s ex¬
pense.

Manley’s mental torture during the
days that preceded the date of Hale’s
execution is well portrayed and the
acting of Miss Greene as Helen Gir¬
ard, who is puzzled by the curious at¬

overacting and giving a thoroughly
convincing performance.

William H. Turner in his charac¬
terization of the drunken libertine
husband of the beautiful Helen Girard
does some of the best work of his ca¬
reer. He portrays the drink-crazed
man, devoid of all morals and intent
on murder splendidly.

Her Husband. . . .William H. Turner

Exton Manley . Earle Metcalfe

. . . . limn . . . in

llllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllilllllltlllllllll! I . .

titude of Manley toward her and has
no suspicion that he believes her guilty
of the shooting, is an emotional
triumph.

The element of suspense in the play
is strong and it is maintained up to the
last minute when Father Burke, the
old priest who administered the last
rites to the condemned butler, con¬
fronts HeHn and Manley with the an¬
nouncement that Hale made a com¬
plete confession just before the drop
fell.

This affords one of the most in¬
tensely dramatic climaxes ever de¬
picted on the screen and one which
brings audiences to their feet. Miss
Greene again displays in the sensa¬
tional scenes of this play her extraor¬
dinary sense of proportion, avoiding

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Helen Girard . Helen Greene

REEL LIFE — Page Five

„ Topical Reels 9

&1& We&tdif-JZeel (j£a - See. OtmeVica tfirst - fours' CtrouncLiJieWorld.

Holland, Egypt
and Dalmatia

Scenes of interest and
noteworthy for beauty
in “World Tours.”

THREE picturesque series of views
are shown in Gaumont’s “Tours
Around the World” No 14, re¬
leased through Mutual, February 6.
These are “Picturesque Landscapes of
Holland,” “The Temples of Luxor,
Egypt,”, and “The Rocky Coast of
Dalmatia.”

The Holland views are not of any
particular locality, the editor of the
reel prefering to show characteristic
scenes that typify the entire country.
There are pictures of houses built on
piles, for fear the sea will break
through the dykes, windmills with
their great canvas wings, meadow
lands where sheep graze, canals laden
with water craft, and peasants in their
native garb. One-fourth of Holland
is below sea-level. These pictures
supplement pictures of Amsterdam
shown in “Tours Around the World”
No. 3.

“The Temples of Luxor” afford
glimpses of a vanished civilization
that is still giving up its secrets as
the shifting sands of the desert dis¬
close monuments of the past. Biblical
students will appreciate these pic¬
tures of the grandeur of Egypt four¬
teen centuries before the birth of
Christ. The temple of Medinet-Habu
is shown from several points of vant¬
age, even the inscription upon the
walls being pictured. There are also
pictures of the Temple of Sethos I,
the Temple of Deirel-Bahri, and
statues of Rameses II and Memnon.

Now that the Allies have promised
Dalmatia to Italy, this dependency of
Austria comes into prominence in the
world’s news. Answering the demand
made upon it for information, the
Gaumont Company now puts out pic¬
tures of Dalmatia’s rocky coast with a
panorama of the port of Gravosa.

COMPETITION among camera¬
men on the Pacific Coast is just
as 'keen as it is in New York
City itself. The representatives of
the various motographic news reels
often measure their success in get¬
ting pictures on the screen by min¬
utes. However, the expedition of
B. E. Moisant, Gaumont cameraman
in San Francisco, and Eugene W.
Castle, the Gaumont comeraman for
the Pacific Coast, resulted in a not¬
able advance showing of pictures of
the wreck of the U. S. S. Milwaukee.
This vessel went ashore at Eureka,
Cal., while trying to save the
stranded submarine H-3.

After Mr. Moisant had been snow¬
bound in getting to Eureka and de¬
layed a day — a fate which overtook
all other cameramen as well — he was
able to secure wonderful pictures of
the Milwaukee. Hurrying back to
San Francisco, these were developed,
says the San Francisco Bulletin,
“during the night, so that the entire
Pacific Coast could be supplied with
this important event in the quickest
possible time.”

The Mutual Weekly is shown at
the Portola Theater, San Francisco,
and when it opened at 10 o’clock in
the morning the Gaumont comeraman
had his picture on the screen, the
most important news event of the
week on the Pacific Coast. Other
prints were already on trains bound
for other coast cities,' and the nega¬
tive was on its way east to the Gau¬
mont Laboratories. The next news
picture of the same event was not
shown until 4:30 in the afternoon,
at the Portola Theater.

One of the trained dogs from Reel
Life No. 41.

Coast Towns
of Mississippi

Beauty scenes along
the Gulf of Mexico in
"See America First.”

THE beautiful scenery that ac¬
counts for so much of the charm
of the Gulf of Mexico coast is
adequately pictured in Gaumont’s
“See America First” No. 74, a re¬
lease devoted to “The Mississippi
Coast.” These pictures, which reach
the screen February 7, show the prin¬
cipal points of interest at Pass Chris¬
tian, Gulfport, Biloxi and Beauvoir.
These towns give an excellent idea
of life in the state which is so hos¬
pitably southern and historically in¬
teresting.

At Pass Christian are pictured the
home of John M. Parker, progressive
candidate for vice-president last year,
the beautiful Beach Shell Road along
the coast, and the Herndon cottage
which is occupied by President Wil¬
son when he winters in the south.
Gulfport offers views of its beautiful
resort hotel, its country club, and
thousands of feet of yellow pine, for
Gulfport is one of the largest shipping
points in the world for this lumber.

Beauvoir, of course, is notable for
its echoes of the Confederacy. _ First
in importance in the pictures is the
home of Jefferson Davis. Hither he
retired after the war to write the his¬
tory of the Lost Cause. There is
also a Confederate Soldiers’ Home.
Biloxi is commercially the most im¬
portant town on the Mississippi coast.
The pictures show the Bay of Biloxi,
Howard and Benarchy avenues, as
well as typical scenes near the city.

On the same reel is a Gaumont
Kartoon Komic, animated for the
screen by Harry Palmer. It is called
“Old Roue Visualizes. ” The story
deals in humorous fashion with the
desires of a man who has lived life
to the full to change with various
animals which come to mind. Their
peculiar antics always cause him to
change his mind.

* * *

FURS valued by their owner at

$50,000 were on display recently
at the Gaumont studio. They
are to be seen in a forthcoming “Reel
Life” subject depicting the fur in¬
dustry.

Making Lace
and Latest Dance

Many educational and
interesting topics in
latest "Reel Life.”

THE confidence reposed in the
editorial judgment of the Gau¬
mont company by educators who
specify Gaumont Single-Reels is well
placed when one considers the ex¬
cellence of “Reel Life” No. 40, re¬
leased through Mutual, February 4.
The pictures show how lace is made
by machinery, how to dance the
Toddle, the latest dance that has taken
New York by storm, how fresh water
fish are raised, and how to design
an evening gown.

The lace pictures are among the
most entertaining ever sent by the
Gaumont Company’s Paris headquart¬
ers. Every woman in America will
appreciate this instructive exposition
of a great industry. The entire
process is shown from the time an
artist sketches a pattern until the
manufactured product is ready for
shipment. The patterns are perforated
on long strips of cardboard which
guide the machine. The lace is fin¬
ished by hand, and then pressed,
starched and dried on long tables.
The machines are shown in operation.

G. Hepburn Wilson, the inventor
of the “Toddle,” the dance of the
season, illustrates it himself for “Reel
Life” spectators. Mr. Wilson is head
of the Inner Circle, the national danc¬
ing association. Members of the In¬
ner Circle have been instructed to
watch for the dance in this issue of
“Reel Life” and send their pupils to
see Mr. Wilson and his dancing part¬
ner present it.

“Raising Fresh Water Fish,” shows
how the fry are hatched and trans¬
ported. Many of the pictures were
taken in California, showing how the
Fish and Game Commission plants
eighteen million trout in mountain
streams.

The fourth section of this reel
shows how a fashionable evening
gown is designed.

1 1 /JOKING an Individual Dress
IV/I Form,” one of the topics
taken up in Reel Life No.
42, the Mutual magazine-of-the-
icreen, released February 18, will be
of great aid to the home dress¬
maker or the woman who does not
wish to pay frequent visits to her
modiste.

A plaster of Paris cast is made of
the woman desiring the dress form
and the method is so simple that it
can easily be managed by anyone and
the cost is so small that it is within
the means of all.

The picture shows each step in the

Process of preparing a model cast
rom the plaster of Paris shell in
which the woman is encased and
every amateur seamstress who sees it
will be inspired to hurry right home
and make one for herself.

IN speaking of the Mutual Weekly,
F. G. Bradford, general manager
of the Gaumont studios, says:
“All of these pictures have more
than an entertainment value. It is
admitted that the primary aim of the
motion picture is to entertain, just
as that is the primary aim of the
theater. Yet the most artistic play
is the one that gives the auditor
something to carry away with him.

Leading Events
of Day Shown

Picturing the stranded
U. S. S. Milwaukee
and other big happenings.

IT would be difficult to pick out the
leading American picture in the
Gaumont Mutual Weekly No. 109,
as there are so many views of seem¬
ingly equal importance. From abroad
come war pictures taken on the Ser¬
bian front which give an excellent
idea of the difficulties with which the
Serbs and the Allies are meeting in
reconquering the little kingdom now
held by the Central Powers.

War as seen by America is pic¬
tured in the views of the stranded
U. S. S. Milwaukee, ashore near
Eureka, Cal., and the new type of
pleasure boat suggested by the Navy
Department, as suitable for conver¬
sion in short order into a submarine
chaser in time of war.

Samuel Gompers and Mrs. Gom-
pers pose for a Gaumont cameraman
while celebrating their golden wed¬
ding. The Congressional Committee
in New York to investigate the cele¬
brated Wall street “leak,” and its
counsel, Sherman L. Whipple, are
also caught by the camera for this
issue of the Mutual Weekly. The
new $6,000,000 free bridge across the
Mississippi river at St. Louis is
shown. A fire that threatened Belle¬
vue Hospital, New York, makes a
spectacular picture.

There are fashions from Fifth ave¬
nue, showing what the smart men of
the metropolis are wearing at this
season of the year.

VARIOUS committees which have
been investigating motion pic¬
tures other than film dramas
have given great praise to the four
Gaumont single-reels released weekly
through Mutual. _ This program — edu¬
cational, entertaining, and timely —
has a worthy week in the releases
for the first week in February. First
comes “Reel Life” No. 40, released
February 4. _ It shows “Making

Lace by Machinery,” the “Toddle,
the dance that has swept New York
by storm; “Raising Fresh Water
Fish,” showing how eighteen million
trofit fry are hatched and placed in
streams, and “How to Design an
Evening Gown.”

February 6 brings “Tours Around
the World” to the screen. This time
spectators of the Gaumont foreign
scenic reel are taken to “Picturesque
Landscapes of Holland,” “The Tem¬
ples of Luxor, Egypt,” and “The
Rocky Coast of Dalmatia.” The pic¬
tures are absorbingly interesting, and
have great value for the student as
well.

“See America First” No. 74,
which divides the reel with the Gau¬
mont Kartoon Komic, is released
February 7. It shows the towns that
fringe the Gulf of Mexico in the state
of Mississippi. These are Gulfport,
Biloxi, Pass Christian, where Presi¬
dent Wilson took winter vacations,
and Beauvoir, the place to which
Jefferson Davis retired to write his
history of the Confederacy. On the
same reel is the animated cartoon by
Harry Palmer, entitled “Old Roue
Visualizes.”

The fourth single-reel of the week
is the Mutual Weekly. As this is not
made up until the day it is issued,
no announcement of its contents can
be made in advance.

REEL LIFE— Page Six

Mutual Featurettes

IN “Shorty Turns Wild Man,”
Shorty Hamilton has an ex¬
traordinary new series of ad¬
ventures in an effort to rescue
Professor Wade, an absent-
minded geologist. Wade is lost
in the desert, the services of
the ever-ready cowboy hero having
been enlisted by Anita Keller of the
secret service. This is the fifth of
“The Adventures of Shorty Hamil¬
ton,” released through Mutual.

Wade had been prospecting about
the Sierra Nevada mountains after
radium and had just discovered a
valuable deposit at the time that his
guide caught desert fever and died.
News of the professor’s predicament
reached civilization by “Indian wire¬
less” and the intrepid Miss Keller was
ordered to look after him.

Struggling to get out of the desert
by himself, Prof. Wade became lost,
and, in this situation, encountered
Horatio Knowles, a tragedian, mem¬
ber of a traveling company, who had
been stranded and had wandered into
the desert in a temperamental fit.

The news of Wade’s radium discov¬
ery and the fact that he had a phial
of the stuff worth $100,000 in his pos¬
session, had been widely circulated,
with the result that “Crack” Peters
started out to waylay the explorer and
obtain possession of the mineral.

When Peters and his gang found
Wade and Knowles, the latter fell
dead at the first volley fired by the
outlaw gang and Wade crawled into
a bunch of cacti. In this desert hiding
place Wade found an old skull in
which he hid the radium, dying soon
afterwards of his wounds.

Shorty found the bodies of the two
men. and beside the actor, his box of
make-up. Realizing that Peters and
his gang were close upon him, Shorty,
in desperation, made up as a wild man,
using Knowles’ grease paints.

In this strange character, cavorting
about the desert, Shorty was encoun¬
tered by Apache Bill and Peters, who
were so alarmed at his antics that they
decamped. Meantime Shorty had
seen his horse, Beauty, disappearing
in the distance, having been scared by
her master’s strange behavior.

Shorty was compelled to sleep in
the desert and while asleep he be¬

came moon-
struck. This
deprived h i m
temporarily of
the power of
speech, and
while still un¬
able to talk he
was captured
by a traveling

circus, the manager of which was con¬
vinced that he had found a genuine
wild man.

Anita, meanwhile, had been strug¬
gling to rescue Shorty from his cap-
tors, but without success. He was
confined in a cage by the circus men
and released through the efforts of
Beauty, pet mare of the cowboy, who
kicked in the door of his cage on see¬
ing him imprisoned, after she had also
been captured by the circus gang.

There is a sensational chase in the
end of the picture in which Shorty is
pursued by the whole Wild West de¬
partment of the circus after his es¬
cape on Beauty.

Of course Anita is discovered
awaiting Shorty at the end of his jour¬
ney. There explanations and oscula¬
tions.

Needless to say there are many
comedy situations prominent through¬
out this production. When “Shorty”
arrives at the circus, bound by stout
ropes and caged, he is met by a “mot¬
ley” mob. Amongst the most prom¬
inent to greet him are Lillie, the fat
lady, who tips the scales at four hun¬
dred pounds ; Jack the Giant, seven
feet six inches tall and weighing
nearly as much as Lillie ; Sam, the
midget, three feet in heighth and about
the same breadth; Nora, the bearded

lady, with long, black silken whiskers
and Irene, the snake charmer, fond¬
ling a 10-foot python.

5}C

Synopsis of ‘JERRY’S BIG MYSTERY’
One Reel — Cub comedy featuring
George Ovey.

Jerry . George Ovey

Hank . George George

Tiny . Claire Alexander

Jerry’s landlord, tiring of his
c failing to pay the rent, turns him
Y out. He throws Jerry across
the hall and he lands in the
lap of a woman. The
husband finds Terry
in this compromis¬
ing position and a
fight ensues which
ends in the arrival of the police and
much trouble. Jerry escapes and be¬
gins to make love to Tiny. Later to
escape one Hank, Jerry squeezes into
a headless dummy form and after
scaring numerous people he returns to
Tiny, scares Hank away and then is
free to carry on his love-making un¬
molested.

* * *

Synopsis of “LURED AND CURED”

Two Reels — Vogue comedy featuring
Paddy Me Quire.

A Country Boy . Paddy McQuire

A Country Girl . Lillian Hamilton

City Chap . John Oaker

Vampire . Jessie Perry

Lillian, a country girl, loves Paddy,
a neighbor. A city chap comes into
her life and then things begin to hum.
He happens to be the head of a band
of gangsters and persuades Lillian to
return to the city with him. Lil is
placed under the care of a creature of
the vampire type. Paddy arrives in
the city and manages to gain entrance
to the house where Lil is kept prisoner.
He is robbed of all of the money he
possesses, $2,000, and dropped into a
cellar. Lil is told that there will be
no wedding and is also dropped into
the cellar. They manage to escape, by
strange methods, and Lil asks Paddy
to take her back to the farm.

i

REEL LIFE — Page Seven

Co-ODGratiort

by CLlica cjai rnPeafJw.r'^

MISS ALICE
L. FAIR -
WEATHER .
the author of
the article
presented
here, is the
editor of the photoplay depart¬
ment of The Standard, an aggres¬
sive daily published at St. John,
New Brunswick, Canada. As she ■„
relates she is something of a pic¬
ture pioneer in this busy and pic¬
turesque section of Canada. St.
John is a busy little city on the
Bay of Fundy, with a population
of about 60,000 persons, with a
high average of picture patrons.
Her work has given three distinct
results, increased patronage for
the theater, increased revenue for
the nezvspaper and service to its
readers. The size of the little
city is such that most any exhib¬
itor can afford to purchase a rea¬
sonable amount of advertising
space without incurring the ex¬
pense of “waste circulation” —
that is circulation beyond the ter¬
ritory tributary to his theater. As
every .picture publicity man
knows, Miss Fairweathcr, with
her insistent demand for the new
news and the real news has done
much to better the standards of
motion picture entertainment in
her field.

THE word co-operation has be¬
come almost like “efficiency”
in the triteness of its use and
yet it seems to express, as no other
word possibly could the purpose of
these articles on the importance of
the motion picture theater exhibitor
keeping in close contact with the photo¬
play editors.

I have been much interested in read¬
ing in REEL LIFE the views of sev¬
eral motion picture editors on this
subject. All of the articles which
have been published in REEL LIFE
are thoroughly good, and upon think¬
ing over what I would say in this con¬
nection I have decided to tell of my

Alice L. Fairweathcr. photoplay, editor of
the St. John Standard.

personal experiences in starting a
motion picture column.

Breaking Ground

The St. John Standard was the
first newspaper in the Maritime Prov¬
inces to run a daily column of mo¬
tion picture news, so when I began
it was breaking new ground, and I
found the ground quite hard and stony
at first. There were some managers
who seemed to thoroughly appreciate
the move and gave me every help pos¬
sible, and no little encouragement ;
others, while believing in it, seemed
doubtful that the results would be
successful. At the present time I am
quite certain that all of the exhib¬
itors acknowledge that the motion pic¬
ture column has been and is of the
greatest value to them. It has been
my policy to make the column local
and so work hand in hand with the
exhibitor.

Last September I was sent as a rep¬
resentative of the Standard to a meet¬
ing held to form a League of the Mo¬

tion Picture Men of the Maritime
Provinces at Halifax. I was called
upon to make a speech, and as this
was the first speech I had even been
called upon for I was rather uncer¬
tain as to what to say and in how
many words to say it. However, I
decided to make the attempt and my
speech consisted of the following
words :

Her Speech

“Co-operation between the motion
picture theaters and the newspapers
is the best possible thing for both—
the more you give us the more we can
give you.”

They said it was the shortest speech
ever made, and I am of the opinion
that it was a good thing I knew when
to stop. It may be that this little
speech will be remembered when more
lengthy ones are forgotten.

The manager of “The Unique,”
one of St. John’s best patronized the¬
aters, shows on his screen a slide ad¬
vising his patrons to read the amuse¬
ment page of the Standard; while the
managers of the Imperial and the
Opera House both realizing the value
of motion picture columns send news
and give any assistance possible. The
majority of theater owners have
joined in this plan of co-operation.

How They Do It

The theaters and film exchanges
make it their special business to see
that all press matter is carefully
looked after. All picture men visit¬
ing in town call at the newspaper of¬
fice or have the paper rung up by tele¬
phone by their exchange.

The value to the newspaper is in¬
creased circulation and the appreci¬
ation of a large class of theater-goers
who read avidly all the news on the
page of stage or screen favorites and
their doings. Through the motion
picture page a large connection has
been formed with firms outside the
city. It is hard to foresee the influ¬
ence but it is very much like the stone
thrown in the pool, the circles widen
until they touch many shores.

REEL LIFE— Page Eight

Metis Jx>n thG Studios

P&mous otutPovS1 doy PovPell'Mutuat Productions

A LIST of literary masterpieces has
been secured as screen vehicles for
Nance O’Neil and Marjorie Rambeau
in the series of pictures they are making at
the Powell-Mutual studios.

To the literature of the screen will be
added the classics of such writers as Ibsen,
Charles Dickens, Gertrude Atherton,
Algeron Boyesen and Frederick Arnold
Kummer.

“Mrs. Balfame,” the first vehicle chosen
for Nance O’Neil, has been completed at
the studios of the Frank Powell Producing
Company. The production is an adaptation
of the novel of the same name by Gertrude
Atherton.

“Hedda Gabler,” on which Miss O’Neil
is now working, is a picturization of the
Ibsen play. “Hedda Gabler” was one of
Miss O’Neil’s most famous roles on the
speaking stage and a part she has played
over seven hundred times. Her first ap¬
pearance in "Hedda Gabler” was in
Australia.

“Bleak House,” the third of Miss O’Neil’s
productions, comes from the pen of Charles
Dickens.

“The Greater Woman,” chosen for Miss
Rambeau’s first appearance on the screen,
is a picturization of Algeron Boyesen’s play
which was presented extensively on the
stage in Europe. This production has also
been completed at the Powell studios.

“Motherhood,” the second production
on which Miss Rambeau is now working,
is a film version of the play by Frederick
Arnold Kummer, author and playwright.

“The Debt” will be the third offering fea¬
turing Miss Rambeau. This is a success
from Europe.

“The Second Wife” is an original story
by Caroline I. Hibbard which was written
especially for Miss Rambeau.

Another of Isben’s plays will be given
to the public in “The Doll’s House,” in
which Miss Rambeau will portray the char¬
acter of Nora. This is lighter than most of
Ibsen’s plays and for that reason proved
more interesting to many theatre goers
when shown on the stage.

* * * *

FRANK POWELL last week took the
first scenes in the new studio at Col¬
lege Point, L. I., which in the future
will house the activities of the Frank
Powell Producing Corporation, the photo¬
play productions of which are released
through the Mutual Film Corporation.

This is the site known as “Donnolly’s
Grove and Pavillions,” placed under a
long-term lease, with the option of pur¬
chase, at the time of the formation of the
Frank Powell Producing Corporation, of
which John R. Freuler (president of the
Mutual) is president, and Frank Powell,
vice-president and director-general.

The Powell studio is one of the largest
and best equipped in the vicinity of New
York. The main building has a working
floor space of 16,000 square feet. This is
surrounded by smaller buildings, in which
are the printing and developing plants,
projection room, carpenter shops, and the
like. Every facility and aid that experience,
efficiency and ingenuity can devise has been

M. M. M.

With Her Hair Done Up

In “The Gentle Intruder,” the next Ameri¬
can-Mutual production starring Mary Miles
Minter, this dainty star appears for the
very first time on stage or screen with her
hair done up.

installed to aid in the production of the
character of pictures with which Mr.
Powell’s name is inseparably linked.

* * *

Frederick robinson, e. j. Flynn

and L. A. Darling are recent addi¬
tions to the forces of the Monogram
Film Company producing the “Adventures
of Shorty” series featuring “Shorty”
Hamilton for Mutual, and will direct their
efforts toward adding to the artistic effect
of the films.

Mr. Robinson is an artist, illustrator and

author of international fame. He is also
famous as the creator and producer of
such spectacles as “The Battle of the
Monitor and the Merrimac,” “The Sinking
of the Titanic” and “The War of the
Worlds.”

Mr. Flynn, recently assistant director and
business manager with Mary Pickford, and
before that time with D. W. Griffith and
Jack O’Brien, will have charge of locations.

Mr. Darling, who has joined the camera
squad, has had a long experience in this
line, having been with the Lasky, Selig,
Universal and Kalem companies.

* * *

ONE of the largest and wealthiest
audiences ever assembled in America
witnessed a showing of “Miss Jackie
of the Navy,” second of the Margarita
Fischer series of Mutual Star Productions,
at the famous Hotel del Coronado, Cal.

Part of the film was “shot” at Coronado
Beach and around the hotel, and after it
had played to crowded houses at the
Cabrillo Theatre, San Diego, the manage¬
ment of the Del Coronado asked that the
picture be given a showing in the big
auditorium of the hotel for its guests.

The auditorium was packed with well
known millionaires from both the east and
west. A special request had been made that
Miss Fischer be present but owing to a
previous engagement she was unable to
attend. At the end of the third reel- it
was rumored that Miss Fischer was not
among those present and the audience be¬
gan to call loudly for the star. Manager
Osgood saw that- it would not do to dis¬
appoint them and quietly slipping out dashed
to San Diego in his machine. Snatching
Miss Fischer from the reception she was
attending he hurried her to Coronado just
in time to make a graceful little bow and a
few remarks to the audience as the picture
was finished.

* * *

HELEN HOLMES and J. P. McGowan
will appear at the Pantages houses in
their respective roles of Helen Daw¬
son and Jim Blake which they portrayed in
“A Lass of the Lumberlands.”

The Mutual-Signal fifteen chapter photo
novel is being shown in a majority of the
Pantages houses on the Pacific coast and
Alex Pantages requested that Miss Holmes
and Mr. McGowan make this personal ap¬
pearance in the theatres of San Francisco
and Los Angeles.

* * *

A GLIMPSE into the Bohemian life of
the artists of the Latin Quarter of
Paris is given in “The Greater

Woman,” the first of the Marjorie Ram¬
beau pictures to be distributed through

Mutual.

The scenes are taken in the rendezvous
of the artists, a little cafe with sawdust
covered floor and battered walls decorated
by the hands of the habitues. Here the
members of the colony gather each night
for good fellowship and merry-making.

REEL LIFE- — Page Nine

NeiJs^t 3m the Studios

c&mous aidftoyppoy PovPelL'MutuaL PyoduciionS’

MOTION picture theatre managers
will go a long way to bring the
crowd to their houses but it is
rather reversing the general policy when
the people come in such numbers before a
picture is even booked that the exhibitor
has to show the film to get rid of the
crowds.

Also it is not unusual for a manager
to decorate his house to create the prop¬
er atmosphere for a special feature but
never before has a case arisen where the
theatre was rebuilt to accommodate one
serial to be shown in four installments.

Both of these exceptional cases were
brought about by the desire of the public
to see the sequel to “The Diamond From
the Sky.”

Mr. Strine, manager of the Lyric The¬
atre, Boone, Iowa, was so bombarded
with questions concerning the “Sequel”
by the fans of his town that he com¬
plained his ticket office was changed to a
question and answer box about that par¬
ticular picture and the only way he could
do business and save himself from doing
nothing but answer questions was to
book the serial.

W. C. Treloar, manager of the Opera
House, Ogden, Iowa, was absolutely un¬
able to handle the crowds that thronged
to his theatre to see the sequel to “A
Diamond From the Sky.” It took twenty
minutes to clear the house on the first
showing of this picture and he was forced
to remove the orchestra pit and make
a rear exit in the building to be able to
handle the multitude of people with any
facility.

Most sequels are a disappointment be¬
cause they do not hold up to the original
interest but “The Sequel to the Diamond
From the Sky” is even more dramatic
that the original and with the conclusion
of each chapter the whereabouts of “The
Diamond” assumes additional mystery.

The “Sequel” forms a fitting conclusion
to what has been pronounced by many
the most mystifying scenario ever writ¬
ten.

* * *

CHARLES PACINI, proprietor of the
New Majestic Theatre, Kenosha,
Wisconsin, recently distributed eight
thousand calendars as souvenirs of the
showing of “Faith,” the Mutual Star Pro¬
duction in which Mary Miles Minter is
starred. The calendars were decorated
with a head of the beautiful little star in
colors. So popular is Miss Minter with
Kenosha audiences that the sidewalk in
front of the theatre was impassable because
of the crowds assembled. And there was
a new Mary Pickford picture being shown
at an opposition house three blocks away.

The picture was so well liked that many
requests were made for its re-showing but
owing to the features already booked for
the week’s program it was impossible to
hold it over. Other Mary Miles Minter
pictures will be shown, however, at the
New Majestic in the near future.

Arrangements have also been made
whereby this feature will be shown at the
new Butterfly Theatre which will be opened
soon. * * *

A PONTINE coat (it’s waterproof),
with hat, bag and walking stick to
match is the very, very latest dictate
of Dame — or should we say Monsieur?—
Fashion, for a rainv. blustery day.

Sybil Carmen, the fascinating dancer in
Flo Ziegfeld’s “Midnight Frolic,” has one —
straight from the Maison of Royant, Paris,
where all sorts of fetching feminine foibles
have their origin.

In this delightful rainy day outfit, and
again in the latest bathing suit — with
hosettes which come only half way to the
knee — Sybil Carmen is seen in Mutual
Weekly No. 109. Miss Carmen, who is one
of New York’s darlings, will be seen every

week in the fashion department of the
Mutual Weekly, which is produced by the
Gaumont company.

* * *

ERE’S another exhibitor who recog¬
nizes the superior quality of the
Mutual Weekly. Clune’s Broadway
Theatre, Los Angeles, has booked the
Mutual Weekly for a solid week’s run.
This is an exceptional honor for the Weekly
as Clune’s is the finest motion picture
house in Los Angeles. The Weekly will
be used from Sunday to Saturday and be
succeeded by the next issue.

* * *

WH. RIPPARD, formerly man¬
ager of the Wilkes Barre
* branch of the Mutual Film Cor¬
poration, has been appointed assistant
manager of the Philadelphia office.

Mr. Rippard will be succeeded by Bert
King as manager of the Wilkes Barre
Mutual Exchange.

The Berkshire Eagle of Pittsfield, Mas¬
sachusetts says:

"A private moving picture show is one
of the latest novelties in tozvn. A Pitts¬
field dentist is fond of the Helen Holmes
serial, “THE LASS OF THE LUMBER-
LANDS,” now running at The Spa, and
it so happens that his business keeps him
busy until late in the evening. The last
chapter he saw was so interesting that he
wanted to see the next, but when he ar¬
rived at the Spa last evening it was too
late. After the regular performance he
asked how much it would cost to have the
picture run over again, and when told only
the operator would have to be paid $1.00.
he dug down and himself and his wife
watched the unfolding of the picture after
the regular performance. They were the
only two in the house outside the em¬
ployes.”

Make Your Own Electricity with Cushman Electric Plants

The Government order after inspection, before shipment

Extremely light weight and compact; 4 H. P., 2 K. W.
Outfit complete, weighs around 500 lbs.

Complete with all equipment — easy and ready to set
up and run.

Throttle Governor, connected to Schebler Carburetor,
assures clear, bright and steady pictures.

United States Bought 66 Cushman Outfits

The Illustration shows 66 Cushman Electric Power Plants ready for
shipment that were purchased by the U. S. Government for use at Army
Posts and in the field.

Cushman Motor Works

940 North 21st Street LINCOLN, NEB.

REEL LIFE— Page Ten

Attendance records in

theatres everywhere are be¬
ing smashed with this sensational
chapter-play. Daring Helen
Holmes and her supporting com¬
pany are “pulling” the fans back
again and again to see this 15 chap¬
ter photonovel. Life in the lumbercamps
and Helen’s experiences on a logging
road are thrillingly portrayed. Thrill
follows thrill. Whole trains are deliber¬
ately wrecked to add a final “punch” to
the picture. It’s in 15 chapters — a new
chapter each week for 15 weeks. Book
“A Lass of the Lumberlands ” NOW!

NOW BOOKING AT
ALL MUTUAL*
EXCHANGES

SIGNAL FILM Cl

REEL LIFE — Page Eleven

m

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v i y y>y\

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MUTUAL FILM CORPORATION
CAmounceS’
cAnother Mutual Star

Mutual Film Corporation

L c/o/in/Z'Freuler. Resident M

Ss. EXCHANGES EVERYWHERE M

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„ , dr - Tsd-- ' b>W->'z-:;£

&.;■ .••■■; v •' ■-•■'• - -- v

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MUTUAL FILM CORPORATION

(presents'

Ike Clvarwvm^ Siar

From live pan of the celebrated novelist
WILLIAM J* LOCKE

Miss Murdocks exceptional emotional talent
is allowed full sway in tkis famous story of a youn£ Soci¬
ety §iri compelled to ckoose between love and
wealtkin marriage. All star Supporting cast. <&>
FiveActs. Released tke week of February 5tk tkvou^k
Mutual Exchanges .

Now Booking At All Mutual Exchanges

■

“Hey, Kids! Hurry Up! Gaumont!”

You can just hear the bright little chap
shouting to his playmates. He’s the best
advertisement you can have. He went to the
children’s matinee last week, and now he’s
passing on the good word about

GAUMONT SINGLE-REELS

Get all the children’s admission money you can. It
helps pay the rent, and the children will be steady
patrons for you in years to come. You can bring them
back week after week with Gaumont pictures, they’re
GREAT for children.

“Reel Life” is a big winner; it’s chock full of stuff for
the kiddies. The Gaumont-Mutual Weekly interests
them in history in the making. “Tours Around the
World” shows them fascinating foreign lands. “See
America First” instills love of country; and with it is a
Gaumont Kartoon Komic so screamingly funny that the
children almost fall off their seats laughing.

The Better Films Committee of the Illinois Congress of
Mothers endorses these pictures. The Fordham Theatre,
Bronx, N.Y., is making a hit with some of them. Wise exhibitors

everywhere are using them. Whenever a mothers’ or teachers’ com¬
mittee confers with you, you are always safe when you offer them all
the Gaumont Single-Reels. The best thing you can say is, “I am show¬
ing them every day NOW and pleasing my patrons.”

ORDER FROM YOUR MUTUAL BRANCH TODAY

ont Q

FLUSHING, N.Y.

Of \U
TO

REEL LIFE — Page Fifteen

VOGUE FILMS, Inc,, Presents—

“STICKY FINGERS”

TWO REELS RELEASED FEBRUARY 4th

FEATURING PADDY McQUIRE

Slapstick with a Keaton

IIGHT Comedy and slapstick are

wonderfully mingled in this Vogue

Comedy. Directed by James Davis. Two col¬
lege boys, temporarily “broke,” allow their fingers to stray
too near a lady’s pocketbook. The complications that
result are laughable in the extreme. In the “get-away”
the Vogue Comedians do things with an automobile on
the roof of a skyscraper that seem absolutely impossible.
“Sticky Fingers” is a real “stunt” picture. It can be
booked at the Mutual Exchange.

VOGUE FILMS, Incorporated

General Oilices: 6225 Broadway

Chicago, Illinois

REEL LIFE — Page Sixteen

MUTUAL STAR PRODUCTIONS MUTUAL STAR PRODUCTIONS

Week of February 5, 1917

ANN MURDOCK

No. 168 — Where Love Is — Mutual
In Six Acts

MUTUAL PICTURES

Week of February 12, 1917

MONDAY, FEBRUARY 12, 1917.

No.

05322

50323

05324

05325

05326

Brand

Monogram

Gaumont

Mutual

Gaumont

Title Class

Shorty Turns Wild Man. Drama

Reels Deads

2 Adventures of
Shorty Hamil¬
ton, No. 5

TUESDAY, FEBRUARY 13, 1917.

Mutual Tours Around the World

. Travel 1

WEDNESDAY, FEBRUARY 14, 1917.

Mutual Weekly, No. 111. Topical 1

See America First. . ..Scenic and 1
Kartoon Komics . Cartoon

Mont St. Michel
(France)
Around Lake
Iseo (Italy)
Morocco, Y es¬
ter- d a y and
Today (Af¬
rica)

Dos Angeles,
Cal.

05327 Cub

THURSDAY, FEBRUARY 15, 1917.

Jerry’s Big Mystery. . . .Comedy 1 George Ovey

05328

05329

05330 Vogue
05331

05332 Gaumont

Mississippi

Coast

Properties of
the Water
Making an In¬
dividual Dress
Form

Training Man
Hunters

The Dance of
the Rainbow

FRIDAY, FEBRUARY 16, 1917.

SATURDAY. FEBRUARY 17, 1917.

SUNDAY, FEBRUARY 18, 1917.

Bured and Cured . Comedy 2 Paddy McQuire

Reel Life . . . Magazine 1 Oysters on the

No.

05311

05312

05313

05314

05315

05316

05317

05318

05319

05320

05321

Week of February 5, 1917

Brand

Monogram

’’Featur-

ette”

Gaumont

“Featur-

ette"

Mutual

“Featur-

ette”

Gaumont

“Featur-

ette”

Cub

‘‘Featur-

ette”

Mutual

“Featur-

ette”

American

Vogue

"Featur-

ette”

Gaumont

“Featur-

ette”

MONDAY, FEBRUARY 5, 1917.

Title Class

Shorty Joins the Secret Serv-

ice . Drama

TUESDAY, FEBRUARY 6, 1917.

Mutual Tours Around the World

. Travel

WEDNESDAY, FEBRUARY 7, 1917.
Mutual Weekly, No. 110 Topical 1

Reels Deads

Adventures of
2 Shorty Hamil¬
ton, No. 4

The Rocky Coast
of Dalmatia
On the Adriatic

Sea

Great Temples of
Luxor (Egypt)
Picturesque
Dandscapes of
Holland

See America First. . . .Senic and
Kartoon Komics . Cartoon

1 The Mississippi
Coast

THURSDAY, FEBRUARY 8, 1917.
Jerry’s Big Raid . Comedy 1

FRIDAY, FEBRUARY 9, 1917.
Bulldogs of the Deep. Topical 1

SATURDAY, FEBRUARY 10, 1917.
The Old Sheriff. ....... .Drama 1

SUNDAY, FEBRUARY 11, 1917

A Musical Marvel . Comedy 2

Reel Life . Magazine 1

George Ovey

Uncle Sam’s De¬
fenders, No. 6

J. Warren Ker¬
rigan

Ben Turpin
Queer Fish with
Shells

Diary of an Egg
Every Day Dife
Savers

Hypnotizing an
Alligator

MARY MILES MINTER

Youth’s Endearing
Charm

Dulcie’s Adventure
Faith

A Dream or Two Ago
The Innocence of Dizette
The Gentle Intruder

WILLIAM RUSSELL

Soulmates
The Highest Bid
The Strength of Donald
McKenzie

The Man Who Would
Not Die

The Torch Bearer
The Love Hermit
Lone Star
The Twinkler
My Fighting Gentleman

PHOTO-NOVELS

The Perils of Our Girl
Reporters

The Sequel to The Dia¬
mond from the Sky
A Lass Of The Lumber-
lands.

The Girl and the Game
The Secret of the Sub¬
marine

SERIES

Fantomas
The Vampires
Adventures of Shorty
Hamilton

KOLB AND DILL
A Million for Mary
Bluff

The Three Pals
A Peck O’ Pickles
Lonesome Town
Beloved Rogues

CHARLES CHAPLIN
The Floorwalker
The Fireman
The Vagabond
One A. M.

The Count
The Pawnshop
Behind the Screen
The Rink
Easy Street

RICHARD BENNETT
Philip Holden — Waster
And The Law Says.

The Valley of Decision
The Gilded Youth

MARGARITA FISCHER
The Pearl of Paradise
Miss Jackie of the Navy
The Butterfly Girl
The Devil’s Assistant
A Night at Tarquizzi
Birds of Passage

MUTUAL FILM EXCHANGES

Albany, N. Y.

Atlanta, Ga.

Baltimore, Md.

Boston, Mass.

Buffalo, N. Y.

Butte, Mont.

Chicago.

Cincinnati, O.

Cleveland, O.

Dallas, Tex.

Denver, Colo.

Des Moines, la.

Detroit, Mich.

El Paso, Tex.

Escanaba, Mich.

Fargo, N. D.

Grand Rapids, Mich.

Houston, Tex.

Indianapolis, Ind.

Kansas City, Mo
Los Angeles, Calif.

Louisville, Ky.

Memphis. Tenn.

Milwaukee, Wis.

Minneapolis. Minn.

Newark, N. J.

New Haven, Conn.

New Orleans, La.

New Youk City, Mutual Film
Exchange

New York, Western.

Oklahoma City.

Omaha, Neb.

Philadelphia, Pa.

Pittsburgh, Pa.

Portland, Oregon.

Salt Lake City, Utah.

San Antonio, Tex.

San Francisco, Calif.

St. Louis, Mo.

Seattle, Wash.

Sioux Falls, S. D.

Spokane, Wash.

Tampa, Fla.

Washington, D. C.
Wilkes-Barre, Pa.

Toronto, Canada.

Calgary, Canada.

Montreal, Canada.

St. John, Canada.

Vancouver, Canada.

Winnipeg, Canada.

733 Broadway
146 Marietta St.

412 E. Baltimore.

1106 Boylston St.

106 Pearl St.

American Theatre Bldg.
Consumers Bldg.

224 E. 7th St.

1807 Main St.

1724 Welton St.

Cohen Bldg.

97 Woodward Ave.
Corner W. San Antonii
and S. Santa Fe St.
1019 Ludington St.

119 5th St.

7-8 Hawkins Bldg.

805 Franklin Ave.

150 North Illinois St.

928 Main St.

825 So. Olive St.

410 So. 4th St.

500 So. Main St.

301 Enterprise Bldg.

22 North Sixth St.

25 Branford PI.

130 Meadow St.

816 Perdido St.

Ave.

71 W. 23rd St.

126 W. 46th St.

Box 978 7-15 Walker St.

1413 Harnev St.

257 N. 12th' St.

420 Penn Ave.

9th and Davis St.

123 E. 2nd South St.

209 Alamo Plaza.

162 Turk St.

1311 Pine st.

1933 3rd Ave.

201 Wms. Fine Arts Bldg.

408 W. First Ave.

1325 Franklin St.

419 Ninth St., N. W.

61 S. Penn Ave.

15 Wilton Ave.

702 4th St., W.

345 Bleury St.

39 Waterloo St.

963 Granville St.

48 Aiken Bl., McDermott Ave.

MUTUAL

MUTUAL FILM CORPORATION

Prerenir

"ShorhjGoes
To College*

Third of “The Adventures' of
Shorty Hamilton "FeatureUe?

A story of the ranch and the
cam pus ."Shortp* m’chaps'and.
football to£s. Some missing
diamonds andAniiaKeller
of the U S Secret Service
are it ixed up in the plot.

Tke Mutual Film Maj>aarim&
FEBRUARY 17, 19I7 PRJGE 5 CENTS

JOHN R. PR EULER — the latest photograph of the
J president of the Mutual Film Corporation, ta^en in his
suite at the Chicago executive offices of the corporation. The
president , by way of peeping close to every phase of the busi¬
ness, has the newest model of the most scientific thing in
cameras standing as a decoration in his private office.

Announcing “The Girl from

Rectors.” Released March 5—

don’t crowd. Line forms on the
right. If you have ever “done”

New York — if New York has ever
“done” you — if you have ever
caromed from the Claridge to Shanley’s
to Bustanoby’s to Reisenweber’s to

Healey’s to Rector’s with a high tile on and
the muffler open — if you have ever

watched Forty-second street spin on its axis
at 5 a. m. and then turned in to Jack’s for
breakfast the five reels of “The Girl from
Rectors” will be just like a letter from
home to you.

Halt! Right now you’re all set to expect
something. You are absolutely mistaken.
The picture is perfectly clean and the Na¬
tional Board of Review admits it.

But, say man, its there !

Action? Why, looking at “The Girl from
Rectors” is like having Broadway run by
you on a merry-go-round.

If you are one of those boys who' goes
down to Manhattan for business and fresh
air once or twice a year probably you have
seen “The Girl from Rectors” on the stage.
Or maybe you have seen it on one of those
long road runs. If you did you can stop
reading at this point and mail your applica¬
tion to the Mutual exchange now.

If vou insist on being sold all the way, let
me tell you about “Ruth.” Ruth is “The
Girl from Rectors.” In private life she is
Miss Ruth McTammany of perfect Bos¬
ton, Mass. But in “The Girl from Rectors”
she is about the livest little impersonation
of a dancer with an evatanguay disposition
it has been our official pleasure to meet on
the screen.

Ruth gambols all through the plot. When
the picture was screened in the Mutual’s
Chicago projection room it was so still and
attentive that you could hear a sparrow
fight on the roof a hundred yards away.
There are a number of nutty individuals in
the cast who help the tangled plot along
considerably, but you won’t worry about
the plot. You can’t. Ruth won’t let you.

Incidentally the esteemed Mr. Rector him¬
self, the celebrated New York restauranteur
de luxe, appears in the picture as an “extra”
and a lot of the scenes were made in his
palace of plastic pulchritude. Ordinarily it
costs about ten iron men for a cup of broth
and a look at the inside of Rectors, but
with this picture you can see the inside of
all New York for a dime. Some insides!

If you’ve ever been to Broadway, U. S. A.,
you’ll want to see “The Girl from Rectors”
— if you haven’t been there you’ll have to
see it. Your patrons will feel the same
way about it.

When the Mutual salesman calls this
week, ask him to have a chair. T. R.

REEL LIFE — Page One

REEL LIFE— Page Two

Marjorie ram-
beau will make

her first appear¬
ance on the screen
and also her first
appearance on the
Mutual schedule
on February 26 in “The Greater
Woman.” On the stage Miss Ram-
beau has won a personal triumph
which has rarely been paralleled on
Broadway. It was in “Cheating
Cheaters,” now playing at the El-
tinge Theatre, New York, that the
star came into her own. Her train¬
ing on the speaking stage has also
included work in stock and vaude¬
ville.

“The Greater Woman” is a pic-
turization of Algernon Boyesen’s
play which was shown extensively
on the Continent. Although Mr.
Boyesen is the author of seven plays
and many short stories this is the
first of his works to reach the screen.

Marjorie Rambeau has to call into
play all her histrionic talent in por¬
traying the role of Auriole Praed.
This part is a highly dramatic one
and calls for strong emotional act-

Promotion Ideas

Some good suggestions for the ex¬
hibitor in exploiting Marjorie Ram¬
beau in “The Greater Woman.”

Play up the fact that you are going to
have a picture in which a noted stage star
appears. Have Marjorie Rambeau’s
name prominently displayed inside the
lobby and outside the theatre. In the
lobby and also on a sidewalk board have
a large picture of Marjorie Rambeau
with a sign reading: “Marjorie Rambeau
the well known stage star will be here
tomorrow night.” In your advertising
invite the people to come and get ac¬
quainted with Marjorie Rambeau, who is
now playing in “Cheating Cheaters” at
the Eltinge Theatre, New York, and is
making her first appearance on the screen
in “The Greater Woman.”

Arouse the interest of the women of
the town by sending to each one a card
on which is written:

“What would you have done in her
place?

“If you discovered that your husband
had been unfaithful to you, but had re¬
pented and asked forgiveness, what
would you do?

“Would you forgive him?

“Would you rather have wealth with¬
out love or poverty with love?

“Come to the . Theatre

on . and see how Mar¬

jorie Rambeau meets these problems in
‘The Greater Woman.’”

ing in which Miss Rambeau is at
her best. Auriole Praed is one of
those exceptional women who is
willing to forgive all and forget all,
and to face poverty with love rather
than wealth without it. Confronted
by the fact that her weak-willed,
artistic husband is enamoured of a
dancer, there are no reproaches. She
simply waits, sure that his love for
her will reassert itself. When the
husband comes back to her begging
for forgiveness and protesting his
love for her she answers that it is
not for a woman who loves to judge
nor condemn, but only to try to
understand.

“The Greater Woman” was pro¬
duced for Mutual under the direc¬
tion of Frank Powell by the Frank
Powell Producing Corporation. The
cast surrounding Miss Rambeau
was carefully chosen. Aubrey Beat-
tie portrays the role of Leo Ban¬
nister, a man of little breeding but
high ambitions who step by step
works his way to the top in his
determination to make himself an
equal socially with Auriole. Mr.
Beattie has had an extensive career
on the legitimate stage, has played
in many all-star casts and of late has
been appearing in the lighter forms
of drama.

Hassan Musselli gives a very good
characterization of Otto Bettany,
the weak-willed susceptible artist
who allows himself to be led away
by a dancer.

Josephine Park, who appears as
Fanny Praed, has just completed an
engagement unique in Broadway an¬
nals. For sixty-three consecutive
weeks Miss Park played a promi¬
nent part under the management of
David Belasco in “The Boomerang”
at the Belasco Theatre, New York.

Sara Haidez is most clever as Ida
Angley, the dancer who leads to the
downfall of Otto Bettany. Miss
Haidez is a model as well as an
actress and poses for several of the
best painters and illustrators in New
York.

Frank Powell has called all his
skill as a director into play in the
production of this picture. There
are a number of unusual and beauti¬
ful settings. Among these are the
scenes taken on the stage of the
theatre while Sara Haidez does
some most artistic interpretative
dancing aided by beautiful lighting
effects and a number of gorgeous

costumes against a unique back¬
ground.

Another interesting scene is taken
in a restaurant in Paris, the rendez¬
vous of artists, and is typical of the
Bohemian life of the Latin Quarter
of Paris. The saw-dust covered,
floor, the walls decorated by sketches
and cartoons drawn by the habitues
of the place are very unusual.

“The Greater Woman” is the first
of a series of features in which Miss
Rambeau will appear for Mutual.
Other subjects which have already
been chosen for the star include,
“Motherhood,” a film version of a
play be Frederick Arnold Kummer;
“The Debt,” an adaptation of a
European success; “The Second
Wife,” an original story by Caro¬
line I. Hibbard, which was written
especially for Miss Rambeau; and
“A Doll’s House,” a picturization of
Henrik Ibsen’s play in which Miss
Rambeau will portray the role of
Nora Helmar.

Forthcoming, Productions

A list of the forthcoming Marjorie

Rambeau, Powell-Mutual productions.

“Motherhood,” a film version of the
play by Frederick Arnold Kummer.

“The Debt,” an adaptation of the great
European stage success of same title.

“The Second Wife,” an original story
written by Caroline I. Hibbard especially
for Miss Rambeau.

“A Doll’s House,” a screen adaptation
of Henrik Ibsen’s great drama of the
same title.

Advertising Matter

Available at all Mutual Exchanges for
use in connection with Marjorie Ram¬
beau in “The Greater Woman.”

Posters, one sheet . 10c

Posters, three sheets . 30c

Posters, six sheets . 60c

Announcement slides, each . 25c

Lobby photos — 8x10 inches, set of 10

subjects with two title cards . 50c

Lobby photos — 11x14 inches, set of 6

subjects with one title card . $1.00

A new herald, the first page of which
carries a portrait of the star suit¬
able for framing. The fourth page
is blank and can be used by the ex¬
hibitor for the presentation of his
program and advertisements by
local merchants, per thousand. . . .$1.50
Hand colored photo gelatine lobby
pictures — 22x28 inches, F. O. B.

New York . 75c

Oil and water color paintings — 38x51
inches, framed and in shadow boxes,

F. O. B. Chicago . $15.00

REEL LIFE— Page Three

It.

Biaagca -

Story No -9 °f

'THE PERILS OF OUR GIRL REPORTED

stories. Niagara-Mutual production.

HER husband, a news¬
paper editor, and a
sporting editor all de¬
manding her love at
the same time is the
position in which
Grace Calvert finds
herself in story No. 9 of “The Perils
of Our Girl Reporters” series pro¬
duced by the Niagara Film Studios
and released through the Mutual
Film Corporation.

“Misjudged” is the title of this
story of the series, in which the prin¬
cipal parts are enacted by Helen
Greene as Grace Calvert, a news¬
paper reporter; Earl Metcalfe, Edith
Sinclaire, Arthur W. Matthews, and
William H. Turner.

1 The story throws a new light on
the position of the married woman
in the business world when she
keeps her marriage a secret.

Grace Calvert thought it would be
very simple to bury her identity in a
big newspaper office and at the same
time support herself, when she de¬
cided to no longer live with her
artist husband, who is a drug fiend.
She finds that while it is easy to
hide the fact that she is the wife of
Herron Gray, it is not so simple to
bury her charming personality even
in the busy work-a-day world of a
newspaper office. First the editor
wakes up to the fact that she is not
a mere piece of machinery but a
very appealing woman. Then the
sporting editor begins to notice her
and shower attentions upon her. It
takes all the clever wits of the news¬
paper woman to handle the situation.

William H. Turner goes even
beyond his usual high grade work in
the portrayal of the artist husband,
weak willed and haggard from the
constant use of drugs. His strong¬
est acting is done in the scene in the
studio when, as Gray, he flies into a
maniacal rage because one of his pa¬
trons sneers at his work. At the
height of his anger he seizes a vase
and strikes and unintentionally kills
the patron. In sharp contrast to the
raging fiend of a moment before he
is the frightened man crouching in a
corner trying to get away from the
body on the floor, and babbling inco¬
herently in his frenzy of terror.

It is upon this scene that Grace

enters, summoned by a note from her
husband asking her to come to the
studio at once. She feels that this
is the culmination of her years of
misery and draws away in disgust
from the cringing culprit.

Grace’s position grows still more
strained when the editor asks her to
cover the murder at the studio, and
a policeman offers the information
that letters from Miss Calvert were
taken from the pockets of the mur¬
derer. The mental struggle through
which Miss Greene, as Grace Cal¬
vert, goes in trying to shield her hus¬
band and at the same time keep their
relationship a secret and contrive
not to cover the story, is well
enacted. Miss Greene does not
overdo the part in any way yet the
full thrill of the situation is brought
out in every expression and every
movement of the actress.

Just when the suspense begins to
be almost unbearable it is relieved
by a message that Gray has com¬
mitted suicide. Immediately Grace
changes from the strong, self-reliant,
woman, quite equal to the situation
and fencing with all her skill to keep
her secret, to the clinging, worn-out
girl, glad to confess all her troubles

to the man she loves and be com¬
forted and guided by him.

“The Perils Of Our Girl
Reporters”

Following are the titles of the fifteen
stories of Niagra-Mutual’s newspaper
dramas.

1. “The Jade Necklace”

2. “The Black Door”

3. “Ace High”

4. “The White Trail”

5. “Many a Slip”

6. “A Long Lane”

7. “The Smite of Conscience”

8. “Birds of Prey”

9. “Misjudged”

10. “Taking Chances”

11. “The Meeting”

12. “Outwitted”

13. “The Schemers”

14. “The Counterfeiters”

15. “Kidnapped”

Advertising Matter

This advertising matter for use in
connection with “The Perils of Our
Girl Reporters” can be purchased at
any Mutual exchange.

Posters, one sheet . 10c

Posters, three sheets . 30c

Posters, six sheets . 60c

Announcement slides, each . 25c

REEL LIFE — Page Four

U-S DEFENDER9- SERIES OE SIX ONE-REEEER9

THE Mutual Film Cor¬
poration is releasing
at this'auspicious time
a series of six one-reel Feat-
urettes showing the extent
to which the United States
is prepared to defend herself
against hostile attacks.
These pictures are released
in the following order and
under the following titles:

1 " From Civilian to Soldier

2 "Our Boys at the Border'

3 "A Jack Tar in the Mak-

4 " Afloat and Ashore ”

5 "Scouts of the Sea and

Sky”

6 " Bulldogs of the Deep ”

REEL LIFE — Page Five

SHORTY
HAMILTON
and his cow¬
boy pals de-
velop the
gentle art of
disappearing
quickly and completely
in the seventh of the
Mutual “Adventures of
Shorty Hamilton”
series entitled
"Shorty
Hooks a
Loan

A scene from “Shorty Hooks a Loan

production.

Shark.” This rapid vanishing act is
done every time the loan shark ap¬
pears to collect his interest. The
cowboys find that it is one thing to
borrow money when they need more
to complete their night of gambling,
and quite another when payday
comes around and the loan shark
wants to collect their wages.

The money lender hectors the
boys until they get tired of the game
and turn on him in a body, first
they make him dance at the point of
their revolvers and then deciding
this is too mild proceed to show him
what they really can do. They don’t
want to quite kill him, but it is a
sure bet he never will visit Arrow¬
head Ranch again. When the boys
have had enough and the money
leech has had quite too much, they
find a coffin handy, dump the uncon¬
scious man in and ship him to New
York.

Anita Keller arrives on the scene
just about this time and Shorty for¬
gets all his troubles immediately,
except when the cowboys will per¬
sist in spying on his lovemaking.

Yerza Dayne, as Anita Keller,
does some splendid riding when fol¬
lowed by the cowboys she dashes
across the plains determined to beat

Shark.’’ Monogram-Mutual

the express to
the first junc¬
tion and ar¬
rest the loan
shark, whom
she has been
trailing.

When the
shark is res¬
cued from the
coffin, only to
b e arrested,
Shorty thinks
he sees a fine
opportunity to
scare Anita
into promising
to marry him
by telling her
if she does not
consent to an
immediate
marriage h e
will occupy
the wooden
box himself.
Anita refuses
to be bluffed
in this way, however. She simply
laughs at his heroics and repeats the
old adage “To marry in haste is to
repent at leisure.”

* * *

Synopsis of “JERRY’S ROMANCE”*
One Reel— Cub comedy, featuring
George Ovey.

Jerry loves Lady Isabelle but she
loves Archy and so announces her
engagement to him. Jerry discovers
that he has been left a heritage and so
goes out and buys a new outfit. He
goes to Lady Isabelle’s wedding and
there misbehaves. Later Archy sees his
wife give her wayward brother money
and being suspicious sets Jerry on
their trail. Archy leaves his wife and
returns one night to find things in a
very odd way. After everything is
explained he forgives Isabelle and all
ends happily.

* * *

Synopsis of “CALAMITY ANNE”

One Reel — American, featuring
Louise Lester.

Sad-Eyed O’Brien commits suicide
and leaves his daughter to the care of
Calamity Anne. The girl is a great
beauty and all of the cow-boys are
enamored of her. Calamity, however,
means that she shall marry a lord or

“dook” and so keeps the boys away.
Handsome John Wengle is a suitor
for the girl’s hand but to no avail.
One day a smartly dressed chap from
the city arrives and immediately Cal¬
amity decides he is the one for her
ward. The girl and the city chap elope
and all is happiness in Calamity’s
hut while all is sorrow in the corral.
* * *

Synopsis of “CUPID AND A
BRICK”

One Reel — American drama, featur¬
ing Warren Kerrigan.

Jim Reynolds works in the village
brickyard. Jim loves Mabel Whitaker
but she gives her affections to Bob
Warren. In a fight in the brickyard,
Bob hits Jim over the head with a
brick and lays him out. During his
convalescence Jim is attended by
Mabel every day. Later, when he is
well, Jim picks up another brick and
asks Bob to hit him again that maybe

Mabel will marry him if he does.

• • *

Synopsis of “A RUMMY
ROMANCE”

Two Reels — Vogue comedy, featur-
Paddy McQuire.

The Country Boy. . . .Paddy McQuire

The Girl . Lillian Hamilton

The Girl’s Father . Larry Bowes

Moonshine Joe . Owen Evans

Paddy, a simple country boy, is in
love with Lillian, a moonshiner’s
daughter. He manages to get in bad
with both moonshiners and revenue
officers and between the two his life
is one long round of thrilling and
laughable experiences. Lillian is
abused by her father and Paddy longs
to help her and take her away from
her unhappy existence. He is caught
by the revenue officer and is forced to
betray the moonshiners. After much
excitement, Paddy and Lillian man¬
age to escape both the revenue men
and the moonshiners and elope.

Advertising, Matter.

This, advertising matter for use in
connection with “The Adventures of
Shorty Hamilton” can he purchased at

any Mutual exchange.

Posters, one sheet . 10c

Poster, three sheets . 30c

Announcement slides, each . 25c

REEL LIFE — Page Six

Scenes on the historical battlefields of Chickamauga and Chattanooga, Tenn., from “ See America First,” Number 77. Chickamauga was

the scene of an indecisive victory for the Confederates during the great Civil War.

MUTUAL vm - REEL LIFE - MUTUAL T CMS - SEE AMERICA FIRST

U. S. Break with
Germany Covered

"Mutual Weekly" No.

111 pictures leading per¬
sonages in world war.

Scenes Around
Vicksburg, Miss,

Beautiful and historic
spots along Mississippi
River are pictured.

Old Heidelberg
and Monte Carlo

Also Monaco and Scot¬
tish Highlands shown in
“World Tours/* No. 16.

Diversified
Subjects Shown

"Reel Life," No. 42 pic¬
tures "Training Man Hunt¬
ers" and other subjects.

THE resources of the Gaumont-
Mutual Weekly are so vast that
little extra effort was required
to cover the news of the break with
Germany. This has been done ade¬
quately in Mutual Weekly No. Ill,
released Feb. 14. Spectators are
shown not only leading personages in
the great world drama, but also places
of strategic importance where trouble
is anticipated should war be the result
of the present situation. Count Von
Bernstorff and Ambassador Gerard
are first pictured, and then the “Car-
mania” is seen putting to sea despite
the submarine warning. The vessels
of the Central Powers which sought
refuge in New York harbor are then
shown. As these ships are said to
have been damaged by their crews and
and have figured largely in the news,
the picture is of great news value.
The special section closes with pic¬
tures of guards protecting the bridges
and aqueducts, of coast defense guns,
of _ President Wilson, and of the
capitol dome at Washington with the
Star Spangled Banner proudly waving
in the breeze.

Other events of interest pictured
are gas explosion in Chicago ghetto,
which killed and injured a score of
people: men’s fashions; big fire in
New York city, in which several tanks
were endangered, and big blaze in St.
Louis, Mo.

* * *

THE managers of the Keith

Houses, Providence, believe in
advertising Mutual productions.
The Providence Sunday Journal of
February 4 contained two large ad¬
vertisements of Mutual subjects which
would be shown at the Keith Houses
during the week. One was Mary
Miles Minter in “Faith” and the
other the series of six most timely
subjects “Uncle Sam’s Defenders.”

* * *

IN “Reel Life” No. 42, released
through Mutual Feb. 18, there is
a picture showing how blood¬
hounds are trained to track criminals.

THE memorable siege of Vicks¬
burg, Miss., by Gen. U. S.
Grant, from March 29, 1863, to
July 4 of the same year, is recalled
upon viewing pictures of this city and
the. National Military Park there
which Gaumont will release through
Mutual Feb. 21, as “See America
First” No. 76. Co-incident with the
fall of Vicksburg came the defeat of
Lee at Gettysburg, these two disasters
marking the beginning of the end for
the Confederacy. In the National
Cemetery are the graves of 16,892
Federal soldiers, 12,769 of whom are
unknown.

There are views of the city with
its stately court house built by slave
labor in 1858, of the Yazoo and Mis¬
sissippi rivers, and of the battlefield.
Among the monuments pictured are
the U. S. Navy Memorial, and those
of Mississippi, Illinois, Wisconsin, and
Pennsylvania.

On the same reel is one of the en¬
tertaining Gaumont Kartoon Komics,
“Polly’s Day at Home.” It deals
with the escapades of a parrot which
creates havoc by answering the tele¬
phone and making itself an interloper
in other directions with dire results.

* * *

FEBRUARY 21 Gaumont will re¬
lease its split-reel, “See America
First” and the Gaumont Kar¬
toon Komic. The scenic. No. 76," is
Vicksburg, Miss., and the National
Military Cemetery there. The hu¬
morous contribution from the pen of
Harry Palmer is “Polly’s Day at
Home,” revealing chapters in the life
of a mischievous parrot.

On the same day the Mutual Week¬
ly is issued from the Gaumont
Laboratories.

These Gaumont pictures are being
praised by “Better Films” Committees
everywhere. They are snappy, up-to-
the-minute pictures which appear to
advantage on any program.

M THE WORLD” No. 16
will reach the screen on
February 20. In this tour the trav¬
elers are first taken on a visit to Old
Heidelberg, . Germany, that famous
old university town which has long
been the mecca of tourists. Many
beautiful and interesting scenes
around the University are shown.
The Scottish Highlands are next visit¬
ed and pictures are shown of the
northeastern part of the highlands in
County Cromarty, the home of the
kilties and the bagpipes. Monaco, the
World’s Smallest Principality, is next
shown. There are some very beauti¬
ful scenes of this picturesque terri¬
tory along the Mediterranean and the
many fashionable watering places
nearby in Mentone, France. There
are also views of Monte Carlo, fa¬
mous the world over as the great
gambling center, where many for¬
tunes are lost and won in a single
night.

THE Gaumont Company opens the
week of Feb. 18 with its ever-
entertaining “Reel Life.” This
issue, . No. 42, is worthy of praise for
the diversity as well as the interest of
the subjects it contains. There are
comprehensive pictures of “Oysters
on the . Mississippi Coast.” The
“Properties of Water” is an amazing
revelation to those unacquainted with
its power and possibilities. On the
same reel are “Making an Individual
Dress Form,” “Training Man-Hunt¬
ers” (bloodhounds), and “Dance of
the Rainbow,” an aesthetic, open-air
dance.

The second release of the week is
“Tours Around the World” No. 16,
reaching the screen Feb. 20. It pro¬
vides pictures of the Scottish High¬
landers, Heidelberg, Germany, Monte
Carlo, Monaco, and the neighboring
watering place, Mentone, France. The
pictures from Scotland are of the
northeastern part of the Highlands in
County Cromarty.

IT is difficult to decide which pic¬
ture should have the place. of
honor in Gaumont’s “Reel Life”
No. 42, the Mutual Magazine in Film
which is released through Mutual Feb.
18. First on the screen is a series of
views of “Oysters on the Mississippi
Coast.” The spectator is shown every
process from the tonging of the
oysters from small boats to the sealing
of the cans preparatory to shipment.
The visit to the oyster cannery is
illuminating.

“The Properties of Water” is an
exposition of the uses to which it may
be put as well as pictures of water. in
an unharnessed state. The separation
of water into its hydrogen and oxygen
elements opens the series. There are
pictures of the ocean, of clouds, of
ice, of cascades, and of plants in
which power is generated by water.
In a sense, this is a companion picture
to “The Power of Water,” shown in
“Reel Life” No. 16.

“Making an Individual Dress Form ’
shows the method of preparing a
model cast from a plaster of pans
shell in which the woman desiring the
dress form is encased. It is a great
aid to the home dressmaker or to the
woman who does not wish to pay fre¬
quent visits to her modiste.

“Training Man-Hunters” is a pic¬
ture of some famous southern blood¬
hounds being trained to pursue fugi¬
tives. The manner in which the
hounds are put on the trail, how they
follow it, and . how they act upon
catching up with the fleeing man
makes this an . interesting subject.
Hounds from this pack have success¬
fully trailed a man eighty miles.

Advertising, Matter.

Available at all Mutual Ex¬
changes, for use in connection
with Gaumont one-reel “ Featur -
ettes /

Poster, one sheet . 10c

REEL LIFE — Page Seven

dio Opitioiis

NOTES OF VORKON COMING MUTUAL PICTURE?

MISS EDNA GOODRICH, among the
latest of Mutual’s acquisitions under
President Freuler’s policy of “big
stars only,” has quit a highly successful
vaudeville tour to begin work on her pic¬
tures in execution of the Mutual contract.

Miss Goodrich has returned to New
York, where her pictures will be made. Just
prior to her return to New York, she
visited the home offices of the Mutual Film
Corporation in Chicago and there dis¬
cussed plans for her work.

Miss Goodrich spent a day in Chicago
revisiting scenes of her girlhood, including
Hyde Park high school, where not so many
years ago she was a student. Miss Good¬
rich, be it known, is of the Indiana school
of genius, having been born at Logansport.

Miss Goodrich is now busy with the ten¬
tative selection of dramatic material for
her picture work. Announcement is to be
made very shortly of her first picture play
and of the studio arrangements, which are
now in the hands of eastern members of
the Mutual’s staff.

* * * *

AFTER several weeks respite from
work, spent in vacationing, Crane
Wilbur next week renews his activi¬
ties at the David Horsley studios in Los
Angeles. Mr. Horsley has arranged for the
appearance of his star in six five-reel fea¬
ture productions, which he will release
through the Mutual Film Corporation.

Three of these six features have been
completed, namely, “The Painted Lie,”
“The Single Code” and “Love Everlasting.”
and stories for two of the other three re¬
leases have been selected.

“The Eye of Envv” is the title of the
subject on which Mr. Wilbur begins his
work.

The cast which will support Mr. Wilbur
is being assembled and other preparations
for production are now going on.

* * *

Marjorie rambeau has started

work at the Frank Powell studios on
the third of her series of features for
the Mutual Film Corporation, having fin¬
ished “Motherhood,” the strong war drama
which she has been working on under the
direction of Mr. Powell.

“The Debt,” an adaptation of the great
European success, will he Miss Rambeau’s
next subject. “The Debt” is entirely dif¬
ferent in plot and locale from Miss Ram¬
beau’s first two pictures — “The Greater
Woman” and “Motherhood” — and will pre¬
sent the star in a widely different role.

Frank Powell is directing the production
and has chosen an excellent cast to support
Miss Rambeau. This includes Robert El¬
liott, Paul Everton, Anne Sutherland, T.
Jerome Lawlor. Agnes Eyre and Nadia
Gary, a child actress of unusual ability.

* * *

THE ability to successfully direct a
young star is not the only talent pos¬
sessed by James Kirkwood, director
of Mary Miles Minter in American-Mutual
features. Back in Grand Rapids, Michigan,
long before he ever heard of a motion pic¬
ture, Mr. Kirkwood was trained in the art
of wood carving.

Now when he grows weary of staging

Miss Helen Holmes, Signal star,
snapped in a pensive moment between
scenes, in the making of “The Railroad
Raiders," a coming photo-novel of —
just what the title says.

scenes or planning coming productions, he
finds recreation in the plaster moulding
room of the American studio at Santa Bar¬
bara. In this room the detail work on fire¬
places, doorposts, friezes and other archi¬
tectural trim is done. The moulds for the
plaster first are carved in wood, and Kirk¬
wood likes nothing better than to be seated
on a bench with a wood-carving tool in his
hand making one of the wooden moulds.

* * *

ACTION shown in four rooms at once,
after the style of the three-ring cir¬
cus, will be a novelty in the new Sig¬
nal-Mutual serial. “The Railroad Raiders,”
J. P. McGowan is having built at the Sig¬
nal studios a four-room house to be used
as the headquarters of the “raiders.” The
set is unusual in that it is being so con¬
structed that it may be used for both inte¬
rior and exterior scenes. It is also ar¬
ranged so that by moving the camera away
from the set the entire interior, three down¬
stairs and one upstairs room, may be shot
in one scene, showing action going on in
all four rooms at the same time. This wide
expanse of interior will be of special use
for the staging of a gang fight that is to be
made in the house.

* * *

ORRIN DENNY, laboratory superin¬
tendent of the Signal-Mutual studios,
has recently invented two laboratory
devices which he has had patented. One of
the contrivances does away with the
wooden pegs heretofore used to hold the
developing racks in the tanks, the other is
a faster and more convenient method of
fastening the film to the drying drums.
Both devices are very simple, but have

proved of inestimable value in the Signal
plant, where they have been used for sev¬
eral weeks. Mr. Denny has received offers
from several people to establish agencies for
the handling of these efficiency aids.

Mr. Denny is now trying out at the Sig¬
nal studio a mechanical contrivance for the
making of subtitles. The new title room is
equipped with artificial lights, a camera with
aperture and focus set, and a standard on
which the title card may be placed and
photographed by a novice. The camera is
operated by the turning of a switch which
gives each card the identical exposure of
the one preceding it. A series of experi¬
ments has determined the correct timing
for proper development and printing, which
reduces the entire process from start to fin¬
ish to a mechanical one, and one which will
result in the securing of absolutely identical
titles photographically.

* * *

GAIL KANE, who recently left New
York under a contract to appear in
Mutual Film Corporation pictures
produced by the American Film Company,
has arrived at Santa Barbara, California,
and already started work on her first pic¬
ture, under the guidance of Rollin S. Stur¬
geon, who was especially engaged to direct
her productions.

The first offering of the star’s new en¬
gagement is to be a picture called “Whose
Wife?” the story of which was written by
Cecil Henry Bullivant, an English author,
and the scenario by Doris Schroeder, on the
American staff.

The leading role is one of deeply emo¬
tional character, and in it Miss Kane, it is
thought, will have opportunity to bring out
the versatility which has made her success
so pronounced both on the screen and on
the stage.

Extensive preparations have been made
for the production which is to present this
new star. Her director, Mr. Sturgeon, was
chosen partly on the strength of his wide
reputation for careful detailed development
of the logic of his pictures and because of
his ability to construct striking incidents
and tense climaxes. No expense will be
spared in this initial Gail Kane production,
either in the personal support given to the
leading woman or from a technical angle.

* * *

CHARLES SPENCER CHAPLIN,
having entirely recovered from the in¬
jury received from a falling lamp
post during the filming of his last comedy,
“Easy Street,” has started work on the
tenth of his funny pictures produced under
his famous $670,000 contract with the Mu¬
tual Film Corporation.

This latest child of the Chaplin brain
is entitled “Health Resort,” and gives Mr.
Chaplin an entirely new angle on which to
hang his inimitable funny business.

In this picture Mr. Chaplin will be sup¬
ported by his unusual cast, including the
beautiful Edna Purviance and Eric Camp¬
bell, the burly giant whose work has been
a very delightful part of the Chaplin-Mu¬
tual comedies so far produced.

“Health Resort” will be released in
March.

REEL LIFE— Page Eight

Kcwia

GOSSIF OF EXCHANGES AND EXHIBITOR'S EXPRESSIONS

CHARLES CHARIPAR, manager of
the Metropolitan Theatre, Detroit,
Michigan, expresses his approval of
Mutual pictures as follows :

“Recently we had occasion to run ‘The
Pearl of Paradise,’ starring Margarita
Fischer, and wish to say that we consider
this picture one of the most beautiful,
artistic and pleasing productions shown in
our theatre for some time. Our patrons
were so well pleased with it that we were
obliged to rebook same to run at a later
date. The comments were not individual,
but general, and I will not hesitate to state
that it was one of the best pictures I have
ever seen and wish to compliment Mutual
on the production. I trust more of this
class of picture will be produced.”

* * *

J. BUTLER, manager of the Ishpem-
ing Theatre, Ishpeming, Michigan,
* is an exhibitor and also a writer. He
likes Mutual productions. He shows Mu¬
tual pictures in his theatre and writes about
them for the papers. A recent issue of the
Mining Journal, published at Marquette,
contains an article written by Mr. Butler,
extolling Mutual productions and the Mu¬
tual policy.

* * *

IN the program of the Orpheum Theatre,
Utica, N. Y., for February 5. William
P. Donlon, manager, is advertising two
Mutual productions, Margarita Fischer in
“Miss Jackie of the Navy” and Mary Miles
Minter in “Faith.”

Mr. Donlon has also booked all the Mu¬
tual pictures in which William Russell and
Richard Bennett appear.

In his “Film Chat,” Mr. Donlon gives the
following criticism of “Faith”:

“We were recently invited to a private
showing of ‘Faith,’ featuring Mary Miles
Minter. If there has ever been a photoplay
produced with such a wonderful appeal to
young and old of all classes, we haven’t
seen it. We urge lovers of clean pictures
to see this fascinating drama.”

* * *

THE following cry for help was sent to
the Milwaukee Mutual Exchange
from Charles Olson, manager of the
Lyric Theatre, Gladstone, Michigan :

“For the love of Mike, don’t ever let an
episode of Helen Holmes in ‘A Lass of the
Lumberlands’ slip up on me again. On
Friday of last week I was to run the fourth
chapter of that splendid serial, but owing
to a delayed train the chapter was not de¬
livered to me in time for a showing. My
house, with a seating capacity of 350, was
packed to the doors. I had to announce
that the train was late and that the fourth
chapter of the Helen Holmes serial would
not be shown.

“Good night! I was called everything
but an honest man. I was yelled at, scoffed
at, reviled, abused, and two men dared me
to come outside. I tried my best to explain
how and why the chapter was not on hand
—but. they wouldn’t accept anything but
the picture. I nearly lost my house, after
losing what little reputation I had, and
would have done so had I not promised
them I would get the fourth chapter next
week. It’s the best thing in pictures, the

This depicts Kenneth McLay, Mutual
repair man, Milwaukee branch, stand¬
ing before a poster picture of Big Eric
Campbell, Chaplin’s giant, warning him
against the eating of yellow custard
pie on March 17. This, we understand,
is a whimsy of Mr. Alfred Tamer, as¬
sistant to Manager Gols of the Mil¬
waukee Mutual office. This same "Ken”
McLay, be it known, has repaired most
every projection machine from Supe¬
rior to Kenosha.

best thing I ever had in my house, and best
of all, it’s a money-getter. Hurry up, and
get the next Helen Holmes serial so that I
can have it as soon as ‘A Lass of the Lum¬
berlands’ is finished.”

* * *

J LOUIS ROME, manager of the
Broadway Theatre, Baltimore, Mary-
• land, used a very clever advertising
stunt to attract attention to the Mutual fea¬
ture, “The Pearl of Paradise.”

Thousands of cards were distributed
throughout the neighborhood bearing the
inscription :

SHE

—is the only white girl within
1,000 miles.

— does not understand why
people wear clothes. .

— discards her clothing and
dives into the water.

WHO IS SHE

?

On the reverse side of the card was a
picture of Margarita Fischer and the mes¬
sage. “See Margarita Fischer in ‘The Pearl
of Paradise’ at the Broadway Theatre to¬
morrow.”

Mr. Rome also devoted half a page in his
“Bulletin,” which he issues each week,
pointing out the interesting points of the

picture and giving a brief synopsis of the
story.

The result was a record-breaking crowd
the night “The Pearl of Paradise” was
played.

* * *

JP. McGowan, director general of the
Signal Film Corporation, has received
• a letter from South America asking
for permission to open exchanges covering
Brazil, Argentine and Peru, to handle the
Signal-Mutual films exclusively.

The writer was very anxious to secure
the rights to all the serials in which Helen
Holmes has appeared, “The Girl and the
Game,” “A Lass of the Lumberlands,” and
the new serial, “The Railroad Raiders.”

* * *

LIPP & CROSS, managers of the Gar¬
den Theatre, Battle Creek, Michigan,
say it was a friendly tip from the
chief of police which started the showing
of a regular weekly program for children
in their house every Saturday.

The police official chanced to be in their
house on the evening thev were showing
the Mutual production of “Faith,” star¬
ring Mary Miles Minter, and after the per¬
formance came to them and said he thought
every mother and child in the city should
see this picture. A number of parents who
were in the audience also came to them and
asked if “Faith” would not be shown again,
as they would like to have their children
see it.

This comment set the managers to think¬
ing and they decided . to try out the chil¬
dren’s program idea with this feature.
Consequently, they booked a return engage¬
ment and gave a free morning performance
for the children of the city and their moth¬
ers. Before the p cture was thrown on the
screen the singer gave the song, “Mother,”
and all the children joined in the singing.
The house was packed and everyone was
delighted with the performance.

There were so many requests for the
continuation of these special performances
for the little folks that the Garden The¬
atre has run them on Saturday morning
ever since, charging the regular admission
price. It goes without saying that all of
Mutual’s releases featuring Mary Miles
Minter are used in these performances.

* * *

FE. WOLCOTT, manager of the Ma¬
jestic Theatre, Racine, Wisconsin,
* writes :

“My 450-seat house accommodated 1,529
people Sunday, February 4th.

“The attraction was ‘A Lass of the Lum¬
berlands,’ chapter five.

“The weather was beyond description, a
blizzard raged all day and some of my pa¬
trons who came via interurban could not
reach this Sunday as all car traffic was in¬
terrupted.

“Of course, I am glad, and think you
will be.

“Coming from an exhibitor who has the
reputation of kicking too readily, this ad¬
mission of the drawing power of your se¬
rial ought to insure for me first call on the
next one.”

REEL LIFE— Page Nine

f American FilavCoaveajvy.Inc.

cAnftounceS1

William Russell

l*ANew Series op

RUSSELL-MUTUAL PHOTOPLAYS

THIS announcement heralds the coming of a new series
of feature photodramas starring the popular favorite.
William Russell. It is the intent of the American
Film Company, Inc., to present to Exhibitors, in these new
productions, a series of plays that should create new stand¬
ards in the art of cinematography.

These productions will be presented to Exhibitors as
FCussell-Mutual Photoplays and will be released at stated
intervals through all the Exchanges of the Mutual Film Cor¬
poration in America. The first two plays in this new series
are entitled "My Fighting Gentleman” and "High Play"
and are already completed. Kelease dates will be an¬
nounced soon. Titles and dates of release for other pro¬
ductions in the series will be announced shortly.

The exceptional versatility and'dramatic skill of William
Russell are well known to Exhibitors everywhere. Com¬
bined with these, in this new series, are plays written by
competent authors and produced by leading directors. Noth¬
ing is being left undone to make these productions deserving
of the adjective, "best" Exhibitors are thus assured an
extraordinary group of productions in the new Russell-
Mutual Photoplays. Reservations for this series are now
being made at ail Mutual Exchanges.

Produced by

American Film Company, Inc.

Samuel S. Hutchinson , President

k Russell-Mutual Photoplays distributed A
throughout America exclusively by /m

MARY

MILES

MINTER

GENTLE

INTRUDER"

A fascinating star/ of a Sweet- faced tittle

£irlWko merited a Vast fcwtuneunlmoW-
in£ly andlivedfcwyearsintta Itome of
me mawwko robbed tier of it .How site
eventually come? info Iter legacy iS fold
in. a most muSual fctsltion. in.

“ <&& GENTLE INTRUDER.”

Siftkof the MaryMilepMmter-
Mutual 'Photoplays'. In five acts,
fhrectedby JcoaerPirkwoocLr ~

'YOUTH’S ENDEARING CHARM”
'DULdE'S* ADVENTURE-WTH”
“ADREAM ORTWO AGO”

'THE INNOCENCEOF LIZETTE"

&tefe Mmter-Mutual Photoplays can
be obtained adcwy Mutual E&kanqe .

MUTUAL

MUTUAL FILM CORPORATION

C/hnouRoeS1

As ’ Tfio. Fifth of tfe,

"S fori/ Hamilton, ”

FeatuYeibz?

Shorty
Turns Wild man

Disguised as a wildman,
Stiortq "l? captured bp acifcu£
Imprisoned in a ca£e he Sees'
Amta Keller in company with,
the villain. ~ but eventually
“Shoitp’escapes-and triumph?.

RELEASED FEBRUARY 12**

Produced bp MONOGRAMFMP
Peleated Pyoc

MUTUAL EXCHANGES

“LURED AND CURED”

TWOJREELS RELEASED FEBRUARY 18th

FEATURING PADDY McQUIRE

IILLIAN was a country belle.

j Paddy was her rural sweetheart. One

day the city man arrived. He smiled upon
Lillian. He pictured in vivid colors the home she would
occupy in the city. That night they eloped. Paddy, like
Don Quixote of old, set forth to rescue his “ladye faire.”
But — alas — Paddy and his $2,000 were spurned by Lillian
until — well you’ll have to see this uproarious Vogue
Comedy yourself in order to appreciate what happened
next. It is simply indescribable. Directed by James D.
Davis. Released through Mutual Film)Exchanges.

Slapstick with a Heaton

iUFi

VOGUE FILMS, Incorporated

General Offices: 6225 Broadway

Chicago, Illinois

ARE YOUR BOOKINGS PROFITABLE?

Many times we have heard an exhibitor say: “‘So and So’ was
a good picture, but it did not draw at the box-office for me!”

Perhaps you, too, have frequently made the same statement
about pictures you played. There was no doubt about the merit
of your bookings; yet people did not turn out to see them.

Cub Comedies assure you of pictures which are successful not
only from the screen standpoint, but from the box-office angle as
well. They have merit plus drawing power. This is because the
producer studies prevailing likes and dislikes and makes his pictures
accordingly — the kind of pictures theatre-goers like.

Choose Cub Comedies — the brand of comedies made for your

patrons.

Bookings available at any exchange
of the Mutual Film Corporation.

DAVID HORSLEY PRODUCTIONS

Released February 22

“Jerry’s Brilliant Scheme”

featuring

George Ovey

Released March 1

“Jerry’s Romance”

featuring

George Ovey

MUTUAL.

GAUMONT SINGLE -REELS

__ are popular because they show

what spectators enjoy seeing'

Ipj HERE are some recent releases

\f^w Judo’e for yourself! then order
from your MUTUAL Branch

i it n mu mu

unmnnn

mTUumim

dm

TOURS AROUND £
THE WORLD

14. Great Temples of Luxor.

Picturesque Landscapes of Holland.

The Rocky Coast of Dalmatia.

13. Teheran, Persia.

Coast Resorts of Normandy.

Winter in the Vosges Mountains.

12. Bordeaux to Pauillac.

Monastery of St. Thessalonica.

Gorges of the Nive, French Pyrenees.

11. From Gibraltar to Algeciras.

In Tunisia.

Bois de Boulogne.

10. The Foothills of the Pyrenees.

Life in Egypt.

Budapest, Hungary.

9. Rio de Janeiro, Brazil.

Luchon, France.

8. Florence, Italy.

The Swiss Alps (Second Series).

Valley of the Theve River, France.

7. Life in Morocco.

The Castle of Chantilly.

By the Blue Mediterranean (Bay of St.
Tropez, France). t

6. The Nile.

Carcassonne, France.

Lake Lucerne, Switzerland.

5. Through Venice in a Gondola.

Life in Senegal.

Jersey, Britain’s Largest Channel Island.

4. Through the Swiss Alps via the St.
Gothard Tunnel Route.

REEL LIFE

40. Making Lace by Machinery.

The Toddle: New York’s Latest Dance.
Raising Fresh Water Fish.

Design Your Own Evening Gown.

39. X-Rays in War Time.
Decorative Butterflies.

Salt: the Cheapest Necessity.
The Real Hula-Hula.

38. Oranges in California.

The Air.

The Hydro-ski.

Automatic Apple Graders.

How to Remove Shattered Glass.

37. The Kid Glove Industry.
Producing Pickles.

Care of the Teeth.

Irrigating Fish Wheels.

36. Turpentine from Waste Timber.
An Argosy from the Arctic.
English Walnuts in the U. S.
Design Your Own Gown.

35. The Olive Industry in California.

The Value of Venom.

Modish Coiffures.

A Most Unique Basket (Armadillo).
How to Open a Glass-Stoppered Bottle.

34. Building Sailing Vessels.

The Great American Dish (Pork
Beans).

Food Products of the Soudan.
Home-made Steam Automobile.

33. French Sweetmeats.

. Modish Coiffures.

The Fleecy Staple (Cotton).
Design Your Own Gown.

and

SEE AMERICA
FIRST-SCENIC

THE MISSISSIPPI COAST.

SAN DIEGO, CAL.

HISTORIC VIRGINIA.

MOUNT LOWE, CAL.

IN THE HEART OF THE BLUE
RIDGE.

PASADENA, CAL.

BALTIMORE AND
MD.

ANNAPOLIS,

ADIRONDACK MOUNTAINS IN
LAKE PLACID REGION.

BEAUTY SPOTS OF NEW HAMP¬
SHIRE.

ALONG THE NORTH SHORE OF
MASSACHUSETTS.

ALONG THE COLUMBIA RIVER
IN OREGON.

KART0ON WITH THE SCENIC
An animated cartoon of a humorous nature
is attached to each of the American scenic
releases. These are the celebrated Gaumont
Kartoon Komics, drawn for the screen by
Harry Palmer.

SHOW THE MUTUAL WEEKLY

The best news reel on the screen is The
Mutual Weekly. It shows history in the
making. It follows the world’s news in
pictures. Book at your nearest Mutual
Branch today.

Liu um m

JGaCmjonti

Gaumont (o

FLUSHING, N.Y

A

iGafinjont?

•PS, _ Jem

MUTUAL STAR PRODUCTIONS MUTUAL STAR PRODUCTIONS

Week of February 26, 1917
MARJORIE RAMBEAU
No. 171 — The Greater Woman — Powell
In Five Acts

Week of February 19, 1917
MARY MILES MINTER

MARY MILES MINTER
Youth’s Endearing
Charm

Dulcie’s Adventure
Faith

A Dream or Two Ago
The Innocence of Lizette
The Gentle Intruder

MARJORIE RAMBEAU

The Greater Woman

Motherhood

The Debt

The Second Wife

A Doll’s House

GAIL KANE

Whose Wife?

No. 170 — The Gentle Intruder — American

In Five Acts

MUTUAL PICTURES

Week of February 26, 1917

No.

Brand

05344

Monogram

05345

(Featur-

ette)

05346

Gaumont

(Featur-

ette)

05347

Mutual

(Featur-

ette)

05348

Gaumont

(Featur-

ette)

05349

Cub

(Featur-

ette)

05350

American

05351

American

05352

Vogue

05 353

( Featur-
ette)

05354

Gaumont

(Featur-

ette)

Niagara

MONDAY, FEBRUARY

Title

26, 1917.
Class Reels

Leads

Shorty Hooks a Loan Shark . Dr.

TUESDAY, FEBRUARY 27, 1917.

Mutual Tours Around the World

. Travel 1

WEDNESDAY, FEBRUARY 28, 1917.

Mutual Weekly, No. 113. Topical 1

Adventures of
Shorty Hamil¬
ton, No. 7

Vienna, Austria
Gola Elf River,
Sweden
Toledo, Spain

See America First ....... Scenic

Kartoon Komic .... and Cartoon

THURSDAY, March 1, 1917.

Jerry’s Romance . Comedy

FRIDAY, MARCH 2, 1917.
Calamity Anne’s Protege . .Com.

SATURDAY. MARCH 3, 1917.
Cupid and a Brick . . . .Com. -Dr.

SUNDAY, MARCH 4, 1917.
A Rummy Romance .... Comedy

1 Battlefields of
Chickamauga,
Ga., Chatta¬
nooga, Tenn.

1 George Ovey

1 Louise Lester

1 J. Warren Ker¬

rigan

2 Paddy McQuire

Reel Life

Magazine 1

Taking Chances . Drama 2

Story, No. 10, of “The Perils
of Our Girl Reporters” .

Strange Indus¬
tries in the
Arabs

Conc-Artistrv

Will This Cure
Cancer?

Criminal Cute¬
ness

Making a Rub¬
ber Shoe

Week of February 19, 1917

MONDAY, FEBRUARY 19, 1917.

No. Brand Title Class Reels

95333-34 Mono- “Shorty Promotes His Love Af-

gram fair” . 2-Reel Drama

“Fea-

turette”

TUESDAY, FEBRUARY 20, 1917.
05335 Gaumont Mutual Tours Around the World

“Featur- . Travel

«•! te”

WEDNESDAY, FEBRUARY 21, 1917.

Leads

Adventures of
Shorty Hamil¬
ton, No. 6

Old Heidleberg,

( German} )
Scottish High¬
lands
Monoco

05336 Mutual
“Featur-
ette”

05337 Gaumont
“Featur-
ette”

05338 Cub

“Featur-

<tte”

05339 American
"Featur -
ette”

05340 American
“Featur-
6t t©M

05341 Vogue

“Featur-

ette”

05342 Gaumont
“Featur-
ette”

Mutual Weekly, No. 112. Topical

See America First . Scenic

Kartoon Komics . Cartoon

THURSDAY, FEBRUARY 22, 1917.
Jerry’s Brilliant Scheme.. Com.

FRIDAY, FEBRUARY 23, 1917.
Calamity Anne’s New Job . Com.

SATURDAY, FEBRUARY 24, 1917.

Mouth-Organ Jack . Drama

SUNDAY, FEBRUARY 25, 1917.

The Butcher’s Nightmare .

. 2-Reel Comedy

Reel Life . Magazine

Vicksburg
The Mission of
San Juan de
Capistrano
(California)

George Ovey

Louise Lester

J. Warren Ker¬
rigan

Ben Turpin

Dainty Perfumes
Teaching Chil¬
dren to Swim
Logging in Lou¬
isiana

Making Bottles
at Home

WILLIAM RUSSELL
My Fighting Gentleman
High Play

PHOTO-NOVELS

The Perils of Our Girl
Reporters

The Sequel to The Dia¬
mond from the Sky
A Lass Of The Lumber-
lands.

The Girl and the Game
The Secret of the Sub¬
marine

SERIES

Fantomas
The Vampires
Adventures of Shorty
Hamilton

CHARLES CHAPLIN

The Floorwalker
The Fireman
The Vagabond
One A. M.

The Count
The Pawnshop
Behind the Screen
The Rink
Easy Street
Health Resort

RICHARD BENNETT

Philip Holden — Waster
And The Law Says.

The Valley of Decision
The Gilded Youth

MARGARITA FISCHER

The Pearl of Paradise
Miss Jackie of the Navy
The Butterfly Girl
The Devil’s Assistant
A Night at Tarquizzi
Birds of Passage

MUTUAL FILM EXCHANGES

Albany, N. Y.

Atlanta, Ga.

Baltimore, Md.

Boston, Mass.

Buffalo, N. Y.

Butte, Mont.

Chicago.

Cincinnati, O.

Cleveland, O.

Dallas, Tex.

Denver, Colo.

Des Moines, la.

Detroit, Mich.

El Paso, Tex.

Escanaba, Mich.

Fargo, N. D.

Houston, Tex.
Indianapolis, Ind.

Kansas City, Mo.

Los Angeles, Calif.
Louisville, Ky.

Memphis, Tenn.
Milwaukee, Wis.
Minneapolis, Minn.
Newark, N. J,

New Haven, Conn.

New Orleans, La.

New York City, Mutual
Exchange

New York, Western.
Oklahoma City.

Omaha, Neb.
Philadelphia, Pa.
Pittsburgh, Pa.

Portland, Oregon.

Salt Lake City, Utah.
San Antonio, Tex.

San Francisco, Calif.

St. Louis, Mo.

Seattle, Wash.

Sioux Falls, S. D.
Spokane, Wash.

Tampa. Fla.

Washington, D. C.
Wilkes-Barre, Pa.
Toronto, Canada.
Calgary, Canada.
Montreal, Canada.

St. John, Canada.
Vancouver, Canada.
Winnipeg, Canada.

733 Broadway
146 Marietta St.

412 E. Baltimore.

1106 Bovlston St.

106 Pearl St.

American Theatre Bldg.
Consumers Bldg.

224 E. 7th St.

750 Prospect Ave„ S. E.

1807 Main St.

1724 Wei ton St.

Cohen Bldg.

97 Woodward Ave.

Corner W. San Antonio Ave.

and S. Santa Fe St.

1019 Ludington St.

119 5th St.

805 Franklin Ave.

150 North Illinois St.

928 Main St.

825 So. Olive St.

410 So. 4th St.

500 So. Main St.

301 Enterprise Bldg.

22 North Sixth St.

25 Branford PI.

130 Meadow St.

816 Perdido St.

Film

71 W. 23rd St.

126 W. 46th St.

Box 978 7-15 Walker St.

1413 Harney St.

257 N. 12th St.

4 20 Penn Ave.

9th and Davis St.

123 E. 2nd South St.

209 Alamo Plaza.

162 Turk St.

1311 Pine st.

1933 3rd Ave.

201 Wms. Fine Arts Bldg.

408 W. First Ave.

1325 Franklin St.

419 Ninth St., N. W.

61 S. Penn Ave.

15 Wilton Ave.

702 4th St., W.

345 Bleury St.

39 Waterloo St.

963 Granville St.

48 Aiken Bl„ McDermott Ave.

i\jt i_m tui i lunuji i

PROGRAM CUTS of STARS

The cuts on this page are available at all Mutual Exchanges at a price of 25
cents each in any quantity. This collection covers a number of the more
important Mutual players. Others will be added as required. These cuts
are furnished in sixty-five screen electrotypes, suitable for use either in
newspapers or house programs. They can be obtained only at the Mutual
Exchanges, no shipments made from home office.

Mary Miles Minter
American-Mutual

Charles Chaplin
Mutual Comedian

Richard Bennett
American-M utual

Edna Goodrich
Mutual

Gail Kane
American-Mutual

Ann Murdock
Empire-Mutual

Nance O’Neil
Powell-Mutual

William Russell
American-Mutual

George Ovey
Cub-Mutual

Helen Holmes
Signal-Mutual

Marjorie Rambeau
Powell-Mutual

Margarita Fischer
Pollard-M utual

Shorty Hamilton
M onogram-M utual

Paddy McQuire
Voguc-M utual

Crane Wilbur
Horsley-Mutual

mssmssM

t?gvir^vit7Svir/gvir7gvir7lvif7g\ir/g\ir7s\ir/^tiiysyir?igrtr^g\ir7svir7gvif7s\ir7

Igjr^irTsTitv

ir/iYir7s^r7gYir7gTir7^ir7iAir^ir^it7

cik& 'Mutual cfllm 9Aaqjkzwi
march 3 . iqi<i mcE five cents

WILLIAM. RUSSELOm
"M FIGHTING GENTLEMAN"

American vmcomm.wc.

ILLIAM RUSSELL
is to appear in a new
Series of American-
Mutual five part photoplays
of unusual quality. The
first four of this series will
appear under the follow¬
ing titles:

“MY FIGHTING GEN-
TLEMAN’'

“HIGH PLAY”

“THE FRAME-UP”

“SHACKLES OF TRUTH”

#

nnouncmg/

A SERIES of six five-
part productions fea¬
turing Jackie
Saunders will
be released by
the Mutual
Film Corpo¬
ration beginning March 26.

This announcement comes
from the Chicago offices of
the Mutual Film Corpora¬
tion where E. D. Hork-
heimer, the manufacturer
controlling the services of
Miss Saunders, closed a
contract for the distribu¬
tion of the pictures.

The first release — that
scheduled for March 26 —
is entitled “Sunny Jane.”

Already completed are
two others, “The Check¬
mate,” and “The Wild
Cat.”

These dramas are of the
lighter type, cheerful,
sprightly and snappy —
vehicles chosen for their
atmosphere in the presen¬
tation of the graces of Miss
Saunders.

“I have chosen these plays
for Miss Saunders,” observed
Mr. Horkheimer, “with an
eye on what the exhibitor
seems to need right now.

There is a flood of heavy
stories, war story pictures,
soggy, morbid drama. I have
a notion, and a lot of exhibitors
agree with me, that the motion pic¬
ture audience is rather fond of
amusement, that the average picture
patron goes to the theater to be
amused, rather than to be confronted
with a problem play and something
to worry about.

In Passing, Something
on Charles Chaplin’s Success

“The great success of Charles
Chaplin’s pictures with every type
of audience and with every measure
of man, is because he takes the
curse off of worry. There is noth¬
ing to worry about and a lot of
amusement in what he does. There
is a lesson for the motion picture in¬
dustry in this success.

“The plays in which Miss Saun¬
ders will be seen in Mutual releases
are of the pleasant character, with
plenty of thrills to be sure, plenty
of stuff for the patron who wants to

Jackie Saunders, to star in a series of
six five-reel Jackie Saunders-Mutual
plays.

get out on the edge of the seat and
hold his breath — but at the same
time nothing morbid and unhealthy
in the story presented. The plots
stick pretty close to realism, the
drama of the life of every day, pre¬
sented with plenty of pep and color.
Jackie Saunders is the healthy type.

“I would like too, to ask the ex¬
hibitors’ attention for one mighty
big and important factor in these
Jackie Saunders-Mutual pictures.
They are clean. Just as clean as
clean can be.

Jackie Saunders, One of
Children’s Favorite Stars

“I am no friend of censorship, but
I am very much in favor of not giv¬

ing censorship without going into
the mire. Jackie Saunders herself is
a good deal of a guaranty of
this sort of quality. She
knows, and our studio mail
out at Long Beach proves,
that her biggest following is
among the young people, the
kids and the adolescents.
Youngsters of this age are
the cleanest minded folks in
the world. Jackie tries to
present on the screen the
kind of a girl they most
admire.”

The Jackie Saunders
pictures will go out from
Mutual with no “self¬
competition,” since the
last motion picture fea¬
turing Miss Saunders was
released about one year
ago.

Jackie Saunders is of
the blue-eyed blonde
haired, ingenue type. She
was born in Philadelphia
in 1892 and educated at
St. Joseph’s Academy. Miss
Saunders is of German and
French descent and was
christened Jaqueline. Shemade
her first stage appearance
with Dawson’s Dancing Dolls
and for some time was a great
dancing favorite at Atlantic
City. She later appeared in
the Forepaugh and Orpheum
Stock Companies.

When Miss Saunders
Was an Artist’s Model

Before she entered the motion
picture field, Miss Saunders left the
speaking stage and became a well
known artist’s model. She posed
for such noted artists, as Harrison
Fisher, Chandler Christy and Clar¬
ence Underwood.

Jackie Saunders first motion pic¬
ture work was done with the Bio¬
graph Company of America. She
later joined Pathe and from there
went to the Universal. Balboa-
Pathe next signed the dainty star
and she has done some of her best
work with them.

Amongst Miss Saunders’ most
successful productions are “The Grip
of Evil,” a serial, “The Flirting
Bride” and “The Shrine of Hap¬
piness.” She is also the author of
several scenarios including “Rose of
the Alley.”

REEL LIFE— Page One

■

William Russell and Francelia Billington in
American-Mutual’ s “My Fighting Gentleman.”

An exciting moment in American-Mutual produc¬
tion of "My Fighting Gentleman."

A PLAY full of thrills,
a’throb with pulsa¬
tions of love and war,
is “My Fighting Gen¬
tleman,” first release
of the new William
Russell series, pro¬
duced at the the American studios and
released through the Mutual Film
Corporation.

“My Fighting Gentleman,” is built
on the reconstruction period of the
civil war with a high spirited young
southerner, Frank Carlisle, who has
fought under the stars and stripes, re-

Frank Carlisle . William Russell

Virginia Leighton. Francelia Billington
Fluntley Thornton. . . .Jack V osburgh
Isaiah Gore . Clarence Burton

turning to his southern home in the
face of a bitter hatred his apostasy,
so-designated, has inspired among his
old associates and connections.

Mr. Russell’s opportunities in this (
remarkable drama are many and
varied and he overlooks none of them.
He has the support of a splendid cast,
of which the leading woman is Fran¬
celia Billington, a clever and charming
young actress of wide reputation. Ad¬

ditional members of the cast are Jack
Vosburgh, who plays Huntley Thorn-

Su£g,estions for Advertising,
Catch Lines for Use in Con
nection with “My Fi^htin^
Gentleman”

A Romance of the Reconstruction Days
A Drama of Passions and Perils
A War of Love and Duty — Both Win
Who Counts Most, the Girl or Your Flag?
Action and Lots of It — Russell in “My
Fighting Gentleman”

Fair Women, Unfair Politics and a Fight

REEL LIFE— Page Two

A pretty scene from the American-Mutual produc¬
tion of “My Fighting Gentleman.”

William Russell in a scene from American-Mutual
drama, “My Fighting Gentleman.”

ton, the villain of the piece and noted
as one of the handsomest men on the
American stage ; William Carroll, a
well known character actor, and Sid
Algier, who plays “Jim,” the so-called
“bad nigger.”

The drama is splendidly directed
and the photography involving out¬
door scenes in the south — actual battle
grounds of civil war days, are mag¬
nificently handled.

ADVERTISING MATTER

Available at all Mutual exchanges for use in
connection with William Russell in “My Fight¬
ing Gentleman.”

Posters, one sheet . $ 0.10

Posters, three sheets . 30

Posters, six sheets . 60

Announcement slides, each . 25

One-half column newspaper cuts . 25

Single-column newspaper cuts . 35

Double-column newspaper cuts . 60

Three-column newspaper cuts . 1.25

Lobby photos, 8x10 inches, set of 10 sub¬
jects with two title cards . 50

Lobby photos, 11x14 inches, set of 6 sub¬
jects with one title card . 1.00

A new herald, the first page of which carries

a portrait of William Russell, suitable for
framing. The fourth page is blank and
can be used by the exhibitor for the pres¬
entation of _his program and advertise¬

ments by local merchants. Per thousand 1.50
Hand-colored photo gelatine lobby pictures,

22x28 inches, F. O. B. New York . 75

Oil and water color paintings, 38x61 inches,
framed and in shadow boxes, F. O. B.
Chicago . 15.00

For Your Program

A short synopsis of “My Fighting
Gentleman,” American-Mutual five-
reel production, featuring William
Russell.

During the Civil War days, Frank
Carlisle, a southerner, who was educated
at West Point, was engaged to Virginia
Leighton, a southern belle. When the
war broke out Carlisle joined the Union
forces. At the end of the war Carlisle
returned to find his home destroyed and
to discover that he was a social outcast.
He was the victim of a conspiracy of
Isaiah Gore and in a riot was seriously
injured. Virginia forgot the trouble that
had existed and a reconciliation followed.

REEL LIFE — Page Three

Zena Keefe, starring in Niagra-Mutual’s “ The Meeting."

IN “The Meeting,” the eleventh
story of the Niagara-Mutual
series “The Perils of Our Girl
Reporters,” Zena Keefe as the
newspaper woman, portrays a
type which is quite familiar in
the business world — that of a
woman who finds her marriage a fail¬
ure and attempts to support herself
and regain her self-respect and happi¬
ness by plunging into business.

The story revolves around an Enoch
Arden plot of the woman, who hear¬
ing of her husband’s death marries
again, and just when she has at last
found the happiness she sought, is con¬
fronted by the man she believed dead.

W. H. Turner, who has played the
villain all through the “Girl Reporter”
stories, has a double characterization
in this picture. First he appears as
the gentleman crook, suave, well-
dressed and to all outward appear¬
ances an upright citizen and a perfect
gentleman, but in reality gaining his
livelihood by burglary. Later, a vic¬
tim of drink, he becomes the ragged,
bedraggled tramp with no spark of
, manhood left in him. Mr. Turner’s
extraordinary facility in facial expres¬
sion is remarkably well demonstrated
in these characterizations. Apparent¬
ly using only his eyelids to convey the
impressions he wishes to create, he
runs the gamut of villainous emotions
in complete and convincing fashion.

Arthur Matthews, who is usually
the hero, also plays a crook’s part in
“The Meeting,” and makes a most
uncanny and convincing villain. He is
a blackmailer and not only wields his

For Your Program

A short synopsis of " The Meeting,"
eleventh of the stories of “The Perils
of Our Girl Reporters," featuring Zena
Keefe.

Jane Abom, whose husband is a burglar
and who keeps his life a secret from her,
is forced to become a writer on a news¬
paper. Later, hearing that her husband
is dead, she marries the editor of the
paper. An old friend of her husband
turns up and tells her that he has always
admired her and being rejected by her he
determines to bring her to terms by re¬
vealing the existence of her husband.
Husband and wife meet and in a struggle
which ensues the man is killed. Later all
the mystery is cleared up by Abom’s
friend and Jane is happy with the editor.

power over the woman who has at
last found contentment in a second
marriage, but also threatens the hus¬
band with an unknown power which
he claims to hold over the wife.

Zena Keefe portrays the young and
pretty woman married to a gentleman
burglar. She has various character¬
izations to depict. First the young
and carefree wife, happy with her hus¬
band and her home, then tragedy sud¬
denly descends upon her when she
finds out that her husband is a burglar.
She now develops into the capable
woman of the world, earning her own
living in a newspaper office. Next she

is called upon for some very dramatic
and emotional acting, when married
again she is confronted by her first
husband, who she believed dead, and
is constantly blackmailed by a sup¬
posed friend.

Advertising Matter

This advertising matter for use in
connection with “The Perils of Our
Girl Reporters ” can be purchased at
any Mutual exchange.

Posters, one sheet . 10c

Posters, three sheets . 30c

Posters, six sheets . 60c

Announcement slides, each . 25c

REEL LIFE — Page Four

Vhorht Trails' the % oonskimrs

9/89 of the 'Adventure? of Shorty Hamilton

Unusual twists to

usual subjects mark
No. 9 of the Mutual
“A dventures of
Shorty Hamilton”
series, entitled
“Shorty Trails the

Moonshiners.”

Although the story is laid in the
Kentucky mountains and deals with
moonshiners, there is not the usual
still hidden in a cave in the woods,
reached by a long climb up the
mountain along a concealed trail,
but the gentlemen manufacturers of
corn whiskey run a road house and
operate under a sign announcing
that soft drinks and ice cream are
to be had therein.

Shorty was some surprised young
man, when, imprisoned in this road¬
house and having heard that Anita
was dead and believing that there
was no reason why he should live
any longer, decided to turn on the
gas and end it all and instead of be¬
ing overpowered by the vapor was
deluged by moonshiner whiskey.
Shorty immediately decided that he
had something to live for after all,
for he had discovered by accident
the hiding place of the liquor which
would lead to the rounding up of
the moonshiners.

The owners of the roadhouse were
ever on the alert for curious revenue
officers and had a trap set to quietly
and effectively make way with them.
But it was quite different from /the
kind usually waiting for the officers
in the woods. It consisted of a
death cellar which takes one back to
the dungeons with their instruments
of torture so commonly in use in the
sixteenth century. In the floor of
this death cellar is a trap door which
can be lowered and let the victim
down into a passage leading to a res¬
ervoir, from which there is no outlet.

Anita Keller’s brother, Anita and
Shorty were in turn thrown into this
cellar. Anita’s brother was a reve¬
nue officer and his body was found
floating on the reservoir. It was

Advertising, Matter.

This advertising matter for use in
connection with “The Adventures of
Shorty Hamilton” can be purchased at
any Mutual exchange.

Poster, one sheet . 10c

Poster, three sheets . 30c

Announcement slides, each . 25c

This is one of the reasons why “Shorty
Trails the Moonshiners,” ninth of
Monogram-Mutual’s “Adventures of
Shorty Hamilton.”

while she was trying to find out the
manner in which her brother met his
death that Anita was seized and im¬
prisoned in this death trap. But she
had been suspicious of the nature of
the trap and had concealed a pair of
water wings in her waist and so was
able to escape the fate of her brother.

Shorty went into the mountains
to look for Anita and the discovery
of his secret service badge immedi¬
ately placed him under suspicion as
a revenue officer. He was impris¬
oned in the same cellar. But his
inborn chivalry toward women
brought its reward at this time. Not
long before he had gone to the res¬
cue of a girl who was being mobbed
by women in the streets of the town.
Shorty had not seen the girl since
nor did he know who she was until
she appeared at the cellar door and
told Shorty she was the daughter
of the owner of the roadhouse and
would assist him to escape, as he
helped her on the previous occasion.

Anita and Shorty succeeded in
bringing the revenue officers to the
roadhouse and assisted in the cap¬
ture of the moonshiners.

* * *

Synopsis of “THE TELL-TALE
ARM”

One Reel — American.

Ben Hart . Wallace Reid

Mabel Whitaker . Vivian Rich

Ben Hart, a youthful mining expert
arrives in the mining town and
promptly seeks out pretty Mabel Whit¬

aker and her mother, who have in¬
herited a map purporting to lead to a
gold deposit. They determine to look
at the deposit but are warned by Jim
Halliday, a bad man. That night
Mabel sees a hand slowly steal through
the window and grasp for the map.
She plunges a knife through the arm
and it is hastily withdrawn. The next
day Ben sees Jim Halliday near the
gold mine and sees that he is nursing
a wounded arm. Ben overcomes the
bandit and has him jailed.

* * *

Synopsis of “THE HOMICIDE’S
WEAPON”

One Reel — American. Featuring
Warren Kerrigan.

The sheriff and his band follow the
outlaw into the mountains. The
search lasts for days and both the pur¬
suers and the pursued are almost ex¬
hausted from fatigue. The outlaw,
thinking he has eluded his pursuers
lies down to rest. He places his gun
at his side and the sun strikes it. The
gleam of the revolver lights on the
sheriff’s face and nearly blinds him.
He traces the gleam and captures the
bandit.

:jc ;f:

Synopsis of “THE LONESOME
MARINER”

One Reel — American.

An old sailor tells his young com¬
panion the tale of his life. He tells
of a party of tourists visiting the fish¬
ing village. He falls in love with one
of the girls, but her parents refuse to
let them wed. The girl pines away
and finally becomes delirious. She
calls for the fisherman but he arrives
too late and she dies in his arms call¬
ing his name.

* * *

Synopsis of “A RAM-BUNCTIOUS
ENDEAVOR”

One Reel — American.

Jim . Wallace Reid

Marjie . Vivian Rich

Jim had been away for a long time.
Marjie heard that he was returning
from college and so dressed up for
the occasion. Jim dons his cowboy
outfit however. The boys decided to
give him a party. This was the in¬
spiration of Chick, who tells his sweet¬
heart Polly about it. Jim, in his exub¬
erant spirits, kissed Polly and was seen
by Chick. A riot follows and Chick
was thrown into a corrall with a
vicious ram.

REEL LIFE— Page Five

9/ie? fezklij- ^ 'eel Dfe- 3lut.ua / Hou/P -See America J/rst

Germany and
Bulgaria Shown

“Mutual Tours” pictures
scenes in Munich and
a t Schonbrunn Castle.

THROUGH Mutual the Gaumont
Company releases, March 6,
Number 18 of “Tours Around
the World.” The pictures are ex¬
tremely timely, being views of
Munich, the Schonbrunn Castle at
Vienna, and Rustchuk, Bulgaria.
Munich i6 the third largest city of
Germany. The spectator is shown
the Bavaria monument, the Karl-
platz, the double-towered town hall,
the Frauenkirche (women’s churchl
with its spires 325 feet high, the uni¬
versity, the Hofbrau beer-garden, and
typical street and market scenes.

Schonbrunn Castle has been the
scene of a myriad of imposing cere¬
monials in the life of the Austrian
Court. It is the favorite summer
residence of the imperial family of
Austria. It was here that Napoleon
had his headquarters when be upset
Europe. The beautiful Gloriette Gal¬
lery is one of the views shown, a
favorite resort of Empress Marie
Theresa. The Fountain of Neptune
is another work of art that is well
known. Napoleon’s son. the Puke
of Reichetadt, died here in 1832.

Rustchuk, on the Danube in north¬
ern Bulgaria, is a city of 40,000 popu¬
lation. It has been a fortified city
since it was an outpost of the Roman
empire. The pictures include views
of the Prince Boris Lyceum, the
mosque, and the monument to the
independence of Bulgaria. There are
typical Bulgarian street scenes.

MOVING the day of release of
“Reel Life,” the Mutual Maga¬
zine in Film, manufactured by
the Gaumont company, from Sunday
to Thursday brings two issues of this
entertaining single-reel to the screen
the week of March 4. The second
will appear March 8, Thursday being
the new release day. This is “Reel
Life” No. 45, an extremely enter¬
taining "featurette.” First in im¬
portance is “Furs: From Trapper to
Wearer.” The spectator is shown
the purchase of the pelts from Alas¬
kan trappers, their manipulation in
the factory, and the finished fur
pieces and garments offered for sale.
The processes by which the furs are
finished for market are interesting in
the extreme. Among the fur coats
shown is one of 125 matched Russian
sable skins valued at $50,000.

The second section of the reel
shows how hard restaurant pro¬
prietors work to cater to the tired
business man. Food seems to be
only a minor requirement compared
to the vast sums spent for music, pro¬
fessional dancers, decorations and odd
entertainments. One unusual feature
that appeals to the companion of the
tired business man is a ride about
the restaurant upon an autoped,
driven by one of the dancing di¬
rectors.

For nature lovers, the section de¬
voted to “The Wonderful Pelican”
will be particularly entertaining. This
ungainly bird with its enormous bill
capable of holding a 3-pound fish
has a_ U. S. government “Pelican
H'ome” on two islands off the coast
of Florida. The pictures show the
birds in this protected retreat.

“Artistic Vases” are pictured as
they are made on the Jouan gulf in
southern France. The various opera¬
tions of the artistic potters are
shown.

Entertaining
Topics Pictured

" Strange Industries of the
Arabs,” “Conch Artistry" and
“Will This Cure Cancer ?“

GAUMONT starts the first week
in March with “Reel Life” No.
44, issued through Mutual,
March 4. The first subject of this
reel, which is notable for its _ unusual
array of entertaining sections, is
“Strange Industries of the Arabs.”
The primitive methods of the people
are well displayed in pictures of wool
winders, the makers of wooden bowls,
the weavers of carpets, and knife-
grinders wbo turn the stone with
their feet.

“Conch Artistry” displays the meth¬
od of using shells and other products
of the sea in the manufacture of orna¬
mental objects. The skill of Ben¬
venuto Cellini himself seems to be
rivaled by modern processes of silver
plating the exquisite shells.

A vegetable protein called autolysin
is presented to the public in a sec¬
tion of this reel which asks “Will
This Cure Cancer?” Any preparation
which will lessen the death rate of
this dread disease will be welcomed
as a national blessing, and the Gau¬
mont Company (while making no
claim for the new serum) feels it
to be a duty to present the latest
claims of science. In the United
States 150,000 die annually of cancer.

“Making a Rubber Shoe” begins
with the placing within reach of the
operator of the various pieces cut to
the proper sizes. A cloth lining is
placed on the last, the insole and
joining strip are then attached, the
toe strip is put on, and soon the other
parts are fastened, the special rubber
cement applied, and the shoe is ready
for the wearer.

This issue of “Reel Life” concludes
with a short subject called “Criminal
Cuteness.” The puppy is left to play
with the baby and succeeds in get¬
ting most of the milk from the baby’s
bottle.

* * *

HART.IE CHAPLIN has little
peculiarities in naming objects
he is employing in his pictures.
For example, instead of calling the
policeman’s club he used in “Easy
Street” by its familiar name, he per¬
petually referred to it as a “trunch¬
eon.” Whereupon each time he ut¬
tered the word two or three “extras”
left the set, thinking he had called a
halt for luncheon.

Scenes Along
Oregon Coast

“See America First” No. 78
contains some beautiful
scenery on western coast.

KNOWLEDGE of the remarkable
scenery that makes the coast of
the state of Oregon one of the
beauty spots of America has been
the property of comparatively such a
small number of people that the
Gaumont Company is rendering a
distinct service in showing pictures
of the rocky coast in “See America
First” No. 78, released through Mu¬
tual March 7. The pictures have
been taken in the vicinity of Tilla¬
mook Rock Lighthouse, a landmark
on the coast about fifteen miles south
of where the Columbia river runs
into the ocean.

Among the beautiful pictures so
characteristic of the coast are views
of the giant step stones at Chapman’s
Point, Lost Cave at Ecola Point, the
Needles, an interesting rock forma¬
tion, Tillamook Rock, rising 80 feet
above the sea, Arch Cape, Castle
Rock, Hug Point, Camel Rock and
Haystack Rock. The names them¬
selves are descriptive of the shapes
into which wind, water and weather
have carved the coast during count¬
less ages.

Pretty summer cottages nestle
among the pines along the shore
above the beach, the woods are tra¬
versed by many trails, and strong
winds have twisted the pine trees into
grotesque shapes. Tillamook Rock,
several miles at sea, is so rugged
that not even a small Boat can land
there. There are attractive pictures
of sunlight ripples on the water just
before a storm, the breakers at Arch
Cape, and the old iron cannon washed
ashore with the wreckage of the U. S.
S. Shark, which was broken up here
by the waves in 1846.

On the same reel is a Gaumont
Kartoon Komic entitled “Rastus Runs
Amuck.” It is a quaint little oddity
of pickaninny life animated for the
screen by Harry Palmer.

ONE of the interesting sections
of Gaumont’s “Reel Life” No.
46 depicts the new club-rifle
which will in time become part of
■the equipment of every policeman.
By attaching his “rifled” club to his
revolver, the officer has a weapon of
deadly accuracy.

Yon Bernstorff
Leaves America

“Mutual Weekly” No. 112
shows German ambassa¬
dor leaving our shores.

THE outstanding picture in Mu¬
tual Weekly No. 112 is that of
the departure of Count von
Bernstorff from New York. The
Gaumont Company, manufacturer of
the weekly, was able to secure an
excellent view of the departing am¬
bassador as he left the embassy, on
board the special train, at Hoboken,
and aboard the vessel which is tak¬
ing him home.

This issue of the Mutual Weekly
is full of excellent pictures, since the
world’s news during the last week
has been particularly thrilling. The
Gaumont Company was able to secure
pictures at the Brooklyn Navy Yard of
naval militia guns which have been
dismounted for the purpose of arm¬
ing merchant ships. From Havana
come pictures of the actors in the
revolution which now threatens the
Pearl of the Antilles. South America
sends pictures of the daily drills of
(lie crack cavalry regiments of Peru,
regiments which may take part in
the European conflict if the Ameri¬
can nations are forced into the war.

* * *

THE Gaumont Company starts the
week of March fourth with the
release on that day of “Reel
Life,” the Mutual Magazine in Film.
This issue, No. 44, is well diversified,
its subjects having been selected to
satisfy every spectator. It includes
“Strange Industries of the Arabs,”
“Cone-Artistry,” novel jewelry from
sea objects; “Making a Rubber Shoe,”
an exposition of a new serum for the
treatment of cancer, and a picture
of a baby and a puppy dog calculated
to show parents the danger of infec¬
tion from such playful little pets
when not watched.

The second reel of the week is
“Tours Around the World” No. 18,
released March 6. It takes the arm¬
chair traveler to Munich, the third
largest city of Germany; to the his¬
toric Schonbrunn castle, Vienna, and
to the city of Rustchuk, a place of
40,000 inhabitants on the Danube in
northern Bulgaria. All these places
are of great timeliness, because of
the strained relations now existing
with the Central powers.

There are two reels issued March
7. These are the Mutual Weekly, the
motographic news reel that comes
from the Gaumont Laboratories, and
the split-reel, “See America First”
and the Gaumont Kartoon Komic.
“See America First” depicts “Ore¬
gon’s Rocky Coast.” This part of
the country is little known, and the
beautiful pictures of the seacoast near
the mouth of the Columbia river will
be welcome additions to this Gaumont
series. The cartoon, animated by
Harry Palmer, is called “Rastus Runs
Amuck.” It tells of the misadven¬
tures of a pickaninny.

Owing to a change in the release
date of “Reel Life,” moved from
Sunday to Thursday, there will be
two issues of “Reel Life” in the week
of March 4. The second will be is¬
sued March 8.

Advertising Matter.

Available at all Mutual Ex¬
changes, for use in connection
with Gaumont one-reel "Featur-
ettes.’

Poster, one sheet . 10c

REEL LIFE — Page Six

H

Approximately 20,000 feet of

negative a day is being taken in the
nine picture studios contributing to
the Mutual Film Corporation’s releasing
schedule now, and productions announced
and in the planning will shortly bring this
total up to nearly 30,000 feet.

A lucky total of thirteen stars is now be¬
fore Mutual cameras, in a range of vehicles
from slap-stick to heavy drama.

The footage total presented here is per¬
haps a trifle conservative in view of the
fact that on a number of especially expen¬
sive productions as many as three cameras
are constantly in service — as for instance
at the Chaplin studios where “A,” “B,” and
“C” negatives are made on every scene.

Three stars are working busily at the
American studio in Santa Barbara — Mary
Miles Minter, William Russell and Gail
Kane.

Two Broadway favorites, Nance O’Neil
and Marjorie Rambeau, are dividing their
time between the speaking stage and the
Frank Powell studios.

At the Pollard studio Harry Pollard is
completing the direction of “The Devil’s
Assistant,” the fourth of the Margarita
Fischer Series of Mutual Star Production.

Charlie Chaplin is manufacturing many
more hearty laughs at the Lone Star
studio. His next subject will be “The
Cure.” This is the tenth of the series of
comedies which Chaplin is making for
Mutual.

At the Signal studio J. P. McGowan is
directing Helen Holmes in dare devil feats
and seeing that plenty of thrills of various
sorts are being put into “The Railroad
Raiders,” a fifteen chapter photo-novel
which will be released in weekly install¬
ments of two reels each.

Crane Wilbur, at the Horsley Studio, is
just starting work on “The Eye of Envy,”
the fourth of the six Crane Wilbur fea¬
tures Horsley will release through Mutual.

In another part of the same studio
George Ovey is producing the seventy-
third Cub Comedy in which he has been
featured.

The Monogram studio is given over to
Shorty Hamilton and Yerza Dayne, not to
forget Beauty, Shorty’s horse, who always
has an important part to play in each one
of the “Adventures of Shorty Hamilton.”

The Vogue studio is always busy with
its weekly two reel comedy release.

Edna Goodrich, who but recently signed
up with Mutual, has returned to the east,
where a studio for her use will soon be
in working order. Meanwhile she is
searching for just the sort of vehicles with
which she desires her name to be connected
on the screen.

The Gaumont forces are not confined to
the studio but are scattered all over the
world, gathering material for the four
weekly topical releases, “Mutual Tours
Around the World,” “Mutual Weekly,”
“See America First,” and “Reel Life.”

HELEN HOLMES, J. P. McGowan,
and the members of “A Lass of the
Lumberlands” cast, at the invitation
of Manager Walker of the Pantages

Gail Kane, American-Mutual star.

theater, made up a box part} to attend the
exhibition of the final chapter of the
Mutual-Signal photo-novel in the Pantages
house.

Before the picture was thrown on the
screen, a spot light was directed upon the
various members of the company, each of
whom arose and acknowledged the applause
accorded them. Miss Holmes and Mr. Mc¬
Gowan made brief speeches.

MORE than half of the big scenes in
“The Devil’s Assistant,” fourth of
the Margarita Fischer Series of
Mutual Star Productions, will be photo¬
graphed at night.

A force of thirty-five men have been
busy for over a week constructing electric
lines, erecting a house to be detroyed, and
laying water mains a distance of half a
mile from the city water connections ; all
of which are being used for the night storm
scenes in this picture.

The night work was begun this week in
the hills north of San Diego’s large park,
and will be continued in the big Los Banos
Bath House and on the rocks around pic¬
turesque Point Loma. The storm effects
obtained by the aid of Winfield-Kerner
lights, San Diego’s water, and dynamite,
are the most spectacular ever attempted for
motion pictures scenes.

* * *

THE Empire All Star Corporation,
recently organized by President John
R. Freuler, president of the Mutual
Film Corporation, and Alf Hayman, repre¬
sentative of the Charles Frohman company
interests, to produce the stage successes of
Charles Frohman with, in so far as pos¬
sible, the original casts, for release through
the Mutual, has acquired studios at Glen¬
dale, Long Island, and has installed a
technical staff on men of wide experience
both in the theater and in the motion pic¬
ture field.

GAIL KANE, the newest American-
Mutual star, who has just started
work at the American studio at
Santa Barbara, has spent all her spare time
with real estate agents looking for a house.
Miss Kane was not so very hard to please
but there were two things which she really
must have — a very large wardrobe rdom
and. an extensive back yard.

There were ten large trunks which ac¬
companied Miss Kane to the coast, and
there must be a room in this new home
large enough to accommodate all these
clothes and accessories.

Next important was the spacious back
yard where the actress, just from the hectic
life of New York’s Broadway, is planning
to get back to nature and have a real
kitchen garden where she will raise her
own beats and peas and corn and other
garden truck.

* * * *

JULIAN LAMOTHE, whose name as
author frequently appeared on many
American-Mutual productions, is again
a member of that studio’s scenario staff.
Mr. LamotheU experience has been gained
with the Lubin, Pollard and American com¬
panies, and a short period in which he was
“free-lancing.” The American production
by which Mr. Lamothe is best known is
“The Inner Struggle.”

* * *

44'— ■— v HE OUTCAST” has been chosen
as the first vehicle for Ann
Murdock, under her contract with
the Empire All Star Corporation, the pur¬
pose of which is to produce Charles Froh¬
man stage successes with Frohman casts
into motion pictures for release through
the Mutual Film Corporation.

Miss Murdock, who was the first Froh¬
man star to have been signed by the Em¬
pire All Star Corporation and by President
John R. Freuler of the Mutual, has already
started work on this production at the re¬
cently acquired Empire-Mutual studios at
Glendale, Long Island. This begins the
Empire All Star Corporation’s actual pro¬
ducing activities.

* * *

JACK RYAN, famous as a Pacific Coast
League pitcher and a member of the
Los Angeles Club, has joined the forces
of the David Horsley studio. George Ovey
has been trading lessons in comedy for
Ryan’s lessons in curve balls.

* * *

FIFTY-FOUR scenes shot in one
night is the record established by J.
P. McGowan while directing Helen
Holmes and her company of Mutual-
Signal players in the serial, “The Rail¬
road Raiders. ”

Working with .fifty people Mr. Mc¬
Gowan took these scenes in and around
a railroad train by the use of artificial
fights. Nor were these short scenes.
There were but six that could be doubled
up, that is, where two or more could be
shot together, and of the entire amount
of exposed negative there were only two
retakes, and one of these was the result
of faulty raw stock.

REEL LIFE — Page Seven

%mp of Mutual production? amonq) theatre?

L COYLE, manager King George
Theater, St. Catharines, writes :
• “ ‘A Dream or Two Ago’ is a fine
picture. We had another record house on
Friday and Saturday. Let me say that the
Mutual are to be congratulated on the class
of pictures they are putting out.”

John C. Green, Temple Theater, Galt,
Ontario, writes : “ ‘A Lass of the Lumber-
lands’ is the best serial the Mutual have
released yet.”

a^n HE Valley of Decision’ was a
a record breaker for me con-
sidering Friday as being one
of the dullest days in the week,” said S.
M. Kasse, proprietor of the Empress
Theater, Akron, Ohio., speaking of the
Mutual-Richard Bennett production.

“It is an unusual occurence for me to
comment on any picture in my experience
as an exhibitor, but I must say that ‘The
Valley of Decision’ has impressed me as
being one of the most thorough pictures in
every detail that I have ever seen.

“Never before to my knowledge has
Richard Bennett proved himself such a
finished actor.

“The film itself was not lacking in one
detail. Had this picture a stronger title it
would have surpassed ‘Where Are My
Children,’ ‘Damaged Goods,’ or any other
picture of this caliber.

“I’d like to do the business every week
that I did with ‘The Valley of Decision’.”
* * *

RS. BALLANTYNE, manager of the
Des Moines Exchange of the Mutual
• Film Corporation, was quick to ap¬
preciate the timely interest and box office
possibilities contained in the Mutual one-
reel series, “Uncle Sam’s Defenders,” on
account of the present agitation of the
question of preparedness in America.

As soon as news came of the possibility
of America being drawn into the war, Mr.
Ballantyne sent out to each exhibitor, in his
territory a card bearing a picture of Presi¬
dent Wilson over the caption, “The Man of

TOOCCOCOOCCCCCCOCCOOSCGOCCCr,

&

8 To the Exhibitor-

Half column ©
newspaper X
cuts of Ruth O
MacTam- x
many, star in h
Mutual’s five- v
reel produc- n
tion of “The ©
Girl from k
Rectors,” can ©
be purchased k
at any Mutual O
exchange at S
25c a piece. Q
The same size ©
cuts of the x
following n
S Mutual stars can also be purchased at ©

8 any Mutual exchange at the price of X
25c each : Edna Goodrich, Charles O
8 Chaplin, Mary Miles Minter, Richard V

8 Bennett, William Russel, Nance O’- X
Neil, Marjorie Rambeau, Gail Kane, O

8^ Margarita Fischer, Ann Murdock, 0
Helen Holmes, George Ovey, Crane k
0 Wilbur, Ben Turpin, Paddy McQuire O
k and Shorty Hamiton. V

wccccccccooooccoocccccccoo^

Ruth Mac Tam¬
many, star in Mu¬
tual’s “The Girl
From Rectors.”

the Hour,” and calling their attention to the
golden opportunity to cash in on the six
reels of timely subjects contained in “Un¬
cle Sam’s Defenders.”

These one-reel subjects, released one
each week, give just the information the
people are thirsting for as to what our
army and navy are doing. The subjects de¬
picted are : “Our Boys at the Border,”
“From Civilian to Soldier,” “Afloat and
Ashore,” “A Jack Tar in the Making,”
“Scouts of the Sea and Sky,” and “Bull¬
dogs of the Deep.”

WE. LANG, manager of the Scenic
Theater, Sioux City, Iowa, shows
* himself a student of human na¬
ture in the advertising stunts he planned to
create interest in the new edition of “Dam¬
aged Goods,” recently released by Mutual.

First he had a banner carried around the
streets of the town advertising the play.

Second, in several places where he knew
crowds would be passing he placed barrels
on which were a sign reading, “Do Not
Look in this Barrel.” Of course no one
passed without looking inside. And then
they laughed, for inside were broken beer
and whiskey bottles and the sign “Damaged
Goods.”

Third, he tried the scheme, which is not
new, but had not been used before in Sioux
City, of having a blind man parade the
street carrying a placard, “I would give
$500 to see ‘Damaged Goods’ at the Scenic
Theater.”

The advertising brought results. “Dam¬
aged Goods” went big and the box office

receipts were the biggest in some time.

* * *

LOUIS ROSENBERG, manager of the
Alhambra Theatre, Ossining, New
York, was arrested for showing the
Mutual feature “Inspiration” in his the¬
atre. The picture features Audrey Mun¬
son, artists’ model, and shows a sculptor
making a plaster mould of Miss Munson’s
figure.

A number of clubwomen of the town
stirred up the trouble by declaring the pic¬
ture was not suitable to be shown to chil¬
dren and there was a two-year-old child in
the audience.

The uplift forces in Ossining withdrew
the charges, however, on the testimony of
the parents of the child stating that the
baby was hardly old enough to realize the
difference between one picture and another;
and the statement of the principal of a
girls’ school that she had seen the picture
all the way through and thought it was
beautiful, which was more than she could
say of some others to which no objection
had been raised.

Make Your Own Electricity with Cushman Electric Plants

Extremely light weight and compact; 4 H. P., 2 K. W.
Outfit complete, weighs around 500 lbs.

Complete with all equipment — easy and ready to sqt
up and run.

Throttle Governor, connected to Schebler Carburetor,
assures clear, bright and steady pictures.

United States Bought 66 Cushman Outfits

The Illustration shows 66 Cushman Electric Power Plants ready for
shipment that were purchased by the U. S. Government for use at Army
Posts and in the field.

Cushman Motor Works

940 North 21st Street LINCOLN, NEB.

The Government order after inspection, before shipment

REEL LIFE— Page Eight

REEL LIFE — Page Nine

/

MILES’

-rxrxr V HT TQ r_ A- \ -TT

MUTUAL

American Film Comj5amj,Inc,

Announces >

In a New Series of7

MIHTER-MUTUAL PHOTOPIAYS

This announces the coming of a new series of
de luxe photodramas featuring, the charming, star
— Mary Miles Minter. These productions will
constitute the second series of Minter-Mutual
Photoplays produced by the American Film Com¬
pany, Inc., at its Santa Barbara Studios.

The first series of six Minter-Mutual Photoplays
now playing throughout America, has unquestion¬
ably established the hig,h quality and exceptional
box-office value of these American Film Company
attractions.

Now we announce a new series of productions
featuring popular Mary Miles Minter. The first
two plays of the new series are :

“Environment”
“Annie for Spite”

by James Kirkwood
- by Fred Jackson

Titles of other productions in the series together
with release dates, will be announced shortly.
These productions are made under the direction
of James Kirkwood. For bookings on both series
of Minter-Mutual Photoplays exhibitors are re¬
quested to communicate with Mutual Exchanges.

Produced by

American Film Company, Incorporated

Samuel S. Hutchinson, President

Minter-Mutual Photoplays distributed
throughout America exclusively by
the Mutual Film Corporation

MUTUAL

MEN

MUTUAL FILM CORPORATION
PRESENTS'

ATable PHotelteat Deluxe
In Hve Courses

BRIGHT LIGHTS COCKTAIL SMILE APPETIZER-
CONSOMME BROADWAY

SPARKLING EYES

ROGUISH SMILES

<€le GIRL L
RECTOR'S

ala RUTH MacTAMMANY

TANTALIZING. BEWITCHING, ENTRANCING

TWINKLING FEET TINKLING MUSIC FLUFFY LINGERIE

SALAD' a Lx PAUL POTTER.
WITH JUST THE RIGHT DRESSING

IP SNAP GINGE

SOME DESSERT, SOME DESSERT

PUNCH THAT IS PUNCH

BIG BOX-OFFICE RECEIPTS. SATISFIED PATRONS

Now Being Served Ai All
MUTUAL EXCHANGES

MUTUAL

/

MUTUAL FILM CORPORATION

PfeTeni?

“£fo@r£M Hoollcr

A lorn flurkT

Qvmik of'm ADVENTUBEf OF
SHORTY HAMILTON FEATURETTES

The grasping loan shark more than
meets his match in "Shorty "and the
’boysof the Arrowhead Ranch-
Incidentally "Shorty rescues beaut/
in distress and rights’ a wrong4. ~

RELEASED FEBRUARY 2GLA.

Rroduced by MONOGRAM FILMS
' Released ttrouqk MUTUAL EXCHANGES

REEL LIFE — Page Thirteen

REEL LIFE— Page Fourteen

►

STARTLING — spectacular — sensational — are the inci¬
dents depicted in each chapter of the new Helen Holmes rail¬
road novel — “The Railroad Raiders.” It’s in fifteen chapters — each jammed*
with thrills and dramatic climaxes. It’s the most costly — most stupendous serial
photoplay presented this year. It’s the third big Helen Holmes success! You
remember “The Girl and the Game” and “A Lass of the Lumberlands.” “The
Railroad Raiders” is a story that moves with the speed of an express train on a
downgrade. It’s full of action — punch — thrills! Based on real incidents in
railroad life — backed by a tremendous national advertising campaign — this remark¬
able new serial offers exhibitors the best box-office magnet in years. The release
date will be announced soon. Reservations for “The Railroad Raiders” are now
being made at all Mutual Exchanges.

REEL LIFE — Page Fifteen

Nobody Home But the Lamp

— and that’s going out. Here are poppa and momma
and Susie and Johnny and even little Lizzie, all on
their way to the movies. Poppa is saying to the
nice, accommodating ticket-office girl, “Five tick¬
ets, please, I’ve brought all the family.” ‘Cause
why? ‘Cause Gaumont Pictures are for all the
family circle. No one is left at home when Gaumont
single-reels or photoplays are shown. Say, Mr. Exhibitor,
wouldn’t you rather have the whole blessed family than
just momma and poppa? Then tell your Mutual Branch
you want all the Gaumont Pictures.

REEL LIFE — Page Sixteen

MUTUAL STAR PRODUCTIONS

MUTUAL STAR PRODUCTIONS

Week of March 12, 1917
WILLIAM RUSSELL

No. 173 — My Fighting Gentleman — American

In Five Acts

Week of March 5, 1917
RUTH MacTAMMANY
No. 172 — The Girl from Rectors — Mutual
In Five Acts

MUTUAL PICTURES

Week of March 12, 1917

MONDAY, MARCH 12, 1917.

Title Class Reels Deads

No.

Brand

06367

Monogram

06868

(Featur-

ette)

05369

Gaumont

(Featur-

ette)

06370

Mutual

(Featur-

ette)

06371

Gaumont

(Featur-

ette)

05872

Cub

(Featur-

ette)

06373

Gaumont

(Feature-

ette)

Shorty Trails the Moonshin¬
ers . Drama

TUESDAY, MARCH 13, 1917.

Mutual Tours Around the World

. Travel

WEDNESDAY, MARCH 14, 1917

Mutual Weekly, No. 115. Topical

See America First . Scenic

Kartoon Komics. . . .and Cartoon
(Dast of the Series)
THURSDAY, MARCH 15, 1917.

Jerry’s Triple Alliance. Comedy

of

Heel Life .

.Magazine

05374

05375

05376

05877

American

American

Vogue

(Featur-

ette)

FRIDAY, MARCH 16, 1917.

The Lonesome Mariner . . Drama
A Ram-Bunctious Endeavor. . .

. Comedy

SATURDAY, MARCH 17. 1917.
A Matrimonial Shock. . .Comedy

Adventures
Shorty Hamil¬
ton, No. 9

The Oasis of
Gabes Sahara
Desert

Koursk-Siberia

Voyages on the
Mississippi

Prom New Or¬
leans to Baton
Rouge

George Ovey

New Police Club
Rifle

Making the Cac¬
tus Useful.

The Fluid of
Dife

Gold Mining in
Alaska

Ed Coxen

Outwitted .

Niagara Perils of Our Girl Reporters,
No. 12 .

Wallace Reid

Lillian Hamil¬
ton

Zena Keefe and
Earl Metcalfe

Week of March 5, 1917

MONDAY, MARCH 5, 1917.

No. Brand Title Class Reels

05356-56 Mono- “Shorty Traps a Lottery King”

gram . Drama 2

(Featur-

ette) TUESDAY, MARCH 6, 1917.

05857 Gaumont Mutual Tours Around the World

(Featur- . Travel 1

ette)

WEDNESDAY, MARCH 7, 1917.

05358 Mutual

(Featur- Mutual Weekly No. 114. Topical 1
ette)

06859 Gaumont See America First. .. Scenic and 1

(Featur- Xartoon Komic . Cartoon

ette)

THURSDAY, MARCH 8, 1917.

06860 Cub

(Featur- The Flying^ Target . Comedy 1

05861 Gaumont Reel Life . Magazine 1

(Featur-

ette) FRIDAY, MARCH 9, 1917.

05362-63-64 The Tell Tale Arm .

The Homicide’s Weapon .

SATURDAY, MARCH 10, 1917.

06366-66 Vogue His Bogus Boast . Comedy 2

(Featur-

ette)

The Meeting . Drama 2

Niagara Story, No. 11, of “The Perils

of Our Girl Reporters” .

Deads

Adventures of
Shorty Hamil¬
ton No. 8

Munich, Ger¬
many

Schonbrunn
Castle, Austria

Rustohuk, Bul¬
garia

Oregon’s Rocky
Coast

George Ovey

From Trapper to
Wearer

Stimulating the
Appetite of
the Tired Bus¬
iness Man
Artistic Vases
The Pelican
Charlie’s Wobbly
Walk

Earl Metcalfe
Zena Keefe

MARY MILES MINTER

(New Series)
Environment
Annie for Spite

WILLIAM RUSSELL

(New Series)

My Fighting Gentleman
High Play
The Frame-up
Shackles of Truth

PHOTO-NOVELS

The Perils of Our Girl
Reporters

The Sequal to The Dia¬
mond from the Sky
A Lass Of The Lumber-
lands.

The Girl and the Game
The Secret of the Sub¬
marine

MARGARITA FISCHER
The Pearl of Paradise
Miss Jackie of the Navy
The Butterfly Girl
The Devil’s Assistant
A Night at Tarquizzl
Birds of Passage

MARJORIE RAMEEAU

The Greater Woman

Motherhood

The Debts

The Second Wife

A Doll’s House

GAIL KANE

Whose Wife?

CHARLES CHAPLIN
The Floorwalker
The Fireman
The Vagabond
One A. M.

The Count
The Pawnshop
Behind the Screen
The Rink
Easy Street
The Cure

RICHARD BENNETT

Philip Holden — Waster
And The Law Says
The Valley of Decision
The Gilded Youth

SERIES
Fantomas
The Vampires
Adventures of Shorty
Hamilton

MUTUAL FILM EXCHANGES

Albany, N. Y.

Atlanta, Ga.

Baltimore, Md.

Boston, Mass.

Buffalo, N. Y.

Butte, Mont.

Chicago.

Cincinnati, O.

Cleveland, O.

Dallas, Tex.

Denver, Colo.

Des Moines, la.

Detroit, Mich.

El Paso, Tex.

Escanaba, Mich.

Fargo, N. D.

Houston, Tex.

Indianapolis, Ind.

Kansas City, Mo.

Los Angeles, Calif.

Louisville, Ky.

Memphis, Tenn.

Milwaukee, Wis.

Minneapolis, Minn.

Newark, N. J.

New Haven, Conn.

New Orleans, La.

New Youk City, Mutual Film
Exchange

New York, Western.

Oklahoma City.

Omaha, Neb.

Philadelphia, Pa.

Pittsburgh, Pa.

Portland, Oregon.

Salt Lake City, Utah.

San Francisco, Calif.

St. Louis, Mo.

Seattle, Wash.

Sioux Falls. S. D.

Spokane, Wash.

Tampa, Fla.

Washington, D. C.
Wilkes-Barre, Pa.

Toronto, Canada.

Calgary, Canada.

Montreal, Canada,

St. John, Canada.

Vancouver, Canada.

Winnipeg, Canada.

733 Broadway
146 Marietta St.

412 E. Baltimore.

1106 Boylston SU
106 Pearl St.

American Theatre Bldg.
Consumers Bldg.

224 E. 7th St.

750 Prospect Ave.. S. E.

1807 Main St.

1724 Welton St.

Cohen Bldg.

97 Woodward Ave.

Corner W. San Antonio Ave.

and S. Santa Fe St,

1019 Ludington St.

119 5th St.

805 Franklin Ave.

150 North Illinois St.'

928 Main St.

825 So. Olive St.

410 So. 4th St.

500 So. Main St.

301 Enterprise Bldg.

22 North Sixth St.

25 Branford PL
130 Meadow St.

816 Perdido St.

71 W. 23rd St.

126 W. 46th St.

Box 978 7-15 Walker St"

1413 Harney St.

257 N. 12th St.

420 Penn Ave.

9th and Davis St
123 E. 2nd South St.

162 Turk St.

1311 Pine st.

1933 3rd Ave.

201 Wms. Fine Arts Bldg.

408 W. First Ave.

1325 Franklin St.

419 Ninth St., N. W.

61 S. Penn Ave.

15 Wilton Ave.

702 4th St., W.

345 Bleury St.

39 Waterloo St.

963 Granville St.

48 Aiken Bl., McDermott Ave.

'Ti

VOGUE FILMS, Inc,, Presents—

"A RUMMY ROMANCE”

TWO REELS RELEASED MARCH

FEATURING PADDY McQUIRE

Here is a Vogue Comedy that

fittingly illustrates Vogue’s slogan, “Slap¬

stick With a Reason.** It is uproariously funny.

It is the kind of a picture that will keep any audience
laughing from start to finish— and yet every bit of slap¬
stick— every comical bit of “business” is justified by
the story itself — not dragged in solely for the purpose
siopnuk w/ia • of getting a laugh. It’s a story of moonshiners in

the mountains and contains some beautiful exteriors.
Directed by James D. Davis. Bookings now at All
Mutual Exchanges.

VOGUE FILMS, Incorporated

General Offices: 6225 Broadway

Chicago, Illinois

MUTUAL

xnouncm

Anew? Series of One Reel

MUTUAL FEATURETTES

Toleknownas Strand Comedies

Sia/Mq)

BillieRhodes

Supported L/ Jffif BHASCO

Beginnin|‘ April llth.The Mutual Rim
Corporation will release a series'
of 52 Strand Comedies-one each
wfeeL-each one reel in length.
These are polite oomedies.enaded
\>y young- people —fresh— I i vel/ —
clean —free from suggestiveness\

Booting NOW At AH

MUTUAL EXCHANGES

Produced by

CAULFIELD PHOTOPLAY COMPANY

Visiribuied by

MUTUAL FILM CORPORATION

:l V) .

HELEN HOLMES

in “The

RAILROAD RAIDERS

famous “ railroad girl"
coming in a new and
bigger novel of the
“ sure money ” kind

MUTUAL calls “The Railroad
Raiders,” Helen Holmes’
photonovel in fifteen chapters,
a “pre-proven product.”

Significant statistical facts relating
to Helen Holmes andmjer value to the
theatres are offered from the Mutual’s
accounting department. The lease rec¬
ords and reports indicate that approx¬
imately $2.253.000 was paid to the
theatres in admissions to see Helen
Holmes in “The Girl and the Game,”
her first Signal-Mutual screen novel.
The records on the bookings now in
progress on “The Lass of the Lumber-
lands,” second Holmes phptOnovel for
Mutual, indicate that the theatres are
enjoying a nearly equal success with
this production. ■’*

These figures are cited to show that
Helen Holmes is getting the money
for the man who runs her pictures.
Miss Holmes’ pictures for Mutual
have made for exhibitors something
near a total of five million dollars
since the release of the first chapter
of “The Girl and the Game.”

“Demonstrated box office earning
power like that is of very distinct sig¬
nificance to the exhibitor and of im¬
portant meaning to the picture indus¬
try,” observes President John R. Freu-
ler of the Mutual.

“It is with such statistical evidence
before us that the Mutual Film Cor¬
poration is now making its plans, ac¬
cepting and rejecting film distribution
propositions and charting the corpo¬
ration’s course. <

“We are interested only in proven
products, in so far as the photoplay
product may be proven.

“I say this now in behalf of the
coming Helen Holmes production,
‘The Railroad Raiders,’ now being
made at the Signal studios under the
direction of John P. McGowan, the
man who has directed all of the big
Holmes successes.”

It is of interest to the trade and the
public at large to consider the “hard
pan” business tests which are thus
tending to govern the artistic trends
of the pictures.

Even the development of minor de¬
tail in the making of the Holmes pic¬
tures, is, by the Mutual’s system of
business analysis, being reduced to ap¬
proved and proven formulas of suc¬
cess.

“We have done and are doing every¬
thing to insure success,” said Samuel
S. Hutchinson, president of the Sig¬
nal Film Corporation, at Los Angeles,
the other day. “Art no longer has to
be left entirely to chance.

“This is the prescription for the
big Helen Holmes successes in serials :
First, Helen Holmes, herself, the pre¬
mier star of the chapter play type of
production; second, John P. Mc¬
Gowan, the man who can find a real
story and put it in pictures ; third, the
real story; and fourth, but extremely
important, the story itself. We have
added a fifth strengthening factor by
retaining Mr. Frank Hamilton Spear-

Miss Holmes wearing her hair in
curls, being a favorite make up
when the strenuous work of the
studio day is over.

man, the celebrated novelist, to write
the syndicated story of ‘The Railroad
Raiders.’ Mr. Spearman, it will be
recalled, is the author of many suc¬
cessful novels, and is known to films
as the author of ‘The Girl and the
Game’ and ‘Whispering Smith.’ ”

The story of “The Railroad Raid¬
ers” is of the very certain and success¬
ful type of railroad-adventure fiction.
The plot revolves about a band of
thieves preying upon the railroad,
plotting and counterplotting. There
are wrecks, hold-ups, hair-breadth
escapes, manhunts, battles and perils
and incidents of suspense without end.

Director McGowan is now at work

upon the seventh chapter of the pro¬
duction — with six perfectly good neg¬
atives completed and delivered — a val¬
uable assurance to the exhibitor of the
delivery of the pictures on release
dates.

McGowan has introduced some
highly unusual effects in night photog¬
raphy from a speeding train. A very
heavy outlay of money and effort have
been necessary in this technical seek¬
ing after realism. Lighting plants
have been built on trains, special cam¬
era cars constructed and equipment of
infinite detail installed. Some of the
thrill scenes in the earlier chapters
show the train sweeping through the
night in a storm, with the wraiths of
the rain swept trees weaving through
the gloomy backgrounds. Always
there is action, action, action.

Railway warehouses are seen de¬
molished, box cars are tossed into
heaps of blazing wreckage, automo¬
biles are smashed with daring and
abandon, engines collide, there are
gang fights, fist fights, gun fights — all
the kinds of fights there are.

Miss Holmes, of course, does a
number of sensational things in her
accustomed sensational style — leaping
from an engine to an automobile ton¬
neau, and stunts of the kind.

The fifteen chapter titles are in the*,
nature of an index to the swift action j
of the story: “Circumstantial Evi- '
dence,” “A Double Steal,” “Inside
Treachery,” “The Deal in Silks,” “A
Woman’s Wit,” “The Overland Dis¬
aster,” “The Yellow Peril,” “The Mil¬
lionaire’s Special,” “The Fight for the
Pass,” “The Great Tunnel Disaster,”
“The Mystery of the Counterfeit
Tickets,” “Total Paralysis,” “The
Road Wreckers,” “The Trap,” and
“Hearts Are Trumphs.”

The cast chosen to support Miss
Holmes is almost identical with that
of “The Lass of the Lumberlands,”
including William Buhler, Katherine
Goodrich, Florence Holmes, John
Hemphill, Thomas G. Lingham, Leo
D. Maloney, Paul C. Hurst, the able
villain; William Brunton, Will Chap¬
man and Charles U. Wells.

According to the Mutual advance
bookings and reservations at a period
three weeks before release date, had
set a record for totals at a similar
period in the history of recent photo¬
novel productions.

REEL LIFE— Page One

MARGARITA FISCHER

in “The

DEVILS ASSISTANT”

Marta . Margarita Fischer

Dr. Lorenz . Monroe Salisbury

Marion Dane . Kathleen Kirkham

John Lane . Jack Mower

Butler . Joseph Harris

AS weird as any fevered fancy
from Edgar Allen Poe, as
bizarre as a cruel dream — it
is in phrases like that one one seeks
about to describe “The Devil’s As¬
sistant,” in which Margarita Fischer
appears the week of April 2.

This picture is probably the most
ambitious feature production which
Pollard Picture Plays studios have
made for Mutual release. The pic¬
ture was made under the direction
of Harry Pollard and it savors in
part of “The Miracle of Life,” the
famous birth control picture featur¬
ing Miss Fischer, released nearly
two years ago.

“The Devil’s Assistant” is built
about the experiences of a beautiful
woman in the grip of the drug evil
and false friends, and a false physi¬
cian, who used his prescription
power in an effort to work her undo¬
ing. The production is spectacular
in the extreme, depending on highly
vivid treatments of desperate situa¬
tions. There is a rescue and a happy
ending, but not until after the spec¬
tator has all but given up hope.

Miss Fischer’s role in “The Dev¬
il’s Assistant” stands in marked con¬
trast to her part in recent produc¬
tions. She has plunged, with de¬
cided success, into the depths of the
most powerfully dramatic and direst
tragedy. Mr. Pollard’s handling of
the theme and the powerful elements
of his story are consistent with the
measure of his purpose.

“The Devil’s Assistant” is a fea¬
ture production which will bear very
strong promotion and booking for
long runs, because of the large ele¬
ment of word of mouth advertising
which its sensational elements are
certain to produce in the normal
community.

Miss Fischer’s efforts and her ex¬
traordinary acting may be expected
to create a sensation among her fol¬
lowers.

The eyes of Margarita Fischer —
the large, expressive eyes, in which
all the horror of a mind deranged by
poison are mirrored — are haunting.
The ghastly phantoms that pursue
her — the illusions of a drug fiend —
come out of the very walls of her
room, lurk behind curtains and
spring upon her in the most fantastic

Margarita Fischer, famous star of
“ The Devil’s Assistant." Pollard-
Mutual feature.

way, and are marvels of the genius
of the cameraman and the art of
make-up. The eyes of her perse¬
cutor — the “Mephisto”-like doctor —
haunt her, and in intense dramatic
moments drive her almost insane.

A symbolical devil — the incarna¬

tion of evil, the “Mr. Hyde” that
springs from the “Dr. Jekyl” — is Dr.
Lorenz. Monroe Salisbury’s physi¬
ognomy lends itself to a striking
make-up and a forceful portrayal of
the role. Ruthlessly his plans are car¬
ried out, but fate frustrates him.

You have seen storms, perhaps
have taken shelter from one in the
woods, and watched the giant trees
sway and bend as if every moment
they would come crashing to the
earth, while the wind-swept rain
came down in torrents and the light¬
ning split the heavens with its
barbed tongue. In such a scene,
vividly realistic and appalling, is
seen the fiend with his helpless vic¬
tim. Taking refuge in a hut, the
storm wages fiercer, and in the glare
of lightning is seen a hand-to-hand
struggle between Marta and the doc¬
tor. There comes a flash, the house
crumbles to the ground and Marta and
Lorenz are buried in the ruins. Her
delirious mind pictures Death ap¬
proaching. He beckons, and her spirit
is seen rising from out her body. At
the River Styx, “Charon,” the boat¬
man, awaits them. Hades is shown,
and “His Satanic Majesty” is seen at
his favorite indoor sport. In a wild
struggle with Death, Marta comes to
— to find herself in the arms of her
husband, who has followed them.

CONDENSED SYNOPSIS
FOR YOUR PROGRAM

Pollard Picture Plays present
MARGARITA FISCHER in
“THE DEVIL’S ASSISTANT.”

When Marta (Margarita Fischer) mar¬
ries John Lane, Dr. Lorenz, a former
suitor, determines to take her away from
her husband. A year later John and Marta’s
happiness over an expected event is turned
to grief, for the child dies and Marta suf¬
fers intensely. Dr. Lorenz attends her and
administers dope, until she becomes a con¬
firmed “fiend.” Marion, who loved John,
conspires with the doctor, pretending to be
Marta’s friend, and attempts to win John.
Driven desperate by her husband’s apparent
neglect of her, and craving the “dope”
which the doctor withholds, she leaves with
Lorenz. Taking refuge from the storm
in a hut, the doctor attempts to take ad¬
vantage of the situation, but lightning
strikes the hut and they are buried in the
ruins. The doctor is killed, but Marta is
saved from the ruins by John and they
start life anew, free from the malign in¬
fluence of her persecutor.

REEL LIFE— Page Two

CHARLES CHAPLIN

in

•THE CURE”

Tenth of Chaplin’s Great
Comedy hits for Mutual
Release Available April
the sixteenth.

HARLES Chaplin’s next
Mutual comedy, “The
Cure,” scheduled for re¬
lease on April 16, affords
the $670,000 a year star
more really side-split¬
ting opportunities than
did any one of the prior
Chaplin releases, accord¬
ing to expert opinion,
this verdict including
even those uproarious hits, “The
Count,” “The Rink,” and “Easy
Street.”

Chaplin appears in “The Cure”
as one who has loved conviviality
“not wisely, but too well,” and when
the genius of the screen makes his
appearance wearing that preternat-
urally grave expression which con¬
trasts so vividly with the pervasive
Chaplin grin, there is irresistible
comicality, in the introduction.

Concommitantly humorous is the
behavior of the Chaplin feet which
refuse to answer their steering wheel
and convey the comedian involun¬
tarily into a series of extraordinary
situations.

“The Cure” is a hospital resort,
dedicated to the elimination of hu¬
man ills and perversities, populated,
as such resorts usually are, by human
freaks bent on physical regeneration
and mental relaxation. This crowd
furnishes a comedy caste never be¬
fore equaled even in the vivid im¬
aginings of the screen comedy king.

It would have been easy enough,
with clumsy handling, to have over¬
played a story which calls for Chap¬
lin’s appearance at “The Cure” with
a trunkful of plain and fancy drinks
in assorted bottles, plus one extra
collar, a shirt and a stubby tooth¬
brush, but it is a tribute to the
genius of the world famous actor
that he has succeeded in making the
action of the play excruciatingly
comic without permitting a trace of
vulgarity to appear in it anywhere.

The fun really becomes riotous
when Chaplin’s trunkload of tangle¬
foot is discovered by the resort pro¬
prietor and ordered destroyed, the
halfwit attendant given the order
dumping it into the medicinal well
from which every patient in the
place is supposed to drink five pints
a day.

Of course pretty Edna Purviance,

The esteemed Mr. Chaplin plots to
boot the distinguished Mr. Campbell
— 348 pounds F. 0. B. Los Angeles —
into the limpid pool.

in the role of a dashing widow, is
one of the patients, taking a cure for
“nerves,” and equally of course
Charlie has his eye on the young
woman before he is out of the bus.

In the natural sequence of events
Edna discovers that in some inex¬
plicable manner the well has become
vitalized over night, and, feeling so
much better herself after the ma¬
tutinal pint, she doubles the dose
and rallies every one of the male
and female patients to participate in
the newly virtuous waters.

Chaplin and Edna continue to
sample the contents of the well until
life, even at “The Cure”, assumes a
roseate hue — a thing worth having
and worthy of being made the most
of pronto. There and then they pro¬
ceed to make the most of it.

Eric Campbell, the 6-foot 4-inch
giant of the screen, withal a merry
Mastodon, becomes cumbrously
frolicsome with the fair Edna and
thus slips automatically into his ac¬
customed role of taking punishment
from the active Chaplin, who is all
over his quarry at once like fleas on
a woolly dog. From that moment
until the play ends Campbell chases
Chaplin hard but vainly, gnashing
his huge molars in frantic rage and
fanning the air with tremendous
fists.

The fun, becomes irresistible from
the moment of Chaplin’s meeting
with Edna and the big patient until
the end of the play, laughable sit¬
uations follow without cessation.
There is a swimming bath scene
in which Chaplin half drowns the
giant, Charlie exhibiting himself in
a new role — that of expert swim¬
mer and diver.

As the Chaplin specials are un¬
folded to the public gaze it becomes
increasingly apparent that the great
comedian is a master of innumerable
arts. For instance, it was not known
until he produced “The Rink” that
Charlie could skate like a profes¬
sional, and it was not until he de¬
vised the swimming bath scene in
“The Cure” that anyone realized
what an expert swimmer he is. In
that scene Chaplin dives under the
vast bulk of Campbell with the speed
and agility of an otter, circles him
in the water, sits on his head and
nearly drowns him and in other
ways disports himself as an expert
waterman.

Altogether “The Cure” is certain
to enhance Chaplin’s popularity for
he has never produced anything
funnier.

REEL LIFE— Page Three

JIMMIE DALE”

PERILS Girl Reporters'1 '

Two two-part screen
stories with verve and
thrill and pep and punch
and suspense.

THE STOLEN
RUBIES

Jimmie Dale saves a
young man from
bunch of able crooks.

MYSTERY and murder, in
which a victim of a crooked
' pawnbroker is revenged, as
“Jimmie Dale” arrives in the nick of
time to save the rubies — feature the
second episode of the Mutual series,
“Jimmie Dale Alias the Grey Seal,”
entitled “The Stolen Rubies.”

E. K. Lincoln as “Jimmie Dale,”
a millionaire bachelor, is the means
of saving a young chap named Bur¬
ton, who robs his employer. A fake
murder is planned and Burton, in a
purposely provoked quarrel, kills, as
he believes, a crook of the under¬
world. A victim of crooks and lured
to their den, he is in imminent dan¬
ger of his life, when Jimmie rescues
him and exposes the crooked pawn¬
broker. Mysterious letters signed
“Tocsin” are an influence that gov¬
erns Jimmie in his philanthropic —
if criminal — actions. He also meets
Marie La Salle, who is persecuted
by her alleged uncle, the Pretender,
and is strangely and irresistibly at¬
tracted toward her.

Action, intrigue and strong situa¬
tions follow rapidly in this episode
of “The Grey Seal” and excitement
and the element of suspense keep the
observer keyed-up to the finish.
Edna Hunter, as Marie La Salle, the
new element in Jimmie’s life; Paul
Panzer and Doris Mitchell are
strongly cast.

Rapid-fire action and original plot
are characteristic of the “Jimmie
Dale” series and this secorld chapter
keeps up with the pace.

* * *

In “Sunny Jane,” Jackie Saunders’
first production for Mutual, Miss
Saunders plays a harum-scarum,
imaginative, gingham-dressed little
country girl.

To anyone brought up on a farm
or loving farm life “Sunny Jane”
will bring a pang of homesickness.
There are scenes of cattle in the
fields, flocks of sheep, goats, chick¬
ens, big collie dogs, hay mounds
stacked high and all that goes with
a well kept farm.

E. K. Lincoln, cheerful and desperate
actor in the title role of “The
Adventures of Jimmie Dale.’’

WAR and hate, and inother-love,
patriotism and fear and daring —
all are mingled elements in “Mother¬
hood,” Marjorie Rambeau’s second produc¬
tion for Mutual, made under the direction
of Frank Powell.

Miss Rambeau in the role of Louise, a
peasant woman, is called upon for all of
her ability in emotional portrayal, and in
the opinion of many of her critics, succeeds
remarkably in the scenes where her mother-
love is awakened for her child — a son of
the lust of war.

* * * *

“It is a mistaken notion that most
people have that actresses are not do¬
mestic,” says Ann Murdock, Mutual
Film Corporation star, who is at pres¬
ent at work on the production of “Out¬
cast,” the well-known Charles Froh-
man stage success at the Empire-Mu¬
tual studios on Long Island.

“There is hardly an actress of my
acquaintance who is not keen about
house-keeping, and does not love to
'putter around the kitchen.’ Most of
them have their specialties — some are
better at cooking than at washing
dishes, for instance, but all of them
are devoted to a home and the little
duties which come with home-keep¬
ing.”

THE

COUNTERFEITERS

Zena Keefe passes
more perils saving
Tony from prison.

ENA KEEFE, heroine-star of
“The Perils of Our Girl Report¬
ers,” has a charmingly adventur¬
ous role in “The Counterfeiters,” the
fourteenth of the series of two-part
thrillers.

W. H. Turner, always a villain of
the deepest dye — the kind that gets the
hisses of the Gallery Gods and the sin¬
cere hatred of the boxes — in “The
Counterfeiters” appears as Tony, a
simple-minded, big-hearted Italian
who runs a grocery store.

Tony is the unwilling go-between
for the counterfeiters, who pay him
for his work in spurious bank notes.
He believes they are genuine, however,
and carefully hordes them up so that
he can go back to Italy and his Marie.

His portrayal of this son of sunny
Italy proves that W. H. Turner can
make the audience love him as well as
hate him, and there is a scene which
will bring tears to every eye when
Tony discovers that the money he has
been saving is counterfeit and all his
dreams of spending his last days in his
native land are gone, and he is liable
to spend them in jail instead. The girl
reporter, played by Miss Keefe, and
her sweetheart, the secret service man,
disclose the counterfeiters and their
den and come to Tony’s rescue. They
prove to the police that Tony was the
innocent victim and raise enough
money to replace his losses.

* * * *

Twenty-one changes of costume is
Margarita Fischer’s record in “The
Devil’s Assistant,” the fourth of her
productions for Mutual. Her ward¬
robe contains a variety which includes,
negligees, evening dresses, evening
coats, afternoon frocks, street cos¬
tumes, hats, and so forth. Miss
Fischer designed each of the frocks
herself.

* * * *

When not working before the cam¬
era in the Signal studios, Helen
Holmes is noted for being one of the
most beautifully dressed women in
Los Angeles. She delights in what she
calls an “artistic” gown, and spends a
great deal of time with her modiste
assisting in the designing of her ward¬
robe.

REEL LIFE — Page Four

/

DRAMATIC AND
COMIC TEATURETTES

Feature quality film in
one and two reel produc¬
tions, released by Mutual
Film Corporation.

SHORTY SOLVES
WIRELESS MYSTERY No. 12

Shorty Hamilton . By Himself

Anita Keller . Y erza Dayne

THE twelfth story of the Niagara-
Mutual “Adventures of Shorty
Hamilton” involves him in the
solution of the mysteries of wireless
messages sent out to foreign sub¬
marines giving information in regard
to the sailing of vessels from Ameri¬
can ports, in “Shorty Solves a Wire¬
less Mystery.”

A daring rescue from drowning of
the pretty daughter of Hans Wagner,
a pianist who is supposed to be an
invalid, being wheeled about in an in¬
valid chair, results in the discovery by
the Jap servant of the supposed pian¬
ist of a secret service badge on
Shorty’s clothes as he hangs them up
to dry after the rescue. When Shorty
goes out to the clothes line to rescue
his badge, he receives a shock from
the clothes line, which is of wire, and
his investigations disclose to his un¬
erring sleuth-mind that the wire is
connected with the piano in Wagner’s
room where he is supposed to be
practicing, but in reality is sending
wireless messages from the piano, the
key of G being the key that is used for
sending the messages.

Shorty goes to the government wire¬
less operator to report what he has dis¬
covered. The operator tells him of a
message sent in the afternoon asking
the crew to come ashore and capture
the secret service detectives. Shorty
learns that Anita is missing, and
realizes that she has been made a
prisoner on the yacht. Telling the
wireless man to send to the nearest
police station for aid, Shorty swims
out to the yacht to rescue Anita.

Thrilling incidents and hair-breadth
escapes follow in rapid succession.
The submarines are seen rising to the
surface, receiving the messages and
then submerging. Shorty, overcoming
all obstacles, reaches the yacht, finds
Anita locked in a stateroom and swims
ashore with her, where he finds that
the police have captured the boat with
the yacht’s crew who have returned
to look for Shorty. Wagner and the
Jap are arrested, and all ends happily
with the confiscation of the wireless
apparatus.

Mr. Shorty Hamilton as he appears
in “Shorty Solves a Wireless Mys¬
tery.” No. 12 of his “Adventures.”

AN ARTIST’S
INTRIGUE

One Reel American — featuring J.

Warren Kerrigan

Absorbed in his painting, Robert Gains-
worthy neglects his wife. Jack Sanders,
Robert’s cousin, visits them and becomes in¬
fatuated with the heartsick wife, but Gains-
worthy did not see. The expression in the
face of his picture not satisfying him, and
observing his wife and Sanders together,
he plans to accuse her of unfaithfulness,
note the expression on her face and paint
that expression into his picture. He did so.
The innocent wife, persuaded by Sanders
to elope until Robert should come to him¬
self, leaves a note for Robert. The picture
completed, he goes to tell his wife of his
success — finds the note — and his pleasure
of _ success is turned to bitterness. The
artist reclaimed his wife from the unworthy
Sanders — both happy in a new and better
understanding.

* * *

THE LADY
DETECTIVE

One Reel Cub Comedy — featuring
George Ovey

Tiny’s father objects to Jerry’s suit, and
the butler throws Jerry from the premises.
In the melee father is struck by the butler,

who is discharged, and father writes the
agency for another butler, a maid and a
detective to watch Jerry. Jerry secures the
note, induces his friends, Tom and Dick,
to dress as a detective and butler respect¬
ively, while he dresses as a maid. They
repair to Tiny’s house and Jerry separates
Tiny from Hank, the favored suitor. They
pose as movie actors and stage a scene-
Father and Hank break in on the scene,
and Jerry, discovered on account of the loss
of his wig, “beats it” down the road, to the
accompaniment of a rainfall of bullets
emanating from a shot-gun in father’s
hands.

* * *

WHY BEN
BOLTED

Two Reel Vogue Comedy— featuring
Ben Turpin and Gypsy Abbott
Ben and Laurie are tramps, but unknown
to Ben, Laurie makes counterfeit money
for his needs. The Auto King receives a
package from his sweetheart labeled
“Woodcocks.” Opening the package he dis¬
covers a box of wooden cocks such as are
used on beer kegs. He then sees it is an
“April Fool” joke. Meanwhile, Laurie buys
an auto from Currier, giving him bad bills.
Ben applies for a job at Currier’s place,
who hires him to get into a box, on which
is painted “Loof Lirpa.” The box is left
upside down at Gypsy’s house, with Ben
on his head. He is liberated by the maid,
who falls in love with him. Ben calls up
Laurie, who hurries to the house. Ben tells
Laurie that if he will hide in the box he
will meet a beautiful heiress, and Laurie
gets in the box. Ben puts on some of the
maid’s clothes and poses as her sister.
Gypsy returns, discovers Laurie, who makes
a hit with her, and they all repair to a swell
cafe. The wine flows freely, and becoming
too boisterous, they are thrown out. Cur¬
rier, discovering the money is bad, Ben and
Laurie are pinched, Gypsy blaming Currier,
saying it is his fault for sending her a
“Loof Lirpa.” He holds a mirror in front
of the words on the box and Gypsy reals
“April Fool,” realizes the joke is on her,
and falls in Currier’s arms.

* * *

SHORTY HAMILTON’S stock is
rising with the Los Angeles fans,
according to Manager McCarty of
the Clune’s Comedy Theatre. As a con¬
sequence the Comedy Theatre on Broad¬
way, Los Angeles, which showed the first
numbers of the Mutual series, “Adven¬
tures of Shorty Hamilton,” only three
days each week, has now made arrange¬
ments whereby these pictures will be run
the entire week.

* * *

THE final scenes of “The Frame-Up,”
starring William Russell, are being
shot at the American studio under
the direction of Edward Sloman. It is
expected that the production will be en¬
tirely completed this week.

In this photoplay Mr. Russell poses most
of the time in the garb of a chauffeur.
Francelia Billington, again appears opposite
Mr. Russell.

REEL LIFE — Page Five

MUTUAL WEEKLY
REEL LIFE

TOURS AROUND WORLD

See the world from an
opera chair in these
three Gaumont reels;
news and travel.

THE WEEKLY No. 116
HE announcement that the Czar
of all the Russians abdicated
to please -the Mutual Weekly
would not be understood without ex¬
plaining that it was the time of his
abdication which was the pleasing part
of the imperial function. Just as
Mutual Weekly No. 116 was being
packed for shipment at the studios of
the Gaumont Company word was re¬
ceived of the startling governmental
change. Within five minutes an ex¬
cellent negative of the monarch had
been taken from the vault and de¬
livered to the printing room while the
title to accompany it was being set up
and the card photographed.

Important among the news events
of current interest is the* return of
James W. Gerard, ex-Ambassador to
Germany, shown in this issue of the
weekly. The Gerard party was photo¬
graphed at Havana, Cuba, upon the
arrival of the Infanta Isabel, the
Spanish steamship upon which the trip
from Europe was made. It is inter¬
esting to note that the film was taken
by special messenger from Havana to
the Gaumont Studios at Flushing, N.
Y., where The Mutual Weekly is pro¬
duced and edited, arriving before Mr.
Gerard had reached Washington. The
finish of the devious trip from Berlin
is pictured by the Washington camera¬
man.

Pictures from other lands in this
issue show the Allies’ Medical Corps
at work in East Africa where to the
horrors of war are added the horrors
of the jungle; official celebration of
the birthday of King Alphonso of
Spain ; Premier Lloyd George review¬
ing Welsh recruits; a section of the
American Ambulance Corps leaving
for the front; and typical battle pic¬
tures “somewhere in France.”

The tornado which swept Indiana
and Ohio gives to the screen pictures
of the destructive force of the wind.
The Pacific coast contributes pictures
of the opening of the automobile rac¬
ing season, the winning of the one-
hundred mile race at Los Angeles by
Earl Cooper; San Francisco has the
first unit of the U. S. Auxiliary fleet,
the “Great Northern,” to be con¬
verted into a cruiser in case of war;
and San Diego shows the guard pro¬
tecting the wireless towers.

One of Ruth St. Denis’ pupils dancing
at “Denishawn” — Reel Life. No. 50.

TOURS AROUND THE WORLD
No. 23

NTIL the war started Paris was
looked upon as the world’s
metropolitan playground. It
will regain that position when the war
has ended, but until then Americans
must content themselves with pictures
of the city when its surface indica¬
tions were all of gaiety and good
cheer. Gaumont’s “Tour Around the
World” No. 23, released April 10
through Mutual, has a number of
entertaining views of Paris. There is
the dainty little Monceau Park, in the
aristocratic section, once the property
of King Louis Philippe. Then come
the gardens of the Luxembourg, the
Champs Elysees, and the Bois de
Boulogne.

Lisbon, capital of Portugal, lends it¬
self admirably to pictorial representa*
tion. It is built in terraces on low
hills, backed by the mountains of
Cintra. The municipal palace and the
beautiful Don Luiz garden are promi¬
nent among the scenes, as are the
celebrated Avenida da Liberdade.

REEL LIFE No. 50

HE beautiful manner in which
young girls are developed into
aesthetic dancers by Ruth St.
Denis at her California home is por¬
trayed in “Reel Life” No. 50, issued
by Gaumont "through Mutual, April
12. Their freedom of development
as healthy young nymphs without the
encumbering garb of the twentieth
century is particularly appealing. The
bacchanal on the beach at “Den¬
ishawn” is more wonderful than any
stage picture, since it has the unrest¬
ing ocean for its background.

“Wine Making in France” shows
the gathering of the grapes by men
and women, the emptying of the
baskets into the vats of the wine press,
the compression, the flowing of the
pure juice into the fermenting vats,
and the final storage.

“A Flying Torpedo” is an animated
drawing which shows just how a
torpedo can be launched against a
ship from an aeroplane. This is one
of the series of animated pictures for
which the Gaumont company is fam¬
ous, pictures of machines and pro¬
cesses that cannot be caught for the
screen by the camera.

“Indian Basketry” takes the spec¬
tator to the land of the Hopi Indians
in the southwest. Here the natives of
this tribe in Arizona and New Mexico
are seen as they gather the reeds, as¬
sort them by colors and sizes, and start
to weave their baskets. A number of
handsome ceremonial baskets are pic¬
tured.

What will cause a great deal of dis¬
cussion and be the source of a great
deal of amusement patterned after the
screen explanation is that section of
this reel called “A Novel Home Enter¬
tainment.” It explains how to pass a
pleasant hour making apt phrases by
using a person’s initials as the initials
of words descriptive of the person.

The Illinois Congress of Mothers
have endorsed all of the Gaumont one-
reel topicals as being ideal for the
children’s program in that they enter¬
tain while they educate. They have
found in their investigations that the
children like them and ask for them.
They also advocate their use in the
public schools for entertainment and
aids in geography lessons.

REEL LIFE — Page Six

NANCE O’NEIL
PICTURES READY

Also some news from
studios and views of
Exhibitors who find
profits in “Mutuals.”

WORD comes from the studios
of the Frank Powell Pro¬
ducing Corporation at Col¬
lege Point, Long Island, that Nance
O’Neil, the celebrated star who was
recently signed to appear in Powell
pictures released by the Mutual, has
completed two dramas.

“Mrs. Balfame,” the picturization
of Gertrude Atherton’s famous book
of that title, which brings the works
of that celebrated novelist for the first
time to the screen, was completed a
number of weeks ago.

The release date of this first O’Neil
offering through Mutual exchanges
has been set for April 9, in accordance
with the Mutual’s policy of having all
productions completed at the studio at
least four weeks in advance of release
date.

The second of Nance O’Neil’s
Mutual-Powell dramas is Henrik
Ibsen’s “Hedda Gabler,” that striking
characterization and picture of Nor¬
wegian life which formed one of the
noted actress’ strongest stage roles.
It will be released some time in May.

In both pictures Miss O’Neil has
been surrounded by excellent casts,
including recognized artists of the
stage and screen.

“Hedda Gabler” was a spoiled, self¬
ish, erotic woman, but she had those
characteristics about her which every
woman recognizes and every woman
understands. Her character presents
a tremendous study, not an altogether
pleasing subject, perhaps, but fascinat¬
ing for its humaness.

“Mrs. Balfame presents another
type of woman, but quite as full of
interpretive possibilities as ‘Hedda’,”
says Miss O’Neil. “The character
has taken on added significance to
me, naturally, since she is the liter¬
ary child of Mrs. Atherton who is a
very dear friend of mine. I found
much pleasure in re-creating her for
the screen.”

* * *

ALTHOUGH the first chapter of “The
Railroad Raiders,” the new Mutual
serial in which Helen Holmes is once
more a railroad girl, will not be released
until April 9, the first five chapters have
already been completed at the Signal studio
under the direction of J. P. McGowan. The
titles of the chapters already completed
are “Circumstantial Evidence,” “A Double
Steal,” “Inside Treachery,” “The Deal in
Silks” and “A Woman’s Wit.”

Helen Holmes, star of “The Rail¬
road Raiders” is not afraid of the
biggest engine on the line, but she
looks as though she were afraid of
the dark.

WHEN one exhibitor is so enthusiastic
about a production that he writes to
his fellow threatre manager and ad¬
vises him to book it you may be sure it is
an A-l production. C. H. Ross, manager
of the Grand Theatre, Elmira, N. Y., is
responsible for this letter recommending the
Mutual serial:

“Thinking you might be interested in a
good drawing serial, I am writing you a
little of my experience in one I am now
running. It is ‘A Lass of the Lumber-
lands,’ featuring Helen Holmes. I have
not had the crowd on Wednesdays in a
long time that I had last Wednesday and
the week before. I surely believe this
serial is doing good business for me. If
interested come up next Wednesday and
see for yourself.”

GAIL KANE has started work at the
American studio on her second pro¬
duction for Mutual. This will be an
adaptation of H. S. Merriman’s popular
novel, “With Edged Tools.” The third
vehicle chosen for Miss Kane will be en¬
titled “The Indiscretions of Molly.” This
is an adaptation of the novel by Charles
Sherman, “The Upper Crust.” The first
feature in which Miss Kane appeared for
Mutual was “Whose Wife?” This is now
completed and the release date will be an¬
nounced in the near future.

* * *

AGNES EYRE, Powell player, who
will appear prominently in support
of Marjorie Rambeau and Nance
O’Neil in several of the pictures made
under the direction of Frank Powell for
distribution through Mutual, is a healthy,
hardy and adventuresome soul.

Miss Eyre works in and lives near the
Powell-Mutual studio at College Point,
Long Island. Near her home is Flushing
Bay, and Flushing Bay, filled with snow-
covered cakes and islands of ice, would
make even Admiral Peary feel that he
was once again in the far and frozen
North. Now, Miss Eyre is very fond of
her morning -dip and the snow and ice
and the temperature of the water worry
her not a bit.

Each morning, before breakfast, a fur-
coated figure runs lightly to the water’s
edge and there quickly removing the
coat, does a Kellerman between the
miniature icebergs. Miss Eyre does not
stay in very long but she allows that
her morning dip in the icy waters of
Flushing Bay is the one best way to
start the day, an opinion apparently not
shared by many, for to date Miss Eyre
has been alone in the water.

* * *

HARLIE CHAPLIN as a “funny
man.”

Charlie Chaplin as a pie thrower.
Charlie Chaplin as a slap stick come¬
dian.

These are all types with which the
public is very familiar, but how many
people have been introduced to

Charlie Chaplin, the kindest hearted
fellow that ever lived.

Charlie Chaplin, whose veneration for
age is marvelous.

Charlie Chaplin, the kindest friend to
dumb animals.

Charlie Chaplin, always considerate of
others.

This other side of Charlie Chaplin’s
nature was shown recently at the studio
when, finding the need for some “types,”
Chaplin had a number of Civil War veter¬
ans brought to the studio from the Sol¬
diers’ Home.

The old fellows, many of whom bore
the scars of honor, got a world of en¬
joyment out of obeying the instructions
of their favorite comedian. One old
warrior was heard to remark, “If every¬
one was as easy to work under as that
boy, life wouldn’t be such a hard propo¬
sition after all.”

REEL LIFE — Page Seven

FRANK, POWELL

^Present?

Manorie RamLeau

“Motkerkood"

By Frodaridc Arnold Fu winner

Second of the Marjorie Rambeau Series
of Mutual Pictures'. A story of heart-throbs'
with the European w dr as a Laclcground . Its'
theme is one of universal appeal. In five
acts. Directed by Franlc Powell. Released
week, of March 26th .

L Playing: "THE GREATER, WOMAN"

Available At All
MUTUAL EXCHANGES'

Produced by \>

FRANK POWELL PRODUCING CORPORATION

Hi* Director. J • P*McGOWAN

S

RELEASE DATE

Daring deeds — tremendous thrills—
hairbreadth escapes — all add to the
drawing power of this third , big
Helen Holmes Success. Fifteen chap¬
ters of amazing railroad adventure,
mile-a-minute action. Punch — pep-
ginger ! Star — director — supporting
cast — all are top notchers! And a
tremendous campaign of national
advertising is back of “THE RAIL¬
ROAD RAIDERS”.

Produced b/

SIGNAL FILM CORPORATION

SAMUELS- HUTCHINSON Par.

Ika, Ctuikor: Fra n k H • fpearmcuv

APRIL 9tk

JOHN R. FREULERL 9rer.

Huge locomotives crash — whole freight
trains are shattered*— thrills abound in
every chapter of “The Railroad Raiders”.
Dashing, daring Helen Holmes was never
seen to better advantage. Today she is
the idol of motion picture fans every¬
where. Capitalize on her popularity!
Bring the fans to YOUR theatre to see
her latest and greatest photo-novel —
“The Railroad Raiders”. Wire or write
your nearest Mutual Exchange at once!

Distributed 1/

MUTUAL FILM CORPORATION

We do not claim

that Cub Comedies will “knock ’em out of their seats” or throw an
audience into “paroxysms of laugher.”

but we do say —

that Cub Comedies will put your patrons in a happy frame of mind
and cause them to remark to one another as they leave your theatre:
“Dandy comedy, wasn’t it?”

Which is what we believe every exhibitor wants to hear his patrons

say.

If you are looking for such subjects and if you are not already running
Cub Comedies begin with

Minding the Baby

featuring

George Ovey

Released March 22

This is a one reel subject in which Jerry gets the babies mixed, but
after a great deal of trouble gets everything satisfactorily adjusted.

Book through any exchange oj the
Mutual Film Corporation

DAVID HORSLEY PRODUCTIONS

REEL LIFE— Page Twelve

MUTUAL

MUTUAL FILM
CORPORATION ?refextP

Shortu Baft ib „
BuIlionThievef

i

9km of "%e. Adventures' of
Skorfy Hami/hh%jfurefteP

RELEASED MARCH 19H\.

Exhibitors' everywhere are showing
"TheAdventures of ShortyHamilton*

-fifteen Mutual Featurettes-eadi
complete.The merit of these snappy
two-reelers command? attention.

They are breezy stories- full of
rapid-fire action and thrilling climaxes’

A new "Shorty' Featurette is released
eachweek. Ask for these brilliant play?
at your nearest Mutual Exchange.

Produced 6/

MONOGRAM FILMS'

^e/eafed Tk/u

MUTUAL EXCHANGES'

REEL LIFE — Page Thirteen

VOGUE FILMS, Inc., Presents

LS RELEASED MARCH 24th

FEATURING BEN TURPIN

THEATRES everywhere are

finding Vogue Comedies just the
thing with which to spice their programs.
They’re consistently good— clean and wholesome—
photographically in a class by themselves. It makes
no difference how large your house, or where it is
located — Vogue Comedies will please your patrons.
“A Studio Stampede” is a fair sample of Vogue Com¬
edies. Directed by Robin E. Williamson. Available
at any Mutual Exchange.

VOGUE FILMS, Incorporated

General Ofiices: 6225 Broadway Chicago, Illinois

Slapstick with Seaton

REEL LIFE — Page Fourteen

REEL LIFE — Page Fifteen

STAR CUTS FOR YOUR PROGRAM

Order these cuts from your Mutual exchange — no distribution
from the home office. These cuts may be used in your program
and in your press notices and advertising in the newspapers. No
cuts rented or loaned — price twenty-five cents each — Send your
order to the nearest Mutual-exchange.

Mary Miles Minter Marjorie Rambeau

American-Mutual Powell-Mutual

Ruth M acT amany
Mutual Star.

Gail Kane
A merican-Mutual

Margarita Fischer
Pollard-Mutual

Edna Goodrich
Mutual

Richard Bennett,
American-Mutual
Star.

Helen Holmes
Signal-Mutual

Ben Turpin
Vogue-Mutual

Ann Murdock
Empire-Mutual

Nance O’Neil
Powell-Mutual

Paddy McQuire
Vogue-Mutual

Shorty Hamilton
M onoaram-Mutual

Crane Wilbur
Horsley-Mutual

William RusseN
American-Mutual

Charles Chaplin
Mutual Comedian

Max M. Dill and
William C. Kolb.
American - Mutual

Jackie Saunders
Horkhcimer-Mutual

George Ovey
Cub-Mutual

REEL LIFE — Page Sixteen

MUTUAL STAR PRODUCTIONS MUTUAL STAR PRODUCTIONS

Week of April 2, 1917

MARGARITA FISCHER

No. 177 — The Devil’s Assistant — Fischer

In Six Acts

Week of March 26, 1917
MARJORIE RAMBEAU
No. 175 — Motherhood — Powell

In Five Acts

JACKIE SAUNDERS
No. 176 — Sunny Jane — Horkheimer
In Five Acts

MUTUAL PICTURES

No.

Brand

05400

Monogram

05401

(Featur-

ette)

05402

Gaumont

(Featur-

ette)

05403

Mutual

(Featur-

05404

American

05405

Cub

(Featur-

ette)

05406

Gaumont

(Featur-

ette)

05407

Monmouth

05408

(Featur

ette)

05409

Vogue

(Featur-

ette)

Week of April 2, 1917

MONDAY, APRIL 2, 1917.

Title Class Reels

Shorty Solves a Wireless Mys¬
tery . Drama 2

Adventure of Shorty Hamilton,

No. 12 .

TUESDAY, APRIL 3, 1917.

Mutual Tours Around the World

. Travel 1

WEDNESDAY. APRIL 4, 1917.
Mutual Weekly, No. 118. Topical 1

An Artist’s Intrigue . Drama 1

THURSDAY, APRIL 5, 1917.

The Lady Detective. . . .Comedy 1

Reel Life . Magazine 1

FRIDAY, APRIL 6, 1917.

The Counterfeit Five .... Serial 2

Jimmie Dale — Chapter No. 3. . .

. Drama

SATURDAY, APRIL 7, 1917.

Why Ben Bolted . Comedy 2

Leads

“Shorty” Hamil¬
ton

Our New Islands
in the West
Indies
St. Thomas
St. Croix
St. Kitts

J. Warren Ker¬
rigan

George Ovey

Cultivating Rub¬
ber Plants
A One Man Sub¬
marine
Magnetism
Making Bread
the Modern Way
When Enough Is
Not Enough
E. K. Lincoln
Ben Turpin

“Kidnaped” . . .

Niagara

Perils "of Our
No. 15 .

Girl Reporters,

. Drama

2

Zena Keefe and
Earl Metcalfe

No.

05389

05390

05391

Week of March 26, 1917

MONDAY, MARCH 26, 1917.

Title Class Reels

Brand

Monogram Shorty Lands a Master Crook

(Featur-

ette)

Gaumont

(Featur-

ette)

05392

Mutual

(Featur-

ette)

05393

American

05394

Cub

(Featur-

ette)

05395

Gaumont

(Featur-

ette)

05396

Monmouth

05397

(Featur-

ette)

05398

Vogue

05399

(Featur-

ette)

Drama

Adventures of “Shorty” Hamil¬
ton, No. 11 .

TUESDAY, MARCH 27, 1917.

Mutual Tours Around the World

. Travel

WEDNESDAY, MARCH 28, 1917.

Mutual Weekly, No. 117. Topical
The Bearded Fisherman . Drama
THURSDAY, MARCH 29, 1917.
Be Sure You’re Bight. .Comedy
Reel Life . Magazine

FRIDAY, MARCH 30, 1917.

Jimmy Dale, Alias the Grey Seal

. Serial

Chapter No. 2 . Drama

SATURDAY, MARCH 31, 1917.

Freed by Fido . Comedy

Leads

’Shorty” Hamil¬
ton

1 Ajaccio — Corsica
Punchal, Madei¬
ra Islands,
Rostor - on - the
1 Don, Russia

1 Edward Coxen

1 George Ovey

1 Weaving Indian

Blankets
The Pulmotor
Swedish G y m -
nasties

The Famous
Herald Clock

2 Winter Sports
In Florida

E. K. Lincoln

2 Lillian Hamilton

The Counterfeiters .

Niagara Perils of Our Girl Reporters,
No. 14 .

Zena Keefe and
Earle Metcalfe

MARY MILES MINTER
(New Series)
Environment
Annie for Spite

WILLIAM RUSSELL

(Nerv Series)

My Fighting Gentleman
High Play
The Frame-up
Shackles of Truth

PHOTO-NOVELS

The Railroad Raiders
The Sequel to The Dia¬
mond from the Sky
A Lass Of The Lumber-
lands.

The Girl and the Game
The Secret of the Sub¬
marine

MARGARITA FISCHER
The Pearl of Paradise
Miss Jackie of the Navy
The Butterfly Girl
The Devil’s Assistant
A Night at Tarquizzi
Birds of Passage

MARJORIE RAMBEAU
The Greater Woman
Motherhood
The Debt
The Second Wife
A Doll’s House

GAIL KANE

Whose Wife?

CHARLES CHAPLIN
The Cure
Easy Street
The Rink
Behind the Screen
The Pawnshop
The Count
One A. M.

The Vagabond
The Fireman
The Floorwalker

RICHARD BENNETT
Philip Holden — Waster
And The Law Says
The Valley of Decision
The Gilded Youth

SERIES

The Perils of Our Girl
Reporters

Adventures of Shorty
Hamilton

Jimmy Dale Alias the
Grey Seal
Fantomas
The Vampires

MUTUAL FILM EXCHANGES

Albany, N. Y.
Amarilla, Texas.
Atlanta, Ga.
Baltimore, Md.
Boston, Mass.
Buffalo, N. Y.
Butte, Mont.
Chicago.
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Denver, Colo.

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Fargo, N. D.

Houston, Tex.

Indianapolis, Ind.

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Los Angeles, Calif.

Louisville, Ky.

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Minneapolis, Minn.

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New York City, Mutual Film
Exchange

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Oklahoma City.

Omaha, Neb.

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Portland, Oregon.

Salt Lake City, Utah.

San Francisco, Calif.

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Seattle, Wash.

Spokane, Wash.

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Washington, D. C.
Wilkes-Barre, Pa.

Toronto, Canada.

Calgary, Canada.

Montreal, Canada.

St. John, Canada.

Vancouver, Canada.

Winnipeg, Canada.

733 Broadway
302 E. 4th St.

146 Marietta St.

412 E. Baltimore.

1106 Boylston St.

106 Pearl St.

American Theatre Bldg.
Consumers Bldg.

224 E. 7th St.

750 Prospect Ave.. S. E.

1SJJ1 Main St.

1724 Welton St.

Cohen Bldg.

97 Woodward Ave.

Corner W. San Antonio Ave.

and S. Santa Fe St.

1019 Ludington St.

119 5th St.

805 Franklin Ave.

150 North Illinois St.

928 Main St.

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301 Enterprise Bldg.

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Box 978 7-15 Walker St.

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257 N. 12th St.

420 Penn Ave.

9th and Davis St.

123 E. 2nd South St.

162 Turk St.

1311 Pine st.

1933 3rd Ave.

408 W. First Ave.

1325 Franklin St.

419 Ninth St., N. W.

61 S. Penn Ave.

15 Wilton Ave.

702 4th St., W.

345 Bleury St.

39 Waterloo St.

963 Granville St.

48 Aiken BL, McDermott Ave.

MUTU

GAUMPNTS
REEL LIFE
Ko.49

Released

Anvil _ R4H

cultivating

RUBBER

PLANTS

MAKING
TH E MODERN WAY

MAGNETISM

ONE-MAN SUBMARINE

“Give Us the Same and
Back Room That’s

You don’t hear anybody answer, “No, thank
you, Charlie, “I’ll lay off this round.” Why? Be¬
cause he’s ordering a Gaumont “Reel Life” with
a Gaumont “Tours Around the World” on the
side. No, siree, pop! There is pos-i-tive-ly no
Gaumont “chaser.” The spectator is glued to his

T ell the Boys in the
What They Want, Too”

seat to the end of every Gaumont reel. When
the smiling man says to you“What’s your pleasure,
gentlemen?” Come back strong at him with “All
the Gaumont Single-Reels — and I'll pass the
pleasure on to my patrons.” Take a slant up at
what “Reel Life” No. 49 offers you.

6acjmor>t (p-

<;Ga(in}aoy

FLUSHING. N. Y.

E C BOSTICK

(HIj? ifimill

MILWAUKEE'S PHOTOPLAY PALACE

MILWAUKEE ,, _

Wisconsin March 19th, 1917*

Mutual Film Corporation,
Enterprise Building,
Milwaukee, Wis.

Gentlemen: -

It may fee of interest to you to know that the
business done by the Merrill Theatre when showing "The
Fighting Gentlemen" far exceeded my expectation and that a
groat deal of flattering comment was reported to me by my
patrons.

When I decided to play this feature three days
I did so with some misgivings, as X did not realize the draw¬
ing power of William Russell’s name, but I am frank to tell
you that I now look with confidence for the future releases
of this series.

I like your prese sheet especially because of the
music cues it furnishes and the "slogans" you suggest for the
features and I would thank you to put my name on the mailing
list of future releases.

Manager

Merrill Theatre.

L

Here is submitted one of the most extraordinary and significant of the many
tributes from personages in high estate which has even been accorded Mr.
Charles Chaplin. Mr. Hamilton Fyfe, author of the article from the “London
Daily Mail” of March 10, 1917, presented on this page, is one of the world’s
most famous journalists.

FROM THE LONDON DAILY MAIL

- March io, 1917 -

IF YOU WANT
A GOOD LAUGH

by

Hamilton Fyfe

It is essential there should
be provided amusements
and recreations which can
take people for an hour or
so out of themselves and
send them back to their
work refreshed and re-in-
vigorate d. — Mr. Neville
Chamberlain.

A WEEK ago I should
have dissented from
this opinion. I
should have said that
in war time amuse¬
ment can be forgone, and that,
anyhow, the kind of amuse¬
ment generally offered is
neither invigorating nor re¬
freshing. And I might have
added that all the entertain¬
ments which I knew lasted not
“an hour or so” but more like
three hours. But a week ago
I had not seen Charlie Chaplin
in “Behind the Screen.”

To be exact, I had never
seen Charlie Chaplin. He rose
to eminence during the two
and a half years I was out of
England for The Daily Mail.
I saw his name often men¬
tioned, mostly in a slighting,
rather superior tone. I got the
impression that he was an ordi¬
nary “knockabout eccentric”
boomed into a bill-topper and
accepted by the great, stupid
public at his boomer’s valua¬
tion. But the great public is
not so stupid as superior per-
, sons are apt to think.

I owe my discovery of him
to the small boy whom I was
taking back to school after his
half-term holiday. Every time
we passed a kinema (“spell it
with a k, Samivel”) the drag
of his hand on my arm became
heavier. Every clock we saw
gave him an excuse for reckon¬
ing up how much time we had
in hand. I was obliged to give
in. We groped our way into
a dark theatre where a “draw-
ma” of harrowing sentimental¬
ity was sloshing itself intermi¬
nably off the reels. It gave me
a pain. The silliness of it hurt
like a blistered heel. When it
ended I whispered to the small
boy, “You stay. I must go out
for a few minutes. I’ll come
back.” But just as I rose from
my seat I saw on the screen
the name of Charlie Chaplin.
“Well,” t thought, “I’ll see
what he’s like.” So I sat down
again.

For half an hour on end I
laughed as I had not laughed
since I saw Jeanne Granier and
Guy and Brasseur and Laval-
liere in “L’Habit Vert.” There
is more real fun in “Behind the
Screen” than in all the “re¬
vues” put together, judging by
those which I have endured.
How is it that any paltry piece
at a theatre is noticed in all
the newspapers, while no one
tells us when there is some¬
thing good to be seen on the
films? The whole of this in¬
genious farce is entertaining.
The idea of taking us “behind
the screen” among the produc¬
ers and actors of film-plays is
a bright one to start off with.
The whole thing moves briskly

without a single dull scene.
And as for Charlie Chaplin,
why, this despised droll of the
“movies” is a comedian of the
first rank. His economy of
means is masterly. He can
suggest more by moving an
eyebrow than most comedians
can put into contorting their
features for three-quarters of a
minute. He never, in this piece
at any rate, either overdoes his
facial expression or misses an
effect.

He is a pathetic, bullied lit¬
tle assistant to a Goliath of a
stage carpenter. He does all
the work, while Goliath sits
and drowses, only waking up
to cuff poor Charlie when the
producer complains that some¬
thing has gone wrong. Some¬
thing? But the fun of it is
that everything goes wrong.
Such honest, hearty fun that
we can enjoy along with
schoolboys and feel better for,
“refreshed and invigorated.”
It was over in half an hour,
quite as much as I have to
spare for amusement in these
times. I came away feeling
that I had really been “taken
out of myself,” as Mr. Cham¬
berlain says.

So far as I can judge, his is by
far the most genuine and out¬
standing genius for comicality
that the kinema has brought to
light. He is a national asset, if
entertainment is so needful as the
Director of National Service
suggests. We ought to employ
the best authors available to
fit him with parts. The great
public knows a good thing, but
it does not always put it to the
best use.

REEL LIFE— PAGE ONE

An article from our
Allies overseas show¬
ing how the fame of
Chaplin grows.

An Appreciation of
Charles Chaplin

Marjorie rambeau,

whose Broadway tri¬
umph in A. H. Woods’
great production
“Cheating Cheaters” ad¬
ded to her fame on the “Great White
Way” and throughout the United
States, has a splendid medium for
display of her brilliant talents- in
“The Debt,” a thrilling love drama
adapted by Kilbourn Gordon from
an original scenario by Clara S.
Beranger and directed by Frank
Powell of the Frank Powell Produc¬
ing Corporation for Mutual release.

Miss Rambeau is well known to
theatre patrons all over the United
States. The clever star scored a big
hit in “Merely Mary Ann” and
“Kick In.” Miss Rambeau had a
Broadway run also in “So Much For
So Much” at the Longacre Theatre
and she played for several years under
the Morosco management.

DIRECTED BY
FRANK POWELL

-Frank Powell, who directed “The
Debt,” was well known as a director in
London and Paris before he began his
motion picture work in America. He •
was formerly stage director for
Augustus Thomas, Ellen Terry, Fan¬
nie Ward and Joseph Jefferson. He
handled the stage direction of “Officer
666,” one of the most successful
comedies ever staged in this coun¬
try. The record of Mr. Powell’s mo¬
tion picture achievement reads like a
city directory.

The photography of “The Debt”
for which Arthur Boeger is respon¬
sible, is unique in its subdued lighting
effects. The setting is magnificent.
The old chateau, winding village
streets, characteristic peasantry and
contrasting of wealth and aristocracy,
are handled with the skill and good
taste that are Powell characteristics.

The support given Miss Rambeau
includes, among the prominent profes¬
sionals, T. Jerome Lawlor, who plays
Baron Moreno, a former star with Sir
Augustus Harris at Drury Lane ;
Agnes Eyre, who played with Henry
Walthall in “The Sting of Victory”;
Robert Elliot, who toured with Rich¬
ard Mansfield in “Julius Caesar,” and
others equally well known.

Marjorie Rambeau, famed stage star play¬
ing the leading of “ The Debt” and T.
Jerome Lawor in a scene from the play — a
production of dramatic high tension.

THE SYNOPSIS OF
“THE DEBT”

The Count gives a reception to his
people to celebrate the engagement of
his daughter Ann and Baron Moreno.
During the festivities word is received
that the mine in which all the Count’s
fortune is invested and also all the
earnings of the people who have fol¬
lowed his guidance in the matter, is
worthless. The people cry for re¬
venge, the Count kills himself, the
Baron breaks off his engagement and

Baron Moreno. . . .

T. Jerome Lawlor

The Girl .

John Slater .

His Mother .

. .Anne Sutherland

The Minister .

Ann’s Child . .

Ann’s Father, the

Count .

only Slater, a man of the people,
stands by Ann in her sorrow. They
promise the people that the debt shall
be paid and partly to reward him for
his loyalty and so they can both work
to pay off the debt Ann marries Slater.

Ann and Slater, accompanied by his
mother, a most jealous woman, come
to America and both work and save
in every way to raise the needed
money.

After a year Baron Moreno wearies
of his love of the hour and writes to
Ann asking her to flee her poverty with
him, and later comes himself to Amer¬
ica and appears at her house. Ann
spurns him but he takes her in his
arms just as the mother-in-law comes
into the room. When Slater returns
the mother reports what she has seen
and Ann is driven from the house and
told she can never see her child again.

Earning her own living in a factory
Ann struggles along. The Baron dis¬
covers her whereabouts and proposes
marriage; and Ann consents. Just be¬
fore the wedding she is visited by the
other woman who tells Ann she is
marrying a man who is already mar¬
ried.

Meanwhile Ann’s child is ill and
cries constantly for her mother.
Slater, convinced that the child will die
unless her mother comes, goes after
Ann. He arrives just as the Baron
comes in and is confronted by the
other woman. Incensed at an insult¬
ing remark thrown at Ann by the
Baron Slater attacks him and in the
fight both men are fatally wounded.

Ann returns to Slater’s house and
finds his mother softened by the
tragedy, waiting with open arms. The
debt all paid, Ann, the mother and
child return to the castle across the
water where Ann finds waiting for her
the minister, whose love has remained
true through all these years.

REEL LIFE— PAGE TWO

Marjorie Rambeau’s
third great picture for
Mutual, produced by
Frank Powell — a five
part feature.

Marjorie Rambeau
The Debt”

MISS JACKIE SAUN¬
DERS, affectionately
known among members
of the dramatic profes¬
sion as “The Tomboy,”
has a splendid medium for the exercise
of her popular character in “The
Wildcat,” her latest Horkheimer-
Mutual, five-reel production.

Miss Saunders has the best of op¬
portunities in “The Wildcat,” to dis¬
play her extraordinary mental and
physical agility, figuring out a difficult
problem in social philosophy and
climbing a tall tree with engaging
simultaneity, pursued as usual by a
horde of admirers.

THE CAREER OF
THE STAR

Miss Saunders, whose fame on the
screen really began when she starred
in “Rose of the Alley,” has had a dis¬
tinguished motion picture career and
is well known on the speaking stage,
having been with Raymond Hitchcock
in “The Merry Go Round,” with Elsie
Janis in “The Pink Lady” and with
Richard Carle in “The Spring
Chicken,” before she surrendered to
the fascination of the film. Her
cleverness and vivacity have made her
extremely popular with motion picture
patrons.

“The Wildcat” was directed by
Sherwood Macdonald, whose “Sunny
Jane” produced for Mutual release
under the Horkheimer auspices was so
sensational a success. It is one of the
liveliest screen comedy-dramas the
screen ever turned out, Miss Saunders
being rushed from city streets to
mountain fastnesses by a caveman of
a lover with bewildering rapidity.

There is a very fine cast which in¬
cludes Samuel Gilfether, Tomasso
Salvini’s old standby who was also
with Augustus Pitou, Nance O’Neil,
Robert Mantell and Chauncey Olcott
and is one of the most distinguished
old men on the stage today.

Another well known actor support¬
ing Miss Saunders is Arthur Shirley
who appeared in “The Valiants of Vir¬
ginia” and “The Fall of a Nation.”

Mollie McConnell, who played with
Miss Leslie Carter in “The Spanish
Guide,” and with Richard Mansfield
in “Old Heidelberg,” as well as with
Marie Tempest and Pauline Chase, is
also in the cast.

The story is a logical and highly en¬
tertaining one.

Miss Jackie Saunders as “Bethesda,
The Wildcat,” in this alarming pro¬
duction coming from the Horkheimer
studios as the third release of the
Saunders list of productions now
booking. Miss Saunders is pictured
here in one of those moods which
entitle her to the title role of ‘‘The
Wildcat” — albeit we are informally
informed she is a most gentle crea¬
ture in reality.

THE STORY OF
“ THE WILDCAT”

Bethesda Carewe is the spoiled
child of wealthy, indulgent parents.
Mr. Carewe loses his money and plans
to have Bethesda marry a man who
can save him from financial ruin.
Bethesda refuses to be bartered off
and when Mortimer Hunt is invited to

Bethesda Carewe, the daughter
(The Wildcat ) . . . .Jackie Saunders

Roger Carewe, her father .

. Daniel Gilfether

Matilda Carewe, her mother .

. Mollie McConnell

Mortimer Hunt . Arthur Shirley

Mollie, Hunfs sister. . . .Nell Holman

the house, plays all kinds of tricks on
him to make him disgusted.

Unable to win her, Hunt plots with
Mr. Carewe to carry Bethesda off to
the mountain and win her love. She
is kidnapped and held in a cabin until
she is willing to submit to the dictates
of the man she is unwilling to admit
she loves.

Hunt forces her to confess her love
by arranging to have a party of
desperadoes lynch him. To save Hunt
from the gallows Bethesda declares
that she loves him and will marry him
immediately.

THE JACKIE
SAUNDERS PICTURES

“ SUNNY JANE ”

The story of a country girl
who was sent away to
boarding school and who
became ever so much more
of a “lady” than was in¬
tended — but she recovered
and was married with great
success and a happy end¬
ing.

“THE WILDCAT”

A Saunders picture, true
to type, with Miss Jackie
in the role of a young
woman who refused to be
married off and who re¬
sented being courted — said
heroine succumbing finally
to the well alpproved tactic
of the cave-man. Also a
pleasant ending.

“CHECKMATE”

Miss Saunders in two
roles, playing the part of a
girl and her twin, with re¬
markable success, in a story
devoted in part to proving
that the right triumphs in
spite of difficulties — some¬
times. Thrilling and cheer¬
ful.

■ — and three more are to be announced.

Jackie Saunders
The Wildcat "

REEL LIFE— PAGE THREE

Latest of the pictures
of the “Sunny Star”
from the Horkheimer
studios — a sprightly
five-part drama.

" INSIDE TREACHERY”
CHAPTER III

HE THIRD chapter of “The
Railroad Raiders” opens with
a biff, bang, bing — a slash¬
ing, smashing fight, a battle
between the raiders of Steve
Arnold’s gang and a band of police led
by the intrepid Helen.

There may be better ways of grab¬
bing off attention in a picture than
with a fight, but the director is not yet
born who has discovered it.

Director John P. McGowan just
dotes on fights and the fight in chapter
three of “The Railroad Raiders” is
one of the fightingest fights ever fitten
on stage or screen.

It is seven kinds of a fight, a gun
fight, a fist fight, a club fight.

And Helen mixes in.

Which same makes the picture
worth the price of admission inside of
the first two hundred feet.

The battle between the crooks and
the police is staged with the usual re¬
markable contrasty and graphic treat¬
ment which McGowan is giving the
night scenes in “The Railroad
Raiders.”

The exhibitor will find this chapter
of special interest in that here Miss
Holmes becomes much more deeply
plunged into the rapidly moving plot
and her share of the piece develops her
clear ownership of the lead and center
of interest.

That quality of sympathy for the
heroine which is so essential to photo¬
play success in productions for both
classes and masses is evolved in this
chapter with striking success by the in¬
troduction of work for Helen which
portrays her as a self-sacrificing and
self-effacing person.

The story of Chapter III as pre¬
sented in synopsis form follows:

THE STORY OF
INSIDE TREACHERY

Arnold and his gang rush to the
shack delighted with their success in
securing the jewels. They are faced
by the police Helen has led to the
shack. A fight follows. Arnold drops
the jewels out of the window and
rushing down the stairs starts to pick
them up but Helen shoots and Arnold
runs. Helen picks up the box and
signaling the special to stop returns
them to Lady Melrose. She is de¬
lighted until she discovers they are
imitations. Helen returns to the house

Miss Helen Holmes, heroine of " The
Railroad Raiders” as she appears in
Chapter Ilf in the scene where she
recovers the jewels of Lady Melrose.

Helen Holmes . Helen Holmes

Morton Webb, head of the K. & W .
Claim Dept.. . .Thomas G. Lingham

Wallace Burke, his assistant .

. Leo D. Maloney

Steve Arnold, head of “The Rail¬
road Raiders” . Paul C. Hurst

Homer Frost, General Manager of

the K. & W . William Buhler

Roy Wilson, his secretary .

. William Brunton

Sam Lowenstein, a pawnbroker and

“fence” . Will Chapman

Lord Montrose, Governor of Cantu

Islands . G. H. Wischussen

Lady Montrose, his wife .

. Florence Holmes

“Buck” Masters, one of Arnold’s
gang . F. L. Hemphill

and tears away the telegraph instru¬
ments and starts home with them. On
the way she meets Webb who has been
carousing all night and is just return¬
ing home, in an intoxicated condition.

Frost calls at the office the next
morning before Webb is down and dis¬

gusted with the way things are run¬
ning threatens to discharge Webb.

The next day the iceman finds in his
cart a package of jewels and not re¬
alizing their value saves them to take
home to his children. When Helen is
eating her lunch the iceman’s little boy
brings a lunch pail to his father. The
iceman gives him the trinkets to play
with and he runs to Helen with them.
Realizing that they are the Melrose
jewels Helen offers the iceman five
dollars for the lot and he gladly takes
the money. Just then Webb appears
and running after him Helen gives
him the jewels telling him that with
these to offer he probably can save his
position.

AN OPINION
FROM REVIEWER

Last week Reel Life presented the
views of Mr. Julian Johnson, the edi¬
tor of Photoplay Magazine, on the
merits of “The Railroad Raiders.”
This week the attention of the ex¬
hibitor is called to the equally enthu¬
siastic, if perhaps more technical,
views of Mr. William J. McGrath, re¬
viewer for “The Motion Picture
News” of New York, who in the
“News” of April 21 says:

“The much-heralded ‘Railroad
Raiders’ has been well primed for a
successful getaway with its opening
chapter, entitled ‘Circumstantial Evi¬
dence.’ Of course, it is helen-holmesy
because it deal with railroads, switches,
speding trains, etc. It has been de¬
scribed as a railroad photonovel. That
is what it promises to be, and one of
the most exciting and adventurous of
all Helen Holmes productions. The
ground covered in the first chapter,
and covered capably, too, gets the
story away for a good start. Usually,
with serials, and as was the case with
several Helen Holmes productions be¬
fore this, there is a burden of preface
material. But in the ‘Railroad Raid¬
ers’ this is absent.

“While this first chapter furnishes
little or no opportunity for Miss
Holmes to get in some of her death
and hospital defying licks of leaping
and racing, there is an encouraging
hint that there will be plenty of such
feats, that made Miss Holmes famous,
in the chapters to follow. Not that it
is without thrills, however. There are
speeding trains, hurtling bodies, in¬
trigue, flight and other hostile action
in the first chapter.

REEL LIFE— PAGE FOUR

The story of the third
Chapter of the Big¬
gest Railroad Story
ever told in motion
pictures.

Helen Holmes
Railroad Raiders"

EGOTIATIONS have been com¬
pleted by which the Mutual Film
Corporation will release LaSalle
comedies, produced by the La¬
Salle Film Company of Chicago
and Los Angeles.

The first series will consist of
three two-reel comedies to be re¬
leased every other week begin¬
ning May 7. They will be fol¬
lowed by a series of fifty-two
two-reel pictures to be released
weekly commencing June 12.

LaSalle comedies will be pro¬
duced under the direction of M.
De la Purelle, a director of un¬
questioned ability, the man who made “The Hoosier School
Master” and other important successes. Each LaSalle com¬
edy will be produced with the care of a big production. A
popular comedian and comedienne will be starred in each.
The two-reel series consists of : “The Prodigal Uncle,” re¬
leased May 7; “Chubby Inherits a Harem,” released May
21, and “The Flight that Failed,” released June 4.

“His Cannibal Wife,” scheduled for release June 12, is
the first of the single reel series. It will be followed at
weekly intervals by “Tillie of the Nine Lives,” “The Girl in
the Frame,” “Discords in ‘A’ Flat,” “When Lulu Danced
the Hula,” “The Kissing Butterfly,” “A Match in Quaran¬
tine,” “Man Proposes” and “Pigs and Pearls.”

LaSalle comedies will be an addition to Mutual’s list of
featurettes.

* * *

THE manager of the Idle Hour Theatre, Kansas City,
Missouri, advertised the showing of the Mutual Chap¬
lin Special, “The Cure,” at his theatre by having a
group of four men parade around the streets in the district
of the theatre. The first man carried a big banner on which
was written “I am going to give them “The Cure” at the
Idle Hour Theatre. Charlie Chaplin.” The second man
was in a wheeled chair with his head, arm and feet swathed
in bandages and the chair propelled by an imitation Charlie
Chaplin in the characteristic costume of baggy trousers, big
shoes, derby and cane. Along at the rear hobbled another
man on crutches with his head tied up and one foot entirely
covered with bandages.

* * *

THE Mutual featurette, “Jimmie Dale Alias the Grey
Seal,” which is being produced in a series of sixteen
complete stories, each one showing some adventure of
the Grey Seal, who robs the rich to pay the poor, is proving
by its booking, to be meeting the demand of the public for
short featurettes to round out the evening’s entertainment.

In Detroit weekly showings are made at many theatres
including the Grand Circus, Woodward, Rosebud, Comique,
LaSalle, Arcadia and Olympic, and the exhibitors report
crowded houses on the Jimmie Dale Night. Brooklyn the¬
atre patrons are also enthusiastic about these mystery stories
which are being shown each week at the Manhattan, City,
Hamilton Avenue, Chester, Meeker, American and Luna
theatres and others.

ARIE CAHILL, who bears the
reputation of being the cleverest
comedienne on the American
stage, will appear in three com¬
edies for the Mutual Film Cor¬
poration.

These comedies will be two
reels in length and are scheduled
for bi-weekly release starting
April 30.

The titles and release dates
are :

“Gladys’ Day Dream,” April 30
“When Betty Bets,” May 14
“Patsy’s Partner,” May 28
Miss Cahill’s name has long
been associated with successes in straight and musical com¬
edies and the top liner in vaudeville. Among her most pro¬
nounced successes in recent years were “Molly Moonshine,”
“Nancy Brown,” “Marrying Mary,” “The Boys and Betty,”
“The Opera Ball,” “Flirts” and “Judy Forgot.”

Miss Cahill made her first stage appearance in Brooklyn in
“Kathleen Mavourneen,” and later her regular professional
debut at Poole’s Eighth Street Theater in “C. O. D.” Her
next appearance was in Charles Hoyt’s “A Tin Soldier,” and
after that she appeared at the Shaftesbury Theater in Lon¬
don in “Morocco Bound.”

Later productions in which Miss Cahill scored successes
were “Sporting Life,” “A Runaway Girl,” “Monte Carlo”
and “Three Little Lambs.”

* * *

HE Butte office of the Mutual Film Corporation has
been moved to larger quarters at 124 West Granite
street. The new location is in the Independent Tele¬
phone building, a modern fireproof structure. The old loca¬
tion was in the American Theatre Building. The change
was made necessary by the growth of Mutual business.
W. A. Coughlin, manager of the Butte branch, is welcoming
exhibitors proudly at his new office.

* * *

JOHN W. BAIRD, manager of the Chrystal Theatre, Pat-
tonsburg, Missouri, evidently was pleased with the
Mutual American production “Highest Bid,” from his
letter which reads :

“William Russell in ‘Highest Bid’ was sure fine, and the
people were overjoyed with it. It brought down the house.
We have never heard so much clapping of hands since being
in the movie business.”

* * *

“Shackles of Truth” is the title of the next vehicle chosen
for William Russell, the Mutual-American star. This story
was written .by Julius Grinnell Purthmann, who is also the
author of the last two Russell productions “High-play” and
“The Frame-up.”

In this picture William Russell appears as a young lawyer
who is willing to sacrifice his own career to save the honor
of his father and shield his mother.

Francella Billington plays opposite Mr. Russell. Others
in the cost include Alfred Vosburg, Adda Gleason, George
Ahern, Lucille Ward and Frederick Vroom.

La Salle
Comedies

REEL LIFE— PAGE FIVE

Marie Cahill
Comedies

“AND IN WALKED
UNCLE”

Strand Comedy — One Reel — featuring
pretty Billie Rhodes and
Jay Belasco

When Jack and Mary, Newlyweds,
are surprised by Jacks’ woman hat¬
ing uncle, Jack, to save the situation,
introduces Mary as the wife of his
friend, Eddie.

Eddie makes love to Mary and
Jack doesn’t like it, but Uncle, who
has been told the secret by a ser¬
vant, is enjoying the dilemma.

Eddie’s wife arrives and her
mother insists on her divorcing him
until Uncle enters and recognizes in
Eddie’s wife’s widowed Ma his first
and only love. Curtain — What?

* * *

“A PLASTER
FEUD”

Vogue Comedy — Two Reels — featuring
Paddy McQuire and Rena Rogers.

Here is a plaster cast that burst
into splinters laughing at itself.

Paddy, a plasterer’s assistant, in
love with Rena, his employer’s
daughter, finds that Papa, as usual,
disagrees.

Paddy’s future hopes depend on
his finishing a plastering job before
his rival can finish another contract
and Paddy gets Rena and her chum
to don overalls and assist.

As a result the girls get plastered
and Paddy draws a wife because her
father fears he will never be able to
unplaster her.

* * *

“BELOW THE
DEADLINE”

Mon mouth -Mutual — sixth story of “ Ad¬
ventures of Jimmie Dale,” featuring
E. K. Lincoln.

Diamonds ! Diamonds ! Always
more diamonds, is the demand of the
mysterious woman in black upon her
partner in crime, The Pretender.

Jimmy Dale, accomplished burglar
and polished gentleman — the Robin-
hood of the Roofs — hears of the de¬
mand and by quick works heads off
a gang of thugs attempting to rob
old Luddy, the pedler, of his hoard
of gems.

‘‘The Grey Seal” is again on the
job and away before the gang can
get into action. Dale sends Luddy’s
diamonds back, to him after an ex-,
citing night with the police.

Reel Life takes pleasure in present¬
ing herewith one of the rarest speci-
ments of graphic arts — a portrayal
of ‘‘Napoleon Crossing the Delar-
ware” — and as all the highbrow art
magazines say, “the modest reproduc¬
tion here can scarce be said to do
justice to the extraordinary merits
of the original” — the original being
a scene from that masterpiece of
pleasantry entitled “The Cure.” A
suitable reward will be paid for the
apprehension of any person who can
not identify the artist.

“THE

RANSOM”

Cub Comedy — One Reel — featuring the
able Mr. George Ovey
Russian prince and a chauffeur
love Claire Alexander. George Ovey
as Jerry the gas car pilot, and George
George as the Prince, provoke hilari¬
ous laughter because Mr. George is
excruciatingly incongruous as the
Prince and Mr. Ovey, disguised as a
Moujik, would move any Moscow
dhrosky driver to resume the vodka
habit.

Jerry, betrayed by the Prince to a
bandit band which holds Claire’s dad
for ransom, recues father and weds
the girl in a hustling hurry.

* * *

“SHORTY UNEARTHS
A TARTAR”

Monogram-Mutual — fifteenth of the stories
of “The Adventures of Shorty
Hamilton”

Release fifteenth in “The Adven¬
tures of Shorty Hamilton” discovers
Shorty in Sgypt and a dilemma. He
sleeps among the Egyptian speci¬
mens of Prof. Watts, whom he is
sent to warn against desecrating
tombs of Thebes.

A mummufied dancing girl,
Peopat, revives when baptised by
Shorty out of a bottle and she
arouses the dead. Our hero is chased
by Pharoah’s army and kept busier
than any army bean in a hot pot.
This is some dream.

* * *

J. Edward Hungerford has been
engaged as scenario editor for the
Pollard Picture Plays Company and
will hereafter write the photodramas
in which Margarita Fischer is
starred.

“The Devil’s Assistant,” the last
Mutual release in which Miss Fis¬
cher was featured, came from the
pen of Mr. Hungerford.

Prior to joining with Pollard, Mr.
Hungerford was with the American
for some time and wrote a number
of feature stories including “Over¬
coat,” “The Man from Manhattan,”
“Soul Mates,” “Embers” and “Over¬
alls.” He also wrote practically all
of the Beauty comedies in which
Miss Fischer was starred while at
the American studio.

* * *

Frank H. Spearman, author of the
story upon which “The Railroad
Raiders,” a new Signal-Mutual fif¬
teen chapter play is based, is the only
novelist possessing a sufficiently in¬
timate knowledge of the intricacies
of railroad operation to have written
with the authority he displays on
such a subject.

* * *

All the most exciting aspects of
railway construction as well as op¬
eration are pictured in that remark¬
able new fifteen chapter Mutual-Sig¬
nal serial, “The Railroad Raiders.”

REEL LIFE— PAGE SIX

A collection of “little
features” with big
stars and a lot of our
office value.

Mutual F eaturettes
and Studio Notes

MUTUAL WEEKLY

TOURS NO. 25

REEL LIFE NO. 53

IN these stirring times America
might be pardoned for giving
way to national emotionalism,
but as the spirit of the nation
is reflected in Gaumont’s Mu¬
tual Weekly, the events Reading up
to active participation in the great
world war are transpiring without
unusual display. Mutual Weekly
No. 119 is made up largely of pic¬
tures of men answering the call to
war. From east and west come
views of the same determined citi¬
zens making ready for duty.

The line of first defense — the navy
— is represented by the magnificent
Atlantic fleet, once more back at
Hampton Roads after its winter
target practice. The great ships are
an inspiring sight. From the west
coast come pictures of recruiting on
the sands at Venice, Cal., as well as
of the big fourteen-inch guns to be
used for coast defense at San Pedro
Cal.

Pacifists and patriots storm con¬
gress at the opening of the extra ses¬
sion. Just how the one side pro¬
tected themselves under the wings
of the dove of peace and how the
other side presented a more bellig¬
erent attitude is set forth in the pic¬
tures.

The Boy Scouts of New York are
pictured as they protect Manhat¬
tan’s city hall. Another organiza¬
tion, at present without firearms, is
that of citizen Soldiers armed with
wooden guns. The picture preaches
a sermon for preparedness.

THE Gaumont Company cer¬
tainly catches the spirit of
the times in its single-reel
releases through Mutual.
The first reel for the week
of April 22 is “Tours Around the
World” No. 25. It contains .pictures
of Moscow, the “holy city” of Rus¬
sia, where the czars were crowned;
Sarajevo, the Bosnian capital, where
the present world war started, and
Brest, the most western fortified sea¬
port of France.

In view of the fact that the news
of the day is to the effect that since
our old friend, the Czar, has lost his
position (meaning job) his succes¬
sor is likely to move the cash book
and safe from St. Petersburg (short
for Petrograd) to Moscow, these pic¬
tures are of especial interest.

Also, it is likely that Brest will be
a United States naval base as soon
as Uncle Sam gets busy on the other
side and our people here will be glad
to have an opportunity of seeing
where our sailor boys are going.

Then, too, as Sarajevo was the
place where all this European mess
started, you and I and our patrons
will probably be glad of the oppor¬
tunity to answer to our own satis¬
faction the question “Why?” — made
so popular by our ally, Elinor Glynn.

Show the patriotic topicals —
Mutual Weekly, and “Uncle
Sam’s Defenders,” the six big
reels of fighting men and ships.
Patriotism is the cue now — and
advertise.

. a UR PATRIOTIC

■ M A I D E N S ” is
^ M the title of an impor-
tant section of Gau¬
mont’s “Reel Life,”
released through Mutual. Inspired
by the call for national service, wo¬
men are enrolling in automobile
schools. The pictures show them
at work in the school shops, learn¬
ing to drive machines, and then
adepts at handling ambulances and
armored motor cars.

This magazine in film also shows
both modern and ancient methods
used in restoring the historic mis¬
sions of southern California. One
hundred and twenty thousand adobe
bricks, each weighing 40 pounds, are
being used in rebuilding Mission
San Fernando Res de Espana. The
bricks are made with the same mix¬
ing wheel used when the structure
was erected.

“Getting Rid of the Snow” illus¬
trates the methods employed by a
large city in ridding its streets of a
metropolitan snowfall which cost
$600,000 to remove.

One of the most remarkable pic¬
tures ever offered in this series is
that of the strange religious rites of
the tribe of Issa, residents of British
Somaliland. These natives of East
Africa pierce their bodies with
swords and sharp sticks, eat thorny
cactus plants and swallow nails
while in a religious frenzy. They
seem indifferent to pain as they are
urged on by the priest or receive his
blessing after the ordeal.

■■■■■■

Mutual F eaturettes
Three Topicals

REEL LIFE— PAGE SEVEN

New ty[>e of United
States army armored
■motor car and a flash
of the recruiting at
.Venice, Cal.

NE. THATCHER, writing in
the photoplay column of The
• New Orleans Times-Picay-
une, says :

“The Devil’s Assistant,” with Mar-
gerita Fischer, is pleasing audiences at
the Tudor, and will be the bill for today.

It contains a plot of big action, and is
a preachment against the use of drugs.
Nothing so uncanny on the screen has
been seen in some time. It is a well-
conceived story of a woman’s battle
against morphine prescribed by an un¬
scrupulous physician and the woman
wins. It is an unusual photoplay, and
that in itself is a recommendation, in
this day of cut and dried plots and
hackneyed scenes.

The Tatler of Toronto, in a review
of motion picture educational develop¬
ment, says:

“For instance, the Gaumont-
Mutual film that illustrates clinical
efforts to find a cancer cure and gives
the figures on cancer in the United
States, 150,000 deaths a year, is what
we call a really important motion
picture.”

The Tacoma, Wash., Ledger, says :

“To the already representative
literature of the screen such classics
as those of Ibsen, Dickens, Gertrude
Atherton, Algernon Boyesen and
Frederick Arnold Kummer are being
added the Powell-Mutual studios
starring Nance O’Neil and Marjorie
Rambeau.”

Margaret Mason, writing in Yon¬
kers, N. Y ., News, says, referring to
the proposition to hold an artists’ ball
there, that it is a thrilling scheme, be¬
cause :

“Nine chances out of ten all the
men would appear as Charlie Chap¬
lin and all the women as Annette
Kellermann.”

The St. Johns, N. B., Herald, in an
editorial article referring to “war
plus,” says :

“The Mutual Film Corporation
picture showing the massing of big
guns for barrage fire on the western
front is one of the most illuminating
pictures of the war, and of far
greater interest than the fake battle
films that have been put out by some
of the other film companies.”

The Musical Courier Journal, re¬
ferring to “The Outcast,” the Empire-
Mutual star production now in prog¬
ress, says:

“The capabilities of the technical
staff under the able direction of
Frank Beresford, were taxed to ar¬
range the elaborate settings required

for the latest Ann Murdock photo¬
play.”

The Motion Picture World, in an
article on the Powell-Mutual produc¬
tion, “Motherhood,” from the story of
Frederick Arnold Kummer, says:

“This is a very powerful visualiza¬
tion of the horrors of war, most of
the story taking place in two small
villages in Europe along the fugitive
lines. It is a thought provoking and
forceful presentation of the way that
war brutalizes the nature of man so
that he forgets his own family and
despoils an enemy home.”

The New York Dramatic Mirror, in
discussing the fallacy of censorship,
says :

“A folder containing a digest of
existing laws applicable to motion
pictures, showing that existing laws
amply safeguard public morals and
that censorship advocates have other
purposes, is contributed by the legal
department of the Mutual Film Cor¬
poration. The timeliness of the pub¬
lication is evident when it is remem¬
bered that in twenty or more states
there are now censorship bills pend¬
ing. It is certainly interesting read¬
ing and presented in a forceful man¬
ner that should prove interesting
reading to those misled into the be¬
lief that there is need of censorship.”

The Hartford, Conn., C our ant, in a
discussion of the Mutual Weekly as
an educational feature, says :

“The Mutual Weekly shows the
■opening of the automobile season in
California, the Sun Dance at Palm
Beach, and other similar features*
which in our belief are the best sorts
of motion picture offering — thor¬
oughly educational and entertaining.”

“Amusements,” in an article dis¬
cussing the Mutual’s presentation of
“Silas Marner,” quotes a letter from
Henry Patrick, Principal of the Mon¬
tana School of Mines, as follows:

“The Mutual Film Corporation is
to be congratulated on its excellent
dramatization of George Eliot’s
beautiful story. Each character was
played by an actor or actress of
special ability.

“Silas Marner was one of the most
interesting and instructive film plays
we have ever seen in the institution.
We understood clearly the sequence
of events and anticipated each scene
with interest and pleasure.”

The Vancouver, B. C., Times, in a
discussion of the future motion pic¬
ture influence on world affairs, says:

“Mr. Freuler is wise when he says
the motion picture producers of the

world will be able to wage war
against war in their presentation of
pictures displaying war’s devasta¬
tion.”

The Boston Globe, reviewing “Cir¬
cumstantial Evidence,” first chapter of
the new £ignal-Mutuul photonovel,
“The Railroad Raiders,” says:

“The picture met with an en¬
thusiastic reception. It is claimed
that every incident shown on the
screen during the fifteen episodes is
a presentation of an actual happen¬
ing in railroad life in different parts
of the country. Certainly the first
episode bears out this statement. It
deals with the theft of freight and
money robberies. These incidents
are most cleverly worked out and
they are based on realism, a fact that
does not lessen the thrills but adds
to them.”

The Bushnell, III., Record, discuss¬
ing the tremendous advance in motion
picture development, says:

“The Mutual Film Corporation
when it was organized a few years
ago earned $300,000 a year. Now it
earns $7,000,000. Some development
from our humble point of view.”

The North Nebraska Eagle, in an
editorial paragraph, says:

“Why should a few conceited
human beings set themselves up to
censor the rest of humanity? Presi¬
dent Freuler of the Mutual Film
Corporation has the right idea. He
refuses to negotiate with censorship
advocates, but carries the fight right
to them on non-censorship as an out
and out principle.”

The Dayton, O., Journal, discussing
Mary Miles Minter with her hair done
up, says:

“Give us back our Mary. In ‘The
Gentle Intruder,’ Mary is no longer
the laughing care-free child. She has
her hair done up. Lord! fancy Mary
Miles with done up hair. We refuse
to stand for it. Of course Mary is
gentle and wistful and awfully nice,
but we want her with her hair down.”

The Schenectady, N. Y ., Layette,
commenting on Mary Miles Minter’s
appearance in “The Gentle Intruder,”
says:

“Miss Minter has a thoroughly
adequate vehicle in ‘The Gentle In¬
truder.’ It displays her genius for
being sweet and childlike and dainty
and generally adorable. Mr. Kirk¬
wood has an admirable knack of
selecting plays that suit his pretty
little star.”

What the Papers
Say About Mutual

REEL LIFE— PAGE EIGHT

Gleanings from the
pages of the nation’s
papers on subjects
concerning Mutual’s
pictures.

MUTUAL PICTURES

“BIG START ONLY”

Two Star Productions
Every Week

TWO new Mutual Star Productions are now available every week
at Mutual Exchanges in addition to the large list of Mutual Serials,
Featurettes and Special Subjects. It is the plan of the Mutual Film t-
Corporation to release each week, two big feature productions worthy of
presentation under the "BIG STARS’ banner. These productions are
being distributed in series and feature the following stars:

Mary Miles Minter

[Presented by American Film Co., Inc )

Margarita Fischer

[Preseated by Pollard Picture Plays Co )

Gail Kane

[Presented by American Film Co., Inc.)

Ann Murdock

[Presented bv Empire All-Star Corporat ion)

Marjorie Rambeau

(Presented by Frank Powell Producing Corp.)

Nance O’Neil

( Presented by Frank Poiuell Producing Cot p. )

William Russell Edna Goodrich

[Presented by American Film Co Inc > [Presented by Mutual Film Corporation)

Jackie Saunders

( Piesented by E. D. Horkheimer )

and others

Each of these Mutual Star Productions is in five or six reels. Each
is a high class subject worthy of presentation in America’s leading photo¬
play theatres. Booking arrangements comprehending a service of press
sheets, music cues, cuts, posters and other special accessories for these
pictures, may be made by writing or visiting any Mutual Exchange.

MUTUAL FILM CORPORATION

JOHN R. FREULER, President

Executive Offices: 220 S. State Street, Chicago, U. S. A.

Exchanges everywhere

— «*>

S.S HUTCHINSON, President-

village. Havind for its central f

MUTUAL

AMERICAN FILM COMPANY, Inc.

Presents

MARY MILES MINTER

in

“ENVIRONMENT”

‘Written and directed by JAMES KIRKWOOD
Aston) of laughter and tears.

loafer and the new minister.

Environment is in five acts.
It’s the first of the newMinter
Series of Mutual Pictures. 03
Released through Mutual Ex¬
changes the week of April 16 lh

Coming: “ANNIE -FOR- SPITE "

no: AT

MARY

MILES MlflTERo

MUTUAL

■—M— »—

DAVID HORSLEY

PreS'&jntS'

CRANE WILBUR

THE SINGLE CODE

Dealing with the old old problemof who
to blame-the man or woman? Hu^h Qrrin^-
ion preachesasin^le siandardof morality,
but when his own loved one is involved
becomes an advocate of the double code.

Second of the Crane Wilbur Series,
of Mutual Pictures. In five acts ~
Directed by Thomas' Ricketts. Released
through Mutual Exchanges everywhere
the week of April 16m. 00 ~ 00

’THE PAINTED LIE”

!RANE WILBUR?

csss*-*.

MUTUAL

'*5? * S>*g3»»

■ mSt SmS ■’•JSBr

^2 SSjS^JSE'

a *.*1«^gSJ55*

■'" .^.%X^;.^Tr«/-,. ,;4 ... '/'

■ ■ ■

mm'v&Ms f^m
r^4@9SiS59$ !$5>

MUTUAL FILM CORPORATION

PreS-enty

CHARLIE CHAPLIN

in

THE CURE

Tenth and newest ot the Mutual-Chaplin Specials. Depicting Charlies visit
to a health resort. His indulgence in the health-giving waters is*
hampered by a private stockot licpior he imports. The scenes in the
'steam room” and the “massage department" will cure any grouch.

NOW BOOKING AT ALL MUTUAL EXCHANGES

"THE FLOORWALKER!.' - THE FIREMAN’ -THE VAGABOND'

'ONE AM. 'THE COUNT'-THE PAWNSHOP -"THE RINK)'

'BEHIND THE SCREEN’-’EASYSTREET W "THE CURE''

Released on Monday April 16 ill.

what th’

■nr

A-TABLOID

13UNGALOW

OlXCUSt MB*

RED CLAY
WORKERS OF
BARBADOS

OfVTB'1
Way!|

Y

AN ALTISCOPEL
RIFLE

m

■f /

CARGO BOATS
OF TOMORROW

there!

I VE BB/ANED
ANOTHERi
ONE!

TORPEDO
jUS’Ml55£D
US,CAP'N

fpOOH1

POOH

I

METAL

spinning-

this is too harp
PORME! WISH
1 vy^s in THE
no\;i£

LIFE IN THE
SOU DAN

iHEY! wars

Th’ Score ?(

v

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Hi

MUTUAL

I REEL LIFE Ka52

■ Released Apr.26

the cradle

Yea, bo! That’s iust
what this reel is doing.

The kickingest, fight-
ingest, make -’em- want-
it-againest single reel in
the whole industry is
“Reel Life”, Gaumont’s
Mutual Magazine in
Film.

“Reel Life” sits with its feet
in the Gulf of Mexico, and its
hands in the Atlantic and Pa¬
cific, while it cools its head in
Hudson’s Bay. It covers the
country as king of. the magazine
single-reels.

“Reel Life” is faster than a
Cuban revolution, more inter¬
esting than a centipede putting
on its boots, and more profit¬
able (for what you invest) than
Standard Oil.

Step right up, gentlemen,
and get your order in right
away for one day a week. You
get all the best pictures of
things worth reading about in
magazines. And your patrons
come back next week for more.

Any Mutual Branch |
Will Accommodate

6a a moot (o

FLUSHING, N.Y

3Eusae as

VOGUE FILMS, Inc., Presents

TWO REELS . RELEASED APRIL 141h

FEATURING PADDY McGUIRE

HERE’S an old adage to

J. the effect that one who deviates
from the paths of Righteousness is almost
invariably caught in Folly’s web. It was never
proven to better effect than in this Vogue Comedy.
The Judge thought he could safely adjourn court to
visit a “girl show’’ on the pier, but what befell him
there results in his changing his mind. “Jolted
Justice” is in two reels. Rube Miller directed it. It
can be obtained at any Mutual Exchange.

VOGUE FILMS, Incorporated

General Offices: 6235 Broadway Chicago, Illinois

Slapstick with PiaMM

SJGUFJ

MUTUAL STAR PICTURES

Week of April 23, 1917

No. Brand Title Class

MUTUAL SERIALS

05447-48 Signal “Inside Treachery” . Dr.

(“The Bailroad Baiders,” Chap¬
ter No. 3) .

MUTUAL STAR PRODUCTIONS

05449-50-51-52-53 “The Wild Cat” .

Horkheimer

05454-55-56-57-58 “The Debt” . Dr.

Powell

MUTUAL FEATURETTES
MONDAY, APRIL 23, 1917

05459-60 “Shorty Unearths a Tartar”. Dr.

Monogram (“Adventures of Shorty Hamil¬
ton,” No. 15) .

TUESDAY, APRIL 24, 1917

05461 Gaumont Mutual Tours Around the World

. . Trav.

WEDNESDAY, APRIL 25, 1917

05462 Mutual Mutual Weekly, No. 121. . . .Top.
05463 Strand “And in Walked Uncle”. .. .Com.
THURSDAY, APRIL 26, 1917

- Cub “The Bansom” . Com.

05465 Gaumont “Beel Iiife” . Mag.

' l7 ' 1

FRIDAY, APRIL 27, 1917
05466-67

Monmouth “Below the Deadline” .... Serial
(“Jimmy Dale” Series, Chap¬
ter No. 6) . Drama

SATURDAY, APRIL 28, 1917

05468-69 Vogue “A Plaster Feud” . Com.

Reels Leads
2 Helen Holmes

5 Jackie Saunders

5 Marjorie Ram-
beau

2 “Shorty” Hamil¬
ton

1 Brest, Western
France

Sarajevo — Cap¬
ital of Bosnia
Moscow — Sec¬
ond Capital of
Russia

1

1 Billie Rhodes

1 George Ovey

1 A Tabloid Bung¬
alow

Red Clay Work¬
ers of Barba¬
dos

An Altiscope
Rifle

Cargo Boats of
Tomorrow
Metal Spinning
Life in the Sou-
% dan

2 E. K. Lincoln

2 Paddy McQuire

JH. MICHAEL, manager of the Academy
Theatre, Buffalo, N. Y., introduced a novelty
* in his regular weekly entertainment by insti¬
tuting a Photoplay Laugh contest at his theatre.

Fifteen reels of comedy featuring practically all
of the screen comedians of today were shown. The
honors of winning the contest were to be awarded
to the comedian who provoked the heartiest laughter
and received the loudest applause.

Charlie Chaplin in “Easy Street” ran away with
the show, registering more laughs and applause than
the balance of the entire program.

* * *

ANY girl who intends to be married in June,

or any time in the near future, will want

to see Billie Rhodes in the Mutual-Strand
comedy, “When Mary Took the Count.” In this
picture Miss Rhodes appears as a bride and looks
just as pretty as every girl would like to look on
that solemn occasion. The bride-to-be can obtain
some valuable hints for her wedding gown from
that of Miss Rhodes with its barrel skirt, pearl
bead trimmings, and long lace veil arranged in a
fetching little cap effect around the face, and

adorned with sprays of orange blossoms.

* * *

Ed Laurie, the Mutual-Vogue fat boy, says that
you can always tell the amateur photoplayer. “He
is the one that moves in the stills and is still in the
movies.”

“SIXTEEN YEARS OF KNOWING HOW”

SERVICE MEASURE OF WORTH

The Superior Service

RENDERED BY

THOUSANDS

OF

Power’s Cameragraphs

PRACTICALLY SINCE THE
BEGINNING OF THE INDUSTRY \

CONCLUSIVELY DETERMINES
WORTH WITHOUT COMPARISON

IN THE FIELD OF

Motion Picture Projection

Write For Catalog V

NICHOLAS POWER COMPANY, NINETY GOLD STREET, NEW YORK

REEL LIFE— PAGE SIXTEEN

3Uottm®utK jTtfot ®«p

Released April 15 ih.

As the fourth episode in the
new series of mystery-detective
tales- released now for the first
time as Mutual featurettef
under the general title .

DORIS' MITCHELL

E-KLIHCOLN

Brains against brawn- for pure
love of adventure, a millionaire/
clubman f its his wits' against the
minions of the law. The contest that
develops will hold audience;
spellbound in their seat;. £*>
Sixteen absorbing stories-each
complete in two reek.

Tour featured stars*.

.ucutk/ilm €otpotaiioa
7 MCRAE WEBSTER. Prefuie*l
BURNSTTIN , Qe*era/ Manaqer
vdbij MARRY MCRAE WEBSTER-

V bookinq A{ AH Mutual Ex<

Caulfield Photoplay Company Presents

AND IN WALKED UNCLE

The Third of ihe One - Reel
Mutual Featuiettes Starring

Miss Billie Rhodes

Supported by Jay Belasco

Jack and Mary were newly-weds. Jack’s uncle
was a woman hater and had threatened to dis¬
inherit any of his relatives who even so much
as glanced at a girl. Then, along came Eddie

to visit the honeymooners. Anc right on top of that in
walked Uncle. Jack insisted Wary was Eddie’s wife, and
for a time they had Uncle going South — but at last — well the
end of this Strand Comedy is a scream — and the biggest kind
of a surprise. Released Wednesday April 25th. A new
Strand Comedy every week.

Booking NOW at all Mutual Exchanges

Distributed by

/•' . Mutual Film Corporation

John R. Frueler, President

Produced by

Caulfield Photoplay Co.

o

D

PJfP.

j Mutual 9/7/r, Magazine

APRIL 28, IQIT.

PRICE FIVE CENTP-

AMERICAN -MUTUAL STAGLv

in

66 n r\ <\n n s — n. /)o ft n ft n rra n=> QO

Kitty Kelly Says: —

( from the Chicago Examiner )

BY KITTY KELLY.

“ENVIRONMENT.”

Written and directed by Jame3
Kirkwood; produced by American-
Mutual.

Elizabeth . Mary Miles Minter

Henry Pennfield.. . George Fisher

John Simpkins . Harvey Clark

David Holcombe . George Periolat

Mrs. Holcombe . Emma Kluge

Mildred Holoombe . Margaret Shelby

Arthur Holcombe . Arthur Howard

Arnold Brioe . . A1 Vceburg

Mra. Bloom . Lucille Ward

Reuben . . . Jack Vosburgh

| MARY MILES MINTER

rstisn 'zzvt: ",

JHERE’S a nice, comfortable, home
town feeling about “Environ¬
ment,” Mutual's current featuring of
flaxen-haired Mary Miles Minter, a
heartsome, sympathy stirring little
story, flashing gleams of comedy that
set laughter a-tinkle. Also there's
some exceedingly practical applica¬
tions of gospel truth when Miss Min¬
ter insists that the young minister
practice what he preaches directly.

Miss Minter is Elizabeth Simpkins,
with a mother gone to heaven and a
father traveling on the high road
leading directly opposite, the bottle
his guiding star. She is on the point
of graduating from high school when
these things begin to happen and her
life is made up of a struggle between
facts as they are and her family
pride and love of beauty.

Through situations of pathos and of
humor Miss Minter carries the story
delightfully. She is a sweet, unaf¬
fected young person, playing easily
and winningly, and into Elizabeth she
projects further some strength of
character that lends -spice to an other¬
wise fairly sweet existence.

Director and author, James Kirk¬
wood, also contributes some rare com¬
edy situations along with his gen¬
erally pleasing procedure, noticeable
particularly in the church scenes,
where village folks with consciences
somewhat clouded are listening to
the stirring Indictment of dishonesty
thundering from the pulpit.

The Romance is a trifle hasty, as is
the habit of film romances, but other-
wheres the picture rings remarkably
true to life, and the matter of the
hasty romance is worked. out cleverly
in true magazine form. There are
nice settings, the situations all have
point, the story moves cbnvincingly,
making altogether a- desirable offer¬
ing for recreation purposes.

Rather puzzling to me is the force
of the title, which leads one to expect
a sociologic treatise. Instead. Miss
Minter goes right along her trium¬
phant, little girl way, putting en
yironment completely to rout.

- -ii

used, and though it looks to the ob¬
server as if fatal things 'must h.

WHY IS A “PRESS SHEET?”

How a printed sheet
plays the role of an
advance man for film

Some recent issues of the Mutual Film Corporation’s new and highly effective press
sheets supplied free to exhibitors booking Mutual features. Copies of these sheets will be
mailed free to any exhibitor who desires them, on application to the nearest Mutual ex¬
change.

IN the olden days of the doubtful
circus, there came to your town
a loud-checked suit and red vest,
brilliantly studded with gems
and containing a boisterous person
of weight who immediately became
a playmate of the officials in power
and others who might come in handy
later. He was loose with his cigars,
his libations and his money when¬
ever and wherever these things
might do the most good. They
called him a fixer then. Later, when
he dared to wear nothing more
startling than a red necktie and a
headlight and shaved off his bril-
liantined black moustache, they
called him an agent.

ENTER THE
PRESS AGENT

He was still a fixer but as the cir¬
cus proprietors began to realize the
importance of presenting shows for
women and children as well as for
the men, fixing methods were
changed. The agent instead of ar¬
ranging for protection for the crooks
that followed the show, began to
work through the newspapers. And
as he and his employers realized that
the circus was getting more money
at the gate as a result of studied
printed matter and that the crooks
were losing out financially, the im¬
portance of the agent’s position in¬
creased and a new type of man en¬
tered the field.

Soon the fixer was a person of the
past and his place was taken by the
press agent who went out weeks
ahead of the show and, by clever
newspaper work, in which he had
been schooled, interested the people
of the town in the coming attrac¬
tion, furnishing the editor with in¬
teresting news material illustrated
with pictures and writing the adver¬
tising and arranging for the billing
for the show.

It was not long before the press
agent was a vita^l factor in all
branches of the show business. Few
troups went out without having first
sent a press agent into the field. The
press agent knew his show. He
knew all the stunts that might go
over in every place visited. He ar¬
ranged new stunts to fit conditions
in towns his show played. He

framed stories and special advertis¬
ing stunts. And his work, if it was
good, often put the show over.

ADVERTISING
THE FILMS

Then came the motion picture. At
first it was discredited. It was not
looked upon as a show. It was a
novelty that was used as a chaser in
vaudeville houses and offered in
place of the magic lantern for store
shows. But as motion photography
developed and as pictures were
graduated into the class of shows,
the press agent was sent for and told
to get busy.

Many a film that would have died
a deserved death made thousands of
dollars because of the ingenuity of
the press agent. And other films
were put over on a much larger scale
than otherwise had been possible be¬
cause of clever advertising and pub¬
licity.

The big film producing and dis¬

tributing companies realized the im¬
portance of publicity and press de¬
partments were installed with ex¬
perienced press agents in charge. At
first the benefit was all on the side
of the manufacturer and distributor.
But as the leading men behind the
films began to realize that for the
larger success of the business the ex¬
hibitor is the most important factor,
the press agent was directed to aim
his publicity at the newspaper read¬
ing public that each exhibitor might
receive direct benefit.

THE EXHIBITOR’S
NEEDS.

Press sheets were found to be the
most successful means of getting
proper first aid to the theater man.
But what kind of a press sheet? was
the question each press agent must
answer for himself.

The Mutual press sheet is a result
of much study and experiment

(Continued on page 8)

REEL LIFE — Page One

y

WILLIAM RU SSELL“ The FRAME-UP”

Motors, girls, action,
trouble, suspense and
it’s all O. K. at last

WILLIAM RUSSELL in
the new American-Mu¬
tual five reel produc¬
tion, “The Frameup,”
is given one of those slam bang rat-
thing action opportunities that so well
suit his requirements as a star and so
thoroughly accord with the public
taste in adventure drama.

Mr. Russell, more fully than any
other star of the motion picture fir¬
mament, comprehends the value of
the “stunt,” and in the new play
soon to be released, he displays the
remarkable athletic and acrobatic
ability for which, in connection with
irreproachable artistry, he has be¬
come famed among picture fans.

Director Edward Sloman has no
trouble in getting difficult feats put
over for the screen when William
Russell is on the job. The star’s
constant demand is for “something-
new in action.” The two got their
heads together over “The Frameup”
and as a result this is probably the
most sensational action play of re¬
cent screen development. Russell’s
back somersault out of a speeding
automobile to escape from the po¬
lice, and his thrilling leap from the
tonneau of one fast traveling ma¬
chine to the tonneau of another, are
examples of the chances he takes
of physical injury in “The Frame¬
up.” .

There is everything that should
appeal to the exhibitor in this play.
It has a corking good story sequen¬
tially and logically told, it is full of
the quickest kind of action and pho¬
tographically it has every element of
perfection.

The story — a love episode of ex¬
ceptional strength — is well told, and
“Bill” Russell handles love themes
with consummate skill. Francelia
Billington, who plays opposite Mr.
Russell, and is one of the best known
leading women of the screen, pro¬
vides a fascinating foil for the spec¬
tacular heroics of the star.

SYNOPSIS OF
THE “ FRAME-UP ”

As the story runs, Jeffrey Clai-
bourne, son of Avery Claibourne, a
wealthy manufacturer, decides to
abandon his life of ease and go to
work in earnest. Rejecting a job in
his father’s office because of its sed¬
entary character, he starts out to

Mr. William Russell in two of the
strenuous scenes of “The Frame-up’’
— wherein "Big Bill” demonstrates
that acting for the pictures is a man’s
work.

hunt a job according to his own
tastes, and undertakes to drive his
father to the latter’s office enroute.

They overtake a taxi of which the
driver is annoying a girl. She ap¬
peals to young Claibourne for help.
He jumps from his racing car to
the other machine, rescues the girl
and throws out the driver of the taxi,
leaving his father, who knows noth¬
ing about a car, to handle the racer.
All Dad can do is steer the racer in
the road until its gas gives out and
it “dies.”

Meantime Jeffrey accepts a job
with Mrs. Moir, mother of Anne
Moir, the girl he rescued, who is the
owner of a taxi line.

Jeffrey Claiborne.... William Russell

Avery Claiborne . Harvey Clark

Mother Moir . Lucille Ward

Jane-Anne . Francelia Billington

Bud Yeager . Alfred Ferguson

Jim Vance. . . Charles Newton

Michael Broderick . . .Clarence Burton

It develops that Mother Moir at
one time had underworld connec¬
tions but forsook them in order that
she might bring up her daughter
respectably. Some of the woman’s
old friends, well known crooks, take
refuge in her house and she is power¬
less to prevent this, fearing exposure.

Jeffrey’s love for Anne, the girl
he saved from ruffian hands, leads
him to defend her mother, but the
woman, believing Jeffrey to be a
mere chauffeur and wishing her
daughter to marry well, plots with
Mike Broderick, one of her former
underworld friends, to bring about
Jeffrey’s arrest. Jeffrey plans an
elopement, marries Anne and is ar¬
rested with her at the altar after the
ceremony.

Jeffrey escorts his bride to the big
house on the avenue where is given
a cordial welcome since Claibourne
Sr. is now satisfied that Jeffrey will
settle down and attend to business.

IV HAT THE
PAPERS SAY

Press comment on Mr. Russell’s
recent work for the screen is decid¬
edly flattering. The Denver Times ,
referring to his work in “The Sequel
to the Diamond from the Sky,” says :

“When Russell is called upon to
jump a horse over a precipice into
a raging torrent we know that he
does it actually, instead of having
some poor duffer whose skin is
worth less than the star’s, pull the
dangerous stuff.

“Mr. Russell’s athletic stunts are
screen classics. We consider them
eminently well worth the price of
admission.”

The Boise News says:

“There were fifteen expert boxers
in the right proscenium box last night
to see William Russell in “The Torch-
bearer.” The way “Big Bill” han¬
dled himself in that political scrap
against twenty or more ward heelers
and thugs made that box party hap¬
py. It was great stuff.”

REEL LIFE— Page Two

NANCE O’NEIL “HEDDA GABLER”

Ibsen’s great classic
portrayed in pictures
by the Powell studios

MISS NANCE O’NEIL, in
“Hedda Gabler,” the new
Powell-Mutual five reel
presentation of Henrik
Ibsen’s famous drama satisfying
modern society, has a medium that
affords her complete opportunity for
the display of her emotional dra¬
matic genius.

Miss O’Neil makes “Hedda Ga¬
bler” the passionate, intriguing and
contrary daughter of a drunken, du¬
eling father, live her life on the
screen in a fascinating sequence of
sensational episode.

Miss O’Neil never overdoes. By
the same token she never underdoes.
Her picturization of Hedda in the
struggle to regain her former lover’s
affections is one of the most remark¬
able dramatic offerings of the screen.
It grips the imagination and fasci¬
nates the beholder because of its
fiercely human aspects, and Miss
O’Neil’s characterization gives the
lie to those critics who have been in¬
sisting that Ibsen cannot be effect¬
ively picturized.

Director Frank Powell, who is at
the head of the Frank Powell Pro¬
ducing corporation, and Miss O’Neil
are completely in accord with regard
to the intense dramatic value of the
Ibsen drama for screen purposes.

Mr. Powell’s direction of “Hedda
Gabler” is one of the triumphs of
his career. It is a thoroughly ade¬
quate presentment of the master
dramatist’s most vital preachment.

THE SYNOPSIS
s OF STORY

The story of the play is fairly well
known. It deals with George Tes-
man and his wife, lately “Hedda Ga¬
bler,” who have just returned from
their honeymoon. Left alone Hedda
fondles her pistols, for which she
has an uncanny affection.

Married to Tesman, Hedda still
lives in jealous watchfulness over
Ejlert Lovberg, her former lover,
and in her passionate imagination
she pictures Lovberg in Tesman’s
place.

Lovberg, a dissipated genius, has
fallen under the good influence of
Thea Elvsted and has written a val¬
uable book. Hedda discovers Mrs.
Elvsted’s influence of Lovberg and
at once sets out to resume her sway
over the man, with the result that

Nance O’Neil, as she appears in
“Hedda Gabler a part she has played
on the stage seven hundred times
in an international success.

Lovberg drinks, loses his manuscript
in the course of his revels and is cast
into despair, not knowing that Hed¬
da Gabler has the manuscript con¬
cealed. Lovberg breaks with Thea
Elvsted, his good genius, and shoots
himself with one of Hedda’s pistols.
Hedda, after burning the manuscript
of Lovberg’s book, shoots herself.

The settings of the play “Hedda
Gabler” are superb. Few motion
picture productions have been more
expensively staged. Miss O’Neil
herself has had a great deal to do
with the selection of the accessories
and her deep study of Ibsen during
her association with the plays of the
Norwegian genius especially quali¬
fied her to dictate the details of stage

George Tesman . Aubrey Beattie

Aunt Julia . Lillian Paige

Ejlert Lovberg . Einar Linden

Mrs. Thea Elvsted . Ruth Byron

Judge Brack. . . . Alfred Hickman

Mile. Diana. .Edith Campbell Walker
and

Hedda Gabler . Nance O’Neil

setting. The perfection of the com¬
pleted product is undoubtedly due
to the complete accord existing be¬
tween star and director.

COMMENT OF
THE PRESS.

The Seattle Times, discussing
the possibilities of “Hedda Gabler”
under Miss O’Neil’s handling, says:

“Here should rest Nance O’Neil’s
screen opportunity, for the character
will suit her special talents well atid
according to information at hand she
has been surrounded with an excel¬
lent cast. Hedda Gabler was a
spoiled and selfish woman but she
possessed those characteristics
which every woman recognizes and
understands.”

The character presents a tremen¬
dous study but it is a study that
Nance O’Neil knows how to assimi¬
late. The picture should be worth
going far to see.”

Amusements, discussing Miss
O’Neil’s work in “Mrs. Balfame,” an¬
other Powell-Mutual success, says :

“Nance O’Neil has in ‘Mrs. Bal¬
fame' just the sort of highly emo¬
tional role which has won for her the
splendid reputation she enjoys on
the stage.

“The mystery surrounding her ac¬
tions, many of which are carried on
in a half light, her tense emotion and
her horror of the crushing brutality
of her husband, coupled with the
growing conviction that she must
kill him, permit Miss O’Neil to exer¬
cise her extraordinary dramatic abil¬
ity to its fullest extent.”

The Philadelphia Evening Star says :

“Nance O’Neil as ‘Hedda Gabler’
ought to be at her level best. It
would be difficult to imagine a char¬
acter better suited to her great emo¬
tional talents and there is a climax
to the Ibsen masterpiece exactly
after Miss O’Neil’s own heart. The
picture should be worth going to
see.”

REEL LIFE— Page Three

HOLMES “RAILROAD RAIDERS” V

“A WOMAN’S WIT”

Chapter 5

ISS HELEN HOLMES,
“Darling of the Rail,”
out-does herself as an ex¬
ponent of sensational ac¬
tion drama in “A Woman’s Wit,”
Chapter V of the new Signal-Mutual
fifteen-chapter photonovel, “The Rail¬
road Raiders,” in which there are
more hair-raising thrills than in any
previous chapter, Miss Holmes taking
chances on her life about once a min¬
ute in the exciting chase of the raiders’
gang.

When the young actress boards Di¬
vision Superintendent Frost’s automo¬
bile inspection car and turns it loose
at fifty miles an hour in an effort to
head off the scheme of the conspir¬
ators which involves wrecking a treas¬
ure train, she is pursued by members
of Steve Arnold’s gaifg in a Mogul en¬
gine, the pursuers firing on Helen as
she clings to the side of the speeding
motor car for cover and furnishing
one of the most sensational chases ever
seen on the screen.

Talk about spectacular features!
The big engine pursuing Miss Holmes
is thrown into a switch by one of her
aides and it goes crashing at top speed
into a big warehouse, wrecking the big
structure completely and burying it¬
self under a mass of debris.

This is the very essence of realism,
because, if we tell the whole truth,
half a dozen men were severely in¬
jured in the actual filming of the epi¬
sode. Miss Holmes herself narrowly
escaped death in the smash, which as¬
sumed its dangerous phase through a
speed miscalculation on the part of the
locomotive engineer.

DESPERATION

MULTIPLIED

“A Woman’s Wit” is “railway
stuff” in every phase of the chapter’s
development. It has to do with speed¬
ing trains, escaping train robbers,
plugged switches, torn up rails, heroic
rescues. It is a succession of desper¬
ate adventures, with Helen Holmes, as
usual, well in the foreground of each
episode.

Director John P. McGowan, past
master of screen sensationalism, ver¬
satile inventor of break-neck feats and
high priest of realism in photodrama,
has developed “The Railroad Raid¬
ers” in accordance with his belief that
the exciting and interesting events in

Swiftest chapter yet
in the biggest rail
thriller ever filmed

Miss Helen Holmes as she appears in
the punchy, hair-raising scenes of
Chapter V of “The Railroad Raiders.”

photo-melodrama should be cumula¬
tive — that is, each episode more excit¬
ing and interesting than the last.

There is a deep fascination in Mr.
McGowan’s method of piling up haz¬
ards in “The Railroad Raiders.” Every
time Miss Holmes leaps from a rush¬
ing train into a whirling river torrent,
escaping without injury, McGowan
draws a long breath.

SYNOPSIS OF
CHAPTER V

As the story goes, Superintendent
Frost, angered because Webb did not
obey .orders to watch the suspected
freight car himself, discharged Webb
and put the crooked employe in his
place. When the heads of a railroad
syndicate endeavoring to purchase the

Helen Holmes . Helen Holmes

Tom Desmond. . . .John P. McGowan

Wallace Burke . Leo D. Maloney

Homier Frost . William 'Buhler

Roy Wilson . William Brunton

Sam Lowenstein . Will Chapman

Lord Montrose . . . .G. H. Wischussen

Lady Montrose, his wife .

. Florence Holmes

“Buck” Masters . F. L. Hemphill

Officer Tommy Marshall .

. W. A. Behrens

Morton , Webb. . .Thomas G. Lingham

K. & W. to add to their chain, arrive
on the scene, Burke, in an effort to
show worthiness of the new position,
planned a fake robbery of their pri¬
vate car, and later captured the men
with the booty, betraying his co-con¬
spirators in what is known as a double
cross.

The heads of the syndicate left on
the inspector’s car with the paymaster
to inspect construction. Meanwhile
Burke had sent Helen Holmes on the
train with money to pay off some of
the men. Burke notified Buck Masters
of the money sent and the time of its
arrival. The raiders attacked the pay¬
master and secured the money. Helen,
seeing them running, put their automo¬
bile out of commission. They jumped
on a passenger train, overpowered the
engineer and unhitching the engine,
fled at top speed.

Helen, jumping into the inspection
car, followed. She passed the engine,
riding on the running board and
crouching behind the seat, to evade
bullets. Reaching the switch, Helen
set it so that the fleeing engine ran on
a spur and crashed into a warehouse,
demolishing it. The railroad employes,
who had followed Helen in another
engine, arrived in time to capture the
thieves and the money was turned
over to Helen.

PRESS

COMMENT

Press Comment on “The Railroad
Raiders” is universally favorable. The
Buffalo Times, New York, says:

“The Railroad Raiders,” in which
that daring young adventuress appears
at her best, is a picture that would
have thrilled old “Bill Canada” from
his head to his heels. Certainly the
old chief of detectives of the Union
Pacific never saw any more spectac¬
ular stuff than is given us by Miss
Holmes in her latest picture.

REEL LIFE — Page Four

Mim/ST rcnjBif

MUTUAL PICTURES

COMING
MONDAY! ~

mutual picruair

The Second Chapter
01 This Thrilling,
Motion Plclure No ve/
Starts Tomorrow,

w

A Thrilling Motion Picture Novel in Fifteen
Chapter* Featuring the Fearlea* Rim Star

HELEN HOLMES'

hfiehhoimej

*nnr

FADING

•EVBRAL fume

RAILROAD I

.TODAY

r»t*n7r

BIG ADS IN PAPERS FOR “R. R.”

Special campaign tells
whole nation of Helen
Holmes’ newest success

THE greatest newspapers of
the nation are carrying
smashing big display adver¬
tisements of “The Railroad
Raiders,” the newest of the Signal
Film Corporation’s big photonovel
successes featuring Helen Holmes,
“the darling of the rails.”

A selected list of the most powerful
newspaper media to be had, covering
the entire United States, is running
this big campaign. In the list appear
such dominant journals as “The New
York World,” “The New York Even¬
ing Journal,” “The Chicago Tribune,”
“The Chicago Daily News,” “The
Chicago Evening American,” “The
Omaha Bee,” “The Kansas City
Star and Times,” “The Philadelphia
Bulletin,” and numerous other papers
of like standing in their respective
communities.

The biggest pulling power possible
is being exerted upon the picture pub¬
lic in behalf of the exhibitors booking

Helen Holmes in “The Railroad Raid¬
ers.”

This advertising campaign is in sev¬
eral respects unique. Each and every
ad tells a punch in the photonovel pic-
torially. Every ad, regardless of size,
is so peculiarly constructed as to dom¬
inate the page on which it appears.
Every ad carries a certain- decorative
motif which compels attention and at
the same time tells the story of the
big picture in that “come-on” fashion
which delights the showman.

This sensational and unusual news¬
paper campaign is the product of the
Burnet-Kuhn Advertising Company
of Chicago. Paul R. Kuhn of this
company l^as had a hand in the ad¬
vertising of many important photo-
noval successes, including Mutual’s
celebrated “Million Dollar Mystery,”
“The Girl and the Game,” and many
others.

The fact that this tremendous cam¬
paign is now going out to the public

gives the picture added pulling power
and box office value in the exhibitor’s
theatre. Now is the time when the
crafty showman will hurry in with his
booking, so that his advertising can
tie up with that which is appearing in
the dominant newspapers in his sec¬
tion.

People look to the big town papers
to see what is doing in the amuse¬
ment world ; the big reflective value of
the dominant papers is being felt in
every motion picture territory. The
exhibitor, having available the special
plate ad service discussed in Reel Life
last week, can tie up with this, to the
dollar benefit of his box office.

The illustrations stretching across
the top of this page will give an idea
of the big, dominating character of the
national campaign now being placed
by the Mutual Film Corporation on
this production. The only people who
have not read about Helen Holmes in
“The Railroad Raiders” have been em¬
balmed.

REEL LIFE — Page Five

Right to Left, top to bottom — Oil wells under the sea on the coast of California, view of the excavated ruins of the
ancient city of Pompeii, tzvo views on board the French cruiser “Joan D’ Arc” now visiting one of the Atlantic ports of
the United States. — All these views from the Gaumont-Mutual single reel releases for the zveek of May 7.

WEEKLY, REEL LIFE, AND TOURS

All the big
world* s news
iti this reel

Mutual weekly, no. 121,

contains a striking collection
of news subjects, largely dom¬
inated by war interest.

A particularly interesting and sig¬
nificant portion of the news reel is de¬
voted to the visit of the French
cruiser “Joan of Arc,” which is har¬
boring “somewhere” on the Atlantic
Coast. While no official statements
have been issued, it is fair to presume
that this jaunty boat is as much inter¬
ested in interviewing German sea raid¬
ers and submarines as in saying
“Howdy” to Uncle Sam.

As a sort of plighting of troth on
our entry into the war, a ceremony of
raising the flags of the United States
and France on the “Joan of Arc” is
pictured.

Oil wells under
the ocean along
Pacific beaches

REEL LIFE No. 54, the “Gau-
mont-Mutual Magazine in
Films,” presents an exception¬
ally interesting study of the modern
production of fuel oil. When the oil
industry of the United States started
prospectors hunted for streaks and
stains of oil on the banks of creeks.
Now the pursuit of precious petroleum
leads out under the sea. In a portion
of Reel Life No. 54, oil wells under
the sea are shown in operation. '
These wells were photographed off
the coast of Southern California,
where the big derricks rise in unfa¬
miliar array out of the surf. Petro¬
leum is of particular importance to us
now, being the fuel for the most mod¬
ern of, our battle ships, torpedo boats
and other war vessels.

A journey thru
Switzerland and
ruins of Pompeii

Mutual tours around

THE WORLD, No. 26, con¬
tains a striking range of
scenic interest. The reel opens with
views of Mouron, an old village in
Russia, and includes views of Pom¬
peii’s ruins and Zurich.

Ever so many years ago Pompeii
was a great watering place, a sort of
combination French Lick Springs and
Atlantic City, way down under the
shadow of Mount Vesuvius in Italy.
Pompeii was about the fastest little
outing place on the Mediterranean lit¬
toral. It was full of villas, bath
houses done in marble, wine shops,
dance palaces and pretty girls. Vesu¬
vius got too hot one night and show¬
ered the city and all its gay revellers
with scoria, mud, lava and ashes.

REEL LIFE — Page Six

LINCOLN, RHODES, OVEY, ROGERS

Little features with
real stars in them to
complete your program

Mutual featurettes

offer big stars in little pic¬
tures, giving the exhibitor
something worth talking
about in his short length film. There
is no longer any room for such a
thing as a “filler” on any theatre’s
program. The show must present
genuine amusement of feature qual¬
ity all the way through. “Mutual
Featurettes” solve the problem.

* * *

A VANQUISHED
FLIRT

Vogue Comedy — Two Reels — Featur¬
ing Paddy McGuire and Rena Rogers.

HERE is plenty of room for fun
in most beauty parlors. “A
Vanquished Flirt” is funny
forty ways. It deals with Lawrence
Bowes, a man-about-town, who is the
sweetheart of Rena Rogers, a dainty
demoiselle of the lady barbers’ union.

In the popular barber shop works
Paddy McGuire, the champion ladies
bootblack. Here is a chapter of acci¬
dents, each one of which is a screech.
John Oakes as “The Flirt” is chivied
from one hiding place to another by
Bootblack Paddy. A pair of painters
represented by Henry Huckins and
Owen Evans, do extraordinary acro¬
batic things from a swinging stage out¬
side a tall building and with the aid
of an extension ladder.

* * *

THE PRODIGAL
UNCLE

LaSalle — Mutual Comedy — Two Reels
i — Featuring Carol Halloway.

ILLY’S rich uncle, with whom
he lives ' in “the great city,” has
an eye for beauty, and when
Billy becomes enamored of Vivian, the
dancer, who is comely, Billy’s uncle
buys Vivian sumptuous dinners, argu¬
ing to himself that the way to the
heart of the artiste is via her stomach.

Vivian consumes the truffles but
double-croses uncle, intriguing with
Tottie Twinkletoes to pprsonate her
with the purblind late supper philan¬
thropist. Luigi, the tenor, congenitally
crazy about all Vivian’s and Tottie’s,
makes matters very unpleasant for
both Uncle and Billy, abducting the
old gentleman. In the end there are
reconciliations and Tottie tags the mil¬
lionaire, while Billy escapes with
Vivian.

Harry McRae Webster, president and
director general of the Monmouth
Film Corporation; Jules Burnstein,
vice-president and general manager,
and Frank L. Packard, author of
‘‘The Adventures of Jimmie Dale,”
published in the People’s Magazine
and produced in motion pictures by
Monmouth for release through the
Mutual Film Corporation.

Mr. Packard, who lives up at Lachine
in Quebec, has been writing success¬
ful fiction for more than ten years.
Among his important works are, "On
the Iron at Big Cloud,” "The Miracle
Man” and "The Beloved Traitor.”
He has written more than a hundred
short novels and magazine stories of
unusual success. His work is in high
demand among publishers and it has
particular motion picture value.

" The Adventures of Jimmie Dale” is
now being published in book form by
George H. Doran of New York.

THE GAIL KANE
PRODUCTIONS—

“WHOSE W I F E ?” — An
adaptation of the story by
Cecil Henry Bullivant. A
story of love and death and
a woman’s sacrifice that wins
its reward.

“THE SERPENT’S TOOTH”
— Constructed from a famous
story by Forrest Halsey. It
is a drama full of astonishing
situations with a startling
climax.

Announcement will be made
shortly of four other plays in
course of' preparation by Miss
Kane at the Santa Barbara stu¬
dios of the American Film Com¬
pany, Inc., under Director Rol-
lin S. Sturgeon.

THE

UNDERDOG

Monmouth-Mutual — Eighth Story of

the Adventures of Jimmie Dale-
Featuring E. K. Lincoln.

HE well known Tocsin warns
Jimmie Dale of a big robbery
plan in which an innocent man
is to be the victim.

Connie Myers kills Luther Doyle,
an old miser, after luring him to a
room in a tenement house, next to that
occupied by Mike Hogan, a construc¬
tion laborer. Hogan is betrayed by
Myers into an innocent participation
in the robbery of old Doyle. When
the money has been stolen Myers
knocks Hogan unconscious and leaves
him in the presence of the murdered
miser. Jimmy Dale unravels the
mystery and frees Hogan, once more
revealing the infallibility of “The
Grey Seal.”

* * *

JERRY’S

PICNIC

Cub Comedy — One Reel— Featuring
the Inimitable George Ovey.

JERRY takes his girl to a picnic
and as usual encounters opposi¬
tion to his undisturbed possession
of the lady’s good graces.

Jerry is disturbed to find that the
lady herself is flirtatiously inclined and
he decides to play a trick on her, but
finds that the woods are full of trick¬
sters and after involving himself in
the usual Ovey complications ulti¬
mately slides out of them in the usual
Ovey style, right side up and the
wheels still turning.

* * *

THE GREAT
AMERICAN GAME

Strand Comedy — One Reel — Featur¬
ing cute Billie Rhodes and Jay
Belasco

Xy BELASCO, the “shine” mil¬
lionaire, makes love to Billie, who
is very much taken with her tailor
made hero, believing him to have “the
million,” while aware that her “mil¬
lionaire” father is really borrowing
money to pay the grocery bill. Jay
encounters an icy front from the sup¬
posed capitalist, but elopes with Billie
and marries her, to papa’s delight, but
the old man blows up when he discov¬
ers that Jay’s million is moonshine and
that Billie will have to wash the dishes
herself.

REEL LIFE— Page Seven

PICTURE PLAY-POWELL CONTEST

big magazine and studio
put on contest reaching
picture patrons everywhere

P

JCTURE PLAY MAGA¬
ZINE,” one of the best
known screen publica¬
tions in the country, hav¬
ing a circulation of several hundred
thousand, is conducting a screen op¬
portunity contest in co-operation with
Frank Powell of the Frank Powell
Producing Corporation, directing the
famous stars, Nance O’Neil and Mar¬
gery Rambeau.

More than 100,000 entrants in the
race for screen honors have already
forwarded their photographs to the
judges who will begin their colossal
task on May 20, when the contest
closes.

Director Powell and Editor Gerald
C. Duffy of the Picture Play Maga¬
zine are the judges and their deci¬
sions are expected by June 15.

Exhibitors of Powell-Mutual pro¬
ductions have a remarkable opportu¬
nity to take advantage of the immense
advertising value involved with this
contest, since there is hardly a town
of any size in the United States that
has not entrants in the race for mo¬
tion picture fame.

In order to illustrate the exact intent
of the contest it is well to quote from
the May issue of Picture Play Maga¬
zine. The offer runs :

“The Frank Powell Producing
Company needs new players — not only
new players, but new stars. It wants
them and is willing to make them.
Picture Play Magazine is finding these
new players for them.

“This is a contest for new blood.
Anyone who has played profession¬
ally, on the stage or before a camera,
is not eligible to compete. That is
practically the only restriction. Men
and women of all ages may enter.
There is no set number to be selected
by the judges, who are Frank Powell
and Editor Duffy or Picture Play
Magazine. ^

“The rules are : — Contest open to
all — No age limit — United States citi¬
zens only — Twelve winners will be
picked by the judges.— Selections will
be without regard to sex or age —
Beauty, screen value of features and
intelligence displayed in letters will
influence the judges — The winners
will have their fares paid to New
York from home town — Winners will
be paid not less than $25.00 a week
while employed.

“The contest opened February 1st.
It closes May 20.

Frank Powell , Marjorie Rambeau and Gerald C. Duffy , editor of Picture Play
Magazine, judges of the screen opportunity contest, which is now being conducted
by the Frank Powell Producing Corporation and “Picture Play ” — passing on the
entries received. Three thousand or more entries are made each week. The
twelve winners of the screen opportunity contest will appear in feature pictures
made by Frank Powell and distributed through Mutual.

- —i - -

WHY THE MUTUAL PRESS

SHEET IS PUBLISHED

(Continued from page i)

First the theatre man must be sold
on the show’s possibilities in the
way of exploitation. Therefore, the
type and color scheme to hold the
exhibitor’s interest.

Second, the actual needs of the
showman situated where his facili¬
ties for obtaining cuts, heralds,
posters and other accessories at a
fair price were new, suggested an
arrangement for furnishing those
needs at close to cost, and the pre¬
senting in attractive reproduction,
pictures of the posters.

Third, it was believed important
to show the cuts the exhibitor might
wish to use in such an attractive
manner that their employment for
illustration might suggest ideas to
him.

Fourth, the need for publicity
stories put up in bright and snappy
style, nicely typed and edited,
showed that attractive make-up is
all important.

Fifth, the program requirements
were considered and all important
information is offered for theatre
men and editors to clip.

Sixth, because the music in many
theatres is not at all in keeping with
the subject screened, the Mutual
publicity department decided to pre¬
sent music cues in simple form so
that a leader or musician may obtain
suitable music for each big produc¬
tion at little cost and thus in a sur¬
prisingly short time have a library
of great value. Joseph O’Sullivan,
a composer and arranger of note,
is responsible for music cues for
Mutual star productions.

Seventh, and by no means least
important, are the advertising sug¬
gestions, prepared for the exhib¬
itor’s use in presenting his show to
the public by John Fiske, head of
the promotion department for Mu¬
tual. The sample ads are suggested
for general newspaper use but are
arranged so elastically that they may
be changed easily to suit the needs
of individual exhibitors.

REEL LIFE — Page Eight

THE TACOMA LEDGER says:

“Hedda Gabler,” in which
Miss Nance O’Neil appears next
is a picturization of Ibsen’s fa¬
mous play. It suits the great
emotional actress admirably.

“ AMUSEMENT ” says:

Marie Cahill, the famous
comedienne who has just been
added to the Mutual’s list of
stars, is at work on the eastern
coast at the studios of the Mar-
dan Photoplay Company. “Sweet
Marie” should burn ’em up.

FILM FUN says:

Mutual “Tours Around the
World” are excellent for geo¬
graphical instruction and “See
America First” not only stim¬
ulates imagination but visualizes
for children what their text
books teach.

THE TORONTO MAIL says:

Mary Miles Minter in “Dul-
cie’s Adventure” is a delightful
little “bit of all right.” When it
comes to the little girly stuff.
Mary is all there.

SAN FRANCISCO

“THEATRICALS” says:

“Big Bill” Russell is coming
out in a new show that displays
his athletic prowess and is
euphoniously entitled “The
Frameup.”

THE THEATRICAL REVIEW

says:

Yerza Dayne, the strikingly
beautiful leading woman of
“Shorty” Hamilton’s series of
adventures, released by the Mu¬
tual Film Corporation, is the
wife of M. C. Levee, owner of
the exclusive shop from which
the actress pillages her wardrobe.
Mr. Levee is a Los Angeles mer¬
chant.

THE CHICAGO TRIBUNE says:

Our editorials have been
shorter than usual this week,
owing to a new Chaplin release.

THE MOTION PICTURE NEWS,

says:

“Making the Cactus Useful”
is one feature of Reel Life, re¬
leased by the Mutual, which is
highly interesting and instruc¬
tive. It displays the many uses
to which this supposedly useless
plant may be put.

What the
Papers Say
About Mutual

Comments gleaned from
the columns of the nat¬
ion’s biggest papers show
Mutual productions are
much in the public eye —
that’s box office value too.

THE PHILADELPHIA
INQUIRER says:

If Charlie Chaplin keeps doub¬
ling up on his salary he’ll have
more money than John D. Rock¬
efeller in ten years. If the par¬
agraphs are to be believed he is
kicking for a million a year
straight.

THE MOTION PICTURE
WORLD says:

Among interesting pictures in
Mutual Weekly No. 114 are in¬
timate news of the New York
food riots. Several cameramen
were on the job to picture these
unique disturbances from every
angle.

THE LOS ANGELES TIMES says:

“Big Bill” Russell and “Little
Mary Miles Minter” made a hit
when they explored the depart¬
ment stores together a few days
ago to get a birthday gift for
Mary Miles Minter’s Ma. The
two Mutual stars were given a
regular ovation.

THE VANCOUVER, B. C., NEWS
says:

The American-Mutual star
production “Lone Star,” featur¬
ing William Russell, is one of
the best picture dramas ever
shown here. It has a punch that
most of them lack.

DEKALB, ILL., CHRONICLE
says:

Bill Russell in “Soul Mates”
is some fascinator. He made all
the women weep and like it.

THE MINNEAPOLIS DAILY
NEWS says:

If all the ingenues were really
ingenuous, even • in appearance,
the world of the drama would be
. more picturesque, but we’ve got

to hand it to little Mary Miles
Minter, the Mutual star, for her
work in “Environment.”

WICHITA, KAN., EAGLE says:

Wichita is to have a movie ball
and stars of the Mutual and
other big concerns have been in¬
vited, including Mary Miles Min¬
ter and Crane Wilbur.

THE LOGAN, NEBR., STAR says:

Charlie Chaplin has this town
“locoed.” When Charlie ap¬
peared in “Easy Street” last
night everybody from Jim Suell,
the blacksmith, to Cal Smith, the
Indian agent, tried to walk home
Chaplin’s way.

THE ST. JOHN’S, N. B.,

GAZETTE says:

Thank the good Lord for that
prince of clowns, Charles Spen¬
cer Chaplin. The British Gov¬
ernment might well knight
Charlie for his share in amusing
the lads at the front through
those hard winters.

THE TORONTO GLOBE says:

“Youth’s Endearing Charm,”
in which Mary Miles Minter, the
pretty little Mutual star was so
effective and appealing, has been
destroyed by fire. Let’s hope it
is in duplicate.

THE PORTLAND OREGONIAN

says:

Charlie Chaplin in “The Cure"
is a scream and certainly up to
the balance of Chaplin produc¬
tions. The audience rocked the
roof.

THE LOS ANGELES EVENING

HERALD says:

The “Mutual Tours Around
the World” are splendidly educa¬
tional. The release of April 3
shows the islands in the West
Indies recently purchased from
Denmark- — a very timely pic¬
ture.

OPINION, LONDON, ENGLAND,

says:

We hear Dickens’ literature is
appearing on the kinema films in
America. The screen will never
touch the top rung of achieve¬
ment, however, until Charlie
Chaplin stars in “A Tale of
Two Cities” and, as Sydney Car¬
ton, causes the guillotine to
bounce back after hitting him in
the neck.

REEL LIFE — Page Nine

NEW PICTURES AND COMMENT

PICTURIZATION of Henrik
Ibsen’s drama, “Hedda Gab-
ler,” with Nance O’Neil play¬
ing the title role, is the Mutual
schedule for May 7. This combina¬
tion of great author and famous ac¬
tress will make a splendid drawing
card if properly advertised. The
role of “Hedda Gabler” is one of the
best known of Miss O’Neil’s charac¬
terizations on the speaking stage and
she has played the part more than
seven hundred times. Get a list of
all the members of the various literary
clubs of the town and send them a
special invitation to see the film.
Send a special notice to the teachers
and high school pupils. It may be
that you will be able to get the schools
to co-operate with you on this picture.

William Russell will also appear on
the same day in “The Frame-Up.” In
this picture the star appears as a
chauffeur. The name of William Rus¬
sell will be enough to bring his host
of admirers to the theatre. Mention
the fact, also, that this is a little
lighter and qontains more comedy than
the plays in which Mr. Russell has
been appearing recently.

“A Woman’s Wit,” is the, title of
the fifth chapter of “The Railroad
Raiders,” the Mutual-Signal serial in
which Helen Holmes furnishes most
of the thrills, and which comes to the
screen on May 7. In this chapter
Helen Holmes in an inspection car
chases two thieves on an engine, and
most of the time has to drive the car
crouched on the running board while
dodging their bullets. An engine runs
straight through a warehouse, wreck¬
ing it completely. A good lobby dis¬
play of stills from this chapter will
have strong pulling power.

On May 7, also will be released the
first of a new brand of comedies — the
LaSalle-Mutual. The first of these is
entitled “The Prodigal Uncle” and
features Carol Halloway. Make a
special point of this two-reeler be¬
ing the first of a new brand of come¬
dies, as the people are always anxious
to see what the new funmakers have
to offer in the wav of good laughs.

May 9 brings the Strand-Mutual
comedy. “The Great American Game,”
featuring Billie Rhodes and Jay Bel-
asco. and the fun is built up around
the American game of “bluff.”

The Cub Comedy contribution on
May 10 is “Jerry’s Picnic,” featuring
George Ovev.

A few notes on the
Mutual’s releases of
the week of May y

TN line with its new policy of two
-*• feature releases every week the
Mutual Film Corporation announces
the following list of star productions
scheduled for the month of May:

MAY 7, “THE FRAMEUP”

William Russell

Mr. Russell appears as a rich man's
son looking for a job with a “kick”
in it and finally signs as a taxi-
driver and gets all the excitement
he craves.

“HEDDA GABLER”

Nance O’Neil

This is a picturization of Ibsen’s
famous play and brings to the screen
Nance O’Neil’s well known por¬
trayal of the role of “Hedda
Gabler,” which she has played over
seven hundred times on the speak¬
ing stage.

MAY 14, “ANNIE-FOR-SPITE”
Mary Miles Minter
In this picture Mary Miles Minter
appears first as a homely girl, and
later when adopted by a wealthy
woman and showered with beauti¬
ful clothes, she develops into a
beautiful girl.

MAY 21, “THE MIRROR”

Marjorie Rambeau

This is a story of theatrical life and
much of the action occurs on and
about the bright lights of Broad¬
way.

“THE CHECKMATE”

Jackie Saunders

Miss Saunders plays a dual role of
twin sisters in this photodrama. As
one girl she is a tomboy and as the
other a very dignified young lady.

MAY 28, “THE SERPENT’S
TOOTH”

Gail Kane

This is the second photoplay in
which Miss Kane has appeared for
Mutual. The story was written
especially for the star by Forrest
Halsey.

MAY 28, “REPUTATION”

Edna Goodrich

In this play by John Clymer, the
noted playwright, Miss Goodrich
will make her first appearance on
the screen.

“A Vanquished Flirt,” is the title of
the Vogue Comedy ready May 12.
Larry Bowes, Rena Rogers, Jessie
Perry, Harry Huckins, Owen Evans
and John Oaker appear in this mirth-
provoker, the scenes of which are laid
in a beauty parlor.

“The Under Dog,” is the title of the
eighth story of the “Jimmie Dale Alias
the Grey Seal” series. In this story
the Grey Seal comes to the rescue of
an old miser who is being robbed.

The “Mutual Tours Around the
World,” scheduled for May 8, show
Pompeii as it looks after nineteen cen¬
turies under ground ; Zurich, the lead¬
ing city of Switzerland, which is built
on both banks of the RiVer Limmat
where it issues from Lake Zurich, and
Mourom, an old Russian village on
the Oka river, which was built in the
reign of Ivan the Terrible.

The “Mutual Weekly” comes on
May 9 and “Reel Life” appears on
May 10. “Reel Life” shows “The
Protegees of a Big City— How New
York Cares for Its Feeble Minded,”
“Lifting Locomotives,” “Sleeping
Bags for Soldiers,” “A Submarine Oil
Field,” and “Grape Juice.”

* * *

GL. WALKER, manager of
the Lyceum Theatre, Grand
* Junction, Colorado, says: “I
wish to state that the picture which I
am using today, William Russell in
‘The Twinkler,’ is the finest picture
I have ever run.”

* * *

LOUIS DIEHM, manager of the
City Theatre, West Hoboken,

N. J., rather, likes Charlie Chap¬
lin : “Just a few words to let you know
that Charlie Chaplin in ‘Easy Street’
was the best ‘Chaplin Special’ we ever
ran. Our receipts for that day were
larger than any day since we started
in business.”

* * *

THE Helen Holmes company this
week completed the ninth chap¬
ter of the Mutual-Signal serial,
“The Railroad Raiders,” entitled “The
Knotted Cord.”

The ninth chapter is the most tense
of any of the episodes so far com¬
pleted. There is a ferry robbery, fol¬
lowed by a clever international in¬

trigue, a bomb plot, a leap by auto
from a dock to the deck of a barge,
a number of unusual water feats and
the destruction of the barge by ex¬
plosion.

a

REEL LIFE— Page Ten

MUTUAL

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AMERICAN mCDMPANY, INC.,

(premt?

Gail tone

Peerless Screew Star

IK

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WbseWifc

Bi] Cecil Hennj Bullivaivt

First of the Gail Kane Series of
Mutual Pictures. Depicting the
slru^le of a woman unhappily)
mamed.who thinks herself free
to love another, but discover^
to her horror that her husband
still lives. In five acts. 9 *
Directed bp Rollin S- Sturgeon.

Released fhe week of April 50&

Booking^owAt All Mutual Exckan^eS

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4

amis:

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VOGUE FILMS, Inc., Presents

TWO REELS RELEASED APRIL 28th

FEATURING PADDY McQUIREj

Vogue Comedies are in a class

by themselves. They are of a slapstick

type, but it is slapstick with brains behind it.
There is a perfectly logical reason for every
bump and tumble suffered by the rough and
ready Vogue comedians. A fair sample of
Vogue Comedies will be found in “A Plaster
Feud” released this week. Directed by Rube
Miller. Any Mutual Exchange will arrange
bookings for you.

VOGUE FILMS, Incorporated

reneral Oiiices: 6235 Broadway Chicago, Illinois

Slapstick with

REEL LIFE — Page Twelve

MUTUAL

Announcing

La Salle Comedies

for

Mutual Release

Three two-part comedies for release every two
weeks :

“THE PRODIGAL UNCLE” . May 7

Featuring Jean Otto, celebrated comedian and Miss
Carol Holloway, formerly starred in the famous
Beauty ” comedies.

“CHUBBY INHERITS A HAREM” . May 21
“THE FLIGHT THAT FAILED” . . . June 4

A series of fifty-two one reel comedies will be re¬
leased weekly on Tuesday's, beginning June 11 :

“HIS CANIBAL WIFE”

“TILLIE OF THE NINE LIVES”
“DISCORDS IN A FLAT”

“THE GIRL IN THE FRAME”

“WHEN LULU DANCED THE HULA”
“THE KISSING BUTTERFLY”

“MATCH IN QUARANTINE”

“MAN PROPOSES”

“PIGS AND PEARLS”

“THE WIDOW’S MIGHT”

Booking at all Mutual Film Exchanges now

The La Salle Film Company

Executive offices Studios

Harris Trust Building Los Angeles

Chicago California

REEL LIFE — Page Thirteen

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REEL LIFE

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take yo time*
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REEL LIFE— Page Fourteen

MIRTH CONTROL is hopeless
once your audiences get a
taste of Cub Comedies.
These single reels, released weekly
round out any program and flavor
the entertainment with the spice of
genuine joy. Where happiness is,
there is the heart. So, if you’d be
loved by your fellow men get in
touch with any Mutual Exchange and
demand “Jerry’s Trial.” Released
May Third. George Ovey is in it —
from first to last.

David Horsley Productions

REEL LIFE — Page Fifteen

MUTUAL PICTURES

Week of May 7, 1917

No. Brand Title Class Reels

MUTUAL SERIALS.

488-89 Signal “A Woman’s Wit” . Dr. 2

(“The Railroad Raiders,”

No. 5.)

MUTUAL STAR PRODUCTIONS.

490-91-92-93-94 “The Frame-Up” . Dr. 5

American

495-96-97-98-99 “Hedda Gabler” . Dr. 5

Powell

MUTUAL FEATURETTES.

MONDAY, MAY 7, 1917.

05500-01 LaSalle “The Prodigal Uncle”.. Com. 2
TUESDAY, MAY 8. 1917.

05502 Gaumont Mutual Tours Around the

World . Travel 1

WEDNESDAY, MAY 9, 1917.

05503 Mutual Mutual Weekly, No. 123.Top. 1

05504 Strand “The Great American Game”

. Comedy 1

THURSDAY. MAY 10, 1917.

05505 Cub “Jerry’s Picnic” .... Comedy 1

05506 Gaumont “Reel Life” . Magazine 1

i

I

t'

FRIDAY, MAY 11, 1917.

05507-08 “The Under Dog” .... Serial 2

Monmouth (“Jimmie Dale” Series,
Chapter Ho.tfl . . . .Drama
SATURDAY, MAY 12, 1917.

05509-10 Vogue “A Vanquished Flirt”.. Com. 2

Leads

Helen Holmes

William Russell
Nance O’Neil

Carol Halloway

Mourom — An
Old Village of
Russia

Pompeii — A City
of the Dead
Zurich — Chief
City of Swit¬
zerland

Billie Rhodes

George Ovey
Proteges of a
Big City. — How
New York
Cares for the
Feeble-Minded
Lifting a Loco¬
motive

Sleeping Bags
for Soldiers
A Submarine Oil
Field

Grape Juice — -
The Non-Alco¬
holic Drink
E. K. Lincoln

Rena Rogers

<7/te Mutual 9 'Hm Magazine

Published as an organ of service to the motion pic¬
ture exhibitors and motion picture theatres generally.
The subscription price is $2.50 a year, single copies
five cents.

Edited by Terry Ramsaye,

Director of Publicity for

THE MUTUAL FILM CORPORATION

JOHN R. FREULER, President

220 South State Street CHICAGO

GEORGE S. FARR, manager of the Colonial Theatre,
Bristol, Vermont, is strong for both Mutual and Helen
Holmes. He writes : “I quit selling tickets the night
I showed ‘Whispering Smith,’ starring Helen Holmes, as
there was not standing room — and a lot went home. This
was the biggest night since I started.”

* 4= *

BR. ELLIS, Ranger, Texas, writes: “I did a capacity
business on the first chapter of ‘A Lass of the Lum-
* berlands’ and everybody thinks it is great.”

The manager of the Lyric Theatre, Van Alystne, Texas,
says: “We wish to compliment Mutual on the class of pic¬
ture you are putting out in ‘A Lass of the Lumberlands.’
We have never shown a cleaner, more wholesome picture
than this.”

“SIXTEEN YEARS OF KNOWING HOW”

What Is Your Answer?

ARE YOU GOING TO ACCEPT PROJECTION
TROUBLES AS NECESSARY EVILS
OR

ARE YOU GOING TO BE ONE OF THE GREAT
MAJORITY OF EXHIBITORS WHO USE

Power s Cameragraph

Write for the name of our dealer in your territory
Ask Him to Show You

OUR INTERMITTENT MOVEMENT-OUR LOOP
SETTER-OUR TAKE-UP

These Exclusive Devices Were Designed to Eliminate Your Troubles

Catalog “V” Mailed Upon Request

NICHOLAS POWER COMPANY, NINETY GOLD STREET, NEW YORK

REEL LIFE — Page Sixteen

Caulfield Photoplay Company Piesents

“The Great American Game”

The Fifth of the One - Reel
Mutual Featurettes Starrinj

Miss Billie Rhodes

Supported by Jay Belasco

The girl, at a summer resort, made him think
she was an heiress. The boy, on his vacation,
posed as a financier. T hey met, flirted, found
each other congenial and married. And then
came the great discovery — that each had been
bluffing. May 9th is the release date of “The
Great American Game.’’ A new Strand comedy
is released every week. They’re refined — polite.

NOW Booking at all Mutual Exchanges

Produced by

Caulfield Photoplay Co.

The Mutual Pibw Magazine

MAY5-1&.191<7 price five cents

Edwa Goodrich

The Celebrated Stajje S’ta/

(Known 7\?7\Mer/ca'r’Mori:

(Beautiful WomanJ

“HEPUmTIOAp

^e/eafec? QQth.

ARY MILES
MINTERthe
ruling prin¬
cess of the
motion picture as she
appears in “Annie for
Spite/* latest of her
series of American-
Mutual successes —
golden in box-office
value .

TWO MORE “BIG
STARS ONLY” AND
MINTER CONTRACT

Miss Juliette Day as she appeared
in ,the role of “Plum Blossom” in
“Yellow Jacket ” — now an American
Film Company star.

JULIETTE DAY, a stage
star of rising fame, has
signed a contract for the mak¬
ing of a series of feature pic¬
tures for the American Film
Company for release through
the Mutual Film Corporation.

A/J ARY MILES MINTER,
IY1 “the crown princess of the
motion picture,” as the critics
call her, has signed a new two-
year contract with the Ameri¬
can, and will continue in pic¬
tures for Mutual release.

JULIA SANDERSON, cele-
" brated stage star, has been
placed under contract for pic¬
tures by John R. Freuler, presi¬
dent of the Mutual Film Cor¬
poration, in behalf of the Em¬
pire All Star Corporation,
which is making pictures of
Charles Frohman stage suc¬
cesses.

That, in one breath* is the package
of “big stars only for the Mutual”
which Mr. Freuler and Samuel S.

Hutchinson, president of the Ameri¬
can Film Company, Inc., brought back
from New York on their return to
their Chicago offices last week.

“This is some more evidence of our
strict adherence to the policy of ‘big
stars only’ for the Mutual’s pictures,”
said President Freuler. “We shall
have important announcements con¬
cerning the vehicles in which these
stars are to appear. We are giving
particular attention to the matter of
diversity of dramatic matter and clear¬
ly established lines of production for
each star. It is a simple matter of
business judgment to discover what
line of material for each star best sat¬
isfies the public and makes money for
the exhibitor, and after that to use
that sort of material for that star.

“In acquiring Miss Sanderson for
the Empire we are adding importantly
to the start made with Miss Ann Mur¬
dock, who is now at work on the first
series of the Charles Frohman suc¬
cesses at the Empire Studios on Long
Island. Other additions to the staff
of the Empire are to be announced
shortly.

“Miss Sanderson, it will be recalled,
has a particularly fortunate and suc¬
cessful stage history. She started out
with the Forepaugh stock company.
She made a hit as Mrs. Pineapple in
‘A Chinese Honeymoon’ and in ‘Wang’
with De Wolf Hopper. Since then
her record has been unbroken success.
She has played to big houses for a
number of years, both in America and
abroad, with particular success in Lon¬
don. Her father is Albert Sackett, a
very well known American star.”

Mr. Hutchinson discussed some of
the plans of the American Film Com¬
pany, Inc., in connection with the ad¬
dition of a new company for Miss
Juliette Day. Miss Day will be direct¬
ed by Rollin S. Sturgeon, formerly
Vitagraph’s star director, who has
been engaged in the making of Miss
Kane’s first pictures for the American.
Miss Kane’s future pictures will be
directed by Henry King, the director
just now particularly known- for his
successes in the making of the “Little
Mary Sunshine” pictures.

“The line-up at the American

Miss Julia Sanderson, famous stage
star, and the latest acquisition of the
Empire All Star Corporation, to ap¬
pear in Charles Frohman Stage Suc¬
cesses.

studios is a decidedly satisfactory one
now,” observed Mr. Hutchinson, “cov¬
ering as it does four complete lines of
well defined dramatic products — Wil¬
liam Russell, whom I consider a leader
among the male stars of the day —
Mary Miles Minter, just put under a
new and high priced contract, who has
her own special field in the motion pic¬
ture world — Miss Gail Kane, admit¬
tedly one of the greatest of the young
actresses in America — and latest, Miss
Juliette Day, from whom we may ex¬
pect a new and valuable dramatic
product.

“Miss Day, in the opinion of the
critics, ‘does not look a day over 15,’
although she is considerably older than
than that and is a finished and ac¬
complished actress. She has appeared
in a line of interesting successes in¬
dicative of what may be expected of
her in the pictures, including: ‘Blue
Bird,’ ‘Everywoman,’ ‘Yellow Jacket,’
‘Chin Chin,’ ‘Marrying Money’ and
‘Twin Beds,’ every one well known
and satisfactory to the public which
spends its money for amusement.”

REEL LIFE— Page One

MARY MILES MINTER STARS IN

Prettiest ingenue star
on the screen in story
that cashes her values

Mary miles minter,

favorite ingenue-star of
the motion picture enthu¬
siast, who is starred in a
new photodrama, “Annie-For-Spite,
produced by the American Film Com¬
pany, Inc., for release by the Mutual
Film Corporation, has secured in this
remarkable play one of the best me¬
diums ever provided for the display
of her happy genius.

Miss Minter as Annie, the little or¬
phan girl whose attic dreams of a mi¬
raculous rich lady who is to come
some day and rescue her from the
pangs of poverty, is one of the most
appealing child characters ever seen
on the screen, and under the skillful
handling of Director James Kirkwood,
Miss Minter’s delicious portrayal of
the sweet-faced “child o’ dreams, is
given the utmost effectiveness in stag¬
ing and direction.

When Mary, as the little orphan
girl, smiles her way into the icy heart
of Mrs. Nottingham, the aged woman
of wealth who has adopted her to
spite her own relations, thaws the con¬
gealed milk of human kindness in the
old woman’s crabbed soul, and changes
the whole atmosphere of an unhappy
home by the radiance of her own
goodness, there is something more due
than mere appreciation of the brilliant
acting of this fascinating young star.

The beholder is charmed to the con¬
clusion that Mary is just what she
seems to be on the screen — a ray of
sunlight fashioned by divine inspira¬
tion to shine into the world’s dark cor¬
ners and make folk the better for hav¬
ing seen her.

Miss Minter herself selected the
idea upon which “Annie-For-Spite”
is based, the story having been writ¬
ten by Fred Jackson, one of the young
star’s personal friends, who is said
to have had “Lovey Mary” in mind
when he wrote the tale. In fact, as
Director Kirkwood declares, Miss
Minter plays an important part in the
selection of all her plays, having se¬
lected the plots of “Environment” and
“The Innocence of Lizette,” both suc¬
cessful productions of the American-
Mutual studios.

The genius of the director and the
complete sympathy existing between
director and star, were never more
thoroughly illustrated than in “Annie-
For-Spite.” It displays, as no other
Minter production has done so com-

BEFORE

Mary Miles Minter in the role of the
little, forlorn, friendless shop girl, be¬
fore her dream of a grand home and
being a great lady comes true, in
which she tries to be homely.

pletely, the ability of Mr. Kirkwood
to get the very best there is in his star,
and certainly he has set the jewel most
admirably.

The new gowns purchased espe¬
cially for Miss Minter’s adornment in
this production, and which serve so
effectively to heighten the contrast be¬
tween Mary in rags and Mary in fine
raiment, are said to have cost $3,500,
and Mrs. Charlotte Shelby, Mary’s
mother, is known to be an expert
buyer. Whatever the gowns may have

Annie Johnson Mary Miles Minter

Willard Kaine Nottingham .

. George Fisher

Mrs. Emily Nottingham .

. Eugenie Ford

Mrs. J. G. Nottingham .

. Gertrude Le Brandt

Andrew Walter . George Periolat

Dr. James MacElroy . . . Robert Klein

Saunders . Charles Newton

Miss Turner . Emma Kluge

Norah . Nellie Widen

Mrs. Cadogan . Lucille Ward

“Lovey Mary” never looked prettier
than she does in those wonderful cre¬
ations of a Fifth Avenue atelier.

Some- of the sets in “Annie-For-
Spite” are exquisite in their artistry.
The drawing room of the Nottingham
home is done in superb taste and all
others of the many elaborate sets are
equally well furnished.

Photographically the picture is per¬
fect. It possesses all the fine touches
of artistry possible of development in
surroundings that lend themselves
most readily to the analytical eye of
the camera. It is a production of skil¬
fully emphasized highlights and won¬
derfully modulated shadows, all else,
of course, subordinate to the main
feature, which is Mary Miles Minter’s
wonderfully expressive and beautiful
face, portrayed in all its changing
moods and innumerable shades of ex¬
pression.

Mr. Kirkwood, the director, is to be
given credit for the cleverness with
which he has eliminated non-essentials
and made every essential of the drama
count for all it is worth. It is not diffi¬
cult, in contemplation of his completed
work, to realize why he was considered
invaluable as a stage director by that
genius of the speaking stage, David
Belasco.

THE STORY OF
THE PICTURE

The story of “Annie-for-Spite” is
that of a pretty little orphan girl who
ekes out the slender salary she re¬
ceives for serving in the basement of
a department store, by taking charge
of the younger children of Mrs. Cado¬
gan, a kindly widow with whom she
lives, after her return from the store
at night.

Despite the sordid drudgery of her

REEL LIFE— Page Two

“ A N N I E - FOR- S P I T E”— AMERIC AN

life, Annie preserves her inborn op¬
timism — her ability to smile at mis¬
fortune and stare trustingly with smil¬
ing, parted lips and big wistful eyes
into the future that is always coleur
de rose.

Instead of being downcast by her
hard fate, Annie believes implicitly in
the very rich old lady who is some
day to adopt her and be the fairy god¬
mother of her ownest own fairyland.
No matter how many disappointments
she experiences in the behavior of
“nice old ladies” who look as though
they ought to adopt a pretty little girl,
but content themselves with merely
casual attentions, Annie never loses
faith in her dream.

Then, at last, the dream comes true.
A crusty old lady of many millions,
Mrs. John Grant Nottingham, angered
at the cupidity of her immediate rela¬
tives, instructs her lawyer, Andrew
Walter, to pick out the most destitute
girl waif he can find in New York and
fetch her to the big mansion in Fifth
avenue for adoption. When Lawyer
Walter finds Annie — just as she has
been dismissed in tears for some tri¬
fling infraction of the department
store rules — he considers his quest at
an end and takes the forlorn child to
Mrs. Nottingham, who promptly
adopts Annie, “for spite,” but soon
learns to love her for the radiance of
her happy smile and her naive accept¬
ance of all the fine feathers bestowed
so lavishly by the rich old woman as
her right, because she had always
dreamed it would be just so — some
day.

The love interest comes when young
Willard Kaine Nottingham, grandson
of the old lady, whom she has never
seen, falls in love with Annie under
an assumed name. Mrs. Nottingham’s
sudden death leaves Annie in pos¬
session of the vast fortune, but the
courts decide a contest in favor of the
family and Annie is dispossessed.

Young Willard Nottingham, who
has been employed as Annie’s private
secretary, now becomes a beneficiary
under the court’s decision, declares
his love for Annie and is accepted.

Included in the cast of “Annie-For-
Spite” are such well known performers
as George Periolat, who plays Andrew
Walter, the family lawyer, with ad¬
mirable convincingness; George Fish¬
er, as Willard Nottingham; Gertrude
Brandt, who is strikingly effective as

A sympathy story with a
lot of the stuff that
makes ’em love Miss Mary

AFTER

Mary Miles Minter in the role of the
adopted daughter of the very rich old
lady in “Annie-For-Spite " showing
that feathers have a great deal to do
do with the looks of the birdie.

old Mrs. Nottingham; Robert Klein,
as Dr. MacElroy, and Eugenie Ford,
as Mrs. Emily Nottingham. It is an
admirably balanced cast.

Newspaper and magazine comment
upon Miss Minter’s work are invari¬
ably complimentary. For instance, the
Portland Oregon Star, commenting
on the announcement of the new play,
said that it would be worth going to
see if Mary would just appear and
smile, adding:

“But from all accounts the new ve-

Mary Miles Minter has start¬
ed work on her next production,
“Periwinkle,” which is an adap¬
tation of the story by William
Farquhar Pay son.

In this feature the little star
appears most of the,time dressed
in trousers, rubber-boots, oil¬
skin coat and sou’wester. She
is a little waif rescued from a
shipwreck and reared by a beach
comber and his daughter, and
given the name of “Periwinkle.”

George Fisher plays opposite
Miss Minter and others in the
cast include Arthur Howard,
Clarence Burton, Alan Forrest,
Harvey Clark, George Periolat

hide affords Miss Minter superior op¬
portunities and brings out those quali¬
ties which are hers by divine right, to
the limit of their availability.”

The Elmira, N. Y., Gazette says:

“Mary Miles Minter is the really
and truly ingenue of photodrama, and
we sigh to think of the inevitable day
when custom will twist those glorious
brown locks of hers into a conven¬
tional coiffure. Mary is just a little
girl now, and honest, we hope they’ll
let her wear her hair just as she does
now until she’s thirty.”

The San Francisco Chronicle says :

Mary Miles Minter — she of the
dreamy eyes and sunburst smile — is to
appear in a new photoplay, “Annie-
For-Spite,” her latest production in
the American-Mutual series. The pic¬
ture is said to be one of the best Jim
Kirkwood ever turned out.

The Wellington, Wyo., Standard
says :

“Mary Miles Minter, in ‘The Inno¬
cence of Lizette,’ is about as cute a
little bit of all right as ever flashed
across the screen in this jaded metrop¬
olis. So far as we are concerned they
can take all the sex stuff that reeks on
the screen and dump it into deep
water, but in “Lovey Mary,” the
American-Mutual have a maiden fair
worth going hundreds of miles to see.
There is no more attractive personal¬
ity in the motion picture universe.”

REEL LIFE— Page Three

HOLMES “RAILROAD RAIDERS” VI

This Chapter is full
of fast work and big
stunts for Miss Holmes

THE OVERLAND DISASTER
CHAPTER VI

ELEN HOLMES, daring
young heroine of the screen,
whose most recently con¬
ferred title is “Venus of the
Valve,” manages to roll down a rail¬
way embankment in a Pullman car
and escape without a scratch, in
Chapter VI of “The Railroad Raid¬
ers,” Signal-Mutual photo-novel, the
most sensationally adventurous
chapter play in which Miss Holmes
has ever appeared.

“The Darling of the Rail,” as so
many of her admirers call her, has
never been seen to better advantage
than in this latest chapter of “The
Railroad Raiders.” Miss Holmes is
everywhere in the picture, flipping
cars on fast moving trains, boarding
engines and remaking train sched¬
ules after cutting into the train dis¬
patcher’s wire from all sorts of re¬
mote mountain way stations ; fording
rivers up to her neck in icy water,
and holding up members of the raid¬
ing gang at the point of her trusty
automatic.

There is action and to spare
throughout the chapter, as may be
understood when it is realized that
John P. McGowan, director of all
the Helen Holmes photoplays, gets
into the game himself as “Desmond,”
bent on squeezing out a few hundred
stock holders of the system.

THE STORY OF
CHAPTER VI

In Chapter VI of “The Railroad
Raiders” Thomas Desmond (John
P. Gowan) is made general superin-

Helen Holmes . Helen Holmes

Thomas Desmond. . . . J. P. McGowan
Morton Webb. . .Thomas G. Lingham

Wallace Burke . Leo D. Maloney

Steve Arnold . Paul C. Hurst

Homer Frost . William Buhler

Roy Wilson . William Brunton

Sam Lowenstein . Will Chapman

Lord Montrose. . . .G. H. Wischussen

Lady Montrose . Florence Holmes

“Buck” Masters . F. L. Hemphill

Officer Tommy Marshall .

. W. A. Behrens

tendent of the “K” system and char¬
acteristically enough, he launches a
new line of investigation into the
mysterious robberies that have come
close to impoverishing the road dur¬
ing the previous two years.

The first thing that impresses him
is the suspicious behavior of Burke,
the disgruntled “K” official, whom
Helen Holmes insists is in league
with the raiders.

Acting upon his suspicions with
regard to Burke, the new superin¬
tendent trails him to the rear room
office of Lowenstein, the pawnbrok¬
er, and having overheard a criminal
conspiracy between the two, with
Helen as a witness, Desmond con¬
fronts Burke with proof of his guilt
and terrifies the conspirator into
agreeing to betray his gang into the
hands of the railway secret service
organization.

Immediately following this agree¬
ment Burke concocts a scheme to
wreck the private train of the “K”
system’s president by derailing it,
and it is this sensational wreck

. — . J

REEL LIFE — Page Four

scene resulting in President Wilson’s
death, that constitutes the big epi¬
sode of the chapter.

Roy, the president’s son, and
Helen Holmes’ persistent suitor,
narrowly escapes death with his
father, owing his life to Miss
Holmes’ foresight and warning.

Helen’s activities against the raid¬
ing gangs harassing the “K” system,
have so narrowed the scope of their
operations that early capture of the
ringleaders is considered by Super¬
intendent Desmond to be practically
assured, but, while the desperate
gang sees the end of its career ap¬
proaching, its leaders thirst for re¬
venge against Helen Holmes and her
associates of the secret service de¬
partment. A desperate plot is hatch¬
ing against Helen and her aids, of
which she gets an inkling, and im¬
mediately begins to make counter
plans for the confusion and capture
of the would be assassins.

HELEN “DELIVERS
THE GOODS”

Newspaper and magazine com¬
ment on “The Railroad Raiders” is
of a flattering nature. The Atlanta
Georgian says:

“Leaving out of the question the
usual laymen’s faith in the invul¬
nerability of motion picture stars to
such ‘slings and arrows of out¬
rageous fortune’ as beset the every¬
day human, it is impossible to avoid
recognition of the fact that when
Miss Holmes is photographed in
some desperate leap off a cliff, or
into the tonneau of a moving motor
car from a speeding train, the actress
really delivers the goods.”

CAHILL, OVEY, LINCOLN, TURPIN

A collection of little
pictures with big stars
and big box office pull

WHEN BETTY
BETS

Marden-Mutual Comedy — Two Reels
— Featuring Clever Marie Cahill
The rich uncle of “Hopeful John”
objects to his marriage with Mabel,
the sister of Betty, who is Marie
Cahill. Betty tries to fix things for
the young couple. An argument en¬
sues in which Uncle tells Betty she is
useless except as a spender. Betty of¬
fers to bet that she can make $1,000 in
thirty days. Uncle takes the bet. If
she wins Uncle will consent to John’s
marriage. If she loses the stuff’s off.
Betty arranges an ingenious system of
family blackmail by which she com¬
pels Uncle to pay her more than $1,000
in thirty days and he is glad to consent
to the wedding.

* * *

TRIXIE OF
THE FOLLIES

Strand-Mutual Comedy— One Reel —
Featuring Billie Rhodes and J. Belasco
Jack is a married flirt. His wife
decides to cure him of flirting. She
disguises as an actress and Jim ac¬
costs her, but recognizes her through
the disguise. He rushes home to make
sure. Wifie beats him to it in a faster
car. He thinks the woman he accosted
was Trixie of the Follies.

He writes Trixie, who says she will
visit his home. He succeeds in get¬
ting Wifie away for the evening. It
develops that the ambush has been ar¬
ranged by Wifie and her friend Jim.
The latter personates Trixie’s husband
and gives Jack a bad scare. He is
cured and Wifie embraces him.

* * *

THE

ALIBI

Mutual — Two-Reel Drama — Featur¬
ing E. K. Lincoln as “Jimmie Dale”
Jimmie finds himself again in the
control of “The Woman in Black.”
She sends Jimmie a note which he be¬
lieves is from the Tocsin, but finds
out his mistake in time and receives
his real letter of instructions concern¬
ing the robbery of “Miser” Deitrich,
and the necessity of recovering the
necklace of diamonds which had been
among the miser’s jewels. The
“Woman in Black,” “Larry the Bat”
and other conspirators with a plan to
bring Jimmie to the end of his career,
are cleverly outwitted by The Grey

rj'RANK L. PACKARD, author
hi of the story upon which the
"*• popular “Jimmie Dale, Alias
the Grey Seal” dramas are based, is
one of the best known writers of ad¬
venture fiction on the American con¬
tinent.

Mr. Packard’s novel is called “The
Adventures of Jimmie Dale.” It is
being published by Geo. H. Doran of
New York.

Frank Packard is an American,
born in Montreal. He finished his
education at Liege. Belgium, and was
there a few months before Germany
began battering the town to bits. The
author is well known to magazine
readers in Europe as well as America.
He is the author of many novels, in¬
cluding “On the Iron at Big Cloud,”
“Greater Love Hath No Man,” “The
Beloved Traitor,” his latest book be¬
ing “The Adventures of Jimmie
Dale.”

Mr. Packard lives at Lachine, Que.
He is a great lover of outdoor life
and a famous hunter of big game.

Seal, who recovers the property and
as usual maintains his incognito.

* * *

JERRY’S

FINISHING TOUCH

Cub Comedy — One Reel — Featuring
George Ovey

In this clever skit Jerry becomes a
motion picture magnate, learning
much of a difficult art in a short time.
Realizing that costuming is an impor¬
tant element in the equipment of a
company, Jerry makes love to the maid
of a wealthy woman who is out of
town, persuades her that she has the
makings of a star, and induces her to
throw open the house of her employer
to the hopeful actors and actresses
whom Jerry has promised a million a
year each to join him. The proprietor
of the mansion returns and gets on the
job with a shotgun. Exeunt Jerry and
his pals amid amusing confusion.

* * *

CAUGHT IN
THE END

Vogue-Mutual — Two-Reel Comedy —
Featuring Ben Turpin
Ben Turpin, president of the Union
Square Fishball Company, has a very
jealous wife. Ben is a bit of a flirt.
Linnie, Ben’s wife, is suspicious. Art
Currier, friend of the family, induces
Linnie to put her money into oatmeal
stock. Currier and Ben’s stenographer
are sweethearts. They inject much
complication into the plot. Linnie’s
oat stock goes to smash and she falls
into Currier’s arms in a faint. Ben
catches her at it and the plot pro¬
gresses merrily to a windup with all
parties reconciled via the roundabout
route.

* * *

GAUMONT HAS LIST
OF SCHOOL FILMS

Weekly Bulletin will be sent free to
teachers and others
“Gaumont Single Reels,” a weekly
bulletin which lists all Gaumont single¬
reel releases, including “Reel Life”
and “Tours Around the World,” will
be sent free on application to univer¬
sity instructors, school teachers, mo¬
tion picture exhibitors or others in¬
terested in educational travel film
products. This bulletin, issued weekly,,
contains a list of all Gaumont single
reel releases to date of issue and it
supplants all previous issues.

REEL LIFE — Page Fire

TOPICAL FEATURETTES — Gaumont

Three timely reels with
a special value when the
public wants all the news

MUTUAL
WEEKLY— 122

EMARKABLE pictures
from Washington, D. C.,
showing the arrival of the
great British and French
missions sent to this country to con¬
fer with the American government
on war measures are contained in
the Mutual Weekly, No. 122.

The Right Honorable Arthur J.
Balfour, England’s minister of fore¬
ign affairs, and his suite are pictured
as they reach Washington by rail.
They are met by high state digni¬
taries and escorted to the home of
Breckenridge Long. The Gaumont
cameraman also caught Mr. Balfour
and Secretary of State Lansing as
they went to call on the President.

The French mission was photo¬
graphed as it debarked from the
President’s yacht “Mayflower.” Rene
Viviani and General Joffre are the
principal figures. There is also a pic¬
ture of the home of Henry White,
former ambassador to France, where
the distinguished French visitors will
live while in Washington.

The West point cadets of the class
of 1917 were graduated ahead of
time, but not with such speed that
they were not caught by a Gaumont
cameraman for this issue of the
Mutual Weekly. Other pictures
bearing on the war show , the parade
of the Eighth Coast Batallion in
New York, and the ride of “Paul
Revere” in Boston with an escort of
National Guard cavalrymen.

The doings in Washington are
events that will loom large in the his¬
tory of the world.

The Mutual Weekly offers special
value to the exhibitor at this time
when the public looks to the pictures
to see what is doing in this world of
armament and war. The was has a
personal interest to every picture pat¬
ron now. So have the weekly’s pic¬
tures of war news.

A special herald of exceptional ad¬
vertising value is obtainable in quan¬
tities at low prices for the use of ex¬
hibitors running “The Vampires,” the
mysterious and compelling Gaumont
series depicting life among the
Apaches of Paris. This herald is made
up like a sensational newspaper. Ask
your Mutual exchange manager
about it.

Mr. Charles Chaplin in his pose as
“Napoleon Crossing the Delaware,”
which appears in his latest picture, en¬
titled “The Cure,” is such a hit among
exhibitors, for use in press and adver¬
tising copy, that the publicity depart¬
ment has ordered it made up in elec¬
trotype form for distribution through
the exchanges. Buy this cut at any
Mutual exchange for 35 cents, the
schedule price.

REEL
LIFE— 55

HE foremost feature of
“Reel Life” No. 55, which
will appear on May 17,
shows how telephone lines
are laid across the continent, with
details of construction and operation
that are of special educational and
travel value, the section being en¬
titled “Speeding the Broken Word.”

Other sections display the method
of preparing crabs for the table by
wholesale and is entitled “The
Toothsome Crab.” Still another pic¬
ture shows how ingenious dealers
are beating the high cost of furs.

MUTUAL TOURS
AROUND WORLD— 28

NTENSELY interesting scenes
showing the island of Barba-
does, a storied British posses¬
sion, and the ancient , castles of
France, arg comprised in two sec¬
tions of Gaumont’s “Tours Around
the World,” No. 28, released through
the Mutual May 15.

The scenes in Barbadoes are of
especial interest since they display
a civilization akin to that of the
Virgin Islands which the United
States government has just acquired
from Denmark.

The island of Barbadoes may be
visited by many American soldiers
who form our French expendition-
ary force.

The castles shown in this issue are
situated along the River Loire.
Only, to mention their names con¬
jures up pictures of important events
in French history. At Blois Castle
the Duke of Guise was assassinated
by order of Henry III ; at Chambord
Castle once lived Stanislas, King of
Poland ; at Ambroise Castle, where
Charles VIII was born and died, is
buried Leonardo da Vinci, painter
of “Mona Lisa” and “The Last Sup¬
per;” at Langeais Castle Charles
VIII married Anne of Brittany; and
at Chenonceaux Castle once lived
Catherine deMedici.

The Barbados pictures give an ex¬
cellent understanding of this island
which was visited by Columbus in
1493. There are numerous views of
Bridgetown, including the water
front and the principal square and
buildings. The sugar estates are
seen, as well as the life of the natives
away from the towns. One unex¬
pected picture is the tomb of Ferd-
inando Paleologus, last Christian
Emperor of Greece, who died in Bar¬
bados in 1678.

The West Indies pictures now being
released at intervals by the Gaumont
Company through Mutual exchanges
are being taken by Willard Van der
Veer, with J. Norton Nellis as his as¬
sistant. Mr. Van der Veer is prob¬
ably the most famous camera man of
the tropics. Conditions there require
the highest skill. He is now working
in Trinidad, making pictures for both
“Reel Life,” the magazine in films, and
“Tours Around the World.”

REEL LIFE— Page Six

NOTES ON COMING MUTUALS

A WHOLE tribe of Indians has
been engaged to appear in Mar¬
garita Fischer’s fifth feature
for Mutual “Little Miss Missionary.”
These Indians will encamp in the Ex¬
position grounds at San Diego and
will be used in various spectacular
scenes, including a thrilling encounter
with Mexican cowboys.

Miss Fischer is also called upon to
enact a number of exciting scenes in
this Pollard production. Among them
is a thrilling ride which she makes in
a widely careening buckboard drawn
by Indian ponies while she is sup¬
posedly unconscious.

* * * * «

GAIL KANE has started work-
on her third production for
Mutual which is being filmed at
the American studio.

“The Upper Crust,” an adaptation
of Charles Sherman’s novel entitled
“The Indiscretions of Molly,” has
been chosen as the vehicle for Miss
Kane.

In “The Upper Crust,” Miss Kane
will be seen as Molly O’Toole, a sweet
village girl who on account of reverses
goes to the city to seek a broader field
of opportunity. Her love of wealth,
luxury and position lead her into a
series of indiscretions which go to
make up a story replete with tense,
dramatic situations, and not lacking in
a goodly amount of clean, wholesome
comedy.

* * *

EK. LINCOLN, who plays the
title role in the Mutual series,
* “Jimmie Dale, alias The Grey
Seal,” is traveling around the country
this month exhibiting his pedigreed
dogs at the various bench shows. At
the show held in Washington, D. C.,
Mr. Lincoln entered twenty of his
dogs and became the proud possessor
of nineteen first winners’ ribbons. On
May 10, Mr. Lincoln will try to even
exceed this record in the dog show at
Wilmington, Delaware.

* * *

Marjorie rambeau can

qualify as the quickest “quick
change artist” after her ex¬
perience in “The Dazzling Miss Davi¬
son,” the Mutual feature on which
she is now working at the Frank
Powell studio.

In this production, which is a screen
adaptation of Florence Warden’s novel
of the same name, Miss Rambeau
changes her costume in every few feet

Fischer, Kane, Rambeau
and others at work on
choice subjects to come

Miss Margarita Fischer in one of
her niftiest new hats. “I always try
to give Miss Fischer a chance to
‘dress up’ in every picture, because
her audiences like to see her wear
pretty clothes,” says Harry Pollard,
her director.

of the picture. She runs the range
of costumes from grave to gay, for
Miss Davison is a young woman who
appears one moment in the habila-
ments of fashion and the next in the
somber garb of the shop girl on duty.

She goes into the police station in
one costume to emerge a few mo¬
ments later in another as different
from the first as is day from night,
and so it goes through “The Dazzling
Miss Davison.”

* * *

SIX motion picture houses in Los
Angeles were showing six differ¬
ent Mutual features for the
week of April 16.

“The Gentle Intruder,” with Mary
Miles Minter, at Tally’s; “The Cure,”
with Charlie Chaplin, at the Garrick ;
“Dulcie’s Adventure,” with Mary
Miles Minter, at the Liberty; “Inno¬
cence of Lizette,” with Mary Miles
Minter, vat the Iris; “A Dream or Two
Ago,” with Mary Miles Minter, at
the Laughlin; “Beloved Rogues,”
with Kolb and Dill, at the Academy;
and “Shorty Turns Wild Man,” with
Shorty Hamilton, at the Liberty.

THE Signal Film Corporation’s
players will spend a greater part
of the next few weeks traveling,
making the remaining chapters of
“The Railroad Raiders.”

A week’s stay will be made in San
Francisco taking scenes for Chap¬
ter X. A number of pictures will be
taken on board the train. As soon
as these are completed they will start
off again, for the eleventh chap¬
ter calls for a number of scenes on
board an ocean steamship. The entire
company will, therefore, travel by
water from San Pedro to San Diego
and return.

Whether they will remain any time
in San Diego or will stay on board the
boat has not yet been decided, although
permission has been granted them to
make any use they see fit of the dis¬
mantling and destruction of those
buildings at the San Diego Exposition
which are to be torn down about that
time.

THE battle of federal authorities
to wipe out opium smuggling is
the basis of Edna Goodrich’s
second star production for Mutual
“Queen X.” “Reputation,” her first
picture, is scheduled for release May
28. “Queen X” was written by Ed¬
win M. Stanton, assistant United
States attorney of New York, who
participated in the crusade against
opium smuggling and led- many of the
raids on the gangs which offered des¬
perate resistance to the federal gov¬
ernment’s attempt to stamp out the
drug« Miss Goodrich appears as
“Madame X,” queen of Chinatown, a
brilliant woman, the victim of the
opium habit and leader of the gang
which smuggles tl^e drug into the
United States. The story is laid in
New York and the time is the present.

* * *

JOHN HAFNER, manager Prin¬
cess Theater, Donora, Pa., de¬
clares Mutual service helps his
business. He says :

“ ‘A Pearl of Paradise’ certainly
is a good picture, and gave satisfac¬
tion all around. Everybody liked it —
men, women and children. If all the
pictures would give the people such
genuine pleasure as this one, the busi¬
ness would soon come up to where it
used to be.”

REEL LIFE — Page Seven

ZEPPELINS
ATTACK
NEW YORK

Spectacular picturization
of what might happen any
night in biggest U. S. City

A FICTION fancy of what
might happen if the
Kaiser’s Zeppelin fleet
should make such an at¬
tack on New York as they have so
often on London is depicted in
“Zepplin Attack on New York,” a
war special reel made for Mutual re¬
lease May 14.

This picture is the product of the
Rothacker studios in Chicago, where
Watterson R. Rothacker, the presi¬
dent of the concern, devotes a vast
deal of time* and attention to the de¬
velopment of motion picture novel¬
ties and specialties. •

The big Zeppelins are shown on
their majestic course across the sky
as they come over the sea laden with
bombs for Nev^ York, today the
world’s richest city.

The big city is shown darkened
and the harbor lights extinguished, as
all Manhattan island holds tight and
waits. A bombing aeroplane is
shown, scout aboard, as it soars off
into the upper air.

There is a battle in the night
blackened sky. The Zeppelins are
seen dropping their bombs of fire and
explosive on the great sky scrapers
of lower Broadway. The defending
aeroplanes rush about. Then comes
a hit. A Zeppelin is blasted to bits,
burns in air and crashes to earth a
cindered mass. Victory for the de¬
fenders.

MANNING

THE

NAVY

A snappy new reel made at
nation’s greatest training
station for the “ Jackies ”

HOW a raw recruit is made
into a real U. S. Navy
“jackie” is depicted in this
• new and remarkable reel

just completed by the camera men
of the Rothacker studios in Chicago.
This reel will be available at all
Mutual exchanges on and after
May 14.

The picture was made at the U. S.
Naval Training Station at Lake
Bluff in Illinois. This station, on the
west shore of Lake Michigan, is the
greatest of its kind in the United
States, and it is there that the youths
destined for service on our fighting
ships are taken to learn their trade
of war.

MAIL THIS COUPON NOW

MUTUAL FILM CORPORATION
Sales Department
220 South State Street
CHICAGO, ILL.

Gentlemen:

Send me at once special press matter and
full information about the two new war
special reels, “Zeppelin Attack on New
York” and “Manning the Navy.”

Name . .

Theater .

Street address .

City .

REEL LIFE— Page Eight

MUTUAL

“Re Railroad Raider* R ARM
Mr.Hukhinfon Guaranteed—

Rob Reel in

AMERICAN

RAUm^

This newest of Helen Holmes photo¬
novels is plaqinq to capacity business*
everywhere . /t? crammed with

ACTION - PUNCH -THRILLS!

Now Booking erf all
Mutual ExcAanae ?

REEL LIFE — Page Nine

FRANK POWELL Presents

Nance O'Neil

IN

HEDDA G ABLER

America’s foremost emotional screen star
in Henrik Ibsen’s immortal classic. Five
acts. Released the week of May 7th.

The Seattle Times, in discussing “Hedda Gabler”,
says: — “The character presents a tremendous study
but it is a study that Nance O’Neil knows how to assim¬
ilate. The picture should be worth going far to see.”

The name, “Nance O’Neil,” means big box-
office receipts. Coupled with a play like Henrik
Ibsen’s “ Hedda Gabler ” it is sure to attract tremen¬
dous audiences. Miss O’Neil’s first Mutual picture
— “Mrs. Balfame"- — is now playing to standing room.
Get your share of these successes. Write or visit
your nearest Mutual Exchange.

American Film Company, Inc.

Presents

WN. RUSSELL

IN

THE FRAN E-UP

Five Acts. Directed by Edward Sloman.
Released the- week of May 7th
Through MUTUAL EXCHANGES

The Denver Times Says: — “Mr. Russell’s athletic
stunts are screen classics. We consider them emi¬
nently well worth the price of admission.” If you
booked William Russell in “My Fighting Gentle -
man” and “High Play, ” you’ll be anxious to show
“The Frame-Up.”

These productions prove their value at the box-
office. The name and the plays mean success —
big business. Ask your nearest Mutual Exchange
for a list of all Mutual Star Productions featuring
William Russell.

MUTUAL FILM CORPORATION

John R. Freuter, Pre*ident
Exchanges Everywhere

Written

By FRANK L. PACKARD

From “The Professional Adventures of Jimmie
Dale” Now Appearing in Peoples Magazine.

Wealth and brains against
law and craft- adventu re -
romance -danger-al I add.
spice to this amazing new
series of sixteen Mutual
Featuretter. Each two reels
in length. A new episode
each weelo.

Booking NOW At AH

MUTUAL EXCHANGES

Produced by

feorpotaiioti

HARRY MCRAE WEBSTER..

JULES BURNSTEIN, g^l Mmapr-

Di/eded bu

HARRY MCRAE WEBSTERJ

rlarrin9 E~IC LINCOLN

DORIS MITCHELL EDNA HUNTER.
PAUL PANZER.

—

-OHasL. aA-.

Illllllllllllllllllllll

REEL LIFE — Page Twelve

VOGUE FILMS, Inc., Presents

RELEASED MAY 5th

FEATURING BEN TURPIN

TWO REELS

Exhibitors all over the country

are finding Vogue Comedies the ideal
productions with which to round out their pro¬
grams. These comedies supply just the neces¬
sary spice to “liven up” the heavier portion of
your entertainment. At least once a week ar¬
range to show a Vogue two reeler. The one
this week is directed by Robin Williamson. It is
entitled “Bucking the Tiger.” It features Ben Turpin.
You can obtain it at the nearest Mutual Exchange.

VOGUE FILMS, Incorporated

General Olfices: 6235 Broadway Chicago, Illinois

Slapstick with • Rsaioh

mm

&& ;

' ' 'I '

0

! \ •

1 \

; \

J i

: M ®

/

^ iij

REEL LIFE — Page Thirteen

REEL LIFE N2 55
Released May 17&

I MAI10NAL ASSOCIATION /

Jhotct PiquRrmmjsrHYl

LONDON

6acimor)t (o.

(p&P&i

FLUSHING. N. Y

PARIS

REEL LIFE — Page Fourteen

Cub Comedies

featuring

GEORGE OVEY

YOUR feature is not the whole
show. It needs support. The
best support is a good comedy.
Cub Comedies are always good
comedies.

Jerry’s Picnic

Released May 10th J

IS ONE OF THE BEST

BOOK IT AT

YOUR MUTUAL EXCHANGE
It will support your feature.

David Horsley Productions

Los Angeles, California

REEL LIFE — Page Fifteen

MUTUAL PICTURES

SERVICE STATIONS

Week of May 14, 1917

MUTUAL, SERIALS.

No. Brand Title Class Reels

05511-12 Signal “The Overland Disaster”...

(“The Railroad Raiders,”
Chapter No. 6).... Drama 2
MUTUAL STAR PRODUCTIONS.

05513-14-15-16-17 “Annie for Spite”. . . 5

■A.TY1G rican

MUTUAL PEATURETTES.

MONDAY, MAY 14, 1917.

— 05518-19 Cahill “When Betty Bets”. Comedy 2
TUESDAY, MAY 15, 1917.

05520 Gaumont Mutual Tours Around the

World . Travel 1

WEDNESDAY, MAY 16, 1917.

05521 Mutual Mutual Weekly, No. 124...

. Topical

05522 Strand “Miss Trixie of the Pollies”

. Comedy

THURSDAY, MAY 17, 1917.

.05524

Cub “Jerry’s Finishing Touch”

. Comedy

Gaumont “Reel Life” . Magazine

1

1

1

1

FRIDAY, MAY 18, 1917.

‘*•—■06525-26 “The Alibi” . Serial 2

Monmouth (“Jimmy Dale” Series,

Chapter No. 9) . . . .Drama

■ . SATURDAY, MAY 19, 1917.

05527-28 Vogue “Caught in the End”.Comedy 2

\

Leads

Helen Holmes

Mary Miles Min-
ter

Marie Cahill

Famous French
Castles Along
the River
Loire

Barbados, an Is-
1 a n d of the
British West
Indies

Billie Rhodes

George Ovey

Speeding the
Spoken Word
The Tooth-Some
Crab

Beating the
High Cost of
Furs

A School on the
Beach

E. K. Lincoln

Ben Turpin

MISS MARJORIE RAMBEAU’S fame* on the
speaking stage has made her advent in the motion
pictures, through the medium of Mutual pictures
made under the direction of Frank Powell, a matter of
considerable attention and interest on the part of critics
speculating on “how will she look in the pictures.” The
verdict has been one of general satisfaction, and the re¬
cent statement of Louella O. Parsons in the Chicago
Herald is typical, when in the course of a review of “The
Debt,” she writes :

“ . . . Miss Rambeau is a very pleasing young

woman who registers as an artistic asset to the cinema.”

cjke Mutual cJHm. Magazine

Published as an organ of service to the motion pic¬
ture exhibitors and motion picture theatres generally.
The subscription price is $2.50 a year, single copies
five cents.

Edited by Terry Ramsaye,

Director of Publicity for

THE MUTUAL FILM CORPORATION

JOHN R. FREULER, President

220 South State Street CHICAGO

When you want special service, a
special sort of a picture for a special
occasion, when you have box office
difficulties, when you want “some¬
thing new,” when you want advice,
aid and action, write, wire or call on
a Mutual exchange. The manager
is there to be your “first aid.”

MUTUAL FILM EXCHANGES

Albany .

Amarillo .

Atlanta .

Baltimore .

Boston .

Buffalo .

Butte .

Chicago .

Cincinnati .

Cleveland .

Dallas .

Denver .

Des Moines .

Detroit .

El Paso .

Escanaba .

Fargo .

Houston .

Indianapolis .

Kansas Ctiy .

Los Angeles .

Louisville .

Memphis .

Milwaukee .

Minneapolis .

Newark .

New Haven .

New Orleans .

New York Mutual. . .
New York (Western)

Oklahoma City .

Omaha .

Philadelphia .

Pittsburgh .

Portland .

Salt Lake .

San Francisco .

St. Louis .

Seattle .

Tampa .

Washington .

Toronto .

Calgary .

Montreal .

St. John .

Vancouver .

Winnipeg .

. 733 Broadway

. 302 E. 4th St.

. 146 Marietta St.

. 412 E. Baltimore St.

. 39 Church St.

. 106 Pearl St.

. 124 W. Granite St.

. Consumers Bldg.

. 224 E. 7th St.

. 750 Prospect Ave.

. 1807 Main St.

. 1723 Welton St.

. Cohen Bldg.

. 97 Woodward Ave.

. 209 W. San Antonio St.

. 1019 Ludington St.

. 119 5th Ave.

. 805 Franklin Ave.

. 150 N. Illinois Ave.

. 928 Main St.

. 825 S. Olive St.

. 410 S. 4th St.

. 500 S. Main St.

. 301 Enterprise Bldg.

. 22 North 6th St.

. 25 Branford PI.

. 130 Meadow St.

. 816 Perdido St

. 71 W. 23rd St.

. 126 W. 46th St.

. 7-15 S. Walker St.

. 1413 Harney

. 257 N. 12th St.

. 420 Penn Ave.

. 9th & Davis Sts.

. 123 E. 2nd South

. 162 Turk St.

. 1311 Pine St.

. 1933 3rd Ave.

. 1325 Franklin Ave.

. 419 Ninth St., N. W.

. 15 Wilton Ave.

. 7th St. & 4th St. W.

. 345 Bleury St.

. 39 Waterloo St.

. . 963 Granville St.

48 Aiken Bl. & McDermot Ave.

REEL LIFE — Page Sixteen

“TRIXIE OF THE FOLLIES

As the Sixth of the One-Ree!

Mutual Featurettes Starring

Miss Billie Rhodes

Supported by Jay Belasco

>5>

Released May 16

c< Always let ’em out on a laugh!” used to be a certain
old time exhibitor’s rule for success in the operation of
his theatre. It’s a rule that hundreds of exhibitors find
worth while even today. The only difficulty with it
seems to be to find real comedies for creating the laughs.
And now Strand- Mutual Featurettes have solved that
difficulty. They get laughs ten times out of ten. A call
at your nearest Mutual Exchange will convince you of the
quality of Strand Featurettes. A new Strand every week.

NOW Booking at all Mutual Exchanges

Produced by

Caulfield Photoplay Co.

Distributed by

Mutual Film Corporation

John R. Freuler, President

Jajp’

QJU, PICTURES

BIG STA2S OHIT"

Every Mutual Exchange is a big library of unusual film attractions.
You can find productions of even' class and character — red-blooded,
highly dramatic offerings — uproarious comedies — stories of strong
heart interest — romantic love tales, problem plays and other varieties.
It will pay you to keep in constant touch with your nearest Mutual
Exchange. Here are listed but a few of the Stars and attractions to
be found in Mutual “BIG STARS ONLY” Pictures.

NANCE O'NEIL

Presented by

Frank Powell Producing Corporation

in

“Mrs. Balfame”

“Hedda Gabler”

MARy NILES NINTER

Presented by

American Film Company , Inc.

in

“Youth’s Endearing Charm’’
“Dulcie’s Adventure’

“Faith”

“A Droam or Two Ago”
“The .nnocence of Lizette”
“The Gentle Intruder”

* *

“Environment”

Coming — “Annie for Spite”

WILLIAH RUSSELL

Presented by

American Film Company , Inc .

in

“My Fighting Gentlemen”
“High Play”

“The Frame-up”

Coming— "Shackles of Truth”

GAIL KANE

Presented by

American Film Company, Inc.

in

“Whose Wife?”

Coming — “The Serpent’s Tooth”
“The Upper Crust”

NARJORIE RANBEAU

Presented by

Frank Powell Producing Corporation

in

“The Greater Woman”
“Motherhood”

“The Debt”

Coming — “The Mirror”

“The Dazzling Miss Davison”

NARGARITA FISCHER

Presented by

Pollard Picture Plays Company

in

“The Pearl of Paradise”
“Miss Jackie of the Navy”
“The Butterfly Girl”

“The Devil’s Assistant”

ANN KURDOCK

Presented by

Empire All-Star Corporation

in

Coming — “Outcast”

EDNA GOODRICH

Presented by
Mutual Film Corporation

in

Coming — “Reputation”

JACKIE SAUNDERS

Presented by E. D. Horkkeimer

in

“Sunny Jane”

“The Wildcat”

Coming — “The Checkmate”

CRANE WILBUR

Presented by David Horsley

in

“The Painted Lie”

“The Single Code”

MUTIIA1 FILM CORPORATION

John R. Frsuter, President

Executive Offices — 220 South State Street
CHICAGO

Exchanges Everywhere

The Mutual Film Magazine/

MAY 19, 1917. PRICE PIVE CENTS

William Russell-

American Film Companij/ Star
appearing in

“MY FIGHTING GENTLEMAN"
“HIGH PLAY"

“THE FRAMEUP"

(Distributed by

MUTUAL FILM CORPORATION

SOME PEOPLE

I ° Votne people once wanted a law .
I against railroads, claiming they i
| n 'ere a public peril.

Some people want to censor
motion pictures.

The people who wanted prohibi¬
tion of the railroads and censor¬
ship of the steam engine are
now practically unknown. — T. R.

FREULER ON THEATRE WAR TAX

■ '^HE war tax measure
now before Congress,
proposing a tax of 10
per cent on tickets of
admission for theatres is, in my
opinion, likely to work an un¬
just burden upon the public
and the picture industry,” said
President John R. Freuler of
the Mutual Film Corporation,
discussing war legislation at
his Chicago office.

“At this distance I am not
sufficiently informed of the
conceptions which actuate the
statesmen who drafted this
measure to analyze them with
assurance.

“It seems, however, probable
that they conceive the motion
picture business to be infinitely
more profitable than it really
is, in all its branches. I am
sure that if they had the real
truth before them they would
find that a tax of 10 per cent
is more than most motion pic¬
ture theatres can bear and yet
pay a reasonable profit.

“It is my hope and under¬
standing that the purpose of
the Congress is not to put any¬
body out of business, but
simply to raise war revenue.
That being true, I fear that the
10 per cent motion picture thea¬
tre admission tax will fail of
its purpose and at the same
time strike a serious blow at
the most wholesome, low-
priced popular pastime of the
people.

“I must again turn back to
my often repeated declaration
that the motion picture is
simply a form of publication,
an expression of the press, a
form of thought transmission,
using pictures instead of print¬
ed words. It has long been a

Why pick on pictures?
Mutual president calls
Ten per cent levy unjust

theory of the people of these
United States that the press
was an important public serv¬
ant. Everything possible in
the earlier history of our coun¬
try was done to encourage a
free press, to encourage the dis¬
semination of news and infor¬
mation as the part of the edu¬
cation of a free people.

“It is too often argued that
the motion picture is purely an
entertainment — it is practically
always so treated by the gov¬
ernments, city, state and na¬
tional. It is no more entirely
a medium of entertainment
than the typical newspaper
with its funny columns, its

comic cartoons and advice to
the lovelorn.

“The motion picture serves
the people and their govern¬
ment. It should not be a target
for every ‘get-the-money’
movement in state and nation.
The picture’s rights demand a
degree of appreciation and con¬
servation.

“I am sure that I am as pa¬
triotic and sincerely in support
of the government as any citi¬
zen may be, but I am sure that
the government may well con¬
sider a somewhat lighter tax
upon the motion picture thea¬
tre, if proportionate justice is
to be had.”

CONVICT “FILM PIRATE”

One more young man
looking for easy money
says “Howdy” to Judge

mmm

/AY

M \ m*

SjsS&m? N O T H E R “film
pirate” has been
taken in Mutual’s
net. Herman
Abramovitz, alias
Herman Abrams,
was convicted be¬
fore Judge Robert
E. Crowe, in the
criminal court in Chicago May
2, on a charge of film piracy
preferred by the Mutual Film
Corporation, for having re¬
ceived and sold three stolen
Charlie Chaplin comedies.
“The Count,” “The Vagabond”
and “The Fireman.”

These films were abstracted
from the vaults of the corpo¬
ration in Chicago last Septem¬
ber and disposed of by Abram¬
ovitz to a film dealer in Omaha,
who sold them to McLean and
Walters, proprietors of the Ly¬
ric Theatre in Sioux City, la.

The property was recovered

in October by E. W. Stoddard,
assistant general counsel of the
Mutual, at Sioux City. Abrams
was arrested and bound over
to the Cook County grand jury,
which indicted him.

The campaign against film
thieves, launched by the Mutual
several months ago, has al¬
ready resulted in several im¬
portant convictions, and the
indictment by the federal
grand jury of George E. Bran¬
denburg, a former Philadelphia
alderman, as well as the convic¬
tion and sentence of Louis
Chatteau and other minor
offenders who have been har¬
assing the motion picture in¬
dustry.

The Mutual has perfected an
investigation organization cov¬
ering the entire country which
now has in preparation several
other important piracy prose¬
cutions.

REEL LIFE — Page One

MARJORIE RAMBEAU STARS

Beautiful actress, big
story, lots of action,
and plenty of surprises

Miss Marjorie Rambeau as she
appears in one of the snappiest
portions of “The Mirror." Miss
Rambeau is noted for her ability
to wear clothes — which, however,
she does not over-do. In several

parts of “The Mirror"
she is seen to great ad¬
vantage and with very
little effort. “The Mir¬
ror” is very well worth
looking into carefully.

Maizie Goddard, an actress .

. Irene Warfield

Boyd, a theatrical manager .

. Paul Everton

His stage director. . . .Aubrey Beattie

His Backer . Frank Ford

Russell Dana . T. Jerome Lawlor

Bob Merrill, an artist. .Robert Elliott
and

Blanche, his wife . .Marjorie Rambeau

Marjorie rambeau,

the Broadway favorite
who has created such a
furore in New York in the
A. H. Woods production, “Cheating
Cheaters,” never appeared to greater
advantage than in the sensational
Powell-Mutual production, “The Mir¬
ror,” written by Clara S. Beranger,
especially for Miss Rambeau.

In this photodrama, which is a
thoroughly engrossing story of modern
tife, Miss Rambeau has been provided
with a splendid medium for the dis¬
play of her brilliant emotional capabili¬
ties and she takes full advantage of
her opportunities.

As the young society woman, mar¬
ried to and intensely in love with Bob
Merrill, a poor but proud painter of
portraits, Miss Rambeau runs the
gamut of human emotions, her great
beauty lending additional enchantment
to a tremendously virile love story.

For those who hold that the subtler
moods of men and women cannot be
adequately portrayed in the wordless
drama, “The Mirror” provides an ob¬
ject lesson worthy of profound study.
It is a fascinating succession of
dramatic situations each more engross¬
ing than the last. The climax is so
satisfying as to send everyone home
happy with the sensation of having
been through a fire unscathed.

From the opening to the close this
picture betrays the graphic imagination
of Director Frank Powell, whose
brush paints in broad sweeps of vivid
color and whose delight is in the won¬
derfully vivid contrast for which his
work is famous.

There is no padding in “The Mir¬
ror.” It is all story. Every move
made by everybody in the cast is a
move that has directly to do with the
action of the piece and one that helps
to build the symmetrical whole.

Just as he is a bold painter of scenes

for the screen, so Mr. Powell is a mas¬
ter of the little subtleties of direction
that contribute to the balance of the
production. The director of “The
Mirror” is one director who has
learned that action does not consist
necessarily in motion. There is in¬
tense action in the scene that finds
Blanche Staring into the eyes of her
disillusioned husband, yet it is a scene
in which neither man nor woman
move from their chairs. The horror
in Maizie’s eyes tells the story — the
tense attitude of the husband confirms
it. Here is real action.

Marjorie Rambeau’s evening gowns
in “The Mirror” cost $4,000. There
are four of them and they cost $1,000

apiece. Only a really beautiful woman
wears a beautiful gown to complete
advantage. Marjorie Rambeau is one
of the most beautiful women on the
American stage. She never presented
a more delightful ensemble than that
displayed when Boyd, theatrical man¬
ager and debauchee, having lured her
from her husband under a promise of
theatrical fame and fortune, intro¬
duces her to his professional coterie in
the first expensive evening costume she
is supposed ever to have worn.

The progress of Blanche’s sophisti¬
cation under Boyd’s evil influence is
startling. While accepting Boyd’s
theatrical offer originally in the hope
that she would be able to earn money
for the support of her modest home,

REEL LIFE — Page Two

IN “THE

running to ruin under the blight of
her husband’s ill-paid artistry, the
young woman has been forced into
situations that render her return to the
artist’s bungalow impossible, and
recognizing this she surrenders herself
to the hectic gaiety of Broadway.

The photography of “The Mirror”
is a triumph of contrast. The light¬
ing is the best that could be imagined
and every conceivable artistry has been
employed to give the rich furnishings
and decorative interiors their full
value. The cabaret episodes are
snatched bodily out of a corner of
Rector’s. There is no ordinary “soup
and fish” spectacle. The people in
the cafe scenes are real people of the
night restaurant life of New York.

STORY OF
“THE MIRROR”

The story of “The Mirror” involves
Bob Merrill, the portrait artist, and
Blanche, his young wife, who occupy a
pretty bungalow in the suburbs near
New York. Bob is in love with his
wife, but engrossed in his painting,
which, however, is not profitable.

One night, just as Blanche is pre¬
paring for bed, Bob catches sight of
her in a mirror and insists on painting
her on the spot. The completed pic¬
ture is one of the best things he has
ever done. It is sent to Rusell, a
New York art dealer, whose clientele
is of the ultra critical sort, including
Boyd, the manager of many New
York theatrical attractions. Boyd
visits the gallery and is fascinated by
the portrait of Blanche. He im¬
mediately seeks an introduction.

Introduced to Bob Merrill as a pos¬
sible art customer, Boyd lays seige to
Blanche and works upon her ambi¬
tion with promises of a New York en¬
gagement. Fascinated with the pros¬
pect Blanche enters into an agreement
with Boyd, who tries to make love to
her but is repulsed. Merrill returns in
time to witness Boyd’s attempt to kiss
his wife, and, enraged, he accuses her.
She resents the accusation and in her
indignation decides to accept Boyd’s
offer, despite a previous decision to
reject it.

Blanche leaves for New York, is in¬
troduced by Boyd into the theatrical
coterie of which, he is the leading
spirit, is starred by him in a new pro¬
duction and introduced into the gay
life of the Rialto. She falls rapidly

MIRROR”

A dazzling sort of a
story, some exciting
passages — happy end

A scene from “The Mirror ■” illustrative
of the extraordinary pictorial effects
gained in the composition of the pic¬
ture, under the direction of Frank
Powell. Controlled lighting with effec¬
tive accenting of the focus of atten¬
tion has given the telling of the story
some powerful incidental effects.

under the sway of Boyd, who follows
up his advantage and compromises his
victim in such a way that she fears to
return to her home.

On the opening night of the New
York production Bob Merrill makes
his way by stealth into Blanche’s dress¬
ing room, there meets Boyd, and en¬
gages him in a terrific fight, the result
of which is that a mob of stage hands
throws Merrill out of the place. Subse¬
quently, after a night of drinking and
carousing Blanche kills Boyd in a
frenzy of horror at the man’s villainy.

When the scene shifts back to the
little bungalow in the suburbs and
Blanche is seen shaking Bob Merrill
by the shoulder that lazy fellow hav¬

POWELL

ing evidently fallen asleep while feed¬
ing the furnace, it is difficult for a
moment to get Mr. Powell’s drift, but
only for a moment. The fact is forced
home that Blanche has been dreaming
an awful dream based on Boyd’s offer
of a job in New York and that all
the subsequent events have been dream
stuff.

There is a first rate cast. Irene
Warfield as Maizie Goddard, the
actress, is at her best, while Paul Ever-
ton as Boyd, the theatrical manager,
is every inch the villain.

Robert Elliott as Bob Merrill, the
artist, Blanche’s husband, gives a fine
characterization and lives up to his
widely established reputation. T.
Jerome Lawlor as “Russell Dana” and
Frank Ford as Dana’s backer, are
thoroughly adequate.

WHAT THE
PAPERS SAY

Marjorie Rambeau’s friends of the
press are hugely sanguine of her popu¬
larity in photodrama. Referring to
the young actress’ appearance in “The
Greater Woman,” the New York Art
Nouveau says:

“There are few women of the stage
possessed of greater natural charms
than those that distinguish Marjorie
Rambeau and it is with sanguine hopes
for her success that we learn of her
work with the Mutual Film Corpora¬
tion. In “The Greater Woman” she
is great.

“There are many pretty women of
the speaking stage who might make
good on the screen if they could regis¬
ter as Marjorie does, but few indeed
have her ability as an artist and her
good fortune in being that rara avis
a beautiful woman who photographs
well.”

The Footlights, New York, says: .

“Let Marjorie once learn the ropes
of Mr. Powell’s queer ship and be¬
lieve us, she’ll show him a lot of pic¬
ture tricks that even he in his most
ultra-artistic moments never thought

“Miss Rambeau is not only a brilliant
actress but a mighty handsome woman
as well. She has all the advantage of
most women possessing equal ex¬
perience in that she really can look
twenty and apparently feel sixteen.
All of which is to indicate that
Marjorie is a bonanza for the movies.”

REEL LIFE— Page Three

MISS JACKIE SAUNDERS IN

Pretty Horkheimer star
plays two roles in a
story about twin sisters

JACKIE SAUNDERS, “tomboy
of the screen,” as she is affec¬
tionately called by hundreds of
her professional friends, has a
new-fashioned role in The Check¬
mate,” new Signal-Mutual produc¬
tion of the remarkable photodrama
written especially for Miss Saunders
by Captain Leslie Peacocke, the
famous English writer of motion pic¬
ture drama, whose ideas of dramatic
requirements were derived from his
long association with Sir Henry Irv¬
ing at the Lyceum Theater, London.

In her new play Miss Saunders
starts out as “Ye Hoyden,” fighting
Filipino cocks in a nice secluded spot
on her father’s stock farm, but by
this time Miss Jackie is wearing her
hair done up for state occasions, and
the male species has begun to ob¬
sess her spare moments. She is
therefore ripe for adventure when
the handsome young villain from
New York is entranced by her child¬
ish charms and she succumbs to the
temptations of life along the “Grand
Canyon of the Manhattan,” as Burns
Mantle distinguishes his Broadway.

For those who have imagined that
Miss Saunders must needs be a riot¬
ous rollicking kid in order to hold
her public, “The Checkmate” must
necessarily prove a revelation. It
displays the clever young actress in
far more pretentious artistry than do
any of her previous offerings, and
affords her opportunity for emotion¬
al work which serves to emphasize
her versatility and enhance her pop¬
ularity.

Of course it’s the old story of the
dashing young city girl friend with
swagger clothes, visiting distant rel¬
atives down on the farm in vacation
time. The city girl’s fine feathers
inflame little Claire Marley’s imagi¬
nation and she begins to long for the
bright lights and the night life of
which Addie Smith from the city
discourses so eloquently. So when
Claire is offered a job in the big de¬
partment store with Addie, the girl’s
desire for adventure overshadows
her affection for home and she is
launched on the rough seas of the
Rialto.

The fact is, of course, that Claire’s
meeting with Roy Vangrift, a
wealthy New York bachelor, his ill-
treatment of her and the girl’s slow
realization of the fact that Vangrift

Here she is, the bright and sunny
little Miss Jackie , “ down on the farm”
dreaming of love and a hero and all
that stuff, but on the next page —

has no intention of marrying her as
he had promised, are mere variations
of a hackneyed theme, but therein
lies Miss Saunders’ triumph, because
“Tomboy Jackie” has succeeded in
decanting an old brew into a new
bottle with touches so deft and ar-
tistrv so compelling as to convince
her sympathetic friends of the nov¬
elty of her position.

There is the same atmosphere
about this play that assured imper¬
ishable popularity for “Way Down
East” and “The Old Homestead.” It
is the home atmosphere with the
nice clean country girl in the close-
up and the wicked city feller making
her unhappy after she has trusted
him on his highly perishable word of
honor. Anyone who knows Jackie
Saunders can visualize her in the
role and understand that she is at
her best.

Sherwood MacDonald, who direct-

Roy Vangrift . Frank Mayo

Pa Marley . Daniel Gilfether

Ma Marley . Mollie McConnell

Dick Cooper . Henry Grey

Addie Smith . Margaret Landis

Bill Meyer . Cullen Landis

Country Minister. . . .Edward Jobson
IDA and CLAIRE MARLEY. . . .

. ... : . Jackie Saunders

ed “The Checkmate” saw Miss
Saunders’ opportunity in this story
as soon as he laid eyes on it. Mr.
MacDonald is one of the best known
directors in this country. He is a
keen analyst.

The best known plays of Mac¬
Donald prior to his entry into the
motion picture field in 1913 were
“Just in Time,” “The Goal,” and
“The Phantom of Happiness.” Since
that he has written and produced
“Rose Among the Briars,” “Ill-
Starred Bobbie,” “Message From
Reno,” “Web of Crime,” “Straws in
the Wind,” “Maid of the Wild,” and
several other well known photo¬
dramas.

Mr. MacDonald was born in New
York and he is a graduate of Yale
law school. His work in “The
Checkmate” is rather better than
anything he has ever done for screen
— a triumph of stage direction and
dramatic grouping. It should be
added that photographically and
with regard to stage setting “The
Checkmate” thoroughly illustrates
Mr. MacDonald’s capability.

STORY OF
“THE CHECKMATE”

The story of the play deals with
Claire Marley’s innocent delight in
her farm home and the animal pets
she owns there — her love for her old-
fashioned father and mother and for
her twin sister, Ida. When the dis¬
tant relative, Addie Smith, a depart¬
ment store clerk in New York, visits
the farm, Claire is fascinated by the
New Yorker’s clothes and her gen¬
erally fashionable ensemble, so that
when Addie offers to get her a job
in the same store, Claire longs to go
to the city and at last persuades her
parents to permit the adventure.

Roy Vangrift, a young millionaire

. REEL LIFE — Page Four

THE CHECKMATE’— HORKHEIMER

A picture with a cast
of famous people of the
stage and picture land

bachelor, attracted by Claire’s
beauty, lures her into a trap under
promise of marriage and, after lav¬
ishing jewels and clothes upon her,
introducing her into a circle of fast
friends, he deserts her. After weeks
spent in vain efforts to secure a posi¬
tion that will permit her to make an
honest living, Claire returns to her
home in the country and is wel¬
comed with open arms by her par¬
ents and sister, from whom she con¬
ceals her story.

Claire’s sister Ida is importunate
with regard to the mysteries of
metropolitan life but Claire tells her
little, fearing that she will break
down and reveal her secret. Thus a
certain estrangement grows up be¬
tween the sisters, which is empha¬
sized when Ida meets a clever young
stranger from the city who is on
a trout fishing expedition. The
younger sister carries on a flirtation
with this visitor until matters reach
a point where he induces her to elope
with him and it is at this stage that
Claire accidentally witnesses a love
scene between them — recognizing
her own betrayer.

Here the fast action of the piece
becomes faster. Claire is determined
to prevent her sister’s ruin. The two
are as alike as two peas. Vangrift
has arranged to have his motor car
at a certain spot at a certain hour.
Ida is to join him with her luggage.
They are to drive to the city, ostens¬
ibly to be married. Claire drugs Ida,
dons her clothing, meets Vangrift,
who cannot tell the girls apart, goes
with him to the minister and com¬
pels him to marry her before she will
proceed another step. The story ends
with Vangrift in love with his wife
and their twin babies.

SOME

SNAPPY SCENES

The cabaret scenes along Broad¬
way are elaborately staged and very
true to life. Some of the scenes in
the Rialto “halls of high jinks”
would be recognized by any expe¬
rienced New Yorker. The acting of
Miss Saunders is remarkably con¬
vincing and she succeeds in getting
through some rather vivid situations
with good taste.

The farm scenes are certain of pop¬
ularity. There is a rooster fight in
the first chapter that is worth going

There are tense moments of heavy
tragic drama in the piece, with Miss
Saunders playing the big part with
her characteristic finesse.

a good many miles to see, even if
one doesn’t habitually attend cock¬
fights.

Jackie’s adventurous journey over
a country road in a racing Stutz car
that can’t be stopped, is another ex¬
citing episode. There are horses and
dogs, cars and cows, all involved in
a thoroughly interesting plot.

The cast of “The Checkmate” in¬
cludes some of the best known
screen actors in the country. Daniel
Gilfether, for instance, who plays
father to Miss Jackie in “The Check¬
mate” was with Tomasso Salvini for
nine years and with Augustus Pitou
for five. He is one of the best known
character actors in the world.

Then take Mollie McConnell — she
was with Mrs. Leslie Carter and
Richard Mansfield more years than
any lady is going to tell about, even
if she does play old lady parts.

Frank Mayo, who plays opposite
Miss Saunders, made fame in “The
Head of the House” and “A Child of
Fortune,” and is one of the best
known leading men in the motion
picture game. He is a handsome
villain and deservedly popular.

Margaret Cullen Landis and Ed¬
ward Jobson, who are respectively
Addie Smith and the country minis¬
ter, deserve to be recognized for both
of them are widely known and
capable performers.

'‘ALIVE ALL OVER”

SAYS “NEWS”

Jackie Saunders is highly popular
with the newspaper critics. For in¬
stance, the Cleveland News says:

“ ‘The Wildcat’ is one of Jackie
Saunders’ characteristic aberrations.
There is no question that there are
thousands of Americans who would
rather see Jackie climb a tree or flip
a fence than see Bernhardt in
‘L’Aiglon.’ Well, Jackie’s alive all
over, that’s one thing.”

One of nature’s pets, says St. Johns,
N. B. Gazette —

“Miss Jackie Saunders is one of the
few motion picture actresses who suc¬
ceed in conveying the impression of
sincerity even in improbable situations.
For instance, in “The Wildcat,” Miss
Saunders is called on to do some very
add things, especially from the con¬
servative point of view of “our best
people,” but it is nevertheless true that
Miss Jackie entertains amazingly and
never offends in any of the ways that
some so-called stars do. “The Wild¬
cat” has many friends in this part of
the world.

Miss Jackie Saunders’ next photo¬
play production is a play entirely
characteristic of the clever young
star in its every aspect.

“A Bit of Kindling” indicates the
inflammable character of Miss Saun¬
ders’ temper in the role of “Alice,”
the newsgirl (“Sticks”), who holds
her place on crowded streets, fights
for her own rights and those of the
weaker among her associates, and
eventually turns out to be somebody
important in the world.

“A Bit of Kindling” is a five reel
star production. The author is
Douglas Bronston, and Sherwood
MacDonald is the director.

"REEL LIFE— Page Five

“RAILROAD

RAIDERS”

VII

Helen Holmes in feats
of rare athletic daring
spices this big chapter

“MISTAKEN IDENTITY”
ELEN HOLMES, daring
young adventuress of the
rail, who is starred in the
new Signal-Mutual photo¬
novel, “The Railroad Raiders,” jumps
into the middle of a Chinese tong war
in Chapter Seven of this remarkable
story, “Mistaken Identity,” and is kept
busy during the entire chapter dodg¬
ing death at the hands of Mongolian
conspirators, escaping from innumer¬
able difficult situations without a
scratch.

One of the most spectacular fea¬
tures of the chapter is that in which
Helen desires to board an express pas¬
senger train but finds that it does not
stop. Helen hears the whistle of the
approaching train and runs out on a
bridge from which she hangs by her
hands until the train rushes beneath
her feet and she drops on the top of a
Pullman coach, making her way along
its sloping roof and reaching the
vestibule by one of the riskiest bits of
climbing witnessed in many a day.

In this jump to the fast moving train
Miss Holmes actually drops fifteen
feet. As she alights on the car roof
she staggers wildly and appears about
to roll off into the ditch before recover¬
ing her balance.

There is a desperate fight in the
Chinese quarter with forty or fifty
Chinese and whites involved in a
shooting, slugging mass.

In the middle of this chaotic affair
appears “The Darling of the Rail,”
spitting fire with an automatic pistol
and standing shoulder to shoulder with
experienced gun-fighters of the secret
service.

Director McGowan has introduced
in this chapter some of the most strik¬
ing of his night lighting effects, trains
being shown as they rush through the
darkness, robbers picked out in sil¬
houette as they crouch on the
mountain side after lifting a rail
in the hope of ditching the train, and
Helen Holmes revealed by the white
shaft of the headlight struggling in the
embrace of “Bad Man” Burke, who is
trying to toss her into the canyon.

STORY OF THE
CHAPTER

The story of “Mistaken Identity”
involves an attempt on the part of the
raiders to kidnap a Japanese prince
who is traveling in a special car over
the route of the K. & W. and through

him to learn the location of a box of
specie which has been forwarded from
Japan for uses of the embassy at
Washington.

Helen Holmes gets wind of the plot.
She lays wires with her secret staff
to prevent the abduction of Prince
Kato and capture the conspirators.
Superintendent Webb and his staff of
operatives are on the Royal special
which is halted by the plotters. When
the special stops Webb and his men
rush forward to find out the trouble.

In the confusion the gang makes
away with Prince Kato, a conspirator
of the same nationality taking the
prince’s place.

A hue and cry is at once raised and

Helen Holmes . Helen Holmes

Tom Desmond. . . .John P. McGowan

Wallace Burke . Leo D. Maloney

Roy Wilson . William Brunton

Lord Montrose . . . .G. H. Wischussen

Lady Montrose, his wife .

. Florence Holmes

“Buck” Masters . F. L. Hemphill

Officer Tommy Marshall .

. W. A. Behrens

Morton Webb. . .Thomas G. Lingham

In this Chapter Miss
Holmes produces one
of her best hair-rais¬
ing stunts by dropping off a
high bridge onto a speeding
train. It takes a lot of nerve,
some muscle and a thunder¬
ing lot of luck — with which same Helen
is blessed considerably. Stop and look,
you can’t listen.

General Superintendent Frost of the
K. & W. hastens to take personal
charge. The bandits have made away
with the box of gold and conyeved it
into the mountains. Helen Holmes
trails the gang, locates the gold,
ordering its removal and when the
gang loads the burros to continue their
journey into the mountains, Helen,
pistol in hand, is inside the box sup¬
posed to contain gold ingots. When
the box is opened by Burke and his
men they find themselves looking into
the muzzle of Helen’s pistol.

PRESS

COMMENTS

Commenting on “The Railroad
Raiders,” the Rocky Mountain News
of Denver, says:

“Some of the stunts Director Mc¬
Gowan pulls off with his intrepid star
tax our credulity though we see the
jumps and jolts Miss Holmes gets and
know that she does the work. What
is quite as interesting, though, is the
cleverness with which McGowan
adapts his scenery to his story.”

REEL LIFE— Page Six

GAUMONT’S THREE

THE WEEKLY
NO. 123

SO much is written about the
British fleet that the public is
apt to forget that France is an
important factor on the ocean. The
Gaumont Company in its one hun¬
dred and twenty-third issue of The
Mutual Weekly pictures some of the
French vessels that Americans may
know what the sister republic is do¬
ing. An important picture is taken
in the Hudson River where the “Ad¬
miral Aube” is anchored after con¬
voying the ship which brought the
French mission. From “somewhere
in the North Sea” come pictures of
the French fleet engaged in keeping
the sea lanes open. The third
French picture comes from Boston,
Mass. Here French army officers
are seen as they arrive to become
military instructors of the students
at Harvard.

Our own nation’s war endeavors
are seen in pictures of “Americani¬
zation Day,” celebrated by 5000
children from New York’s foreign
section ; training the dogs of war to
assist the Red Cross Ambulance
workers; recruits off for war duty
on the Pacific Coast, and a sham bat¬
tle of the regulars at Fort Sam
Houston, Texas.

Other pictures caught by Gau¬
mont cameramen include a floral
pageant at Long Beach, Cal.; the
opening of the yachting season on
San Francisco Bay, and the launch¬
ing of a section of a huge dry dock
at Seattle, Wash. A $50,000 fire
which gave firemen of Montreal,
Can., a stubborn fight is a spectacu¬
lar section of the reel.

Fashions are always welcome on
the screen. In this issue of the
Weekly are pictures of what the men
are wearing on Fifth Avenue.

* * *

TOURS AROUND
WORLD NO. 29

GAUMONT’S “Tours Around
the World” No. 29, released
■through Mutual May 22, takes
the motion picture traveler via the
screen to Cadiz, Spain, as the first
point of interest upon this travel
reel. This is the largest military
port of Spain, a place noted for its
picturesque local color. Those who
have visited Cadiz will appreciate
how important are the Gaumont pic¬
tures of Isabella Place and the Cath¬
edral Square. There is an interest-

Three sure fire reels
of news and travel
that win every time

P. G. ESTEE, one of the most successful
of the American writers who have furnished
scenarios for big screen productions of
Alexandria, South Dakota, who arranged
the plot of “The Railroad Raiders,” an
Signal-Mutual fifteen-chapter photonovel
in which Helen Holmes, “The Darling of
the Rail,” is starred. Mr. Estee. whose plot

the Chicago hf “N'Vf'lh'tffffiTSTh Railway imci

beidjfiP. ’'tVWfSfltlWPly1 "tStil/Vaffl "flflgfeUF

ageAl, traih ~aisi>at (flier and "troubTe fixer,”

Mr. MW'ld'Te dne of Ine itasiext

m "T SttfftftlV'h 'VP&riltW'S1 in Ihe countrx

ing panorama of the town, as well
as many characteristic street scenes.

“River Life Near Paris” shows the
favorite pastimes of Parisians upon
the Marne, a tributary of the Seine.
Needless to say, these pastimes were
photographed before the war, as the
present Marne aquatic activities are
entirely directed by the military
forces. Americans can understand
the ruthless havoc of war when they
see these pictures which are smiling
with j eace.

Gibraltar, the great British fortress
that guards the gate between the
Atlantic and the Mediterranean, is
pictured from the water in an inter¬
esting section of this real. It goes

TOPICALS

without saying that a camera is not
permitted to be used ashore in this
military holy of holies. The rock is
probably the most strongly fortified
place in the world.

Martinque, the West Indian island
which suffered so terribly from the
eruption of Mount Pelee, is pictured
with great skill. The eruption in
1902 destroyed 40,000 lives. Exca¬
vations at St. Pierre have been made
sufficiently to give an excellent idea
of how the houses look denuded of
their coats of ashes and lava.

* * *

REEL LIFE
NO. 56

NOW that the world’s produc¬
tion of sugar has been cur¬
tailed, the Gaumont pictures
of “The Sugar Industry of ' Barba¬
dos” in “Reel Life” No. 56, released
through Mutual May 24, is of un¬
usual interest. The pictures are
typical of the industry in the tropics,
showing the laborers at work, the
fields of cane, and the method of
treating the juice after it has been
crushed from the cane.

Another important section of this
reel is “Plowing With a Motor Car.”
This recent invention enables a
farmer to convert his automobile in¬
to a farm tractor. It will be a revel¬
ation to all who see the picture, the
jar and weight being sustained by a
separate shaft. No doubt such con¬
verted machines will be quite com¬
mon in a few years, and the Gau¬
mont Company is to be congratu¬
lated upon its success in securing
pictures so soon after the invention
has been perfected.

Caviare, that Russian delicacy
which is now so scarce that gourmets
pay two dollars for a small portion
of it in New York hotels, has a
prominent place in this issue of the
Gaumont film magazine. The pic¬
tures show how the roe of the stur¬
geon provides the eggs, and how
they are treated in preparing them
for the table. The best caviare is
made in the winter. The poorer
quality is a staple article of diet for
the Russian peasants.

“Golfing on Wheels” is now an ac¬
complished fact, the pictures in this
section not being a prophecy. En¬
thusiastic golfers who do not enjoy
walking are seen touring the links
on autopeds.

A fifth section of the reel shows a
child’s playhouse valued at $1000.

REEL LIFE — Page Seven

BILLIE RHODES OVEY, LINCOLN

“TWO CROOKS
AND A KNAVE”

Monmouth-Mutual — Tenth Story of

''Adventures of Jimmie Dale,” Fea¬
turing E. K. Lincoln.

OBBING a safe to get back
lost documents from a thief
who has robbed his own safe
to disarm suspicion in connection
with a mining swindle, is the job
performed by “Jimmie Dale alias
The Grey Seal.” The Tocsin sends
Jimmy Dale warning of danger that
Moriarty and Mittel, underworld
harpies, may try to prevent him from
receiving the papers, but Jimmie
robs the safe, puts the grey seal on it
and is away before the police can
identify him.

* * *

“JERRY JOINS
THE ARMY”

Cub Comedy — One Reel — Featuring
the Inimitable George Ovey.

JERRY is urged by recruiting
agents at every street corner to
join the army. The young man
becomes enthusiastic and takes the
oath of enlistment. The process of
training to be an efficient army pri¬
vate, Jerry discovers to be a painful
one. He is drilled hard and con¬
stantly and, with his proverbial good
luck, finds friends among the sol¬
diers.

When Jerry undertakes to play a
trick on the drill sergeant, things be¬
gin to happen and the story develops
very amusing complications. He is
taken prisoner by Mexican bandits,
sentenced to be shot, saved by a
beautiful senorita, and generally
speaking lives up to his reputation.

Little features with
real stars in them to
complete your program

Madge Kirby starred in LaSalle
Comedy entitled “Chubby Inherits a
Harem,” the second of a series of three
two-part LaSalle Comedies.

“TWO OF
A KIND”

Strand Comedy — One Reel — Featur¬
ing Billie Rhodes and Jay Belasco.

N this amusing story there are all
sorts of complications that have
to be unraveled, and Billie
Rhodes keeps the agile Belasco in a
ferment of activity throughout the
sketch.

“Two of a Kind” is one of the best
comedy skits seen in some time, the
plot affording Miss Rhodes excellent

opportunities for display of her re¬
markable comedy talent, while Mr.
Belasco responds in the spirit of the
plot with a very comic characteriza¬
tion.

* * *

“CHUBBY INHERITS
A HAREM”

LaSalle-Mutual Comedy — Two Reels
— Featuring Madge Kirby
HUBBY” becomes heir, un¬
der 'the will of a wealthy
relative, to an oriental
harem, one of the conditions being
that the beneficiary must live in the
harem and maintain its inmates in
the luxurious style to which they
have been accustomed.

“Chubby” is engaged to marry an
American girl and when the young
woman discovers that her fiance’s in¬
heritance includes 400 fat brunettes
there are doings that constitute a
very funny little play.

* * *

“FLIRTING

WITH DANGER” '

Vogue Comedy — Two Reels — Featur¬
ing Paddy McQuire.

HIS is a corking funny story in
which Harry Huckins as a gay
old blade whose young wife is
frequently mistaken for his daughter
and his daughter introduced by mis¬
take as his wife. John Oaker, a
wealthy young man, and Larry
Bowes, the owner of a bowling alley,
are both in love with Huckins’ wife,
whom they believe to be his daugh¬
ter, a situation that develops its own
train of singularities and results in a
smashing funny climax, the difficul¬
ties being nicely smoothed over by
our familiar funny friend Paddy Mc¬
Quire.

some features worth booking for a repeat

“THE DECOY”

Starring
Five Parts

FRANCES NELSON

An intensely dramatic story adapted
from the George Lederer production,
“The Country Girl,” which enjoyed such
a success at the Circle Theatre, New
York. “The Decoy” is a thrilling story
of a young girl’s adventures in the big
city.

Frances Nelson, now starring in many
big photoplay productions, enacts the
role of the country girl who is used as a
decoy to lure young men to her Aunt’s
gambling house.

“HER AMERICAN PRINCE”

Five Parts
Featuring

ORMI HAWLEY

An adaption of the novel and play of
the same title. A thrilling story of the
adventures of a young American who
bears a startling resemblance to a prince.

This plot is built along the lines of the
well known stories, “The Prisoner of
Zenda,” “Graustark,” and other romantic
novels. Plenty of action, suspense and
excitement. Ormi Hawley, the popular
favorite, is the featured female lead.

“A WALL STREET TRAGEDY”

Five Parts
Presenting

NAT C. GOODWIN

A virile drama of Wall Street, with
that sterling actor, Nat C. Goodwin, "A
Wall Street Tragedy” contains all of the
elements of a successful photoplay.

Nat Goodwin, as the broker, caught in
the net of a vampire, wrecked in health
and ruined financially, displays his re¬
markable ability in a role which is a sur¬
prise and treat to his millions of ad¬
mirers.

REEL LIFE— Page Eight

WHAT THE EXHIBITORS SAY

Opinion from the men who
have given Mutuals the
test of the box office

A CRITICISM by Harold B.
Franklin, manager of Shea’s
Hippodrome, Buffalo, is al¬
ways worth attention. Shea’s Hip¬
podrome seats about 2,500, has an
orchestra of twenty-six pieces, and
is considered one of the finest motion
picture houses in the United States,
not excluding New York and Chi¬
cago.

Mr. Franklin writes: —

‘‘The writer is pleased to have the
opportunity to tell you how pleased
our audiences were with Charlie
Chaplin in ‘The Cure.’

“This comedy in many respects is
one of the best Chaplins we have
had the pleasure of featuring in the
Hippodrome. It is needless to say
that business was ‘Record Break¬
ing.’ ”

* * * *

HO. MUGRIDGE, manager
of the Moveum Theatre, At-
* kin, Minnesota, planned an
exceedingly attractive and appropri¬
ate lobby display to introduce the
Mutual serial, “A Lass of the Lum-
berlands.”

A load of evergreen trees was util¬
ized for the lobby decorations. Six
of these trees of different heights
were put across the entrance of the
theatre and between them were
placed two large pictures of Helen
Holmes and a board covered with
stills from the play. On either side
of the entrance were placed six-sheet
posters. The ticket window was
banked and decorated with branches
of the pine trees and from the chan¬
deliers hung long branches.

As patrons entered the lobby they
were given the impression of going
into a big forest and the spicy odor
of the pines helped the illusion.

On the night this display was used
and the first chapter of “A Lass of
the Lumberlands” was run Mr.
Mugridge played to more than half
of the entire population of the town
of 1600 inhabitants, and he advises
that the success of the succeeding
chapters has been phenomenal.

* * *

LT. COYLE, manager of the
King George Theatre, St.
* Catherines, Ontario, writes to
Mutual as follows :

“On Friday and Saturday, April
20th and 21st, we showed ‘Pardners’
and on Friday and Saturday, April
27th and 28th, we showed ‘The

This is a snap shot of Jackie
Saunders, the Sunkist star, in her
roadster, outside the Balboa studio.
Jackie is looking partictilarly bewitch¬
ing in a new sport hat and coat.
Standing beside the car is Mollie Mc¬
Connell, in the character role of com¬
panion to Ethel Ritchie, leading
woman in the current Balboa produc¬
tion under direction of William
Bertram. Mrs. McConnell, who is the
widow of Will McConnell, a noted
theatrical wit and manager, has re¬
cently placed her adopted daughter.
Nan Christyy in New York produc¬
tions.

Painted Lie,’ and I want to say that,
although we hold the reputation of
showing the best pictures in this
city we have never had better pic¬
tures in our house. We had a record
house on both occasions and I want
to congratulate you on your busi¬
ness-like system and the class of
pictures you are turning out. Our
Mutual Days are taking first place
in the King George. Continued suc¬
cess.”

* * *

EN. NEY, manager of the Rex
Theatre, Bemidji, Minnesota,

* writes :

“I have just shown two of the
Mutual Star Productions, namely,
‘Miss Jackie of the Navy’ and ‘And
the Law Says,’ in my Rex Theatre
here and I take pleasure in saying
that I have never run two better fea¬
tures in this theatre.”

HOSE WIFE?” Gail
Kane’s first production
for Mutual, had its first
Chicago showing at the Orpheum
Theatre, one of the Jones, Linick
and Schaefer houses, in the heart of
the shopping district.

G. H. Moore, manager of the Or¬
pheum, reports, “The play was good,
the star was good and the audience
was pleased with the play. Business
was very good on ‘Whose Wife?’ In
fact I had the best day of the week,
not counting Saturday and Sunday.”
* * *

fcfcT WANT to congratulate you
I for producing such excellent
pictures as ‘A Pearl of Para¬
dise’ and ‘Miss Jackie of the Navy,’ ”
writes C. C. Hubert, manager of the
Newark Opera House, Newark, Del¬
aware, to the Mutual Film Corpora¬
tion.

“I think the two above mentioned
features are among the best features
ever shown in our theatre. I hope
you will produce another Margarita
Fischer series.”

* * *

A. DUFFNER, manager!
Moving Picture Theatre,
* Timber Lake, S. D., writes:

“With regard to Mutual program ,
permit me to say that I am much j
pleased with both subjects and con-j
dition of film. They have made aj
decided hit with my patrons, and it
is indeed a pleasure to run this class
of film.”

* * *

GEORGE LAENHARDT, man¬
ager of the Varsity Theatre,:
Champaign, Illinois, writes :

“ ‘The Railroad Raiders’ is going]
big, and is a knockout on the first1
chapter. I had them packed at mati¬
nee and had my house crammed full
at starting time in the evening, and
holding them out.”

* * *

HENRY KING, one of the best
known directors in the motion
picture world, has been en¬
gaged by the American Film Com¬
pany to direct Gail Kane produc¬
tions. Mr. King will start work im¬
mediately producing “The Woman
in Black,” a thrilling drama of love
and war, which will be released
through Mutual. Mr. King is best
known for his direction of “Little
Mary Sunshine.”

REEL LIFE— Page Nine

yFELISSA of the Hills,” by
Mabelle Heikes Justice,
will be the next vehicle
for Mary Miles Minter. The little
American-Mutual star is still at
work on “Periwinkle.” Immediately
upon its completion Director James
Kirkwood will start “Melissa of the
Hills,” a story of the Tennessee hills.
It was originally entitled “The Cir¬
cuit Rider.”

Miss Minter as Melissa is the de¬
voted young daughter of Jethro
Stark, whose unappreciated duties
are to instil the peace of God into
the hearts of the feudist families of
the neighborhood, for little or no re¬
muneration.

The story, true to life, tingles with
trying situations, mingled love and
feuds, which carry Melissa through
to final triumph, but not before her
beloved father, Jethro Stark, is laid
low when he attempts to stop a feud
between the rival Allison and Watts
families.

* * *

EWTON E. LEVI has been
promoted to the manager¬
ship of the Los Angeles Mu¬
tual Film Exchange by Dennis J.
Sullivan, assistant general manager
of the Mutual Film Corporation.

Mr. Levi succeeds W. J. Drum¬
mond, who resigned April 30. Mr.

Levi’s promotion comes after a num¬
ber of years of consistent service to
the Mutual Film Corporation, large¬
ly on the Pacific Coast. It will be
recalled that Mr. Levi toured the
United States with Samuel L. Roth-
apfel, for the Mutual on the occasion
of Rothapfel’s now historic “Mutual
Tour” of the important exchange
centers.

Levi is an enthusiastic exponent
of President John R. Freuler’s policy
of giving the exhibitor the utmost in
“service beyond the films.” About
a year ago he distinguishes himself
by delivering a print of a feature to
an exhibitor by a journey that en¬
countered both a forest fire and a
flood — but the picture was there on
time.

* * *

ONE of the most highly quali¬
fied scenic artists of France
has been commissioned to de¬
sign the settings for the production
on which Charlie Chaplin is now
working. The picture depicts bohe¬
mian life of the Latin Quarter of
Paris and is expected to afford food
for memories to those of his admir¬
ers who have seen true Bohemia in
the world’s great capitals. One of
the most striking settings is the re¬
plica of an actual corner of the Mont¬
martre district of Paris, with its old

turretted buildings rubbing shoul¬
ders with insignificant little dwell¬
ings, the whole intersected by arched
and vaulted passages and by court¬
yards paved with flagstone and cob¬
ble.

* * *

CRAWFORD LIVINGSTON,
New York financier and vice-
president of the Mutual Film
Corporation, stopped in Chicago for
a conference with John R. Freuler,
president of the company, on his
way from New York to St. Paul. On
his return to New York, Mr. Living¬
ston will be Mr. Freuler’s guest in
Chicago, home of Mutual’s executive
offices.

* * *

KATHLEEN KIRKHAM has
been added to the American-
Mutual forces, and will make
her first appearance on this schedule
in William Russell’s forthcoming
production in which she is cast for
an important part.

Miss Kirkham appeared as Mrs.
Taine in “The Eyes of the World.”
Miss Kirkham has a screen career of
three years and has portrayed lead¬
ing roles with most of the principal
producers.

£]lUIIIIJJWDIIIIUUIIIIUIIIIIIIIIIIIUIIIHIIIIIIIUI|IIINIHIOIIIIIIIIIIIUIIIIIIII|||OIIIIIIIIIIIC]IIIIIIIIIIUUIIIII*]IIIIIIIIIIIIC]|||||IM^

I 1 N.P.Co. I i

I “SIXTEEN YEARS iaiiiiiHiiiiiaiiiiiiiiiiii§ OF KNOWING HOW”

I

I

WHEN YOU ARE INTERESTED )

g

In Long Distance Projection
— — of Motion Pictures —

Think of the Record Made by

Power’s Cameragraph

At Madison Square Garden

New York City

300 F00* Throw 34 T°°t Picture

3
B

- 1

3

. 3

9 Nicholas Power Company j

Ninety Gold Street New York City

E I

. . . . . . limner . . . . . . . . . . . .

REEL LIFE— Page Ten

REEL-LIFE N2 56

released May 24-

GOLFING ON WHEELS

MUTUAL

SUGAR IN DUSTR Y- BAR0APW

MOTORCAR PLOWING-

caviar-the Russian delicacy

LONDON

You Can Talk Rough
Stuff Over a Telephone
But Face to Face You
Have to Deliver
the Goods

All of which means that an
exhibitor can’t have anything
put over on him in the way of
talk when he is seeing it on his
screen. When his own projec¬
tion machine is humming with
a picture, the time to talk is
past. The picture does all that.

Now the answer is that the
big talk for a Gaumont single¬
reel is being given by the pic¬
ture itself. “More prints” come
the orders from the Mutual.
“More pictures like Gaumont
single-reels” come from “Bet¬
ter Films” Committees. “More
Gaumonts” say the exhibitors.

And the spectators who pay
the bill are great Gaumont
“fans.” They know that they
see real pictures, not “fillers.”
AND THEY ARE ASKING
FOR M-O-R-E. Don’t forget,
either, that the newspapers are
mentioning Gaumont pictures
by' name, picking them out for
comment just as they do five-
reel features.

Ask any Mutual Branch
about The Mutual Weekly,
“Reel Life” and “Tours
Around the World,” the three
great Gaumonts.

6aamoot Co.

FLUSHING, N.Y

TOURS AROUND
THE WORLD JP29

released May 2 2

CAOIZ-SPAIN

( r

lAMERlCAN

RIVER LIFE NEAR PARIS

Gibraltar

. MARTINIQUE

<Ga(irr)amJ

PARIS

REEL LIFE — Page Eleven

Cub Comedy

Jerry’s Finishing Touch

featuring

GEORGE OVEY

Released May 17th, 1917

A ONE-REEL SUBJECT in which Jerry
^ makes his advent as a moving picture
producer. Then the bottom is blown clean
out of the prospective dividends and his “aggre¬
gation of stars” — filled with consternation and
bird shot — escape only with their lives when
the unsympathetic proprietor of the premises
returns and “requests” them to go. Jerry is
still “going.”

Book through any exchange of
the Mutual Film Corporation

David Horsley Productions

REEL LIFE — Page Twelve

MUTUAL

dd

CHUBBY INHERITS A HAR.EM

FEATURING THAT NIFTY LITTLE COMEDY STAR

MADGE KIRBY

DIRECTED BT M. DE 1A PAREUE FOR

Vf

REEL LIFE — Page Thirteen

REEL LIFE — Fage Fourteen

VOGUE FILMS, Inc,, Presents

TWO REELS RELEASED MAY 12«ti

FEATURING RENA ROGERS

tf/^RAMMED with laughs,”

\^Ji is the way the Johnstown , Pa„
Democrat concludes a review of a re¬
cent Vogue Comedy. Exhibitors who have
shown Vogues know their value as laugh get¬
ters and box-office attractions. The nearest
Mutual Exchange will arrange a booking for
you. “A Vanquished Flirt” is released May
12th. Directed by Rube Miller.

VOGUE FILMS, Incorporated

General Offices: 6235 Broadway Chicago, Illinois

Slapstick with P«asof»

ihshbis

MBBBlRiiiii!

REEL LIFE — Page Fifteen

MUTUAL PICTURES

Week of May 21, 1917

No. Brand Title Class Reels

MUTUAL FEATURETTE SPECIAL.

05529 Rothacker- “A Zeppelin Attack on New

Mutual York” . 1

, MUTUAL SERIALS.

— I- frS-530-31 Signal “Mistaken Identity” .

1 (“The Railroad Raiders,”

Chapter No. 7) . Dr. 2

, MUTUAL STAR PRODUCTIONS.

-f - 0*532-33-34-35-36 “The Checkmate” .

Horkheimer

-4 - J16 5 37-3 8-3 9-40-41 “The Mirror” . Dr. 5

Powell

MUTUAL FEATURETTES.

MONDAY, MAY 21, 1917.

—05542-43 “Chubby Inherits a Harem”

La Salle . Comedy 2

TUESDAY, MAY 22, 1917.

05544 Gaumont Mutual Tours Around the

World . Travel 1

WEDNESDAY, MAY 23, 1917.

05545 Mutual Mutual Weekly, No. 125. . . .

. Topical 1

-&fr$46 Strand “Two of a Kind” .. .Comedy 1

THURSDAY, MAY 24, 1917.

VF 547 Cub “Jerry Joins the Army”. . . .

05548 Gaumont Comedy 1

“Reel Life” . Magazine 1

FRIDAY, MAY 25, 1917.

1 - W549-50 “Two Crooks and a Knave”

Monmouth . Serial

(“Jimmy Dale” Series,

Chapter No. 10) . Dr. 2

. SATURDAY, MAY 26, 1917.

-f— — - 05551-52 Vogue “Flirting With Danger”....

. Comedy 2

Leads

Helen Holmes

Jackie Saunders

Marjorie R a m -
beau

Madge Kirby

Cadiz — A Span¬
ish Seaport

River Life Near
Paris, France.

The Rock of
Gibraltar —
The Great
British Fort¬
ress

Martinique — An
Island of the
French West
Indies.

Billie Rhodes

George Ovey

Golfing on
Wheels

The Sugar In¬
ti u s t r y of
Barbadoes

Plowing with a
Motor Car.

Caviare — The
Russian Deli¬
cacy

A $1,000 Play
House

E. K. Lincoln

Paddy McQuire

“Manning Qur-Navy,” a one-reel motion picture, produced
by Rothacker for release through Mutual April 14, is a
revelation of the physical transformation which takes place
in the naval recruiL

“Manning Our Vavy” is educational, instructive and
patrioticas well. It shows recruiting efforts in Chicago and
follows the newly enlisted sailor through the first few weeks
of his' training at the Great Lakes Station.

It is one of the examples of how the motion picture in¬
dustry is doing its bit in the national crisis, awakening the
people to a realization of the seriousness of the situation.

Mutual cf, 'Urn Magazine

Published as an organ of service to the motion pic¬
ture exhibitors and motion picture theatres generally.
The subscription price is $2.50 a year, single copies
five cents.

Edited by Terry Ramsaye,

Director of Publicity for

THE MUTUAL FILM CORPORATION

JOHN R. FREULER, President

220 South State Street CHICAGO

SERVICE STATIONS

When you want special service, a
special sort of a picture for a special
occasion, when you have box office
difficulties, when you want “some¬
thing new,” when you want advice,
aid and action, write, wire or call on
a Mutual exchange. The manager
is there to be your “first aid.”

MUTUAL FILM EXCHANGES

Albany .

Amarillo .

Atlanta .

Baltimore .

Boston .

Buffalo .

Butte .

Chicago .

Cincinnati .

Cleveland .

Dallas .

Denver .

Des Moines .

Detroit .

El Paso .

Escanaba .

Fargo .

Houston .

Indianapolis .

Kansas Ctiy .

Los Angeles .

Louisville .

Memphis .

Milwaukee .

Minneapolis .

Newark .

New Haven .

New Orleans .

New York Mutual. . .
New York (Western)

Oklahoma City .

Omaha .

Philadelphia .

Pittsburgh .

Portland .

Salt Lake .

San Francisco .

St. Louis .

Seattle .

Tampa .

Washington .

Toronto .

Calgary .

Montreal .

St. John .

Vancouver .

Winnipeg .

. . 733 Broadway

. 302 E. 4th St.

. 146 Marietta St.

. 413 E. Baltimore St.

. 39 Church St.

. 106 Pearl St.

. 126 W. Granite St.

. Consumers Bldg.

. 224 E. 7th St.

. 750 Prospect Ave.

. 1807 Main St.

. 1724 Welton St.

. Cohen Bldg.

. 97 Woodward Ave.

. 209 W. San Antonio St.

. 1019 Ludington St.

. 119 5th Ave.

. 805 Franklin Ave.

. 150 N. Illinois Ave.

. 928 Main St.

. 825 S. Olive St.

. 410 S. 4th St.

. 500 S. Main St.

. 301 Enterprise Bldg.

. 22 North 6th St.

. 25 Branford PI.

. 130 Meadow St.

. 816 Perdido St.

. 71 W. 23rd St.

. 126 W. 46th St.

. 7-15 S. Walker St.

. 1413 Harney

. 257 N. 12th St.

. 420 Penn Ave.

. 9th & Davis Sts.

. 123 E. 2nd South

. 162 Turk St.

. 1311 Pine St.

. 1933 3rd Ave.

. 1325 Franklin St.

. 419 Ninth St., N. W.

. 15 Wilton Ave.

. 7th St. & 4th St. W.

. 345 Bleury St.

. 39 Waterloo St.

. 263 Granville St.

48 Aiken Bl. & McDermot Ave.

REEL LIFE

Page Sixteen

,-Timmie Dale

CLiiaS TheGreijSeaf,

<S/fe stories are the sort that
make peop/e sit on the edge
of their chairs and hold their
Ireath, "write? fkk ographij of

wXZliaf' The Greij

Adapted from Frank L- Packard V "The
Professional Adventures of Jimmie
Dale"now appearing in Peoples Magazine

■fsaturinfp

BMC* LINCOLN

)RJf MITCHELL EDNA HUNTED

?AUL PAFOTL'

:

iukfii 'wirmm

A new two reel episode every
week. The critics pronounce
“ Jimmie Dale a box-offioe tonic.

Produced hq

> a . * . ' \ mw,. o . '■ ; .

- — '

wm

"BIO

.START,/

ONLY"

American Film Company, Inc.

Presents

dd

Many Niles Ninter

IN

AHNIE-FOR.-SPITE"

Fred Jackson’s most unusual story.

In five acts. Directed by James
Kirkwood. Released Week of May 14th.

The Colorado Springs Telegram says : “The popularity of
Mary Miles Minter continues to grow. She is today
one of the most beloved little girls in pictures.”

Every exhibit..- who has shown Mary Miles Minter in
any of her Mutual Pictures knows her drawing power
as a star. Every one who has played such attractions
as “Faith,” The Innocence of Lizette” and “En¬
vironment” will be eager to book “Annie-For-Spite.”
For better business — for bigger profits — book these
newest Mary Miles Minter features. Write your near¬
est Mutual Exchange.

MUTUAL FILM CORPORATION

John R. Freuler, President

Exchanges Everywhere

Scanned from the collection of

Karl Thiede

Coordinated by the
Media History Digital Library
www.mediahistoryproject.org

Funded by a donation from
Richard Scheckman