Scanned from the collection of The Museum of Modern Art Library Coordinated by the Media History Digital Library www.mediahistoryproject.org Funded by a donation from Domitor Digitized by the Internet Archive in 2014 https ://arch i ve . o rg/detai Is/f i I m i ndex 1 91 1 1 1 f i I m $2.00 PER YEAR 36 PAGES SINGLE COPIES TEN CENTS PATHfc PRBRES FILMS THIS WEEK THE COWBOY'S INNOCENCE Another great Western picture. Something different to what you are accustomed to see LOVE UNDER DIFFICULTIES One of those pretty romantic comedies which are so pleasing to all and send your audiences away happy COMING Friday, January 27th Colored Film d'Art IL TROVATORE PATHE'S GREAT MASTERPIECE Special music to fit scene for scene with the film has been arranged for this picture from the score of Verdi's f eat opera. Order it from your exchange. Piano score, 26 pp., 50c. This magnificent p; iuction is one of the best and should prove to be the most popular film ever produce- Book it NOW with your exchange so that they can place their extra orders in tii LEADING AMERICAN EXPONENT OF THE PHOTOPLAY Published Weekly by the Films Publishing Co., at No. 1 Madison Avenue, New York City IL TROVATORE— WITH INCIDENTAL MUSIC Pathe Freres Produce Famous Opera of Verdi in Colors With Music Score Specially Adapted to the Picture Portrayal MUCH has been written regarding the adap- tation of music to the proper interpretation of motion pictures. Attempts have been made to suggest current popular or other well known compositions as being most suited to cer- tain pictures or pictured action. Piano players of intelligence, who have studied the subject, have given direction, more or less applicable to the necessities of the several cases that have come under their experience, but as yet there has been no real effort made to provide music especially suited to a particular picture. In the nature of things it will probably be a long time complish this Pathe Freres engaged the services of Charles P. Muller, a well known composer, to arrange the score. The effect is better than can be imagined. It proves beyond question that too much importance cannot be attributed to proper music settings for suitable pictures and will more than likely lead to intelligent effort along this line. The example is a welcome one. Long, long have we been pestered with the hilarious rag- time and other eccentric forms of music expres- sion, wholly out of place and harmony with the scenes thrown upon the screen. Scenes of pathos mating 1,000 copies of the music for "II Trova- tore" have been received up to the present writ- ing, which would indicate that exhibitors are deeply interested in the project. The sale of this number of quantities also insures the suc- cess of the plan from a financial point of view. We look forward with much interest to the ul- timata trial of the experiment. A word about the picture itself: The opera of Verdi is based upon a domestic tragedy. Ac- cording to the story Count di Luni has two sons and in the opening scene of the picture he is seen in the act of bestowing upon each a medal. SCENES FROM PATHE COLORED FILM D'ART "IL TROVATORE. before a concerted effort along these lines is made. Eventually-, we hope, it will be made, for the music that accompanies a picture, if a true accompaniment, tells the story, or empha- sizes the action more clearly that can otherwise be accomplished. A step in this direction has been taken by Pathe Freres. The occasion was offered in the production of a colored film d'art of the famous opera of Verdi, "II Trovatore." In this cas.e it was not necessary to compose the music especi- ally for the pictured production of the opera; the score was already at hand. But it was neces- sary that a proper arrangement of that music to suit the scenes portrayed be made. To ac- have been turned to bathos by the genius presid- ing at the piano. It is true there is difficulty in meeting the rapid change of subject with suit- able music. A composition that, in tempo and theme, is in harmony with the picture, frequent- ly is so closely associated with words so out ol keeping with the picture as to make the latter appear highly ridiculous to the spectator. This detracts from the picture, naturally. So, after trying to adapt the existing music to pictures, we are more than ever impressed with the neces- sity of having the incidental music arranged especially for the picture when the subject is of sufficient importance to warrant such treatment. Pathe Freres announce that orders approxi- Later, while the children are playing about the garden one of the boys is stolen by the gypsy woman Azucena, out of revenge for the death of her mother who had been burned for witch- craft at some previous time at the order of the count. Azucena brings the boy up as her own child, and he becomes a troubadour, or traveling musician. Years later Manrico, the troubadour, falls in love with Leonora, whom he woos with sweet music beneath her window. Leonora has an- other suitor in the young and handsome Count di Luna, successor of his father and, when she favors Manrico, he provokes a duel, but instead (Continued on page 25.) THE FILM INDEX Film Index Published by THE FILMS PUBLISHING CO. (Incorporated) No. 1 Madison Avenue, New York City Rooms 6007-6008 Tel. Gramercy 5538 JAMES L. HOFF, Managing Editor CHICAGO OFFICE : 611 Ashland Block 'Phone, Central 1605 JAMES S. McQUADE. Representative SUBSCRIPTION RATES — One year. $2.00; six months, $1.00; three months' trial, 50c. ; single copies, 10c. Post- age prepaid to all countries in Postal Union. FOREIGN SUB8CRIPTIOXS-$2.50 per annum. All subscriptions payable in advance. INFORMATION FOR ADVERTISERS ADVERTISING RATES Whole Page $60.00 Half '• 30.00 One-Third" 20.00 Quarter " 15.00 One inch, single column 1.40 Discounts on Time Contracts— 5 per eent. on three months; 10 per cent, on six months; 20 per cent, on one year CLASSIFIED ADVERTISING - " For Sale," " Help Wanted," etc., 3<>. per word : minimum. $1.00 one time. "Situations Wanted." not to exceed 4 lines, 25c. one time. Cash must accompany all orders for classified advertising. , SPECIAL NOTICE Copy and instructions for advertising must reach the publication office not later than Wednesday, to insure insertion the same week. REMITTANCES should be made by express or postal order, check, or registered letter. Cash sent otherwise is at the risk of the sender. JANUARY 7, 191] CASUAL COMMENT FROM all reports it was a Merry, Merry Christmas indeed for all employees of the several licensed motion picture manufac- turers. Tales of turkeys, boxes of fine cigars and real money, dispensed with lavish hand, have been coming in ever since that happy day. The true Christmas spirit seems to have actuated everybody and resulted in an appre- ciable division of profits where it would be most appreciated we hope. A further illustration of this spirit of gen- erosity is found in the action of the Chicago picture men in contributing to the widows and orphans of the firemen who lost their lives in the recent fire in that city. The motion picture fund was started with the contribution of $1,- 000 by the licensed manufacturers, which nuc- leus1 will be materially augmented by the con- tributions of the Chicago exhibitors. There is nothing so good for the soul as Christian giving. Let the good work be prose- cuted with all diligence, that the fire sufferers may be well provided for in the time of their greatest need. * » * IT has been insinuated by certain writers upon the subject of motion pictures that the prod- uct of American manufacturers has made no progress during the past year. If the source of these statements was reliable the indictment might be considered as a serious one. Fortu- nately the expressed opinion has no foundation in fact, and is no more than a biased "insinu- ation" written by a disappointed and disgruntled editor of a trade paper of shady character. The Film Index takes notice of the statement for the purpose of directing attention to the won- derful extension of the world business of Ameri- can licensed picture makers during the past year, which fact would seem to be sufficient refutation of the statement referred to. It is a noteworthy fact that the year's greatest achievement of American licensed picture makers is the extension of popularity of American sub- jects to foreign markets. Buyers of pictures for South Africa, Australia and Continental Europe are enthusiastic over the reception given American pictures and find a ready market for hundreds of reels of that product. So important has the foreign trade become that several of the licensed manufacturers are making special arrangements for the development of that mar- ket. Evidently there has been some little im- provement in American pictures or they would not be able to compete on such favorable terms with the best product of European makers. Whatever may be the cause the present state of the foreign market is favorable and there is a splendid outlook for an increase of sales. * * * ELSEWHERE in this issfue we publish the opinion of Judge Lacombe of the United States Circuit Court just handed down in the case of the Motion Picture Patents Company against The Champion Film Company. This case was brought to enjoin The Champion Film Company from infringing the well-known Edison camera patent, reissue No. 12,037. The Gaumont camera, which certain of the so-called "inde- pendents" have insisted was non-infringing, was brought before the court, which decided that the Gaumont was an infringement of said patent as was a modified Gaumont produced by the de- fendant. The opinion is interesting and worth careful perusal. "ANOTHER WORD FOR THE HACK" By One of Them. Of late the Moving Picture World has been smudg- ing up a great deal of chaste white paper with unso- licited pity for the lot of the "poor underpaid hack" engaged In writing scenarios. A recent effusion by one Charles' N. Simms was obviously intended to be particularly nasty and offensive. But the scenario writer is not deceived by the erstwhile mutterings of Simms and his stripe nor even by the unmerited an- tagonism of the self-appointed oracles who edit the paper in which it appears. Photo story writers who have been long enough mixed up with journalism to smell a grubstreeter's copy even in print are rather inclined to view such guttersnipe attacks as proof that the prosperity of the so-called hack is hurting somebody. In the first place, who asked the M. P. W. to cham- pion the rights of the "poor underpaid hack?" Cer- tainly not any of the scenario writers for the licensed manufacturers who are making good. The scenario writer is not the one who is "lift- ing up his voice to cry out to the silent drama world" about his portion. Twenty-five to thirty-five, real dollars from the coffers of the "predatory" trust is not such bad picking for an odd three hours' work of an evening, and we doubt that the superior-minded scorners in the World's upper heavens are doing a whole lot better by their time. Let them put that in their briars and "Jai mal de tete" it. In the second place, let it be known that the "dis- appointed hack" who doesn't give a continental hang what the M. P. W. or its henchmen think or write about him, so long as they do not jonah his interests by attempting to say something nice of him. Also we do not suffer from headaches such as afflict the world-weary World every time it gets jabbed in the pocket-book. Zounds, what a frightful thing a head- ache must be in such a gigantic area of gray matter! The scenario writer not having advertised in the columns of the World for two years and then with- drawn his patronage, may be pardoned for viewing the paper's sudden spleen as passing strange. But enough. The "starving hack's" time is too pre- cious to be long spent in answering the twaddle of pernicious critics. He is too busy punching out dear little thousand-word picture plots that may help pay for Christmas presents for his "starving" wife and family, who, paradoxical as it may seem, look well fed and happy, despite Simsified observations to the contrary- The M. P. W. may gain from this that even the "poor underpaid hack" has its number some, and to it and its menials the fabled advice of the file to the viper should be sufficient. JACKSONVILLE, ILL., HAS A NEW HOUSE Frank Painter, formerly machine operator at the Grand Opera House, Jacksonville, 111., open- ed his new house "The Lyric" on the night of Dec. 14. Mr. Painter has made arrangements for new pictures every day, and with the illus- trated songs is giving an excellent entertain- ment at popular prices. On the opening night, as an extra attrac- tion, Mr. Painter had Jeffries orchestra to fur- nish music. RAISE RELIEF FUND Picture Men Generous in Support of Widows and Orphans of Dead Fire Heroes. On Wednesday evening, Dec. 28, a meeting was held in the offices of George Kleine, 52 State street, to devise ways and njeans whereby the licensed exhibitors of Chicago might be able to act concertedly in the matter of giving bene- fits to aid the orphans and widows of the fire- men who lost their lives in the stockyards fire of Dec. 22, 1910. The licensed manufacturers of America were all represented as were the three branches of the General Film Co. in the city. Methods of procedure were crudely outlined, with the in- tention of ascertaining the views of the ex- hibitors in the matter and at the next meeting Saturday afternoon, Dec. 31, definite steps will be taken to include all the licensed theatres in the city in the effort to swell the widows' and orphans' fund in the most effective manner pos- sible. The ten licensed manufacturers and import- ers of this country subscribed $1,000 to the fund and on Saturday, Dec. 31, checks for that amount will be sent by special messenger to John J. Mitchell, treasurer of the Illinois Trust and Savings Bank. The following letters, in order, will show how the movement originated and matured: Chicago, Dec. 27, 1910. Mr, Harlow N. Higinbotham, Chairman, Firemen's Relief Fund, Chicago, Ills. Dear Sir: — Various parties interested in the moving picture industry, including manufacturers and theatres not being represented in the published list of your sub- committees, and being desirous of contributing to the relief fund, suggest that a subcommittee be appointed consisting of the following: Edison Mfg. Co., represented by J. H. Hardin. Selig Polyscope Co., represented by W. N. Selig. Essanay Film Mfg. Co.. represented by G. K. Spoor. Pathe Freres, represented by K. W. Linn. Kalem Company, represented by Mr. Lynch. Vitagraph Company, represented by J. B. Rock. George Melies. represented by J. B. Rock. Biograph Co., represented by George Kleine. George Kleine, represented by George Kleine. Lubin Mfg. Co., represented by Mr. Fulton. It is proposed by the committee to induce as many as possible of all moving picture theatres in Chicago to donate one day's receipts to the fund. The individ- ual contributions of the committee will be reported later. Very respectfully yours, George Kleine. Office of the CITIZENS' RELIEF COMMITTEE, U. S. Y. Fire, December 22d, 1910. Chicago, December 27. 1910. Mr. George Kleine, 02 State St., Chicago. Dear Sir: — I have just received your favor of this date making a suggestion that a sub-committee be ap- pointed to represent moving picture industries, includ- ing manufacturers, and such theatres as are net in- cluded in the other committee. I am pleased to say I will be glad to have you act as chairman, or have your committee meet and appoint their own chairman — the committee to be composed of yourself, J. H. Hardin, W. N. Selig. G. K. Spoor, K. W. Linn. John B. Rock, Mr. Lynch of Kalem Co., Mr. Ful- ton of Lubin Mfg. Co. All money to be sent to Mr. John J. Mitchell, Treas- urer, Ills. Trust & Sav. Bank. Yours very truly, H. N. Higinbotham, Chairman. TWO MORE PHOTOPLAY THEATRES Two permits for photoplay theatres to cost an aggregate of $22,000 were taken out in the Building Inspector's office, Louisville, Ky., Dec. 2. Both of the theatres are to be built on West Broadway. One permit was issued to the Royal Theatre Company, Eighteenth street and Broadway, for a brick building to cost $10,- 0 00. The structure will be completed by Jan- uary 1. Joseph & Joseph are the architects. The other permit was issued to the West Broadway Theatre Company for a structure to be built at 736 West Broadway at a cost of $12,- 000. This building is to be finished by May 1. THE FILM INDEX 3 THE CHAMPION FILM COMPANY LOSES Decision Granting an Injunction Handed Down by Judge Lacombe — Court Also Says Gaumont Camera Infringes Edison Patents In the action of the Motion Picture Patents Company against The Champion Film Company, an independent concern, against which an ap- plication for an injunction was filed some time ago, Judge Lacombe has handed down his de- cision granting the injunction asked for. An opinion accompanied the decision in which the court discusses the merits of the Gaumont cam- era, alleged by the defendant company to be non-infringing. The opinion follows in full: UNITED STATES CIRCUIT COURT SOUTHERN" DISTRICT OF NEW YORK. Motion Picture Patents Company The Champion Film Company. MOTION FOR PRELIMINARY INJUNCTION. Lacombe. C. J. This is an application for preliminary injunction under Re-issue Patent No. 12037 to Thomas A. Edison for a kinetoscope, which was sustained and its claims construed by the Circuit Court of Appeals in this circuit in Edison v. Am. Mutoscope & B. Co. 151 F. R. ~t>7. An earlier decision of that court discussed the original patent, 114 F. R. 92<5. Nothing that was said in either of these opinions need be repeated here: it is assumed that they will be consulted. They describe the device of the patent and analyzed the claims so fully, illustrating the decision by describing the cam- eras which were held, the one to infringe, the other not to. that it seems not difficult to apply the prin- ciples of the decision to the Gaumont and Champion- Gaumont cameras now before the court. The differ- ences between these two alleged infringing cameras are unimportant, defendant apparently does not con- tend otherwise, therefore this discussion will be con- fined to the Champion-Gaumont type, of which an oper- ative camera has been submitted for inspection. The film moving mechanism of both, however, is so well shown in the drawing and blue print, filed with the papers that their operation may be easily understood. The film passes from the delivery roll to a delivery wheel whose sprockets engage positively with holes in the sides of the film, this wheel revolves, not inter- mittently, but continuously, and in operation there is always a loop or slack part of the film between it and the film guide. In consequence the delivery wheel does not itself advance the film through the guide. In the Mutoscope case it was held that these circumstances did not negative infringement. The film passes through the guide, around a cam eccentrically mounted on a continuously moving wheel, to the take-up reel where it engages with sprockets, the latter reel revolving continuously. The operation is as follows. The de- vice being at rest there is the loop cr slack above the guide entirely free to be drawn down through the guide, the same as in the Biograph and in the Warwick cameras, which were considered in the Mutoscope case. In the Biograph instrument this slack was pulled through by two friction rollers revolving continuously, the movement of the film being intermittently checked by a so-called tension leaf. "The engagement with the film was wholly frictional; — no such interlocking as will hold the film firmly advancing it with mathemati- cal accuracy; there was the possibility of slip." In the Warwick the film was pulled through by a bifur- cated fork which engaged with holes and advanced the film mathematically a certain distance and then dis- engaged: the court of appeals held that the bifurcated fork was a fair equivalent of the wheel with sprockets. In the Champion-Gaumcnt when at rest the film is stretched taut between the guide and the take-up sprocket wheel, resting snugly against the cam. We may assume that at that time the outer edge of the cam is on the side of the wheel furthest away from the film. Its position is not essential, substantially the same cycle of movement may be worked out if it be in the reverse position. The machine being started what happens in a given space of time? The moving sprocket wheel revolves through a predetermined arc and, carrying the film on its sprockets, advances the film a predetermined distance. During the same time the outer edge of the eccentric cam is brought into engagement with the taut film and. revolving, pushes it out a distance predetermined by the amount of the cam's eccentricity. The film thus pushed out cannot come from the side of the take-up wheel where it is held firmly on sprockets, it can readily come and does come out of the film-guide, th? slack above the guide allowing it to move easily forward. As the revolving eccentric cam recedes to the inner side of its wheel axis it leaves the film which it has pushed out and for a brief interval there is no movement of the film out of the guide, because the cam is no longer push- ing on it, and the sprocket wheel cannot pull on it till it has first taken up slack. During that period the film is at rest for receiving impressions from the lens. Defendant contends that this operation of advancing the film is wholly frictional, that there is every pos- sibility to slip and that the spacing cannot be mathe- matically accurate. This contention is not found per- suasive. There is friction between the cam and the film but it is very different from the action of two rollers whose frictional contact alone gives a grip and produces a pull. One end of the film ithc part on the sprocket wheel) is firmly held, it cannot slip back and in reality it is this which causes it to advance when the cam pushers it. It must advance or break. I find it impossible from a study of the drawings or from a manipulation of the exhibit to see any possibility of slip. Why the spacing should not be mathematically accurate is not apparent. The arc through which the sprocket wheel will move in a given time is prede- termined, the equivalent in linear movement of the film is known. The additional length of film which will be hauled out of the guide to accommodate the eccen- tric cam is also predetermined by the measure of the cam's eccentricity. The total distance the film will advance past the lens, being the sum of these two pre- determined items, is itself predetermined. The period of rest may also be predetermined, it would seem with mathematical accuracy. It is the time necessary for a sprocket wheel, of a given diameter revolving at a given speed, to reel up the amount of film required to accommodate a protruding cam, the extent of whose eccentricity is accurately known. The conclusion is reached that the Champion-Gau- mont and the Gaumont machines infringe. It is con- ceded that the Pathe machine, one of which is owned by defendant, also infringes. This and its Champion Gaumont may, as suggested, be impounded in the cus- tody of defendant's counsel until final hearing. Preliminary injunction may issue. ANOTHER HOUSE FOR DAVENPORT, IA. Charles Berkell, the popular manager of the American photoplay theatre, Davenport. Ia.. will soon branch out and add another house to his management. He has secured a lease on the liouse and property at 428 Brady street, and will immediately transform the house into an up-to-date photoplay theatre. It is the intention of Mr. Berkell to get work- men on the job immediately and give the house a thorough overhauling. The interior will be rebuilt and new decorations put in. All the seats will be of the latest improved opera style; in the fireproof booth will be added a standard machine, while the curtain will be one that calls for a light house. 'X.MAS PICTURES FOR BIJOU THEATRE. W. E. Smith, proprietor and owner of the Bijou photoplay and vaudeville theatre, Bridge- port, Conn., has a great bill of pictures for Christmas week. Every day he has some ap- propriate reel, which keeps his audiences won- dering at the miracles performed through mo- tion pictures. Besides the pidtures there are four big first class vaudeville acts to add to the entertainment. The Bijou is the largest house of its kind in Bridgeport. It has a seating capacity of 9 86 persons. Two Edison machines are used to run off the pictures. PURCHASES LEASE FOB OPERA HOUSE. W. D. Eccleston, a popular young photoplay man of Lake Shore, N. Y., bought out the lease of M. Tannenburg, and will operate the motion pictures in the opera house in the fu- ture. Mr. Eccleston will make some extensive improvements that are needed and will soon have the opera house fitted up in a manner that will greatly add to the interest of the en- tertainment. Mr. Eccleston has been living in the vicinity of Lake Shore for the past nineteen years and has a large acquaintance who are interested in his welfare. They know him as a man who does things on the level and future patrons can look forward for a first class show. A KALEM THRILLER A Railroad Chartered and a Railroad Wreck Pro- duced in a Strong Picture Story PHOTOPLAYHOUSE managers who are look- ing for subjects that permit of spectacular advertising will find their opportunity in the Kalem subject. "The Runaway Engine." Here all the railway efforts may be utilized. A brief discription of the picture will make it plain. Allan Peters is the son of a railroad president who decides to learn the business from the ground up and begins as a fireman. While it was not in the program when he started out the young man takes a few elementary lessons in love from the engineer's pretty daughter and de- cides to marry her. When he tells his father of his intention there is a merry row. The old gentleman gets the news over the wire, gets very angry and then gets out his special car and goes after that young man to tell him where he gets off. The young man is properly dressed down and taken aboard the car headed for home. Now, the girl in the case is despatcher at one of the little stations on the road. Somewhere up the line an engine gets loose and is running "wild" against the president's special. After trying vainly to get assistance the girl jumps on an engine waiting near her station and starts out to head off the wild engine. It is a wild ride, but the girl is plucky and sticks to her post. She is looking ahead anxiously for the "wildcat" engine and must also keep ahead of the president's special, which is behind her. Finally the runaway engine swings around a MISS ALICE JOYCE. Heroine of "The Runaway Engine" and Star of The Kalem California Stock Company. rune ahead. The girl slows down her engine, climbs out on the running board and jumps into the ditch. The engine rushes on to meet the runaway and the cloud of steam and smoke tells of the crashing monsters. Immediately after the smash the president's special dashes up and the lover seeing the girl lying in the ditch, rushes to her followed by his father and the train crew. The girl is picked up and brought to her senses in the young man's arms. Father forgets his opposition and the love affair is straightened out then and there. In making this picture the Kalem Company seems to have commandeered an entire railroad. Engines, cars, station houses and the right of way not to speak of engineers, firemen and other employees, were all on the job. With the proper effects this picture can be put on in a most sen- sational manner. Armory Hall, Taunton. Mass.. has been made over into a photoplay theatre. A new photoplay theatre is being erected at Good- ale and High streets. Columbus, O. 4 THE FILM INDEX WILLIAMS COMPANY EXPANDING American M. P. Promoter Booming Things in Australia— A Greater Williams Company By W. H. H. LANE, Sydney, N. S. W. STROLLING round our city the other day I dropped into the office of the J. D. Williams Amusement Co., Limited, and endeavored to find out from Mr. Williams the full strength of what there was doing in the new "Southern Film Association," of which I had heard he was the prime mover in forming. After some preliminary spars for an opening lead I man- aged to extract some news that, I think, will be of quite sufficient interest to the readers of The Film Index; so I think, after second con- sideration, that the best and most implicit state- ment that can be made, is to submit a copy of a letter sent by the J. D. Williams Amusement Company, Limited, to the National Phonograph Company, of this city, which is as follows: Sydney, New South Wales, Nov. 11, 1910. National Phonograph Company, City. Gentlemen: I would like to state a few facts and conditions regarding the Southern Film Association, of whose existence you are no doubt aware. I was the main promoter of this affair, my object was to call together the film buyers for the purpose of form- ing a friendly association, the main objects of which were to keep up the price of film rental, to not allow the film to get into the hands of cheaper film ex- changes, to burn up the film after it was a year old, to prevent shows from charging Id (2c.) admission and in fact to promote the business in general, in many ways. I might explain to you why I did not join the association. To start with, we persuaded Mr. Spencer to join the association, and he sent his representative there. He then used his influence with Mr. Gee (West's Pictures, Ltd.) and Johnson & Gibson, of Melbourne, to impose many penalties upon me which would eliminate me from the picture business in Australia, if they were carried out. After Johnson & Gibson found out that we were opening a film exchange in Melbourne, and Messrs. Fuller & Co., of N. Z., found out that we were open- ing in New Zealand, they were very anxious to elim- inate me also. They had the audacity to ask me to only show 2,000 feet of new pictures for 3d and 6d admission, and allow their good selves 8,000 feet for 6d and Is admission. They also objected to me serving the Suburban Shows with gcod film. You can easily see the injustice of this proposition. We are getting about £500 weekly out of the Suburban Shows which we cannot afford to lose. We are also getting a net profit of at least £200 weekly with the Colonial Theatre, and as we are building another large theatre Immediately opposite, you can easily see why I would not want to be handicapped by showing 2,000 feet of new pictures. We show 4,000 feet for all matinees and in all cases we never show more than 3,000 to 3.500 feet for an evening's programme. After the distinguished members of this association found out my real views on this subject, I do not think I had a ghost of a show of joining this associa- tion. I informed them that it was absolutely useless to try as exhibitors to dictate to the manufacturers in any way whatsoever, and with my experience in the show business it has always been the case of the man- ufacturers dictating to the exhibitors. I informed them that they were no doubt well aware of the fact that we were buying more pictures than they were all buying one year ago; I also in- formed them that the manufacturers were well ac- quainted with these conditions and as the picture bus- iness is such a progressive business they would no doubt know that there was still room for expansion. I also would not agree to use film manufactured in Australia, except topical stuff, as this would cause a duty to be placed on films. I told them that any schoolboy would be able to see that their main ob- ject was to shut everyone else out, for their own benefit, and then in a few months time they would only be buying the same number of films that they were buying a year or so ago. Now regarding ourselves, we have just had a meet- ing of the shareholders of our concern and we will within the next two weeks float a company with a capital of £200,000 ($1,000,000) of which £100 000 will be fully paid up. I might add that the shares have already been sold. We have just purchased a site in the heart of Melbourne for £25,000. We are opening film exchanges in New Zealand, Brisbane Adelaide, Melbourne, and we feel quite sure that we will soon be in a larger way than any of the other picture people in Australia. How ridiculous it would appear to the manufactur- ers when they consider that we are supplying about two-thirds of all the theatres in Sydney and suburbs with film to absolutely shut their film out of these theatres. We have just entered into a contract to supply the "Queen's Hall" and the Alhambra theatre from the 21st Inst. This will give us practically every theatre In the city with the exception of West's Gla- ciarium, Spencer's Lyceum and the Bijou and King's Theatre. We are now opening up in Melbourne and have already contracted to supply more than £200 worth of film weekly in that city. I have no doubt but that the American manufacturers will rely on your judgment in this matter a great deal, as you are here on the spot. I might state in conclusion that I am willing to agree to any restrictions the manufacturers might ask to be placed on film as we are in the business in a large way, and we always want to maintain the good will of the manufacturers who have made the business what it is. I feel quite sure you will agree with me in this, that nothing would be more fair than this. I sincerely hope that this lengthy letter will act as some explanation in the matter. Trusting that we may always be on friendly relations with your firm, we beg to remain, Yours faithfully, (Signed) J. D. WILLIAMS, Managing Director The J. D. Williams Amusement Company, Limited. So far as the other side of the story is con- cerned, I have not got at the case for their side, but I am going also to have an interview with the other side and later on will send you their version as well, but all I can say that it will be a bad day for the manufacturers if they cut out the author of the above letter, for he will soon hold the winning trump, and today he is not far from being the leader. One year ago, before the advent of Mr. J. D. Williams, there was- seldom or never shown the films of Selig, Kalem, Essanay, Melies, and one thing the others have not done, and that is to show the full films, in- cluding title and the end portion, as regards being passed by the Board of Censors, etc. Neither do I myself think that the manufac- turers of the United States will ever refuse to sell this pushing and up-to-the-minute American concern, and as for the AB and the AV Co.'s films, I must say that since the advent of these American boys into the field that in a very large measure they have supplanted other well known European products, and I can truthfully state that outside of one or two makers that these films were never screened by one of them before Mr. Williams made them what he has done. He has certainly improved the standing of the American films, and especially the AB and AV and "Pop" Lubin's, more than one hundred per cent., and he is absolutely the only one who gives on his day and night programs the names of the producer of these films, ao much so that now the public speak of them as an AB, Lubin, Selig, AV. or Melies, as the case may be, and I as a good American citizen, would be very sorry to ever see the day when the M. P. P. Co. took it into their heads to cut him out, it would be a big day for the "IMPS" if they do, but they are no fools, and they know how many beans make five all the time. This is a great country for the motion pic- ture business! and it is daily on the increase. You would hardly credit it were you to be in- formed the number of places in this city and suburbs that are nightly open to the public, and still they are being added to weekly. The Williams company is building a most magnificent theatre right opposite the present Colonial the- atre and will be known as the Colonial No. 2, and there is no doubt in my mind today that there is NO theatre in the United States that is showing to as many people as the J. D. Will- iams Amusement Company is showing to, in this continuous theatre from 11 a. m. to 11 p. m. daily, with the exception of Sunday, when an evening entertainment is given of about two and one-half hours continuous run. As all of the Sunday programs have to be censored by the government, and NO charge of admission can be made, the admission is by silver coin, and as many who go pay more than the regular day prices, the nightly receipts are fully as good as any week night. The prices at this theatre are 3d, 6d and box seats Is, this corresponds with 6, 12 and 25 cents American money. Another thing Mr. Williams screens every A. B. and A. V. film released besides many of all the others that are members of the M. P. P. Co., as he enly shows the licensed films, with the excep- tion of now and then a local topical production. Another feature of their new theatres being built in this city and Melbourne, the peculiar fea- ture of the outside decorations is, that all the M. P. P. Co.'s trade marks are embodied into the decorative portion and will be shown at night illuminated and in the day time as if made of gold. Before this reaches your hands, the Greater J. D. Williams! Amusement Company, Ltd., will have been floated and going ahead with leaps and bounds, as money is waiting all the time to get in on the ground floor of this concern. Nominal capital $1,000,000, $500,000 paid up as follows: 60,000 one pound shares to be given to the present holders of shares in the J. D. Williams Amusement Company, Limited; 30,000 shares to be sold to the friends of the present proprietors or shareholders, and 10,000 shares to be given to Mr. J. D. Williams for promo- tion purposes. The reasons for forming the new company — to change the charter, so as to conduct an office in London for selling films and machines; to give the company greater pres- tige, by having a much larger capital, to place new directors on the board which will give the company a more solid local standing, to give the present shareholders increased holdings, so as not to enable others to get in on the same footing as original shareholders of this com- pany. Purposes of This New Company. To open up branches for the sale and rental of films, machines, supplies, etc., in the cities of Melbourne, Adelaide, Brisbane and in New Zealand. To take over an option on a free hold in the heart of the city of Melbourne for the purpose of erecting a new and commodious the- atre and conducting therein a continuous pic- ture show, option for the said ground having been already secured by Mr. J. D. Williams. It is also the intention of the company to open continuous shows in Adelaide and Brisbane, sev- eral sites now under option, but none have been decided on or secured. To sum up the whole thing in a nutshell, they are in business for dollars all the time, and not for the good of their health, and they are just the kind of business people that will get there all the time, they will before many years be the "Grand Moguls" in the amusement business, and I am glad of it, for in some cases out here it has been more of good luck than good manage- ment, and greatness has been thrust on one in particular, but I will mention no names. USE PICTURES IN DEPOTS. At a meeting of the Exhibitors league of Mov- ing Picture Men, in Columbus, O., a movement was started to introduce motion picture theatres in railroad stations, where the time of .the de- parture of trains can be shown on the slides and reports made on whether or not the trains are late. It is urged that depots would be a profitable place to put them and negotiations have already been started to locate them in the three largest stations in the country. An of- ficial of the organization stated that he looked forward to putting a motion picture show on one of the fast transcontinental trains. MOTION PICTURES FOR DANIELS' THEATRE Work was begun on Dec. 5 rebuilding the Daniels theatre, Salt Lake City, Utah, which was seriously damaged by fire some weeks ago. The theatre has been leased to Harry H. Rand, of the Rand Amusement company, and was re- opened on December 20th with vaudeville and motion pictures. The theatre was en- tirely renovated and improved. The decora- tions and furnishings will be entirely new and Mr. Rand promises to make the theatre the prettiest in Salt Lake. One of the features will be the new electric signs, which, Mr. Rand and Mr. Daniels declare, are the finest west of Chicago. Coming— "The Irish Honeymoon" THE FILM INDEX. 3 REVIEW OF THE YEAR Observations Upon Events and Conditions — A Hopeful View of the Future By EPES W. SARGENT. The year just closing has marked many changes in the photoplay industry, the most im- portant of which has been the opening of many handsome theatres especially constructed for the exhibition of photoplays and which have replaced the "store show" that was the first home of the silent drama. For reasons connected with the peculiarities of local ordinances many of these houses are comparatively small, the capacity running from 150 to 299, but on the other hand there have been built more pretentious structures seat- ing as many persons as the "regular" theatres and there have beeu turned over to the picture interests many important dramatic houses. The "big house on Broadway" has mot yet arrived, but there is one exhibition place right in the heart of the theatre district and an almost fabulous rental has been offered (and refused) for the Metropolitan Opera House. It is not improbable that before another cycle of time is passed the dream will have become a realty for both on top of the New York and Victoria theatres the photoplay theatre has proven profit- able. Purely local conditions have operated against the Broadway house but many handsome houses are to be found in the greater city and others are in contemplation. Outside of New York the conditions have been more pronounced and not only have ex- isting theatres been turned into photoplay- houses, but new theatres have been built that will compare favorably with those devoted to the spoken drama. These larger theatres dis- place the temporary houses, but in the suburbs and in small towns the store show remains, though here they are frequently called upon to meet, competition from the dramatic theatre. The unsettled condition of theatricals due to the warfare between the Shubert corporation and the Klaw and Erlanger interests have fa- vored the pictures and many of the smaller the- atres on what is designated as the "one night stand circuits" have turned to pictures inter- mittently as rent payers. Some of these man- agers will retain the pictures to the exclu- sion of mediocre attractions, for it is better to see actors of metropolitan repute on the screen than to witness the abortive efforts of incom- petent players in the flesh. There has been no visible advance in color work in motion pictures. The Edison labora- tories are experimenting along these lines, but the work is not yet ready to be shown and the Kinemacolor has gained no foothold in spite of the efforts made to advance the interests of the two color screen process. On the other hand Mr. Edison has shown an almost perfect union between the film and the phonograph, reproduc- ing the "effects" as well as speech; but this, too, is in the experimental stage still and prob- ably will be added to the achievements of 1911. In production the licensed manufacturers of- fer twenty-four as against eighteen weekly re- leases and there seems to be a good demand for all subjects. More than that, there have been more reprints of popular subjects than in any previous year, due largely to the improve- ment in the standard of production. Visualiza- tion of famous poems and stories have added to the value of the photoplay and the new authors attracted to this branch of writing have set a higher standard for original work. The players, too, show a greater merit for in the year just closing the once existing senti- ment against engagements in the photoplay stu- dios has almost entirely vanished. Players no longer shamefacedly turn to the studio only when driven there by desperate necessity. This also has helped to raise the standard of pro- duction. One marked improvement has been in the better lighting of the theatres and in conse- quence the attraction of a better class of patrons. It is not longer regarded necessary to keep the house in stygian darkness during the showing of the pictures and the class of men who were at- tracted to the photoplay houses by reasons other than the pictures must seek new fields. The stamp of shame — due solely to the lax manage- ment of a very small percentage of theatres — has been erased and it has been found that the lighted house materially reduces the eye-trying flicker. The solar and daylight screens make the light house and steady pictures matters of fact and the increasingly stringent regulation of operators will in time enable the use of more current and even brighter pictures. Decided advance has been made along educa- tional lines and now many schools regard the picture as an adjunct to the text book. It is not a fad but a steady, healthful growth that has done much to place the photoplay as well upon a higher plane. With the improvement of the photoplay the National Board of Censorship has had much to do. A certain type of publication has made the usual frenzied outcry against the soul-damn- ing photoplay, but most of these attacks have so clearly shown their animus as to defeat their own aims and the fretful outcries have worked little harm because they have been based so seldom upon fact. The latest form of attack has been the dec- laration that the public is tiring of this form of amusement, a declaration based upon an in- ability or failure to study or understand the situation. There are fewer houses than there were a year ago, but a far greater capital is invested in the business by the exhibitor and this sum will be increased in 1911. The introduction of cheap and nasty vaudeville into the picture show has worked temporary harm in some in- stances, but there is apparent a tendency to return to the exhibition of pictures and give to the exchange and the operator a portion of the money now wasted upon the vulgar sister act and the ungrammatical and obscene mono- logue man. It always has been that the comedian who cannot amuse can win a laugh with a profane expression or bit of vulgarity. Really clever people are seldom to be had for the prices the photoplay manager can afford to pay and the result is a succession of acts retailing coarse jokes and indulging in indecent expressions and gestures which drive from the house the regu- lar patron and bring instead the rabble. It is not improbable that the latter part of 1911 will witness the divorcing of vaudeville and the pictures and in all probability the Aus- tralian idea of large houses, shows to match and an admission fee in proportion. Some exhibitors will prefer to stick to vaude- ville of the cheap sort and there will spring up houses of a sort common years ago where the performance will attract only the most un- intelligent. The better class of the public will turn to the photoplay houses for inexpensive amusement and find the new style show more to its liking. It will be necessary to provide some attrac- tion to break the steady run of the pictures where five or six reels are shown at one per- formance, but high grade vocal and instrumental music will prove a greater attraction than cheap vaudeville. Vaudeville and the pictures cannot much long- er remain in combination. History repeats itself and it has been shown that while the cost of the photoplay remains standard the salar .<•.-, of the so-called artists have a constant upward tendency. The fifty dollar act of last year wants sixty this and the man who got sixty now wants seventy-five. It is to be regretted that vaudeville ever was grafted upon the pictures, but the day of release is at hand and the photo- play will truly come into its own as a notable and dignified addition to the spoken drama and kindred amusements. THE COLUMBIA THEATRE, PORTSMOUTH, OHIO. PICTURES TO SHOW BOSTON'S NEEDS. A motion picture and stereopticon campaign, to show the need of a teaming tunnel, with moving sidewalk for pedestrians, has been out- lined by ex-Alderman Thomas J. Giblin, chair- man of the executive committee of the East Bos- ton Improvement Association, of Boston, Mass. By means of these illustrations it is planned to show the advantages of a "street to Boston" to the business men of the island and to in- terest the Chamber of Commerce in the project. The tunnel planned by Mr. Giblin would have a capacity of 4,000 teams per day and would save 12 minutes in rushing fire apparatus to East B'oston in case of a big conflagration there. NEW HOUSE FOR FLORENCE, COLO. A new photoplay theatre was opened Dec. 17, in the building formerly occupied by the Isis theatre on Main street, Florence, Colo. This house has been fixed up in the most up-to-date manner and is now one of the principal at- tractions of the city. . New furnishings, both inside and out, have been added, and with new pictures daily, the house is kept crowded at all performances. Robert Gamble is building a photoplay theatre at Altoona, Pa., which will be called "The Family Thea- tre." The house will be located on Twelfth street, between Seventh and Eighth avenues. 0 THE FILM INDEX MONTREAL NEWS What Is Doing in the Canadian Metropolis— Still Fighting City License By A. J. LIVINSON. The thing of most importance locally, though no one as yet appreciates what it all means, is the amalgamation of the Kleine Optical Co. with the Kinetograph Co. No statement what- soever could be gotten from the Kleine office here, and those in charge of affairs at this of- fice preferred to have the advance statement come from the head office at Chicago. In view of this state of things, one fact at least is quite clear, namely, that a merger has been formed, for Mr. Copper has been replaced by Mr. Fen- ton at the local office. Some time ago I announced in my letter to The Index the great preparations being made by the local M. P. proprietors to meet every move made by the civic authorities against them re- increased license of $500 and the Sunday clos- ing idea. A belated interview appeared recently in the "Witness," which I here inclose, which should prove of some interest to The Index readers. The fight is as merry as could be, with no signs of letting off on either side. The following is the article that appeared in the Montreal "Witness": "The city is going to have the fight of its life," said a man connected with the moving picture show- interests to a "Witness" reporter yesterday, referring to the still pending attempts to force these places to close on Sundays. He gave an inkling of some of the things the moving picture men are doing, and added that it was their intention to carry the matter, if necessary, to the Privy Council. "If they lose there," he added, "they will find some method of fighting it all over again. They are engaging the finest lawyers in the country to look after their in- terests, and in future everything done against them is going to be fought if it tends in the slightest way to damage their interests." He told of a campaign fund which has exceeded .$1,500 since it was deter- mined upon at a recent meeting of the men in the business. "This meeting was held at midnight, after the houses had closed, and of course, there were no re- porters present," he naively added. Each house is now contributing a weekly amount based on the per capita attendance so that \£e citizens will pay the cost which ever side wins, and directly legal action shows that the struggle may be prolonged this weekly levy will be increased. He stated that it was not at all improbable that the whole of the moving picture men will refuse to pay the $500 tax to the city. A percentage of the tax would be paid into their own campaign fund, and the costs of fighting the city if it attempted to collect the tax would be paid from the fund. "The moving picture men in Montreal," added this man, "were never stronger than they are now. New houses are opening nearly every week, and in one to be erected on Norte Dame street very shortly some thousands of dollars are to be spent. It is hardly to be expected, therefore, that they are going to be coerced by anything the city or private interests may do. To stop them, to put them out of business, you would now have to re-educate the whole of the public into disliking them. "As for closing on Sundays they positively will not. Sunday is the best day of the week; the audience which fill the houses on Sundays is not that which comes during the week, it consists mostly of people from the outer parts of the city. I doubt if five per cent, of the people walking up and down the St. Law- rence Boulevard on Sundays are to be seen there any other day of the week. "Another thing for the public to consider is that if the houses close on Sundays the price will go up to 10 cents in all cases, as the houses would lose so much through the one day of no business. You may think this increase would tend to close the houses, but it would not. A section of the public has been educated to want their picture shows, and they are going to have them. The price could be raised to 10 cents now as a matter of fact, and the audience would not decrease. But the houses are not going to be closed on Sundays without a very long fight, and there are some lawyers engaged who know just how to make that fight spin out to a point which will cost the city of Montreal quite a lot of money." E. and N. Laward, managers of the King Ed- ward theatre, finished the reconstruction of their seating facilities, and have at the expense of some $10,000, been able to increase the seats from 200 to 800, as well as fitting up a com- modious stage with loft and green-room ar- rangements, and remodeling the main entrance to most attractive proportions. In addition to films projected from an Edison and Powers ma- chines, the management have a five-act vaude- THE OWNER OF THE "LL." RANCH A Drama of Western Life by Melies 3Q[ THE scene is laid in a Western hamlet whose inhabitants are the cowboys and the work- men of the various ranches round about. It is in the summer when the cattle are grazing and the cowboys have more leisure than at any other time of the year. The largest and by far the most popular ranch was the "L. L.," owned and managed by Lorna, a typical Western girl whose ability to handle her employees was well known. The boys, all in turn, became enamored of her and popped the question, but her whole heart and soul was in the business end of the "L. L." ranch. Sentiment played no part in her daily relations with her employees. "Jeff," her foreman, was, in fact, the only can't express their aversion for a foppish, ef- feminate nobleman and Sir Reginald was all of that. Lorna gives him respectful attention, but repulses all his familiarities or advances. In fact, she and Jeff have become lovers and the Englishman is extremely envious. The Englishman thought that he would have no use for the ranch, so placed the land in the hands of an agent, giving the latter power of attorney to sell it whenever he found a buyer. Lorna had not money enough to do that, but succeeded in buying a small ranch next to it. The "boys" in the meantime swear vengeance on the nobleman for his ungentle- manly treatment of Jeff, their leader. They send him a threatening letter and finally go with a rope to hang him. Lorna gets word of SCENE FROM MELIES "THE OWNER OF THE L. L. RANCH. one who seemed to her at all eligible among the boys, but he was wise enough to know that she would never accept him while in the ca- pacity of" foreman, so concealed his affections as far as possible. But fate was to play a great part in Lorna's life. A dispute arose as to the real ownership of the "L. L." ranch, and the courts decided in favor of an Englishman, Sir Reginald Coutts- Harcourt, who took possession of his property. It is well known that cowboys have no love for what they term "tender-foot," but words this and notifies her lover, who in the meantime has purchased the "L. L." ranch, thus having his own revenge on the squire. He arrives upon the scene just as they are about to hang Sir Reginald, and shows the "boys" his deed to the property. There is now no longer any need of getting rid of the nobleman in that manner, so the boys wave their hats and give three cheers for their new boss. But as the old saying goes "What is home without a wife," and that's just what Jeff thought — and Lorna accepted. ville program. Most favorable receipts have been reported for the opening week. The "Moulin Rouge" theatre — the great East End house — has| lately struck upon a clever ad- vertising dodge. They have been giving out at special performances miniature windmills and their patrons have been sent away talking about the "Moulin Rouge" theatre. This house has been displaying some attractive cotton sign work as well as a beautiful color reproduction of the Vitagraph dog "Jean," whose likeness isl com- mented upon by passersby. The sign works at the house is under the management of Dave Livinson. Mr. Conover of the Nickel theatre is one of those rare inventive managers, and two addi- tions in the line of equipment to his house are bound to be copied by other houses in the very near future — if Mr. Conover lets them. Inside and outside of the house Mr. Conover has ar- ranged a series of glasses in a metallic case. On each glass is printed in yellow the name of the picture and an indicator, in the shape of a hand, is worked from the orchestra. Thus a person outside can tell how far the program is along and a person on entering knows exactly how many pictures he has missed. Another novelty, for which Mr. Conover must be given the Car- negie invention medal (if there is such a medal in existence) is his "Program Today," adjust- able case. The materials which enter into the chart are of bronze and yellow metal, enamel, artistically etched, and beaded glass. The "Pho- toplays"— he has not been slow to use new words — which appear in small enamel letters — are adjustable. One may well imagine the elaborateness of construction when one is told that this article completed cost $100. Nothing too dear for the Nickel. FOR SALE. Moving picture parlor, first class condition, in Penn- sylvania town of 8,000. Doing a good business with very moderate expenses. Located midway between Harrisburg and Wilkes-Barre. Fine opportunity. Address "WONDERFUL," care THE FILM INDEX. Coming— "The Irish Honeymoon" THE FILM INDEX 7 I j&L CHARACTERISTIC AMERICAN PICTURES Two Edison Subjects of Unusual Merit MI MONO AMUAii the forthcoming Edison releases are two subjects that are characteristically American. In one is shown the young American business man with all his hustle and daring; in the other is given a glimpso of that distinctly American industry, the build- ing of a skyscraper, which glimpse goes along with a stirring love story. Both subjects have excellent plots which are intelligently worked out by the Edison players and are marked by good photography and effects. "With Interest to Date" was first written by Rex Beach and the good points of that story are not lost in the picture portrayal. The hero of the tale is a young American salesman in the employ of a large steel contracting company. He is in love with the daughter of the presi- dent of the company. The latter does not look upon the suit with especial favor, but makes secretary of the English company's president makes up to look like his employer and goes to America; he informs the president of the steel company that "graft" is what is wanted and advises him to add 50,000 pounds to his bid. The president consents to this and advises his son by cable to make the addition, which instruc- tions are followed out. There is but one conclusion — the hero wins out; gets the girl, and has the pleasure of telling the president of the steel company that he has paid him back in his own coin with interest. THE TEST OK FRIENDSHIP. Tom and Jim, two hard fisted bridge build- ers, are the principals in a thrilling melodra- matic subject entitled "The Test of Friend- ship." They are fellow workmen and chums, A FEW SUGGESTIONS. El Paso, Texas, Dec. 20, 1910. Editor FILM INDEX, New York City. Dear Sir: — I have noticed with pleasure that the manufacturers and importers of films are giving more attention to the lobby advertising of their films. The single shei't announcements are exceedingly handy, especially when it happens that the exchange is out of one-sheets of the films being shown. Will you allow me to make a few suggestions from the exhibitor's standpoint, or rather from my position as an exhib- itor? No. L Will the manufacturers please remember that racial prejudice as depicted on a film will make trouble for some exhibitor. For instance, in my own case, a film showing the stage idea of a bad Mexican and the use of the word "Greaser' will drive away and offend good patrons. The word "greaser" is as welcome to a Mexican as that word which the "Virginian" said must always be accompanied by a smile. We cut out the announcements which bear it and do not use one- sheets in which it appears. No. 2. Don't let the North whip the South ALL the time. Down here, Jefferson Davis' birthday is a holi- day, but you can make your deposits at the banks on Decoration day. Some of our old settlers would like to see a battle in which the "blue" starts to running an never stops. No. 3. Cannot the manufacturers tell in their ad- vance sheets where the pictures are taken. I have drawn in extra money by having had a little dope of SCENE FROM "WITHOUT INTEREST TO DATE. SCENE FROM "THE TEST OF FRIENDSHIP." his consent conditional upon the young man's securing of a large contract for the rebuilding of a steel plant. The young man accepts the conditions and gets to work. When next seen he is in the office of the steel company explaining his plans and his bid to the president of that company and its staff of engineers. They give him a respectful hearing, but when he has concluded his argument the president calmly informs him that his plans do not meet with the company's approval and that the work will be done by its own engi- neers. This is a complete throw-down. Not only does the young man lose the contract, but he sees his plans stolen before his eyes and is helpless to prevent; he is the victim of a "hold- up." The only satisfaction he has is to tell the robbers what he thinks of them and promise to get even in the future. Upon reporting his ill luck to his firm the young man does not get much consolation from the boss, but he does get one more chance. There is a big contract in England; if he can land that all will be well. He gets after this job with the steel company which threw him down as his principal competitor. It happens that the son of the president of the steel company is our hero's rival for the girl, which makes matters doubly interesting. This son has been sent to represent the steel company on the big contract, and it also hap- pens that the girl and her mother take a trip across at the same time. Arriving in London the two young men put in their bids', but the rival seems to have the inside position. After an interview with the head of the English com- pany the hated rival shows the girl a cable- gram to his father to the effect that the presi- dent of the English company may visit America before awarding the contract. The girl tips her lover off to this plan, which suggests to him an idea. This is the way the idea works out: The but matters between them become somewhat strained when they fall in love with the same girl. Tom gets the impression that Jim has won out, but he takes his medicine manfully and when Jim, knocked senseless in a fight with a truck driver on top of a 22-story steel structure, and hangs in a dangerous position over the sidewalk, Tom comes to the rescue. It is a thrilling situation in picture drama. Tom risks his life to save the man who he be- lieves to be his successful rival, but his re- ward comes when he discovers that he was mis- taken and that the girl was in love with him all along. The accompanying illustration shows how the big scene was produced by the Edison com- pany. It was a big undertaking to pull off in a studio but you will like the effect and we doubt if the illusion could have been produced with stronger realism if the structure had been real steel instead of the product of the carpenter. PICTURES FOR P. OK H. OPERA HOUSE, CARIBOU, ME. The P. of H. Opera House association of Cari- bou, Me., opened its motion picture show to the public, Monday evening, Dec. 12. Excellent pictures were thrown upon the screen which were interspersed by music by the orchestra, and altogether the entertainment was highly satisfactory. It is the intention of the asso- ciation to give a show every night that the hall cannot be leased to dramatic companies. E. P. Wilkins has been engaged as manager of the hall and show. He has had considerable ex- perience in the show business and no doubt the new attraction will be a great success. this kind. To be specific: The Edison pictures, in which special localities were shown, and their booklet told that it was in Cuba, Canada, etc.; the Biograph's "Child of the Ghetto," with Rivington street an- nounced, brought me a big Jewish attendance; the Vitagraph's Coney Island picture was another money getter; when the Essanay pictures taken here were shown, I got nearly double the usual night's amount, etc. This is a town in which there are many tourists and the announcement on our billboards that this pic- ture was taken in such-and-such a town would bring us additional business. I, personally, like the Kalem company's scheme of giving the cast, as I have been able to feature differ- ent people at times. This must be even a stronger card in the larger cities, where different ones have played in stock, and the picture show patrons remem- ber the actors and actresses. No. 4. Why do not the manufacturers get out a handsome one-sheet, with their trade-marks reading something like this: "Tonight: A fine Essanay, or Vitagraph, or Biograph, etc.; drama, comedy, Indian drama, etc., as the case may be, to supplement the regular poster and to take its place when the exchangt fails to send one. I believe that the exhibitors would buy sufficient number to make it pay. The Essanay company got out a small one, but this did not fit the regular frames which the average exhibitor has for his one-sheets. I have bought the ones gotten out by companies that make a specialty of printing, but they did not have the regular trade-marks which the pat- rons know and they were simply type sheets. No. 6. Please, Mr. Manufacturer, don't put "A Child's Something or Other" in the title. Every time 1 have a poster out with a child as the feature, my patrons look at the poster and then go to one of the nine other shows in this burg. If they go in and see a picture in which a child is featured, they generally come out pleased, but they shy when they see it in the title. And last, but not least, please don't give us so many "weepy" pictures. Yours truly, WILL R. WINCH. Crystal and Wigwam Theatres, El Paso, Texas. Coming— "The Irish Honeymoon' 8 THE FILM INDEX CHICAGO LETTER By James S McQuade CHICAGO'S yuletide has been overcast by a a great calamity. Her intrepid fire mar- shal and twenty-three ot his brave mtn had their lives snuffed out in a twinkling by the fire fiend. Their widows and orphans are now the city's special care, and generous hearts and wide-open purses are providing an invest- ment fund for their present and future needs. It is to the credit of Chicago picture exhibitors that they have come voluntarily and heartily to the front at this time. Many of them will have contributed a lull day's receipts to the fund be- fore this will be read, and it is hoped that all will make it a point to do something, in the form of a benefit, to swell the fund. Jones, Linick & Schaefer, owners of the Or- pheum theatre and a big circuit of houses, have contributed $250 to the fund and in addition will furnish a number of vaudeville acts at several benefits to be given early in January. The managers of Chicago's legitimate theatres are acting in concert in arranging benefits, and it would be well if every manager of a picture theatre in this city would fix some day as a benefit day. George Gilmore, owner and man- ager of the Ideal theatre, North Avenue and Larabie street, was the first to arrange a bene- fit for this purpose, and the Orchard theatre, 063 North avenue, quickly followed. Mr. Weegh- majn and Manager Horn, of the Casino Garden, East" Madisd% street, have set apart the re- ceipts of Friday, Dec. 30, for the benefit fund. The'amounts will appear in my next letter. Exhibitors are requested to mail me the list of amounts taken in at such benefits for publica- tion in these columns. All amounts should be turned in to the Hibernia bank, this city. A Retrospect. Looking back over the year now closing, every- one interested in the licensed picture business can safely say that there has been an advance all along the line. But the careful observer will not fail to note that the greatest advance- ment has been made in the manufacture of the licensed product. Could we show a like ad- vancement in the exhibiting end of the business there would be cause for general congratulation. There is no doubt whatever that pictures are being projected better at the present time than ever before, and -that picture theatres are bet- ter lighted and more comfortable than ever before, but the fact stiil remains that the struc- tures have not improved, as they should, in char- acter. Capital has not been tempted in this country, except in a few instances, to construct picture theatres that are worthy of pictures. What are the picture houses in our largest cities but holes in the walls when compared with structures devoted to legitimate drama and high class vaudeville? Until a better type of picture theatre is evolved, we may expect cheap vaude- ville to contaminate our picture shows and pre- vent intelligent and refined people from attend- ing. Speaking from personal observation, I must say that I feel discouraged because of the lack of confidence displayed by many Chicago ex- hibitors in the drawing powers of pictures. A manager across the way, because of his ig- norance of the vast superiority of pictures, may put in one or two cheap vaudeville acts and charge 10 instead of 5 cents. His rival im- mediately begins to shiver and has visions of 10 cent pieces that should be falling his way. His business is good with pictures only, and his audiences, most impressively, are of a higher intellectual standing. But he, too, has got the cheap vaudeville bee in his bonnet and when next you call to see the show you disgustedly walk away because you cannot stand (or sit) for cheap, tanky vaudeville and pictures. With better theatres and more intelligent ex- hibitors, pictures will soon come into their own. Tom, Dick and Harry will then be obliged to go back to the butcher's block or the hod, where they belong; and men of education and refine- ment, with the true showman's instinct, will succeed in carrying picture entertainment to an ever higher plane. Live Advertising Pays. | I see that my old friend A. Powell, owner and manager of the Ideal theatre, Kokomo, Ind., has been using some of his strong advertising stunts lately. "The County Fair" (Selig) has been the fea- ture subject chosen for a liberal flow of printer's ink. The reading notice in the "Tribune," ap- pearing contemporaneously with a striking dis- play announcement, is a clever specimen of up- to-date press work. Here is an extract: Remember the horserace in the stage play that captured the audiences — where the horses race on a tread-board and keep in view until the end of the race? Remember? Of course you do. But that was not good enough for the Selig people. After buying the rights for the County Fair from the executors of the Neill Burgess estate, they set to work planning to picturize the big thing. Sham horse races would not do at all, and they sent their whole acting com- pany, pack and parcel, and picture puoiogi aphers down to Galena, Illinois, and photographed a real genuine county fair horse race that will make you stand up in your seats and look with amazement and shout with excitement. So come and see something that is. In his letter to me, Mr. Powell writes: "The attendance and results were highly satisfactory." Of course they were! Nothing else could be expected under the circumstances. Red Ci us* Seal Stamps Boom. Since the opening of the Red Cross Christmas Seal campaign three weeks ago, more than 350 new cases of tuberculosis have been discovered in the city, 135 having been reported last week. At present there are upwards of 15,000 tubercu- losis sufferers in Chicago. The increase in new cases reported is at- tributed by Frank E. Wing, superintendent of the Chicago Tuberculosis Institute, to the pub- licity which has been given the sale of Red Cross Seal stamps, the full proceeds of which go to the treatment of consumptives. Business firms in the city are rallying to the support of the Tuberculosis Institute as the cam- paign goes on, some of them repeating orders for Red Cross Seal stamps. A booth for the sale of the stamps was open- ed recently in the Board of Trade building. It is under the direction of a nurse from the mu- nicipal sanitarium. The Edison "Red Cross Seal" has given an impetus to the anti-tuberculosis movement that only years can fully reveal. That "Boy City" Film. I have just received a letter (with newspaper clippings from the "Advocate" and "News," of Manistee, Mich., enclosed, from John F. Bailey, manager of the Electric theatre, that city, show- ing how the Selig feature, "The Boy City," was announced and succeeded there. It is without doubt the first time a brass band has ever sat in front playing a piece of music and been able to watch themselves marching down the street playing that same tune. This happens three times, during the pictures, to the Vandervest band and the situation was fully appreciated by the audience. It would be hard to fully describe all the features of this picture as it is full of good things from start to finish and it is doubtful if there was ever a motion picture that received as much genuine applause as was given the "Boy City" pictures at the Electric last night. Great "Anti-White Plague" Campaign. The Kenosha News of Dec. 22 had the fol- lowing article on the sale of Red Cross Seal stamps and shows that the Edison film, the "Red Cross Seal," is exercising great influence: The sale of the stamps was greatly stimulated by the presentation of the "White Plague" film at the Rhode Opera House on Wednesday afternoon and evening. Hundreds of school children had a chance to see the film on Wednesday when they went to the theatre as the guests of Manager Rhcde. The chil- dren took an active interest in the picture and the pretty story told in the little drama and they went out this morning determined to break all records in the sale of the seals. Thousands of the seals were sold in the theatre after the presentation of this little drama on Wednesday evening. It is impossible to tell just how many of the seals have been sold in Kenosha, but it is thought that the number is now close to the hundred thousand mark. Madison is nearing the 200.000 mark in sales and in Milwaukee it is declared that the sales will be close to a million. The reports from the field through- out the state indicate that the sales will be far great- er this year than in any previous year. Chicago Film Brevities. Geo. K. Spoor, president of the Essanay Film Mfg. Co., sprang an enjoyable surprise on his large list of employees, and those who were formerly his employees and now working for the Spoor branch of the G. F. Co., each member of the rank and file receiving a $5 gold piece with an Indian head, while the heads of the departments were also handsomely remembered, and proportionately, according to the import- ance of their positions. Mr. Spoor's office, or more properly speaking, the city office of the Essanay Company, is now- at 521 First National Bank building. The Saxe publicity promoter in Milwaukee has quite transcended all former efforts by the able way in which he has handled the "Red Cross Seal" and "Boy City." In addition to ex- tensive advertising and reading notices in all Milwaukee papers, a finely colored descriptive half-sheet was gotten out and posted thorough- ly thorughout the city. I understand that the two films mentioned have made picture still more popular in the Wisconsin metropolis. A. V. Stice, superintendent of the Essanay plant, was presented with a handsome gold chain and locket on Christmas eve by the em- ployes on Argyle street. C. S. Sullivan, manager of the Royal the- atre, Hancock, Mich., and of a theatre of the same name at Calumet, Mich., is going some in up-to-date advertising for his feature films. In announcing Pathe's feature film, "Maid of Ni- agara," Manager Sullivan issued a neatly print- ed and illustrated 4-page circular, in which the story of the film is carefully told. He also got out a special descriptive one-sheet which was posted liberally throughout the city and neigh- borhood. Big returns have been the result. The Essanay Film Mfg. Co. got out a very handsome embossed holiday card for numerous patrons and friends. The Essanay trade-mark, the Indian head, appears at the top of the first page, embossed handsomely in colors. The sec- ond page contains an announcement of the re- moval of the city office of the Essanay Co. from 435 N. Clark to Suite 521 First National Bank building. C. R. Haggerty, owner and manager of the Berry theatre, East Chicago, Indiana, visited the Spoor branch of the G. F. Co. last week and arranged for service. Manager Haggerty was formerly "independent." The Photoplay, Dalton Station, 111., made ar- rangements with the Spoor branch of the G. F. Co. for licensed service. The Congregational Church, at Hinsdale, 111., gave an exhibition of educational films to a crowderl audience December 26. The Kino- drome service was employed. The inmates of the Crippled Children's Home, at Park avenue and Paulina street, this city, had an enjoyable Kinodrome entertainment De- cember 2 4. The program consisted of educa- tional pictures and comedy and fairy stories. The Spoor branch of the G. F. Co. took on the booking of the Amity theatre at 1418 South 40th avenue last week. The Amity was for- merly on the list of the H. & H. Co., an "inde- pendent" concern. WILL OPEN THEIR OWN SHOW. Messrs. Ford and Chapman, for several months past employed as musicians at the Vic- tory Motion Picture Theatre, Marietta, O., have resigned their positions and have recently leased the room formerly occupied by the Karst, Laffey & Co. grocery, in the Odd Fellow buildings. These two young men will open an up-to-date and modern picture show in this room and are already decorating, repairing, etc. A new building is to be erected in_ North Abington, Mass. In one part of the building a photoplay thea- tre will be put in. Clarence Cowells, the Broad street picture man, Waverly, N. Y., has leased the Opera House, in which he will run motion pictures. THE FILM INDEX 9 WORK ON PHOTOPLAY HOUSE BEGUN Haverhill's Latest Picture and Vaudeville Theatre To Be Modern in Every Respect Metal workers have begun operations at the theatre which is being erected on Washington street, Haverhill, Mass., for Max S. Slavit and this will mark another stage in the progress which is made In the work of erecting a modern picture theatre in the heart of the laboring dis- trict. Already the theatre is assuming shape and a busy force of artisans have been working on the house for some time past. Electricians from Boston are at present engaged in wiring the house and have much of their part of the work completed. The ventilating of the house will be one of the most important features and one which has been paid particular attention. In the front of the house will be large entering ducts and the air will be drawn in by a two horse-power revolving fan. Under and over the stage grilles are being constructed, through which the foul air will be driven and in this way the air in the house will be kept fresh and clean every minute. The system is one which has met with the endorsement of the state police and is highly recommended by all who have inspected it. State Inspector Ansel J. Cheney and Building Inspector Mitchell of this city have placed the stamp of their approval on the house. Besides the regular entrances and exits in the front, there will be two exits leading out from either, side of the stage, so that the house can be emp- tied of its people in a very few minutes. The picture booth will be in the balcony and will be so situated that it will throw a clear and flickerless picture. A new asbestos curtain, handsome in appearance, together with a scenic curtain have been ordered and are now being painted at the New York studio. Other drops and scenery will be of the latest design and pattern. Six hundred seats have been ordered and will be of the collapsible kind. Every seat in the house will be a good one and allow a fine view of the stage. Vaudeville and motion pic- tures will be presented at the playhouse and only the best will rule. Max S. Slavit, well known in the business life of the city, is the owner of the new house and will be the personal supervisor of it. Mr. Slavit's reputation in the past is sufficient indi- cation of the policies which he intends to carry out in the management of the theatre. He has let out all of the work to contractors and in the specifications for the work it is stated that only union men shall be employed. He has nothing to do with any differences between the contractor and the union. When the house is completed, none but union men will be at- tached to it. It Is expected that the work on the house will be done in about a month's time, and Ha- verhill will then have another of the cosiest houses in the state. PICTURES AT CORSE PAYTON THEATRE. The Bijou theatre, Brooklyn, N. Y., which has been the home of Corse Payton's stock com- pany for a long time, will in the future run motion pictures and vaudeville. The house is an excellent one for pictures and is located in that part of Brooklyn which draws large theatre audiences. Mr. Payton will move his stock company to a Manhattan theatre where he will continue to put on the same class of plays he did at the Bijou. NEW WOMAN PROBLEM Discussed Pictorially in a Lubin Comedy Subject A SCREAMING comedy on a very modern and timely subject will be released by the Lubin Manufacturing Company at an early date. It is called, "Will It Ever Come to This?" and deals in a delightful manner with the prob- lem of the new woman. The scene opens in the dining room of Mrs. and Mr. Sarah Jane Brown. Mr. Brown en- ters from the kitchen, carrying a tray with cof- fee, hot rolls and eggs, which he places on the table. The four Brown children enter soon. The boys are very shy and reserved, the girls boisterous and boy-like. In scrambling for a place at the table, one of the girls slaps the face of the oldest boy, a shy creature of 18. The boy bursts into tears and runs to his father who comforts him and dries his eyes with his apron. At this point Mrs. Brown enters. She wears a decidedly masculine costume. She slams the door and glares at the boys, who look uneasy. goes to his desk and hands him a bunch of roses- He takes them shyly and resumes his work. We see Mrs. Brown at her club, laughing, smoking and playing cards with others of her kind. Now matrimony enters the plot. Dear, sweet Willie, that fair and timid boy of 18, is seated in the Brown parlor, embroidering. Mrs. Brown enters, accompanied by a mannishly dressed young woman. She introduces the two, slaps the girl on the back with a "go-in-and-win" expression and leaves the room. Willie rises, very much embarrassed. The young woman in- vites him to sit on a sofa. Willie does so but is very bashful. The young woman takes his hand and kisses it, and finally kneels down and proposes. Willie shyly nods hig assent and the girl places the ring on his finger. Mrs. and Mr. Brown entered at this point, and see- ing what has happened, congratulate the young SCENE FROM LUBIN SUBJECT— "THE NEW WOMAN PROBLEM" — WILL IT EVER COME TO THIS. Mr. Brown is very much scared. Mrs. Brown sits down and pours her coffee. Mr. Brown places the meat before her. She tries to cut it, but it is too tough. She tastes the coffee, finds it cold, gets angry and upraids Mr. Brown. That poor man bursts into tears and flies to the kitchen. Mrs. Brown rises angrily, takes her overcoat and derby and goes out, slamming the door. The next scene shows poor Mr. Brown doing the house work, making beds, sweeping, washing the clothes and hanging them out to dry. In the next yard another man is similarly engaged. They gossip over the fence. We next get a view of Mrs. Brown at her office desk. A very ladylike young man enters and sits down at the typewriter. Mrs. Brown folks. Mr. Brown kisses Willie and weeps a little. Mrs. Brown slaps the girl on the back and shakes hands with her son. There is one other scene, burlesquing a prob- lem which is serious to many present-day wives. As Mrs. Brown is leaving for the office the next day Mr. Brown enters, lifts his apron and points to his shoes: and trousers. He takes a very shabby coat off the hall-rack and shows it to his wife. He is pleading for some new clothes. Mrs. Brown laughs and snaps her fingers. Mr. Brown timidly places his hand on her arm. She shakes him off roughly and goes out, sUamming the door and leaves poor Mr. Brown in tears. The story closes with a happy scene — wedding bells ringing merrily for Sweet Willie and the masterful young woman who has won his hand. THE FILM INDEX 4fc " THE REDEEMED CRIMINAL" A Didactic Melodrama by Essanay JAS. S. McQUADE I BELIEVE exhibitors everywhere will agree with me in pronouncing "The Redeemed Criminal" the best film yet turned out by the Essanay's Eastern stock company, as re- gards fine photography, acting and technique. And I believe I can go further and write of this film that it will measure up worthily in the respects mentioned with the best of the licensed product turned out during the year just closed. While the story has a melodramatic tinge and deals with a criminal of desperate type, producer McCrae Webster has happily spared the spec- tator the views of the details accompanying safe cracking, which are neither edifying to mature minds nor good for young people. The safe has been opened and the floor littered with papers hastily taken from it before we are given a view of the two burglars. Nor is the watchman, who surprises the safe crackers, shot down as he rushes up; he is stunned by a blow of the fist and the elder lawbreaker is seized by the police without bloodshed while the younger escapes. The lesson of the story is strong enough, and is invested with sufficient benevolent in- fluences to overcome the criminal atmosphere that prevails several times in the unraveling of the plot. The younger burglar repents of his crimes and becomes a minister of the gospel, and through his ministrations his former ac- complice is led to forsake his lawlessness and become a respected and trustworthy citizen. The acting of Harry Cashman and Curtis Cooksey in the characters of Spike Hennessy and Kid Carson respectively, is worthy of the highest commendation. Mr. Cashman in physique and facial make-up is the part itself, and his expressive face tells the story through- out, as clearly as spoken words. Mr. Cook- sey's impersonation of the Rev. Dr. Carson will appeal to everyone by reason of its dignity, ear- nestness and power. Excellent camera work and fine light effects have been observed carefully throughout. There is just one palpable oversight in the picture. When the Rev. Dr. Carson dons his burglar garb, in order to restore the stolen jewels to their owner, he is seen to put his mask on before leaving his own house. Spike Hennessy, a man of powerful build, and a young stripling, Kid Carson, blow the safe of a banking concern. They are discovered by the watchman and the police are also heard close at hand. Hennessy tells the Kid to es- cape and grapples with the watchman, knock- ing him insensible. Then the officers rush in and overcome Hennessy. Believing he has had an accomplice the police attempt to extort a confession from Spike, but he doggedly denies and after a short trial is sentenced to seven- teen years imprisonment. Kid Carson, seeing the fate of his accomplice, and repenting of his misdeeds, undergoes a change of heart. He gives up the old evil ways and studies for the ministry. Years pass and we find him a man of family, happy and honored. He is now the Rev. Dr. Carson and his only son is about to marry the heiress to the Fairfield estate. Sitting in his study one evening, Dr. Car- son is surprised by the sudden entry of a burly- stranger. The latter rushes to the open safe in the room, deposits some jewels there and closes the door with a clang. Then he turns his face to the astonished minister, who rec- ognizes him as his old pal, Hennessy. The lat- ter claims payment in kind of the act performed by him years before, when he assisted Carson to escape. The officers are on his trail, believ- ing that he is guilty of the burglary of the Fairfield mansion. The jewels Hennessy has just deposited in Dr. Carson's safe are the prod- uct of his midnight raid. He demands that the minister shall aid him to escape the police. When the officers arrive, Dr. Carson, as we can see, evades their questioning and, just as they are about to look around the premises, Hennessy steps into the room dressed in a butler's garb. The officers stop him and ques- tion the minister, who explains that the man is his servant. After they depart Hennessy tells Carson to keep the jewels safely until he calls for them, and then he takes his leave. The much per- turbed minister then opens the safe and ex- amines the stolen necklace, which he has often seen on the neck of his boy's intended bride. He determines to restore the jewels, and to do so he must don for the last time a burglar's garb. While in his bedroom preparing the disguise, his son discovers his fiancee's necklace in the open safe and the father has to exert his most persuasive powers to convince his son that he is not the thief. Next morning the news is heralded widely that the Fairfield jewels have been mysteriously restored. Hennessy calls on the minister and demands their return, but the latter makes a powerful appeal to his former companion in crime to forsake the past and live a lawful life. The criminal is heart touched and promises to reform. To show his confidence in the promise made, Dr. Carson secures for Hennessy a position of trust with an influential firm. A few years elapse and we find Spike Hennessy a respected member of society, contented and happy in his cozy home, with his little daughter on his knee and hisl wife's face reflecting the happiness she feels. FAIL TO FIND CUSS WORDS. Indiana Experts of Sign Language Don't Agree with Cleveland and Chicago Readers. In spite of the statements made by certain Chicago and Cleveland deaf-mute experts as well as some of the inmates of deaf and dumb institutions, regarding the use of so-called "swear words" in motion pictures, it evidently seems that Indiana experts of the tongueless language fail to find the same results in the films as is claimed by their brother experts from the Windy and Forest cities. In Indianapolis many of the recent films have gone through a most stringent examination by many readers of the lip and sign language and so far, not one of the readers have been able to detect one word ihat pertained to an oath. Among those to give the films a test reading was Richard O. Johnson, superintendent of the Indiana State School for the Deaf. In order to assure the citizens of Indianapolis that they need not fear being shocked by what appears in the picture films, the Indianapolis Star printed the following article: Motion-pictures in Indianapolis have passed the mus- ter of the most stringent investigators who have been searching the display of films for swear words. The most rigid investigation of the motion picture shows in this city has resulted in the pronouncement that there is no visible profanity extant and if the words are not visible no one is going to be shocked, inves- tigators assert. Word has come from other cities that deaf-mute patrons of the film shows have been shocked at the sight of plain, everyday "cuss" words coming from the lips of the performers in the pictures and those who were a bit sensitive about it had to shut their eyes to keep from being shocked. But that was not in Indianapolis. Here are perfectly polite motion picture actors who do not swear and the most sensi- tive person in all the world can watch them. The investigation of the motion picture shows in In- dianapolis came about when word came from Cleve- land and other cities that some of the deaf-mutes who visited the picture shows had reported that they had seen one word which began with a "d" and ended with an "n," declaring it was neither "darn" nor "dura." That one bad word was seen by expert lip readers in Cleveland. Chicago and elsewhere and the modest pa- trons of the 5-cent shows were shocked to think they had been looking at swear words. Richard O. Johnson, superintendent of the Indiana State School for the Deaf, was asked about pictures saying bad words here, but he said he had made a personal investigation and found there was not an objectionable word used in any of the shows. Mr. Johnson is an expert lip reader and he has watched the characters as they are thrown on the screens. "I never saw an objectionable word or sentence in the picture shows of Indianapolis," said Mr. Johnson, "and I have looked for them, too, I have taken up this question with teachers and students at the school, and they say there are no objectionable words used by the performers. The motion picture shows are at- tended by many of our teachers and pupils, as they afford one of the greatest amusements they can ap- preciate." COMMISSIONER FOSDICK TO MAKE PHOTO- PLAY REPORT. Commissioner of Accounts Fosdick, of New York city, is at present busy for the Mayor; he is preparing a report based on the photoplay houses. This inquiry is mainly turned to the ventilation, fire and sanitary conditions, al- though attention is also being given to com- plaints made by persons who claim that motion pictures are injurious to the morals of chil- dren. It is said that Commissioner Fosdick will recommend legislation for the better su- pervision of photoplay theatres, and for the ex- pulsion of children under age, not accompanied by their parents. He will also recommend legislation by the Fire Department and Health Board. It has not been decided when the Commis- sioner will make his report to the Mayor, but it is expected some time within the near future. SCENE FROM ESSANAY Sl'BJECT — "THE REDEEMED CRIMINAL." THE FILM INDEX ii ELECTRICAL TALKS On Electricity in Its Relation to the Motion Picture Theatre By J. H. Hallberg Expressly for Th Urn Index. Copyright by J. H. Hallb All Kiiilit- Resenred. ELECTRICAL TALK NO. 19. Arrangement of Electric Circuits and Lamps for Motion Picture Theatres. A considerable amount of money can be saved not only on the first installation cost, but also on the operation of the electric system for lighting a Motion Picture Theatre, by proper placing of the lamps and by selecting the proper style of fixtures. A clear understanding of the subject also permits a proprietor to make the installa- tion attractive to the eye, and another matter of no little importance, is the possibility of ar- ranging the circuits, so that in case of acci- dent, certain lamps may be left on whi!e other sections of the electric lighting system is con- nected, as may be necessary on account of fire or (•ther similar accident. It is the object of this discussion to go into details concerning electric lighting arrangement, and I, therefore, call your attention to the ac- companying illustration, Figure 43, which is a plain view of an ordinary motion picture theatre. The electric company's mains in this instance enter at the front and the main switch box No. 1 is located in the ticket booth, where there may also be located the necessary fuses and switches for the control of all circuits within and outside of the theatre. One switch for the sign. One switch for lobby lamps. One switch for exit lamps. One switch for auditorium ceiling lamps. One switch for auditorium side lamps and the piano lamp. One switch for each M. P. machine, stereop- ticon or spot-light circuit. One switch for the lamps in the operating room, ticket booth and any other lamps for spe- cial purposes. There will also be one switch for supplying switch box No. 2 in the operating room, from which the ceiling lamps in the auditorium in- dicated by letter F can be switched on and off by the operator but to be connected in shunt with another switch in the switch box No. 1 in the ticket booth. The purpose of this arrange- ment is to enable the manager or ticket seller to switch on the auditorium lamps, in case the operator should neglect to throw his switch when an accident or fire occurs in the operat- ing room. This scheme of double control of the ceiling lamps in the auditorium is of great importance and ought to be applied in all new theatres, and would be a good thing to apply in theatres al- ready constructed.. In case of fire in the oper- ating room there is nothing which will more as- sist the proper dismissal of the audience, than immediate illumination of the house. If the op- any person can immediately switch on the house lights, notwithstanding the fact that the opera- tor's controlling switch in switch box No. 2 may be open, as it would be while he is running a picture. The arrangement, already referred to, pro- vides for the connection of the exit light circuit ahead of the second main switch and fuse, which should be smaller than the first main switch and fuse. The object of this difference in the size of the fuses on the main switches is to make it impossible for the exit lights to go out, in case there should be a short circuit on the panel board or in the operating room, which might blow the fuses on main switch No. 2. By selecting proper size fuses, for the differ- ent circuits, and by never using a large fuse in- side of a smaller one, much trouble from "fuse blowing" can be avoided. There is nothing more annoying and in more instances, so likely to cause uneasiness among the audience than to have the house fall into darkness unexpectedly. This should be avoided, and can be, by simply following the foregoing suggestions, which will be made more clear in our next "Electrical Talk." SUMMARY. Give most careful consideration to the ar- rangement of the switches and fuses for the dif- ferent sets of lamps and circuits in a motion pic- ture theatre in order to avoid total darkness of the house in case of accidental blowing of a fuse. - Never put a large fuse inside of a smaller one for any circuit, unless, of course, there is some z © © r* E 6 © © AUDITORIUM © © © 4000 CP. FLAME ARC UUUULIU1 ELECTRIC MAINS ARC o DIAGRAM OF ELECTRICAL INSTALLATION OF MOTION PICTCRE THEATRES, Switch box No. 1 should contain 2 main switches; one which is outside of the meter to shut off the entire electric system. The sec- ond main switch shuts off all lamps, but the exit and auditorium lamps. In addition to these switches there are of course separate switches which control each set of lamps, for instance: One switch for the flaming arc lamps. erator is the only man who can put on the house lights, as is the case in most theatres at this time, the house lights may never be switched on in case of fire in the operating room, because the operator will be too busy trying to put out the fire or to escape from the booth to save his own life, to think of anything else. When a switch is in the ticket booth or at some other conven- ient point, perhaps outside of the ticket booth, special reason for so doing, in general there *s no such reason. Consult some competent authority on the electric installation for a theatre as by so doing, much unnecessary expense can be obviated, and better results obtained. In our next "Electrical Talk" we will further discuss the arrangement of electric circuits and lamps for motion picture theatres, THE FILM INDEX PROJECTION DEPARTMENT Problems of the Photoplay Operator Discussed and Questions Answered Edited by Will C. Smith LENSES. Otto Lange, New York City, writes: — Would like to know, if you can spare the space, what size lens I need to project a motion picture 9 feet by 12 feet at 7 2 feet? How can I figure out condensers and what size condensers would I need for the above picture? Answer: — The size lens you would require for a picture 9 feet by 12 feet at 72 feet would be a ZVz B. P., or about 4% E. F. To figure the focal length of condensers pin a piece of white (paper on the wall and hold the condenser lens with the convex side to the paper and use a light or window as an object to focus, and move your condenser backward and forward until the im- age is sharp and distinct on the paper. Then measure from paper to the flat side of condenser and that will be the focal length of a single con- denser. Would refer you to the article on page 9 of The Film Index, dated December 31, 1910. This gives a diagram showing the exact way to focus a single condenser. The size condenser which should be used for a picture 9 feet by 12 feet at 72 feet would be two 7% focus conden- sers. CONDENSER BREAKAGE. H. O. Daly, Claremont, N. BT., writes: — How can I stop condensers from breaking? Using an Edison Model "B." Impossible to get a good spot without using a short carbon in lower jaw. What is the cause? Thanking you for any information. Answer: — The breaking of condensers is usu- ually due to unequal expansion or contraction caused by sudden extreme changes in tempera- ture. Your condensers should set in your con- denser case (or cell) so as to have enough room for expansion or contraction. Also, there should be enough ventilation in the case (or cell) to allow the condensers to keep the same tempera- ture. You might try putting a small strip of as- bestos cord around the edge of condensers, so that the condensers do not come in contact with the metal in the case. This, I am sure, will help you. To get a good "Spot" you should see that your carbons are parallel to each other, and if you are working on Direct (D. C.) current the lower carbon should extend a little in ad- vance of the upper carbon so as to form the cra- ter properly. If you are working on Alternat- ing (A. C.) current be sure that your carbons are centered; that is, have them perpendicular so the current in passing through the carbons will travel more evenly. If you are working on Alternating (A. C.) current use two %-inch core carbons, and if set as suggested you should get a good spot. Would also advise you to move the lamphouse backward and forward so that it will eliminate the blue tinge that usually is formed around the spot when it is not set prop- erly. LARGE PICTURE. O. B. Lloyd, Detroit, Mich., writes: — Wish you would advise me through your column In The Film Index if it is possible for me to project a motion picture 40 feet by 48 feet? Answer: — It would be impossible to project a motion picture 40 foot by 48 foot. It would be possible to project a picture 36 foot by 48 foot, but It is not practical. It would require much more amperes in order to get the proper illu- mination, and heavier carbons. Would like to know the results accomplished with such a large picture. CAM SHAFT. Chris Weirich, Fort Scott, Kansas, writes: — I saw your column in The Film Index saying you would be glad to give all information per- taining to picture machines. I am now operat- ing a motiograph No. 1 model, 1909, and the trouble is that when the machine is operated at a medium speed it knocks, and the trouble seems to be around the intermittent sprocket. The sound is like that when the bottom loop becomes too small, but when the top loop is held with the fingers it seems to tighten the inter- mittent sprocket and you can make better time. I have tightened the bushings, but this does no good. I have asked several operators about this, but they can't locate it. I would appreciate it very much if you would help me out in your column of information. Answer: — I take it from the tone of your in- quiry that the trouble is that the film kind of has a rebound when running, but just as soon as you hold the loop that beating (or rebound) seems to pass away. If this is the case, the way to eliminate it you will find on the cam shaft on the right-hand side, looking at the machine through the front after taking the front of the machine out (where lens is attached), a set collar with a little set screw that fits in a groove on the right-hand side of frame of machine. Loosen set screw and bring collar up to the side of machine, then tighten the set screw being very careful that head of the set screw fits in the groove. This, I am sure, will eliminate your trouble. CORRECTION. STORAGE BATTERY AND RHEOSTAT. Stonington, Me., writes:— What volt rheostat could be used on special storage batterv voltage? Our storage battery on open circuit (while not charging stands at 75 to 80 volts. While In process of charg- ing (or in other words, while dynamo is running), which will be the conditions under which pictures are being shown, the voltage is 80 to 90 (average 85). The battery (volt meter) gives reading of 90 plus (even at times 100) when at the end of a charging a bub- bling of plates is produced. This settles down in a few minutes, after the generating (dynamo) current stops to 75 to 80 again. Answer:— The rheostat that you would want to use for your specoal storage battery voltage is one 52- volt rheostat. Unless you have one made special you will find it rather hard to find a 52-volt rheostat, for the reason that there are only a few places that have the old 52-volt system still in existence, but by taking a 25-ampere adjustable 110-52-volt combina- tion rheostat and connecting one line from your lamp to the outside post of rheostat (left hand side) and connecting the other line from the inside post of rhe- ostat (right-hand side) to your switch and the other line from the lower lamp post to your switch, you will find. I think, that it will work very nicely. The out- side posts on rheostat are for 110 volts. Would like to hear further of this experiment as to the results accomplished. I am quite sure this style rheostat if connected properly will give you about 35 to 40 volts across the arc. (This item, published in last week's issue, was incorrect on account of the dropping of a line of type. — Ed.) AN ITEM OF INTEREST. The writer has just been informed by the Brooklyn Edison Electric Light Company, that hereafter where moving picture machines are used and they have the three-wire system, 220 volts A. C. current, that all will be compelled to install a 220-volt economizer or induction, no more 110-volt economizers or inductors will be allowed in Brooklyn. CHRISTMAS AT THE LINCOLN SQUARE. Manager Ferguson Receives a Handsome Gold Watch from His Employees. Christmas did not pass unobserved at the Lin- coln Square photoplay and vaudeville theatre, New York City, where Mr. Charles Ferguson is manager. On Saturday night, Dec. 24, after the close of the performance, the employees of the house called the popular manager on the stage where they presented him with a handsome gold watch and chain. The presentation speech was made by Mr. Harry Jacoby, who, in well-chosen words, stated that every member of the house had gladly con- tributed towards the present, and all were glad to have an opportunity to show their apprecia- tion for the man who had always treated them on the square, and was always the first to do them a favor when needed. In accepting the gift, Mr. Ferguson said he felt most greatful to his employees, and was sure there was not a theatre in the whole of New York city, who had a more loyal and bet- ter force of workers. All worked in harmony with the management and for the good of the patrons of the house. At the conclusion of his speech the orchestra played the "Star Spangled Banner." Mr. Ferguson has been manager of the Lin- coln Square photoplay and vaudeville theatre for over a year, and under his management the the- atre has become one of the most popular along Broadway. He also has a well-selected staff of assistants, which adds to the popularity of the house. MAYOR RUNS THEATRE ON SUNDAY Painesville's Chief Executive Defies Prosecuting Attorney to Arrest Him for Running Passion Play Mayor J. B. Burrows of Painesville, O., ex- circuit judge, became temporarily, on Dec. 11, a theatrical manager as the result of a legal controversy with Prosecuting Attorney E. F. B'lakely. The motion picture shows in Painesville have never been operated on Sunday before Dec. 11, when "The Passion Play" was given at the Star theatre owned by J. H. Kennedy. Kennedy several days ago secured permission from Mayor Burrows to produce the religious film. Late Saturday he was advised by the prosecuting at- torney not to attempt to open his theatre as it might mean his arrest. The prosecutor had received several com- plaints regarding the Sunday opening, follow- ing Manager Kennedy's announcements. After the interview with Mr. Blakely, Manager Ken- nedy went to the mayor and informed him that he would not open the theatre as he feared the action of the authorities. The mayor advised him to show just the same but when Kennedy declined, the mayor offered to lease the theatre for the day and take the chance of arrest him- self. Miss Helen Harper, a Cleveland singer, at present employed at the theatre, offered to share the lease with the mayor and the performance was given to a packed house both afternoon and evening. The mayor announced that all the profit of the performances would go to the local Salvation army. No attempt was made to make arrests. Mayor Burrows asserts that the theatre has a perfect legal right to open under the state law and particularly so when a religious subject is exhibited. Whether an attempt will be made to make arrests later remains to be seen. THE FILM INDEX 13 The Leading Motion Picture Producer qft/ie World s E Lr I G Shadows of the Past A Tale of the Old Fashioned South during the Interesting Days of I 858 GET ON OUR MAILING Length, r about 1000 Feet Code Word, PAST Robust Patient9 AIM EXHILARATING COMEDY USE SEEIG PO^TERi "The Rival Dramatist" Jan. 12th V5 OR "Cock A Doodle Doo" A Burlesque on the Reigning French Dramatic Craze That Has Attracted International Interest " It is the martial bird of morn, Brave Chanticleer, the vocal lighthouse of the Daun ! " Length, about 1000 feet Code Word, DOODLE s E L I G THE FILM INDEX t MANUFACTURERS' BULLETINS Advance Descriptions of Licensed Subjects CALENDAR OF THE WEEK'S LICENSED RELEASES MONDAY, JAN. 2, 1911-4 REELS BIOORAPH — The Two Paths, drama, 992. LUBIN — Art and the Legacy, com.-dra., 950. PATHE — The Misplaced Petticoat, comedy, 790. Butch Kids, scenic, 197. SELIG — The Argonauts, drama, 1000. TUESDAY, JAN. 3, 1911—4 REELS EBISON — In the Bays of Chivalry, drama, 1000. ESSANAY — The Redeemed Criminal, drama, 1000. GAUMONT (Kleine) — The Artist's Pay Bay, farce, 969. VITAGRAPH — All Is Fair in Love and War, comedy, 973. WEDNESDAY, JAN. 4, 1911-4 REELS EBISON — Sleep, Gentle Sleep, comedy, 990. KALEM — The Bolted Boor, drama, 975. PATHE — The Cowboy's Innocence, drama, 994. URBAN (Kleine) i — A Lock of Hair, drama, 978. THURSDAY, JAN. 5, 1911—4 REELS BIOGRAPH — When a Man Loves, com.-dra., 998. LI" BIN — His Last Parade, drama, 390. A Mix in Masks, comedy. 600. SELIG — Ramona's Father, drama, 1000. ME LIES — The Crimson Scars, drama, and Fire! Fire! Fire!, comedy, 980. FRIDAY, JAN. 6, 1911 -4 REELS EBISON — The Fire Bepartment of New York City, Bescriptlve, 400. A Western Night, comedy, 600. KALEM — The Runaway Engine, drama, 955. PATHE — An Intrigue, drama, 994. VITAGRAPH — The Misses Finch and Their Nephew Billy, comedy, 979. SATURDAY, JAN. 7, 1911—4 REELS RSSANAY — The Count and the Cowboys, com- edy, 1000. GAUMONT (Kleine) — The Woman Wins, com- edy, 945. PATHE — Love Under Bifflculties, comedy, 781. The Funeral of Count Tolstoi, topical, 220. VITAGRAPH — The Old Water Jar, Indian drama. 984. BIOGRAPH CO. "THE TWO PATHS." — As we start out on life's journey two pathways lie out before us, the rosy path of pleasure and the thorny path of toil. The maxim reads: "All roads lead to Rome," but these two roads lead to widely divergent points. On the path of pleas- ure we are titillated by the velvet brush of the rose and intoxicated by its perfume until at the awakening we find ourselves morally, mentally and physically debilitated. On the other path, where all is real, we by the trials of toil are kept morally awake and made to realize that pleasure does not bring happiness but peace of conscience will. This truth is clearly verified in this Biograph subject telling the story of two. sisters who traveled diverging roads. Florence and Nellie are dressmakers, sewing to eke out an existence. A wealthy woman calls for a gown they have just finished. She is accompanied by an uncon- scionable profligate, who, tempting the girls in turn, points out the "easy way." Nellie spurns him, but Florence hearkens to his persuasions and accompanies him to where all is pleasure. He brings her to his mansion, a palace of pleasure during a bacchanalian orgie. She at once becomes obsessed with the spirit of revelry and is swept on to the inevitable goal, the morass of moral indifference. Nellie, however, is content in the house of toil and "She layeth her hands to the spindle, and her hands hold the distaff," marrying her honest, manly sweetheart, receiving as the years roll on the greatest of God's blessings, a family of three children. How terrible is the one's fate in contrast with the other's. Steeped in the toxin of gaiety she goes down, down until there is no chance for retreat. She, up to now, the toy of the tempter, grows unattractive to him and he unceremoniously discards her, putting her out to shift as best she can. An outcast, she now realizes the reward of worldli- ness, "For her home inclineth unto death and her path unto the dead." Hence, in the squalor of her hovel death comes and she has reached the inevitable. Nellie has been guided by the Proverb, "The path of the just is as a shining light, that shineth more and more unto the perfect day." We realize the result of this as we leave the happy little family sitting by their fireside. "WHEN A MAN LOVES." — Love smooths out all wrinkles and makes the whole world good-natured. The man in love is never possessed of a grouch, for love and ill humor will not chum together in the same make up. Hence it was that when Mr. Bach was stricken with the tender passion, he was ripe for any extreme of generosity. Mr. Bach, now a wealthy man, visits the scenes of his boyhood days in his auto and meets farmer Brown, his boyhood friend. Brown is the father of a very pretty daughter named Tessie. Bach becomes deeply smitten with the artless little country lass, and secretly hopes to win her. Tessie, however, has a host of admirers in the little village, the favored one being John Watson. John is a bit superior to the other fellows of the neighborhood. He reads novels and has a good line of persuasive talk with which to embellish his suit for Tessie's heart, and he is successful, to the violent perturba- tion of the other swains. Now Tessie is of course pleased with the notice bestowed on her by the rich bachelor, but her heart is true to John. A few days later, Mr. Bach, lovelorn, revisits the homestead. His presence stirs John up to deeds of determination. In this frame of mind he seeks Tessie and plans to elope that very night. He will be beneath her win- dow with a ladder. Mr. Bach, to remain at the home- stead, uses the subterfuge that his auto has become disabled and would like to spend the night with his old friend Brown. Brown is delighted, for he has discerned the attention Tessie has exerted. To accom- modate Mr. Bach, Tessie is put out of her own room by her father and the room given to Mr. Bach. Oh! Horror! This spoils the plans for the elopement. Curse the luck! Poor Tessie is locked in the adjoin- ing room out of reach of John. John arrives beneath the window, and calls "Sweetheart, I am waiting," repeating it a number of times. He cannot under- stand why he does not get an answer, so throws sev- eral pebbles through the window. At length, growing impatient, he places the ladder and climbs into the window, encountering the astounded Mr. Bach, who, mistaking him for one of those sinister intruders, a burglar, is about to throw him out, when he explains the situation. This is very odious news to Bach, but as "all the world loves a lover,' his heart softens and he consents to aid the couple in their flight. In other words, he leads the wedding march by piling them into his auto and speeding to the nearest minis- ter's abode. Brown soon learns of his daughter's escape from the room in which he locked her, and fearing the very thing that is happening, starts out in pursuit in a buggy, arriving at the minister's just too late to forbid the banns, but in time to give his paternal blessing to Mr. and Mrs. John Watson. EDISON MFG. CO. "IN THE DAYS OF CHIVALRY."— Here is a fascin- ating story of love far older than this country of ours, dating back long before the discovery of America, and yet so sweet and fresh that it is as absorbing as any modern tale could possibly be. Those who have read the quaint verses telling this story of Aucassin and Nicolette will rejoice in the glories of this film, and will feel that two of the world's sweetest lovers have almost been brought back to life to re-enact their true love tale. And those who are not familiar with the quaint old verses will still be able to enjoy the splendid pageant of knights and ladies and life and love which it embodies. The story concerns itself with the trials through which these two young lovers pass and over which their sweet love triumphs. It begins with the rescue of a beautiful captive maiden from a band of his own soldiers by the son of the reigning duke. He brings the girl to his and asks that he be allowed to wed her. And here their troubles begin. The maiden is incontinently cast into a dungeon by the irate father, despite the pleas of the young man, but she escapes by means of a rope which she makes from torn up strips of the blanket that covers her rude bed. In the meantime, the young man has made a bargain with his father; he will lead the old man's forces against the enemy on the con- dition that if he comes back triumphant he may have the girl of his choice. He does come back triumphant and with a royal captive. We see him approach the castle, the drawbridge is lowered and the father comes out to meet his son. But when he learns that the battle has been won and that the son has kept his part of the bargain he still refuses to fulfil his part, and a quarrel ensues be- tween them. The young man is put into close con- finement by the old duke and only released when news comes that the captive girl has escaped. Then, feel- ing that she is out of the way, the father betrothes the young man against his will to a princess, but the youth slips away from the betrothal ceremony, and mounting his fleet white horse, rides off across the country in search of the little lady of his heart's desire. Of course he finds her, in a bower of flowers in the woods, and then they take ship for other lands. But the pirates attack them and carry away the girl, and when the battle is over the young duke knows not where to search for her. He returns disconsolate to his ancestral home to find his father dead and himself become the ruling duke. Meantime the girl has been taken by the pirates to the court of Carthage. There she is recognized as the long lost daughter of the king of that country. Once more a parent tries to o'errule Cupid, and the little maiden is unwillingly betrothed to a suitor provided by her father. But she has not forgotten her faithful lover in other lands, and borrowing the suit of a harper, she escapes from her father's court and wanders through the lands, playing her way and singing to the natives, till she reaches the castle of Biaucaire, where the new duke reigns. The final scene shows the reunion of the lovers and will long be remembered by all who are fortunate enough to see this beautiful film. As a production it will take rank with the most ambitious and brilliant of American film dramas, and should add new laurels to the Edison company's con- stantly increasing list. The acting is dignified and brilliantly spirited, and the photography beyond criti- cism. It will undoubtedly be considered the art film of the month. "SLEEP, GENTLE SLEEP."— A young married man receives an invitation to a smoker. It is his desire to accept the invitation and attend the smoker, but his young wife is equally desirous to keep him at home. After pouting a while she conceives the idea of putting a sleeping powder into his table wine, hoping that he will fall asleep and thus be prevented from going to the smoker. By a strange coincidence the young husband hits upon the same plan and puts a sleeping powder into her tea, so that he may be sure to attend the smoker without interference. The result is that they both fall sound asleep. During the night a hungry tramp gains access to the house through a window. While searching the larder for something to eat he finds the bottle of table wine containing the sleeping powder. It looks good to him and he helps himself to a goodly portion, and is soon fast asleep in the dining room. The following morning when the housemaid enters the dining room to perform her duties she almost stumbles over the sleeping tramp and is nearly frightened out of her wits. She screams loudly for help, which brings a policeman on the run. Arousing the young husband and his wife, she promptly faints. Amidst great con- fusion the policeman arrives and arrests the tramp for trespassing. The young couple now see the funny side of the sleeping powder joke and have a good laugh over it. This film is full of laughs all the way through, for the fun starts at the very beginning and never lags for a moment. "THE FIRE DEPARTMENT OF NEW YORK CITY." —Following our recent release of "The Police Force of New York City," we take pleasure in presenting a film showing the work and training of the firemen. Nothing is more interesting to all of us than the fight- ers of fire in a great city. Whose blood does not tin- gle as he hears the clank of the bell and stands one side to let the engine go dashing pastf And if he is privileged to see the work of the firemen at close range, has he not something to talk about and think of for a long time? All this we see in the picture, besides the practice work of the men in putting up and ascending scal- ing ladders, descending the life ropes and jumping into the life nets. Most interesting of all are the THE FILM INDEX »5 Jan. 5, 191 I THE CRIMSON SCARS The story of a sweet, stagestruck girl, who, through heroic action, win? a place in stardom. FIRE! FIRE! FIRE! A rip roaring comedy dealing with suffragettes BOTH ON ONE REEL Length About 980 Feet Jan. 12, 191 I THE OWNER OF THE "L. L. RANCH" As fine a drama of Western life as it is possiblo to imagine. The owner of the "L. L." is a peach and she knows how to handle herself and the boys. She means business and so does this picture. Length About 980 Feet We hive Posters, too Write us for them if your Exchange does not supply you. G. NIELIES, 204 East 38th Street, New York City WESTERN REPRESENTATIVE, JOHN B. ROCK, 100 RANDOLPH STREET, CHICAGO, ILL. views of the Are boats in operation at the close of the picture. One of these boats, with all streams in operation, is like a gigantic flower pot. the sight being wonderfully beautiful and impressive. New York city is justly proud of its efficient Fire Department, and people in all parts of the world will be glad to make the acquaintance of the intrepid fire-laddies on the motion picture screen. "A WESTERN NIGHT."— This film, in a way, is a tribute to the chivalry of the man of the West. The quaint comedy deals with a type of man who is as uncouth, coarse and rugged as the mountains that surround him. He is little versed in the ways of polite society, but beneath his rugged exterior and coarse language there is a heart of sterling quality. This picture might well be called "A Picture of Contrast," for we have all the feminine charms and dainty womanliness of a young girl of culture and breeding placed beside the coarse, rough Western cowboy. At the opening of the picture we are introduced to this little lady of quality in her Eastern home, sur- rounded by all the luxury and wealth that one could wish for. She has been invited by her uncle and aunt to spend a few weeks with them in their West- ern ranch house. The offer appeals to her, and she accepts the invitation, but not without some fear and hesitation as to the trip, for she finds that she will be compelled to pass a night alone in a Western town. However, she decides to take the journey and proceeds upon her way. We see her arriving in a Western town, alighting from the old stage coach and escorted into a typical Western hotel. After being shown to a room that has anything but an inviting appearance, she promptly sets to work barricading the door from all intruders. Wrapping herself in a lap robe, she proceeds to wait for the morning light before continuing on her jour- ney. Scarcely has she become settled before the room next door to her is occupied by a typical Western man. She can hear the rattle of spurs, the coarse language and his demands for whiskey. Her heart is all a-tremble, visions of being murdered creep into her mind, and at every sound she is thrown into a spasm of fear; while the fact of the matter is that her rough neighbor is simply proceeding to retire for the night in his usual brisk manner. At last, worn out with fear and fright, the girl decides to peek through the keyhole and ascertain how dangerous her terrible neighbor really is. Im- agine her surprise when she finds the boisterous "Knight of the Plains" kneeling beside his bed and offering up his nightly prayer to his Maker. Soon all the fears of the night have folded their tents like the Arabs and silently stolen away, and she is sound asleep and on her way to Dreamland. A dainty little comedy picture with an artistically charming finish. SELIG POLYSCOPE CO. "THE ARGONAUTS."— In a lonely spot near the grave of their mother, Bob and Betty condole in silence with each other over the loss of the one sure friend they had in the world. Soon back in their little home Bob reads an article in the paper about the wild excitement in the Sierras over gold and makes up his mind to go. Sister Betty decides to don boys clothes and go, too. They are seen boarding a Sacramento River steamer in San Francisco Bay, being watched by gamblers, who lay in wait for a prospective victim to board the boat. While Bob and his little brother (?) Betty- are enjoying the breezes of the deck they are ap- proached by Wilson, one of the card sharks, and are invited to the bar-room for a drink. Much to the displeasure of Betty, who- only accepted in order that she might not direct any suspicion or discovery that she was Bob's sister and not his brother. A card game is proposed, and, as previously arranged between the gamblers, a marked deck is used. The game ends in Bob being wounded by Morton, one of the designing gamblers. Betty faints in the excite- ment and in their effort to revive her James Wads- worth, who had proposed the game, discovers her sex and summons one of the ship's matrons to care for her. Bob's wound is dressed and found not serious. Wadsworth learns the young girl is Bob's sister. As she appears in girl's attire she is introduced to him and a new light dawns. The cards are thrown away and he decides upon a better life. The arrival at the camp, the stage office, and their departure on the last leg of their journey. Arriv- ing at the end of their trip the search for gold is on in earnest. At last they succeed in locating a find on Rocky Hill, where operations are begun and as time quickly passes the friendship of new made friends ripens into love and Wadsworth secures the consent of Bob to wed Betty, thus ending a beautiful story of love and romance delightfully pictured in scenic grandeur of the Sierras. "RAMONA'S FATHER."— This picture has for its background the scenes of beautiful California and the picturesque missions, both exterior and interior views. Ned, an English sailor, buys tortillas from the Indian girl Mojella and as she cannot give him change from the dollar which he hands her, he returns the tortillas. Her father seeing this becomes an- gered at the loss of the sale and strikes the girl. Ned at the injustice, knocks the father down, thus making a deadly foe. At a ball Ned is dancing with Rosaria, a beautiful Mexican donna, who hands him a rose, which he accepts. According to Spanish custom, the giving of the rose means betrothal, of which Ned has no knowledge. Don Cristobal, an ardent admirer of Ro- saria, witnessed the scene and he at once decides to do away with his rival. He engages the Indian, Mojella's father, to kill Ned, but the plot is over- heard by Mojella. She warns Ned, but he does not pay heed and as he leaves he is followed by the Indian. Mojella also follows, but comes too late to save Ned, whom she finds with an arrow in his back. She at once hastens to the missions for aid and the kind padres bring him to the missions on a litter. Here he is nursed back to heal by Mojella. One day he is visited by Rosaria, who claims him, but as he had no knowledge of the Spanish custom, he repudiates her. She leaves him. determined on revenge. Don Cristobal serenades her and she says she will marry him, providing he kills Ned. This Don Cristobal agrees to do. While Ned is walking along amongst the cliffs he is roped by Don Cristobal, and as he is pulling the rope, it is cut by Mojella, who comes on the scene unexpectedly. Don Cristobal then goes for Ned with a knife— Mojella throws her- self in front of him and receives the stab. Ned nrw masters the situation, binds Don Cristobal and brings him and also the wounded Mojella to the missions. The tables are now turned— Mojella is nursed by Ned and accidentally he finds himself much in love with her and they are married. The last scene shows them in front of their home, with a little baby in their arms— the little Ramona. The plot is carried out exceedingly clever and this, together with the excellent photography and beautiful surroundings, makes the picture one of exceptional qualities. LUBIN MFG. CO. "ART AND THE LEGACY."— Carl Mayfield and Alice Bennett were artists. That is, they had studios and dabbled with colors on canvas and hoped, sbme time, to make Rembrandt and Raphael iook like "pikers." Carl's father was the head of a big steel mill and Carl could have a job at $5,000 a year any time he gave up painting. The young people took their paint- ings to a dealer named Fleecum, who demanded a commission of T>0 per cent on all he sold. But he never sold any and so didn't get rich on their com- missions. Then Alice, one day, received $200, a legacy from an aunt. She was just about to rush to Carl's studio with it when she thought of a better plan. She hurried to Fleecum's shop and bought one of Carl's daubs for $200, swearing Fleecum to strict secrecy. In due time Carl received a check for $100, the price of his picture less Fleecum's commission. Of course, he thought he was hot on the trail of Rembrandt and Raphael and was about to hurry to Alice's studio and show her the check. But he re- flected that she would be disappointed because none of her paintings had been sold. So he went to Flee- cum's and bought one of her pictures for $100 and in due time she received her share, $50. Carl hap- pened to be there when the money came and en- joyed her delight. As soon as she could slip away to Fleecum's she bought another of Carl's masterpieces for $50 and Carl, of course, received $25, which he immediately invested in one of her pictures. Eventually they discovered each other's subterfuge. By that time the legacy had dwindled to $(>.25. which was Carl's share of a painting that Alice had bought for $12.50. At the same time a letter arrived from Carl's father offering him, for the last time, a posi- tion at the steel mills at $5,000 a year. Then Carl and Alice woke up and decided to let Rembrandt and Raphael keep their laurels. Carl wired his accept- ance of the position, "Coming tomorrow with Jiy wife." "HIS LAST PARADE."— The veteran lies on his bed and he is sick unto death. The family and nurses have left him alone for a moment to see the Grand Army parade which is passing. The martial notes of the fife and drum corps are heard in the distance. As they come nearer they reach the ears of the old sol- dier. He rouses. The expression of his face changes as he thinks of the happy days that the music re- calls to his memory — the days of '61, when he was a young man and marched lightly away with his com- rades to the war. He moves, gets out of bed and totters to the window. He stands there a moment, solemnly saluting the Stars and Stripes as they go by. The effort weakens him and he staggers back to bed. But he doesn't lose interest in the parade. Suddenly there is the boom of a cannon fired close at hand. The veteran is unable to resist any longer. He man- ages to get into his blue uniform and stealthily leaves the house. Next we see the Grand Army pa- rade—hundreds of the boys in blue marchin" nast with the old banners and ensigns, the battle-scarred flags. Here comes the veteran, marching with the rest, bravely trying to keep up in spite of physical weak- ness, and then, suddenly, he drops. Comrades rush to his assistance. His face is bright with the light of patriotism, but his strength is nearly gone. Gent- ly they assist him home, where he is put to bed. And in the midst of his family, surrounded by comrades and covered by the flag he loved so well he answers his final "taps." "A MIX IN MASKS."— The Thompsons and their daughter Nellie had been invited to a masquerade party. The mother and father decided not to go, (Continued on page 18.) i6 THE FILM INDEX "VI TAG RAPH. "LIFE PORTRAYALS" "All's Fair in Love and War" TUESDAY, JANUARY 3rd The teacher exercises her prerogative by ad- ministering a spanking to Johnny, starting a con- flict at the seat of war in which Johnny, with the assistance of a few friends, proves himself to be a better general than she is and helps her defeat herself in making love to a desirable old beau. THE MISSES FINCH" FRIDAY, JANUARY 6th Four old maids against one small boy are pretty big odds, but one little head beats four of a kind when it comes to putting old maid notions into that one little normal head and trying to bring him up as a girl-boy. He leads them a merry chase, has the time of his life, and turns the laugh on them every time, to the enjoyment of everybody. THE VITAGRAPH COMPANY OF AMERICA { NEW YORK, 116 Nassau Street CHICAGO, 109 Randolph Street LONDON, 25 Cecil Court PARIS, 15 Rue Sainte-CecHe THE FILM INDEX »7 VITAGRAPH. "LIFE PORTRAYALS "THE OLD WATER JAR" SATURDAY, JANUARY 7th This is a life and soul portrayal. An old Indian haunted by his sins, repents, implores and receives the forgiveness of the Great Spirit, who guides him safely into the happy hunting grounds to dwell with all good Indians who have gone before him. NEXT WEEK "Dr. Cupid Tuesday, January 10th A lovesick swain and a lovesick maid are opposed by the maid's irate parent. She grows sicker, the young fellow imper- sonates a physician, by name, Dr. Cupid, and with one touch of his hand and the magnetism of his presence produces a magic cure and remedies the old gentleman's indisposition. 66 Water Lily" LrLty;y .3,h Flowers are often the language of love. She loves the water lilies and so does he. He becomes blind; they say love is blind, but it finds a way of leading her to him, and she acts as his guide through life. "Coward or Hero" January 14th Timid as a boy, brave and stalwart as a man. He fears dan- ger but never flinches when it comes to the crucial test of real courage and self-sacrifice. Greater heroism was never known than giving one's life for another. A thrilling incident of a Pennsyl- vania coal mine disaster. rS THE FILM INDEX u IVI o IM IM KOSMIK F~l THREE FEATURE LENGTHS "The Artist's Pay Day" THIS WEEK GAUMONT Tuesday Jan. 3,1911 About 972 feet CURRENT RELEASES are described at length on another page of this issue. GAUMONT Saturday Jan. 7, 1911 About 945 feet A Comedy Drama ECLIPSE Wednesday, January 4, 1911 About 978 feet "The Woman Wins" A Confirmed Bachelor Changes His Views POSTERS in four colors for each reel. 15c. is the price. "A LOCK OF HAIR" In which a child's wit prevents a disastrous misunderstanding between her parents GEORGE KLEINE, 52 STATE STREET CHICAGO, ILLINOIS A IM ADVANCE DESCRIPTIONS will be mailed free to any ad- dress. MANUFACTURERS' BULLETIN. (Continued from page 15.) but had no objection to their daughter going with her friend Jack. Nellie and Jack decided to wear a Spanish costume. Just before starting for the party they came in to say good-bye to Nellie's parents. Now, Mr. Thompson loved a joke, and no sooner were the young folks gone than he broached a little plan to his wife whereby they would have some fun. She agreed with great pleasure. In accordance with this plan they ordered duplicates of the young people's costumes. As they were about the same size as Nel- lie and Jack they were exact pictures of them after they were dressed in the Spanish costumes. So off they went to the party, where they took good care not to be seen by Jack and Nellie. Then, when joined her and, of course Then Jack met Nellie's no of course, he thought it to steal a kiss and, of t noments, her father hought he was Jack, in another room and, lellie. Jack ventured the supposed Nellie objected. That didn't "go" very well with Jack and he started his part of a lover's quarrel. Meantime, the real Nellie was rather provoked because the sup- posed Jack was so cold. She began to suspect that he didn't love her and all that sort of thing. There's no telling what might have happened if the two cou- ples hadn't met — to the mutual astonishment of both Jack and Nellie. They all unmasked, enjoyed a good laugh and the young folks had to admit that the joke was on them. A pretty comedy full of sparkling fun. GAUMONT. (George Kleine.) "THE ARTIST'S PAY DAY."— A young art student is loitering in his studio in company of his model, when suddenly the bell rings. It is the landlord's servant, who calls for the rent. As the student has no money in his pocket, he tells the man to call again at 4 o'clock. In rapid succession come many collec- tors, to whom the painter gives the same answer. He now goes out with some of his pictures which he tries to sell. During his absence, a robber comes in, and as he sees no one, he is making a futile search for valuables when somebody knocks at the door. Trapped, he ventures all, gets into the paint- er's clothes and opens the door. An aristocratic lady comes in and gives him a letter which reads: "My dear friend. "This is to introduce you to Miss Menette of the Variety; will you paint her portrait? We will settle the terms at our next meeting. "Yours sincerely, HENRY." The robber having to become a painter is obliged to make the desired portrait, but before beginning, he asks the young lady to remove her jewels, saying it will be more artistic. Immediately the lady re- moves the jewels and gives them to the painter, who puts them in his pocket. At four o'clock the bell rings; the landlord has come for his money, the robber in order not to be troubled, pays the bill with the lady's money with- out opening the door and he again takes up his sketching, but soon another person rings the bell, another collector. Our painter pays the bill. Then he proposes to go out for a walk, the invitation is accepted immediately. On their way out, they meet with the third col- lector. To get rid of him, he pays again with the lady's money. Then the real painter comes back rather depressed because he did not sell his pictures. He is first as- tonished and then overjoyed to find his bills receipted in his pockets. "THE WOMAN WINS."— Miss Catherine's neighbor is an old bachelor named Durand, who hates women. One day, Bertha and Alice, Catherine's nieces, were playing ball, and owing to a misdirected throw, the ball went into the bachelor's garden. They want to recover the ball, but when entering the garden, the owner rebukes them in a most un- gallant manner and gets so furious that in his anger, he stumbles and breaks his leg. In spite of himself, Catherine and her nieces carry him to his bed, Catherine remains and nurses him. When he gets up they bring him a lot of dainties and cook delicious dishes for him. Gradually, Durand becomes reconciled, loses his stupid hate and falls in love with Catherine. Finally, he makes up his mind to ask her to be his wife, but at the last moment his heart fails him. Catherine then retires, leaving him alone with Alice. He whispers in the young girl's ear a message for her aunt. She bursts into laughter and runs to Catherine to fulfil her mission. Durand regrets his action and takes his hat and goes home, giving up the project. Catherine, informed of his intentions, encouraged his proposal of marriage. URBAN-ECLIPSE. (George Kleine.) "A LOCK OF HAIR."— A story acted most convinc- ingly, in which a child's quick wit prevents a disas- trous misunderstanding between her parents. A false friend of the husband's makes advances to the wife, which she indignantly repels. In a rage, the traitor plots to bring about suspicion between the pair. He persuades a lady to give him a lock of her hair; this he places in his friend's pocket and sends an anonymous note to the wife, telling her to examine her husband's pocketbook if she wants to know the truth. The result is a violent quarrel between hus- band and wife and their child, awakened from sleep by their recriminations, slips downstairs when they have gone out and finds the anonymous note and lock of hair. A way out suggests itself to her. She substitutes one of her own locks, and in the morning with en- gaging innocence, lets it be known that the lock is hers and that she put it in the pocketbook as "a sur- prise for father." The clouds of distrust roll away and the villain, of whose advances the wife tells her husband, comes in to find his plot has failed and creeps away shamefacedly, his comrade's reproaches in his ears. VITAGRAPH CO. "ALL IS FAIR IN LOVE AND WAR."— Two maiden ladies, sisters, keep a private school and have trou- bles of their own in teaching the young ideas how to shoot. Mattie, an orphan niece of theirs, is full of mischief and comes under the especial notice and correction of Letitia, the younger of the school "marms," who has an evident grudge against her young niece. Mattie makes up her mind to get even with her hor- THE FILM INDEX TQ FOR EVERY PURPOSE 1.000 STYLES The A. H. Andrews Co. Dept. O _ 1 74-1 76 Wabash Ave., Chicago, 111. Branches in all leading cities _ SUBSCRIBE FOR FILM INDEX % A life » Love V1* PIIC HAtLGKADY ^s<] 3pi Qrokendoll -'^ {} MlKE-ttOySEMHID ? Illustrated Songs Pictures chanced daily Make Your Lobby More Attractive By Using PLAMPIIM'S Program Sheets LITHOGRAPHED IN COLORS Program Sheets, 10c. Size, 36 in. x 62 in. Film Title Strips. 2c. " 5 in. X 27 in. A. B. C. and all other makes of Posters 10c. IVIFMIW 105 East 14th Street New York City Top Floor, Rooms, 6, 7, 8, 9 rid aunt for the chastisement she has suffered and communicates her intention to her young playmate and beau, Johnny. They put their heads together and interest Mattie's cousin and his young wife in their plan and with their assistance write two letters, one to Letitia ia. the name of a spruce old bachelor, who is very much smitten by her and another letter over the name of Letitia to the old "Bach," for whom the school teacher has a sneaking regard; these letters ask for a meeting and make an appointment at different Dlaces for the tryst. Here comes Miss Letitia all dressed in her best to meet her gay old admirer— "at the arch," that's what the letter said. He is not there; she waits and waits. Rain begins to fall and then pour. She can wait no longer. "She won't! He is a base deceiver." Let him dare place himself in her way and she will "cut him dead," these are the thoughts running through her mind. While she is impatiently waiting, he is doing like- wise in the grove. The rain dampens his ardor and penetrates his rheumatic joints until he is obliged to flee in a dreadfully disturbed and disappointed condition of mind. Mattie now beholds her revenge and we do, too, when we see Letitia sick in bed with a heavy cold and the old beau, soaking his feet and imbibing a hot draught. She reports the success of their trick to Johnny and he is as pleased as she is. The plo' thickens. Here comes Letitia from one direction and the old masher from the opposite direction. They meet, look daggers at each other and never speak as they pass by. Mattie and Johnny perform a war dance as they laugh and shout "Revenge!" "THE MISSES FINCH AND THEIR NEPHEW BILLY." — Four Finches, listen to their names and count them: Priscilla, Prudence, Patricia and Pa- tience, old maids, every one, old enough to know bet- ter, but they just can't help it. They live alone, there's an obvious reason, and invite no foreign inter- ference. They have a brother Ned, who has a bright and active son whom he decides to send to his sis- ters for a two weeks' visit. He comes and he makes things lively for his four fussy old aunts. He puts vinegar in their tea, prods them with a pin at the table and keeps them guessing all the time. They are funny, finicky freaks of fem- ininity that furnish a heap of fun and amusement for their nephew and everyone who sees them. The maidenly quartette take Billy out for a quiet row and he conspires with the jolly old tar at the oars to rock the boat and give the "girls" a scare. They are panic-stricken, overturn the boat and are soon floundering and sputtering about in the water. They are rescued by a crew from a motor boat lay- ing nearby, taken on board, comfortably tucked in the berths and served with hot broth while their clothes are hung on the yacht's railing to dry. Billy gets into a man's size suit of clothes, sees the belongings of his aunts, and dumps them overboard. The ladies are in a pretty mess. It is getting dark and they are obliged to put on male clothing and go home in coats and trousers like a masquerade party. Hold your sides and let her titter, the shapes, forms, figures of these four animated racks are enough to convulse a statue into fits of laughter. "THE OLD WATER JAR."— Pau Puk, an old Indian, views with pride his handiwork on the old water jar, recording some of the striking events of his past life, and these afford him his only diversion, for he is shunned by his people, even the little children avoid him and his heart seems to be embittered against all mankind. While studying the pictures on the jar, he suddenly realizes that he is -a. bad Indian and as he beholds each picture and the scene is re-enacted in his own mind, his conscience troubles him and he tries to shut out the visions from his mind's eye. First he beholds himself gambling with a fellow brave with whom he duels and kills. The next picture he sees himself playing false to an Indian maiden. He looks upon the third picture, where he scalps a help- less soldier, then he glances at himself killing an innocent child in the attack on a family of pioneer immigrants. In terror he tries to flee from the con- sciousness of this horrible deed, covers the old water jar with his blanket and penitently prays to the Great Spirit for forgiveness and feels the tender influence of the divine breath of pardon. Filled with inspira- tion, he takes up the old water jar and paints in the last panel, a picture of the sacred guardian of the soul. Reverently and admiringly he gazes intently on this, his final record and his masterpiece. Weak in body, strong in spirit and purified in soul, he rises in attitude of supplication, but falls dying into the arms of a brother, surrounded by his people. He smilingly beholds a vision of the Great Spirit beckoning him to the "happy hunting grounds." PATHE~FRERES. "THE MISPLACED PETTICOAT."— Mr. Stingy is away from home for a few days on business, receives an urgent wire from his wife to return at once; she is of a jealous temperament and feels uneasy during his absence. Thereupon, Mr. Siingy, smiling at the ingenuousness of the message, packs his bag and prepares to depart. Unluckily for him, he refuses to tip the bellboy and the chambermaid, and they, having discovered the telegram, stuff a frilly petticoat, adorned with a clus- ter of ribbons into his portmanteau as an act of revenge. The petticoat belongs to a barrister's wife, who leaves the hotel (without missign her property) at the same time as Mr. Stingy. The effect caused by the finding of the petticoat by Mrs. Stingy in her husband's bag is all that the two servants could desire, and after two or three hours' hysterics, Mrs. Stingy declares she will have a divorce. Accordingly, we next see her consulting a lawyer, who happens to be none other than the husband of the owner of the petticoat, which is produced as evi- dence by Mrs. Stingy. She is dilating upon her wrongs when the lawyer's wife enters, recognizes the petticoat, and innocent of the compromising effect of her words, claims it as her own. Then and there is another scene; the lawyer between the intervals of tearing his hair, demands to be shown Mr. Stingy, and when that gentleman, summoned in haste by his wife, appears to refute the charges against him, some hard words and a few cuffs are exchanged, whilst THE FILM INDEX EDISON FILMS Tuesday, Jan. I Oth The Test of Friendship A genuine Edison thriller. . The action takes place about a twenty story building in process of con- struction from the top of which the workmen are shown descending to lunch. On the 20th story a des- perate fight takes place and a most sensational rescue is effected of a man suspended hundreds of feet above the ground. Wednesday, Jan. I Ith The Home of the Seal OFF THE COAST OF PERO Remarkable views of seals at high tide off the rocky coasts of the Palominas Islands, Peru, together with beautiful water effects of the (lashing waves combine to make this a wonderfully interesting scenic picture. The Gardener's Ladder (ON ONE REEL) This is an exceptionally good film of high class comedy, showing how ridiculous one can make himself by being too rash and jumping at conclusions. While it provokes mirth in abundance it teaches a lesson Friday, Jan. 13th The Link That Held A beautifully simple story telling of a young wife whose pretty head had been turned by reading ro- mantic novels. The chain of her domestic life is near the breaking point but the love for her little girl is the " link that held," and she is saved before she has gone too far. Abounding in the touches of hu- man nature that grip the heart. Our Next Release by REX BEACH-" WITH INTEREST TO DATE "-Don't Fail to Dook It Send us your name for the K/NETOGRAM Mailing List. EDISON MANUFACTURING CO. 73 LAKESIDE AVENUE, ORANGE, N. J. 90 WABASH AVENUE, CHICAGO, ILL. primitive nature also gains the upper hand in the ease ot the ladies. However, when the first excitement has somewhat abated, an effort is made to disentangle the im- broglio, and in the end the whole party adjourns to the hotel. Mr. Stingy, who is the most mystified of the four, waving pennants, and the mass of muslin bonnets like a field of white fragile flowers, form a thor- oughly enjoyable and goodly sight. The boys, too, win our hearts with their dabbling in the water, and the ingenious way in which they will rig up a sail on their sabots to make service- able and seaworthy toy boats. boys. They start in pursuit, while she dashes off to Bob and tells him her story. Bob arrives at the spot first, in time to grapple with the Mexican, and after a struggle both fall over the cliff, but manage to hang on to a ledge. The cowboys then, after a great ride through typical western country, come up. They throw a lassoo under Bob's arm and draw him up, opens a cross-fire of questions upon the bellboy right in the middle of the vestibule. The bellboy, however, stubbornly refuses to open his mouth until his palm has been well greased, and although it is a hard blow to Mr. Stingy, he is obliged to disburse. Even then he is not to learn the truth, for the bell- boy, carrying his secret with him, suddenly bolts. Fortunately, however, for Mr. Stingy's mental balance, the chamber maid is seen passing through the vesti- bule; she is immediately stopped in her passage and less cruel than her fellow servant, she retails the whole story and the motive of the revenge; the bell- boy is badly punished for his part in it by his in- dignant victims, and he is also sacked by the hotel manager, but all the same Mr. Stingy makes a men- tal resolve never t'o omit to tip in future. "DUTCH KIDS."- ing across bridges i ing their lessons on ing barges, is one babies in their crac wheels; also Volend; precocious boys sir quay. Charming views, juvenile fete, and -Marken boys and girls clatter- n their wooden sabots, or study- their way to school in slow mov- vivid impression. Then we have les or in little wooden chairs on im girls in pretty pointed caps and oking long Dutch cigars on the too, are those of scenes at a the smiling infantile faces, the Zeeland children next figure on the screen. Danc- ing, playing, or smiling shyly at the cinematographer, they pass in review before our eyes — a happy crowd, fresh and pleasant to look upon. "THE COWBOY'S INNOCENCE." — Gertie, just re- turned from the East, receives an invitation from her uncle Jack to come up to the ranch. The cowboys give her and her friends a right royal welcome. Most exciting scenes are witnessed when some of the cow- boys try to ride a savage steer. Gertie's sweetheart Bob is one of the boys and later in the day a Mexican rival, having first inserted some cards in one of Bob's top boots, makes it appear that Bob is cheating. Dis- missed Bob rides to the Old Cactus road. An Indian girl runs up and tplls how she saw the cards were placed on him by the Mexican. He writes a note to Gertie and asks her to come to him. The Mexican, however, intercepts the Indian with the note and she is bound and left. Altering the note as to the place of meeting, one of the Mexican's friends takes it and delivers it to Gertie. She falls into the trap and finds only the Mexican awaiting her. He attempts to make love to her, but she spurns him. Meantime the Indian girl, having bitten through the ropes that held her captive, has run and informed the other while the Mexican in the effort, falls to the bottom of the cliff. Returning home to Uncle Jack's ranch all is explained by the Indian girl and the picture ends with a pretty view of Bob and Gertie on their honey- moon. "AN INTRIGUE." — La Savelll is an Italian gypsy girl whose father had joined the insurgents in the south of France against the Emperor some years pre- viously. He was taken prisoner and condemned to be shot by the orders of Favier, the Procurator; the bullets, however, failed to do their work the first time, and. by the Procurator's orders, Savelli, bleed- ing from his many wounds, was dragged before his executioners to be shot a second time. At the time the play opens, his daughter, left to earn her living by singing in the streets, holds both the Emperor and the Procurator in deep hatred, and when she meets Count de Romagna, an Italian who also bitterly hates the Emperor and France, she offers to help him in his schemes of revenge upon Napoleon III. Romagna agrees, and, by his influence, La Savelli is admitted to the highest ranks of society, and is even favored with an invitation to a ball at the Tuilleries, where she meets the Emperor and Jean Favier, the son of the Procurator. Romagna's pro- v THE FILM INDEX ai KALEM RELEASED WEDNESDAY, JAN. 11 LENGTH 995 FEET THIS IS A WAR-TIME STORY OF THE DAYS OF '61 A Federal spy, operating within the Confederate lines, meets a fair Southern girl, with whom he falls in love. But he conceals his identity, and she all unconsciously is instru- mental in the spy gaining valuable information. But he finally comes under suspicion, and when in danger of his life, confesses his identity to the girl. She is torn by conflicting emotions, loyalty to her native land and love for the stranger, but love finally prevails and by a remarkable subterfuge saves his life. At the end of the war he returns to claim her as his bride. THRILLING IN ACTION BEAUTIFUL IN SENTIMENT INDIAN MOTHER RELEASED FRIDAY, JAN. 13 LENGTH 1000 FEET This is one of the most exciting Indian pictures Kalem has ever made, and yet it has a strong appeal to the ladies. A little deed of kindness done for a sick pappoose proves the means of saving the lives of a whole family of white settlers. The true story of an Indian raid and how the gratitude of a poor squaw helped the whites to beat off the redskins. Show- ing a real Indian travoix, an Indian funeral, and other phases of Indian life true to nature. PATHOS and TRUE SENTIMENT MINGLED WITH SENSATIONAL ACTION A set of io photos, each 7x9 inches, of the leading mem- bers of the Kalem Stock Companies, for $1.20, mail prepaid, cash with order. KALEM COMPANY, Inc. New York, 235-239 W. 23rd St. London, 45 Gerrard St.W. Berlin, 35 Friedrich Str. EDISON PROJECTING KINETOSCOPES THE PERFECT MACHINE You have not seen the best Motion Picture Machine unless you have examined the new Underwriters' Model Type "B" with Outside Revolving Shutter. Price the same Send for Literature FROM AN EXHIBITOR "About the best reason wo can give for buying only Edison Model 'B' Machines, sixteen of which we have installed in the past twelve months, is that they project the best picture, are easiest to operate, last longer and costless for repair bills than any other machine we have yet found, and we have used several of the other leading makes. "(Signed) THE HULSEY THEATRES, Oklahoma City, Okla." EDISON MANUFACTURING CO. 73 LAKESIDE AVE., ORANGE, N.J. 90 WABASH AVE., CHICAGO, ILL. THE FILM INDEX START THE NEW YEAR RIGHT By Installing a Perfect Moving Picture Machine To please your patrons you must PROJECT PERFECT PICTURES. There is only one PERFECT MOTION PICTURE MACHINE— POWER'S No. 6 In ONE year, since the introduction of this wonderful machine, it has become the favorite of exhibitors and operators. Its sales now exceed those of any TWO other Amer- ican moving picture machines — and we can prove it. No other motion picture machine has ever made such a record. Our catalog E tells why — Send for it today. NICHOLAS POWER COMPANY 'jSMflttHP- For thirteen years the Leading Makers of Motion Picture Machines ject is that La Savelli shall, by her beauty and wit, cause both Napoleon and Favier to fall in love with her; that the jealousy of the younger man shall then be excited by a knowledge of the fact that he has a rival, and that he shall be trapped into seeing La Savelli and the Emperor together without the latter's identity being disclosed to him; Romagna foresees that Favier will then kill his rival in his fierce rage, and that thereby his own arrest and death will follow, a blow which will recoil with double force upon the now aged Procurator. La Savelli does her part, but caught in the meshes of her own toils, she falls in love with Jean Favier, and when Romagna calls upon her to play the final act in the tragedy, she refuses. Romagna persuades and threatens, then he finally invokes the memory fo her dead father, and this last diplomatic stroke wins his cause; La Savelli in a sudden revolt, agrees to all his plans. Scarcely has he left, however, than she is over- whelmed with remorse and writes a note to Favier, begging him not to keep his appointment with her on the morrow, and explaining the details of the whole plot. Unhappily, this note is intercepted by Romagna, who. fearful of treachery, has not left the grounds of La Savelli's villa. He substitutes an- other, informing Jean Favier that La Savelli is play- ing him false. On receipt of this letter Favier, mad with rage, hastens to La Savelli's villa. He is surprised to see a couple of gentlemen pacing slowly up and down the gravel path. However, he slips into the villa unseen, and finds La Savelli listening to the flattery and love speeches of a tall man who has his back turned to him. In the semi-obscurity, Favier can see little but outlines, but he listens, and suddenly, unable to contain himself, he fires at the tall figure. His bullet never reaches its mark, for it lodges in the heart of La Savelli, who, in making a sudden turn, has fallen in the line of fire. At the sound of the shot, the members of the Emperor's suite on the watch outside, rush in through the glass doors and arrest Favier, who realizes the truth of the matter, and that his doom is sealed, as the light falls upon the Emperor's face bending over the dead woman. "LOVE UNDER DIFFICULTIES."— Young Harry Edgely sees one day that the large mansion next door has been let. An elderly gentlemen and his daughter are seen moving in. Peeping through a hole in the wall in the garden he gets a view of the daughter and is struck with her beauty. Climbing the wall he attracts her attention by throwing a flower at her feet, and she climbs up and joins him. The girl's father interferes with their love making, and shows them a portion of his will by which he has left his fortune to his daughter only, provided that she does not marry until she is twenty-one. Harry and Patsy are not to be discouraged, and on every occasion manage to spend their time together, although fre- quently they have their troubles. Finally Harry takes Patsy to the minister's and they get spliced. Re- turning to her father's house, they are afraid to tell him of their marriage, and he, not noticing their confusion, invites Harry to stay to dinner. They en- ter the dining room and the light being turned up, Harry finds his father is also there, and that the two fathers knew exactly all that had taken place. The girl's father also shows them his will, which provided that, in the event of his daughter marrying a man who loved her only for herself, his fortune was still to go to her. "THE FUNERAL OF COUNT TOLSTOI."— In ac- cordance with his request, this great man was buried in the middle of a forest in Russia. KALEM CO. "THE BOLTED DOOR."— Here is a stirring heart interest story of every day life. It is a story of a beautiful young girl who married an elderly admirer rather than wait for the poor young man of her heart's choice. In a few years she learned, too late, that she "had lost her life's happiness and could not regain it— the door was bolted and locked forever against her. Elsa and Jack, both of humble means, become en- gaged. Learning of a chance to better his conditions in a distant city Jack, who is ambitious to make an attractive home for Elsa, tells her of his opportunity and bids her good-bye for a short while. Six months go by and we find Jack still hustling but not yet in a position to make Elsa his wife. In the meantime Jack visits his married sister and makes the acquaintance of her little baby girl Edith. As time goes on Elsa tires of waiting for Jack to become sufficiently pros- perous and to name the day for their wedding and decides to marry a wealthy patron of the place where she is employed. A few months later Jack's sister dies, leaving to his care Baby Edith, who proves a solace to Jack's wounded heart. Four years later Elsa and Jack meet as guests in the same hotel. These four years have not been happy ones for Elsa and when she meets Jack the old love returns, but Jack, remembering she discarded him on account of his lack of money, refuses to be friends and bolts the door of his heart against her. "THE RUNAWAY ENGINE."— Allan Peters, just out of college, the son of a railroad president, calls at his father's office. The indulgent parent suggests that as he has studied hard for several years a trip to Europe would be in order. Allan, however, tells his father he is ready to go to work and wants to begin at once. Further, that he wants to learn the railroad business from the bottom up and asks for an opportunity to start as a fireman. While following his vocation he meets the daughter of Steve Martin, his engineer, and falls in love at first sight. Industriously prose- cuting his suit, they become formally engaged, and Allan advises his father by wire. The receipt of the message angers President Peters. He orders his pri- vate car got ready and hurries to the division where Allan is employed, in an effort to rescue him from what he terms a mesalliance. While the president's car is bowling along at a high speed the following message is flashed over the wire "Runaway engine on the main line, notify all stations." This message being received at the station where Grace is employed as telegraph operator, her heart is filled with con- sternation, as she knows the president's special is coming down the line. Rushing out in the yards she tries to find her father, but failing in her efforts she mounts his engine unaided and drives it at a terrific speed towards the coming runaway. When the engine comes in sight she slows down her engine, jumps for her life and allows the two engines to crash together, thus saving the president's special from a head-on collision with the wild engine. The president's engineer looking down the track, sees the wreck and brings his train to a stop about opposite where Grace has jumped. The president and trainmen, seeing the unconscious body of the girl lying along the track, rush to her assistance. She is quickly restored to consciousness and found unhurt as the result of her wild leap. Explanations quickly take place. The president, realizing the wonderful courage displayed by the girl in her effort to save his train, quickly withdraws his objections to his son's engagement. This is one of the most sensational pic- tures ever made and will undoubtedly prove one of the feature stories of the year. ESSANAY MFG. CO. "THE REDEEMED CRIMINAL."— Spike Hennessy, cracksman, and his pal, Kid Carson, blow the safe of the Continental Trust Co., and are just about to pack up the loot when they are discovered by the night watchman. Hennessy, a man of powerful physique, grapples with the officer, and gives the Kid his chance to escape. Hennessy knocks the watchman insensible, but is captured by several police officers who have come in answer to the police alarm. Hennessy is submitted to the Third Degree, but, although the police are morally certain that he had an accomplice, they cannot wring a confession from him, and he will not reveal the identity of his pal. He is sentenced to twenty years, and serves his time, still maintaining that he was alone on the job. Carson reforms, and later becomes a minister of the gospel. Striving to atone for his past misdeeds by living an upright life and working for the good of his fellowmen. He is married and has a grown son, who is in love with Margaret Fairfield, a young society woman. Hennessy, released from prison, returns to his old and evil ways, and proves that his hand has not lost its cunning, by cracking the safe at the Fairfield mansion, looting it of the family jewels. One of the stolen pieces is the Fairfield necklace, a valuable heirloom. Detectives immediately conclude that the work was Hennessy's, and they are in close pursuit of him, when he takes refuge in the house of his former pal, now the Rev. Doctor Carson. Confronting the surprised minister in his study, Hennessy swings open the door of' the small safe, places the diamonds within and locks it, demanding that the minister protect him from the police. When the officers arrive, Carson represents to them that Hennessy is his butler, aBd Spike escapes, telling his former pal that he will return for the loot. THE FILM INDEX 23 BIOGRAPH FILMS £2* Trade Mark RELEASED JANUARY 2D, 1911. A Symbolism in Biograph Pictures This is possibly the most convincing and powerful film story ever portrayed, show- ing as it does most vividly the result of choosing the wrong path in life's journey. By way of contrast it tells the experience of two sisters, who at the beginning of the two pathways were hard-working girls. One harkened to the persuasion of the temp- ter and accompanied him along the easy way with the inevitable result, while the other found true happiness on the road of toil. The lesson presented is most impres- sive as it is so true. Approximate length, 992 feet. THE TWO PATHS. RELEASED JANUARY 5th, 1911 WHEN A MAN LOVES When a Victim of Cupid Becomes His Assistant With this release the Biograph presents one of the most delightful comedies ever produced, containing a most unique twist of plot. A wealthy bachelor visits the scenes of his boyhood and becomes smitten with the pretty daughter of his old-time chum. The girl, however, has set her heart upon one of the boys of the village, and fearing her dad would force her to marrv Mr. Bach, plans to elope with her real sweetheart. Learning this, Mr. Bach stifles his own heart- aches and even assists them in their flight by taking them in his own auto to the minister's house. Approximate length, 998 feet. WHEN A MAN LOVES RELEASE DAYS OF BIOGRAPH SUBJECTS, MONDAY and THURSDAY. Get on our Mail List for Descriptive Circular. BIOGRAPH COMPANY, I I East 14th Street, New York City Licensees of the MOTION PICTURE PATENTS CO, Carson's son finds the jewels in the safe and it is with difficulty that the father convinces the boy that he is not the thief. Carson, determined that Hen- nessy shall not regain possession of the jewels, re- solves to return them to their owner in the same manner in which they were stolen, and attired m his old burglar's* garb, goes to the Fairfield mansion, breaks in, opens the safe and replaces the jewels. The next morning the public is electrified by reading that the Fairfield jewels are mysteriously return ;d. Hennessy, wrathfully confronts Carson, demands 'he meaning of it. Carson tells Hennessy that he has replaced the jewels and that he has resolved that this shall be Hennessy's last thing. So strongly does he plead with him, and so powerful is the effect of his sermon, that Hennessy pledges his word to reform and lead an upright life. Carson secures him a position, using his influence as a minister to do so, and as the picture closes we find the redeemed criminal, now a respected citizen and a man of family, receiving a visit from his pal, the Rev. Doctor Carson. THE COUNT AND THE COWBOYS."— Famous for their comedies the Essanay Western players are en- titled to the highest honors in this remarkable com- edy photoplay, which is strongly recommended by them as the best ever. The plot of the story, outlined •below, bears evidence of great opportunity for the excellent Essanay players, and judging from their previous big comedy hits, this one should prove of extraordinary merit. Count Alphonse Louis Francis Catelene makes his appearance in the little town of Rawhide yia the .itage coach and presents the proprietor of the tavern with a letter of introduction from this latter's former friend in the East. The note reads: "Friend Mack- ley: This will introduce- you to Count Castelene, who comes to your town to look over mining properties. Show him what favors you can. Your friend, Jack Dupont." The count looks the part. He is tall and lanky, clothed immaculately in the latest Parisian mode and style, and proves immediately a source of great won- der to the gaping cowboys who help him and his baggage from the coach. The count presents his let- ter to the tavern keeper, who sees great possibilities, for the name and fame of his tavern in harboring a real nobleman. Consequently the count is given the freedom of the city and told to make himself at home. It is not long after the count has fairly established himself at the tavern, surrounded by cowpunchers that some altercation arises, during which one of the cowboys draws a gun. The count remonstrates with the cowboy and gives an illustration of how the French fight duels. "Stump" Carney, the mascot of the crowd of punch- ers, in the meantime he has entered the count's cham- ber, attired himself with the count's long coat, high hat and muff and appeared upon the scene with a challenge for the count. Stump is anxious to fight a duel, but his informality of procedure is discounte- nanced by the count, who begs to tender, through a second, a uniform, standard, real code of honor chal- lenge to combat. The challenge is tendered and the answer reads thusly: "Bein' the challenged party, I choos guns, but as I have six duels ahead of your'n you will be the seventh that I kill tomorrow. Signed Alkali Two Gun Broncho Bustin' Pete." The morning of the duel arrives, and with his sec- onds, the count repairs to the field to witness first the encounter between Alkali (etc.) and the six other duellists. Of course, this part of the program had, with great care,, been previously arranged, and the count watches with ever-increasing awe as Alkali renders his six combatants hors du combat. This is too much for the count who, having no desire to throw away his life, turns and runs with great haste, down the road to catch the stage which is just leaving the tavern. The cowboys, who have enjoyed the sport, watch after him, holding their sides with laughter. Perched on the rear of the stage the count thanks heaven for sparing his life and makes a solemn vow that he will never again explain French duelling to Western cow-punchers. G. MELIES. "THE CRIMSON SCARS." — The stage appeals very strongly to the child of temperamental nature and often it dreams of the glory and fame attending suc- cess. Little Alice is a child of this kind, and although she is surrounded by the most meager, even poor circumstances, she has a great desire to be an actress. Her mother, who takes in washing, sends the little girl to deliver a large basket of clothes. Struggling along the street she stops at the theatre to look at a display of photographs of actors and actresses who are appearing there. She loses herself in reverie; while thus engaged the leading lady, whose picture particularly attracts the child's attention, arrives for rehearsal. She speaks to Alice, becomes inter- ested in her and gives her two tickets for the after- noon performance. Pleased and delighted with the gift she rushes home to her motJier, who takes the tickets from her, scolds and whips her for not attending to her errand. A neighbor comes in and Alice's mother shows her the theatre tickets, invites the visitor to attend "the show" and they are soon on their way. Left at home, disappointed and unhappy, Alice de- cides to see the performance, come what may. She sneaks through the stage door of the theatre, hides behind the scenery until she sees the star who gave her the tickets come in, and watches her go to her dressing-room. Smoke is seen coming through sceneries and there is an alarm of fire. Everybody is on the jump and there is great excitement. The star rushes back to her room to secure her valuables and before she can escape is overcome by smoke and falls fainting into a chair. Alice makes her way to her friend, tries to help her and throws a large cloak over the actress's face and then calls for help from the win- dow. The firemen climb up the ladders into the burning building and rescue the woman, then save Alice, who is injured by falling timbers and burned by the fire. Several years have passed and things have changed. Alice has become a star under the patronage aDd tui- tion of her benefactress. She has grown to be a beau- tiful young woman and a great attraction. She enters the dressing-room, where her adopted mother awaits her coming. She tells the good woman how grateful she is for her kindness and love, for to her she owes success and fame. Smoothing back the golden tresses from the fair young brow, she kisses the scar on it and points to another scar on Alice's arm and says: "To these and to you, my dear child, I owe my life." "FIRE! FIRE! FIRE!"— The local organization of Suffragettes is in session. Its mottor is "Equality with Men." It passes a resolution to demand from the mayor a job in one of the city departments. "Just in time." says the mayor, "the fireman have gone on strike, I give your organization charge of the fire department." THE FILM INDEX DON'T TAKE ANYBODY'S WORD FOR IT but convince yourself of the quality of carbons "ELECTRA"- - CARBONS will stand any test Write for samples which will be sent free of charge HUGO REISINGER Sole Importer mm 11 BROADWAY, NEW YORK ■TRADE MAR The Suffragettes are elated, but the firemen can only construe this latest order of the mayor as a huge joke, so if a joke is to be played, they're going to be in it, too. They set fire to some brush and send in an alarm. Now, it is well known that Suffragettes are used to many hardships, but handling a hose is not known to be exactly in their line. Consequently, great is the confusion when they arrive with the engine at the scene of the fire. As one of them later said, "We did our darnedest, but there is no getting away from the fact that water is wet, and we girls feel those things terribly." The firemen's joke worked. The Suffragettes, soaked to a woman, in their endeavor to put out the fire, were cured of the desire to have charge of a city de- partment, and resolved to be just natural women thereafter. RODGEKS BUYS HUNTINGTON THEATRE. Don E. Rodgers, of Huntington, Ind., has purchased from Ezra Rhodes, of South Bend, Ind., all the photoplay theatres controlled by him in Huntington, the list includes the Star, Crescent and Palace theatres. All three houses are in first-class condition, and with some minor improvements, which Mr. Rodgers will make in the near future, these theatres will rank with the most modern in Indiana. It is the intention of Manager Rodgers to run straight pictures in the Star and Crescent. In the Palace will be seen the best of vaudeville and pictures. PICTURES FOR SOUTH DAKOTA INSANE. Johnson & Valentine, owners of the Lyric pho- toplay theatre, Yankton, S. D., showed six reels of the latest films at the South Dakota Hospital for the Insane, on Christmas night. Messrs. Johnson & Valentine were the guests of the Su- perintendent, who has made arrangements with them, to put on several picture shows before the season is over. The hospital has a most modern auditorium, with all stage attachments. PHOTO MEN TO FIGHT CASES. Philadelphia Exhibitors Claim Theatre State Law Should Not Affect Them. Proprietors of photoplay theatres in Phila- delphia, have banded themselves together under the title of the Exhibitors' League of Pennsyl- vania, to test the right of the state to collect license fees from the motion-picture men in ac- cordance with the act of assembly passed in 1907. The motion-picture men will test the law by fighting the cases in which the proprietors of three different places have been held in $500 bail each for court, for failure to pay the re- quired license fees to the state. The action was brought by City Treasurer Murrell Dobbins, co-operating with Auditor General A. E. Sisson. J. Louis Breitinger, Republican representative- elect in the nineteenth district, is counsel for the association of picture-show proprietors. He declared that if the grand jury returned indict- ments against the defendants, he will move to have the indictments quashed. It is provided under the act of 1907 that all amusement places with a capacity of less than 400 persons shall pay a state license fee of $30, while those places with a capacity of 400 or over shall pay a $500 fee. This act does not apply to places in which pictures are the ex- clusive attraction, but to the establishments in which vaudeville features are used. As construed by Attorney Breitinger, a mo- tion picture show with the vaudeville turns in- cluded does not fall within the act. He said that the state law applies to "theatrical and operatic entertainments," and that the motion- picture places cannot be so designated. About 150 picture-show proprietors of the city have responded to invitations to join the league which will back the fight to test the act. Let- ters will be sent to picture-show men of the state, urging their co-operation. Officers of the newly formed association are: Walter Staumpfig, president; J. F. Redmond, first vice-president; Charles Stengel, second vice-president; John W. Donnell, treasurer, and Charles F. Killsbead, secretary. Representative-elect Breitinger explained that he will introduce in the coming session of the legislature a bill that will classify moving-pic- ture establishments. In other respects, he said, the bill will be virtually the same as the present law. PROCEEDS WENT FOR XMAS DINNER. S. Massucco, proprietor of the Dreamland photoplay theatre, Barre, Vt., gave the entire proceeds of his picture shows, on Dec. 23, to the Salvation Army as a Christmas gift. At all the performances the house was taxed to ca- pacity and a goodly sum was turned over to the Army members. Roach Brothers, proprietors of the Pavilion also gave their proceeds of the matinee to the same cause. These funds were used by the Army towards getting a big Christ- mas dinner for the poor of the city. $25,000 PHOTOPLAY THEATRE FOR DARBY. Plans for a new $25,000 photoplay theatre have been completed for the Darby Amusement Company, of Darby, Pa. The house will be sit- uated on Main street, right in the heart of the city. The plans provide for a one-story brick fireproof building, 64x162 feet, with a seating capacity of 1,000. The stage will have a width of 40 feet and a depth of 30 feet. THE FILM INDEX *3 IL XROVAIOKE UV PATHE. (Continued from page 1.) of meeting his rival at the appointed place, the young Count sends some of his retainers who set upon Manrico and stab him in the back, leaving him for dead. Being told that Manrico, whom she loves, is dead, Leonora enters a convent and takes the veil. W hen the Count learns of this step he pro- poses to take her from the convent uy force. In the meantime Manrico recovers from his wounds and learns of the designs of the Count in time to prevent, their execution. Defeated in this project the Count now siezes Azucena and proposes to have her burned as was her mother. Manrico is told of this diabolical plan just as he is about to be married to Leon- ora, but the wedding is postponed and Manrico with his followers hastens to the rescue of the woman whom he belie\es to be his mother. In the conflict that follows both he and Azucena are taken ana thrown into the dungeons of the castle to await execution. When Leonora learns of her lover's plight she is greatly distraught and seeks for some way to save h»m. She implores the Count for mercy and promises to become his bride if he will spare Manrico s life. The Count gives his promise and, when he goes to release Manrico, Leonora secret- ly takes poison. Manrico is brought in and the lovers indulge in an affecting farewell scene wh.ch ends in the death of Leonora from tne effects of the poison. When the Count enters and finds Leonora lifeless he ordeis the imme- diate execution of Manrico. No sooner has this tragic event taken place than Azucena, who has been asleep in her cell, awakes and calls for her son. The Count tells her that he has been execu- ted by his orders, whereupon she reveals to him that Manrico was his lost brother. The work of the Italian company of players in this picture is most impressive throughout and the photographic effects and the exquisite color- ing combfne to complete a wonderfully beauti- ful picture. PICTURE MEN TO WRITE OWN INSURANCE. At the last meeting of the Exhibitors' League of Ohio, which was held, Columbus, O., at the Chittenden hotel, a committee was appointed to add an insurance department to the organi- zation. The league thinks the insurance com- pany rates are too high. The committee is composed of C. H. Brock of the Lyric theatre, Columbus; M. A. Neff of Cincinnati, W. A. Pittis of Conneaut, G. O. Lupuis of Lima, P. H. Rei- chert of Port Clinton and C. C. Carter of Cin- cinnati. The Ohio Film Exhibitors' Association, af- filiated with the Exhibitors league at the Mon- day meeting, and a number of Pennsylvania, West Virginia and Indiana exhibitors were ad- mitted to membership, this being the first step towards a national organization. Max Stearns of the Exhibit, Columbus, was made chairman of a committee on registration and employment, which will furnish soloists, piano players and other employes when they are desired. NEW THEATRE IN CARTHAGE OPENS. E. S. Harriss, of Carthage, Mo., has completed his photoplay theatre in the Caffee building and is now doing a good business. His theatre is strictly fireproof; there being a new galvanized machine booth and a fireproof screen just added. The house is most artistically furnished in red, green and gold. All the chairs are large and roomy and are pitched at such an angle that every one can see the pictures from any part of "THREE MEN AND A MAID A Refined Vitagraph Comedy ONE of the men is an ordinary sort of a young fellow who acts as private secretary of the other two old chaps that are just about old enough to be foolish and "wise" enough to re- main old bachelors without a thing in the world to bother themselves about only their own selves. They are brothers who have made money and don't know what to do with it. They have a cousin who dies and leaves his daughter in their charge; they have never seen the child and at once make preparations for her reception. He! he! Ho! ho! They chuckle as they visit vate secretary with whom Vivian has become very chummy. They dismiss the young fellow and dispense with his services. But they can't destroy the attachment between him and their young charge whom they discover is surrepti- tiously calling on the young clerk who has be- come very ill and impoverished. They follow Vivian and find the young people together. The old fellows have learned to love their ward and their hearts melt when she ten- derly approaches them and appeals to their sym- pathies, they go all to pieces and it is not long SCENE FROM VITAGRAPH LIFE PORTRAYAL THREE MEN AND A MAID. the toy stores for dolls and what not to amuse the child. On the morrow when she is expected to arrive the old codgers are like two kittens, they pound the drum and pull the strings to make the jumping Jack work and they are right in the midst of it when Vivian arrives — a vision of loveliness and a full grown, well molded young woman. The two old fellows' look like a couple of "Silly Billies," but it is not long be- fore she has them well in hand and gives them a few lessons in domestic science and the art of home rule as practiced by a woman. They rather enjoy the innovation but they re- sist foreign interference on the part of their pri- before the secretary is back at his job with every prospect of his becoming one of the mem- bers of the household. "Three Men and a Maid" is one of those smart true-to-nature comedies that make laughs of situations that are part of life and has for its foundation a strong story that furnishes the con- trasting lights of sentiment and pathos that make comedies of this character most whole- some and enjoyable. The acting in "Three Men and a Maid" and the play itself reminds us very much of some of the Robson and Crane performances that made their work so familiar and famous. the house. Mr. Harriss believes in having a light house, and has arranged it so that one can see distinctly, his friends in any part of the house. PHOTOPLAY THEATRE INSTEAD OF SKYSCRAPER. The largest photoplay theatre instead of the largest office building in the city is to be erected on the northeast corner of Fourth and Main streets, Evansville, Ind. Announcement of this was made Thursday, Dec. 15th, by J. R. Brannen who has leased the property from Ronald and Harry Woods. The owners, less than three months ago, paid to Mrs. Mary Laval $60,000 for the property. It was said that a skyscraper would be erected on that corner. Failing to find capital interested in such a building the Woods brothers, leased it to J. R. Brannen for $6,000 a year on a five-year lease. The the- atorium will be one story in height and will cost about $15,000. It will be built on the mission style of architecture. ST. LOUIS WORKING MEN SEE PICTURES. The St. Louis Trades Label Section of the American Federation of Labor will give its first entertainment and moving picture show at the Social Turner Hall, Thirteenth and Monroe streets, Monday evening, Dec. 12, at 8 o'clock. The object of the show is to acquaint buyers with union labels. All union labels will be shown on the canvas. There will be no ad- mission fee. The show is being arranged by S. Liberty, Mrs. A. Crane and J. Schwartz. A NEW HOUSE FOR BALTIMORE. The Royal Amusement Company of Baltimore, Md., has plans drawn for the construction of a handsome and modern motion picture and vaudeville theatre at 1940 and 1942 West Pratt street. It will cost about $5,000. To front 30 feet the building, which will be one story high, will extend back a depth of 80 feet. It will be thoroughly fireproof, with ornamental facade and metal ceiling. Some of the con- tractors who are bidding for the work include Adam Kratz and F. W. Filter. THE FILM INDEX MORE AS TO "WHY" Recently under the caption "Why" we at- tempted to explain to a correspondent that the suggestion that manufacturers give away posters with their pictures was not a practical one. It seems that we did not catch what the corre- spondent was driving at. It was Mr. George R. Osborn, manager of the Star Theatre, West- minster, Md., who asked the question and he comes back at us as follows: I am sorry to note that you did not understand my last letter. I will endeavor to be more explicit. In my last letter I did not mean A. B. C. posters, which I think help the exhibitor, no matter what make of film you advertise. What I meant was "Indian Heads" — 25c, pictures of stock companies, $1.50 per set, and such things that are to make the manufacturer's product popular. For a year I have been receiving the Biograph leaflet giving a synopsis of each photoplay, which I mount on cardboard and place in a frame. I have three such frames in town. From the Lubin Company comes the best thing in that line I have seen. I also frame them, and the Kalem bulletin, as they send them to me without cost. Doesn't it seem natural that an exhibitor will push the film whose maker helps him do so without cost? Here is something that all manufacturers will find to their advantage: take a picture of each one of their stock company — say 5x8 inches — and send them to each of the exhibitors. Then, in the synopsis they give each week in THE FILM INDEX, give the proper names of the leading people, so the exhibitor could place in the lobby the pictures of the people in each photoplay, and in that way the public would become acquainted with the names of actors and actresses and not be forced to give all nicknames, which you will find done in every town. As Mr. Perrin says: "The people want to know what they are going to see," and I think they want to know who is who at a photoshow as at a theatre. I don't believe one person in ten thousand knows the members of any stock company, and they want to. Miss Turner is popular. Mr. Cos- tello is popular. The way the public found out who they were was not through any effort on the part of the Vitagraph Company, but through the exhibitor who cut their pictures from THE FILM INDEX and stuck it up outside his place. Without THE INDEX few exhibitors would know anything about anything pertaining to the motion picture business. In every town there are knockers and every exhibitor tries to advertise the pictures to good advantage. When the manufacturers help him without charging him it is very much appreciated. A nice, clean leaflet like the Biograph, Lubin and Kalem companies send out is a help, and it does not give the knocker any room to knock. I am, very respectfully yours, GEORGE R. OSBORN, Westminster, Md. To explain to Mr. Osborn, the manufacturers found it necessary to adopt a rule that nothing should be given free to exhibitors. Not that the exhibitors were not entitled to all that could be given, but that the competition for business would result in extravagant giving, and would end in the cutting off of everything of a free nature. It will be interesting to Mr. Osborn and others to learn that a uniform bulletin, to be the same size as a page of The Film Index, has been adopted by all manufacturers and will soon be issued to them regularly for all licensed releases. WANTS BETTER SONGS. Hamilton, Ont., Dec. 13, 1910. Editor THE FILM INDEX, New York City. Dear Sir: A great deal has been said in regard to revivals of films, and there isn't a doubt in the world but that they will all make good. It has occurred to me that there are a large number of songs that could be revived in the same way. I have tried a number of these songs recently and my experience has been that they went big with up-to-date slides, that is, new slides posed with up-to-date costumes and with the advantages and improvements in photog- raphy. Any of the following would make good, as they are much more tuneful and sympathetic than the present-day songs: "When the Flowers Bloom In Springtime." "I'll be Waiting in the Gloaming." "In the Valley of Kentucky." "The Man in the Overalls." "Kate Kearney." "After They Gather the Hay." "Down on the Farm." An ovation that almost amounted to a riot was caused here in the Savoy Theatre by a boy singer rendering "The Holy City," illustrated, and right here I will venture to say that if the slide makers would illustrate some of the following songs, it would go a long ways to uplifting the business in genera. 1 Tally Broadway theatre, located at 831-833- 835 So. Broadway, Los Angeles, Cal., has re- cently been opened and is one of the finest photo- flay theatres in that city. The building has a frontage of sixty feet and is 162 feet deep. The front, two stories in height, is of white glazed terra cotta; doors and casings in brass and mahogany. The lobby of the theatre is twenty feet wide by twenty-four feet high with a depth 'of fif- teen feet from the sidewalk to the ticket office. This office is especially beautiful, real mahogany and art glass compose the upper part with a cop- per dome and handsome electric light fixtures. The base is of specially selected onyx. This is carried around both sides of the lobby. Above this art panels of mahogany, the two double doors on each side of the box-office are of ma- hogany inlaid with ebony. The entire front of the building and lobby is well lighted by high power tungsten globes arranged in receptacles and hung from art brack- ets of white terra cotta. A large art glass globe is suspended from the ceiling of the lobby and over the doors an art glass panel six feet high and the entire width of the lobby depicts the "Goddess of the Sun" in her chariot drawn by four plunging steeds. After passing through the entrance door we find ourselves in the foyer, twenty-four feet in depth, large French plate mirrors on either side is a booth in which appear the illustrated song singers. On each side of the room are four Personally I would rather pay a good singer who could handle any of the following songs, $50 a week, than use any of the mediocre vaudeville acts that you can pick up at that price. Formerly the com- plaint was that you could not get good singers to do the work, as they had to sing too often, but that day is gone, and I am sure there are numbers of GOOD VOCALISTS who could be induced to come Into the picture business. Such songs as: "Asleep in the Deep'.' "Loch Lomond" "Off to Philadelphia in the Morning" "Island of Dreams" "The Lost Chord" "The Holy City" will find a responsive chord and a hearty apprecia- tion with any audience, and as the improvement in quality of photography and selection of subjects in films has drawn a better class of patronage, also will the illustrated songs, if they are gone after. exits, opening into long corridors running the length of the building and leading to the side- walk. Thus the audience may leave the theatre without using the main entrance or interfering with those coming in. The auditorium seats about eight hundred people. Leather cushioned opera chairs com- pose most of the seating with one hundred wicker loge chairs in the rear. The loges are of special interest, being raised above the floor level and enclosed with heavy brass rail- ings and mahogany panels. Ventilation is well taken care of — large air chambers on either side of the stage connecting with galleries running the length of the build- ing and distributing air along the floor and through ventilators in the side walls. The interior decorations are in green and white and artistic staff work designs are liberally used to form the panels on the side walls and ceiling. The operator's room is sixteen feet square and is equipped with every convenience. Two Model B Edision machines handle the films. The theatre was built by Mr. T. L. Tally, one of the pioneers in the motion picture business, at a cost of $50,000. The admission prices are 10 cents and 15 cents for the regular seats, and 20 cents for the loge seats. Though out of the business center of Los Angeles, this theatre is well patronized by the best class of citizens. Mr. Tally, the proprietor, is a Texan of the old school and a very fine gentleman. The following are familiar to almost every English- speaking person and any one of them could be splen- didly illustrated: "■My Pretty Jane." "Island of Dreams." "Rosy Darlin'." "Kings of the Road." "The Veteran's Song." "My Old Kentucky Home." "Old Log Cabin in the Lane.' "Just Before the Battle." "Star of Bethlehem." "In the Gloaming." "The Holy City." "The Palms." "Ould Plaid Shawl." "The Romany Lass." "The Better Land." "Love's Old Sweet Song." "The Deathless Army." THE FILM INDEX "Abide With Me." "An Irishman's Toast." "Down in the Deep." "Nellie Grey." "Killarney." "Mona." Again thanking you, I am Your truly, W. J. MELODY. P. S. — Good singers are repeatedly singing these songs or others like them with faked slides and get- ting by; what's the answer? WANTS CORRECT CHURCH RITES. Providence, R. I., Dec. 17, lftlO. Editor THE FILM INDEX. Dear Sir: Will you please give me a small space in your most interesting paper "THE FILM INDEX." This is a subject I have begun to write about a great many times, but I did not wa.nt to appear to be one of that large class ot "anthropological phenomena." known as "cranks." It is in regard to religious sub- jects in moving pictures. It has often seemed to me a very peculiar thing that producers do not pay more attention to detail and exactness. I do not believe the mistakes that are made are intentional, because I believe that it is the aim of every manufacturer to put out the best pic- ture possible and advance, rather than fall back. Most especially in subjects that bring Catholic priests, nuns, monks, and church ceremonies into them. Soirfe scenes are away off, and show, if I may say it, gross carelessness. I have seen a priest wear- ing a pallium; a vestment which fits over the head and rests on the shoulders in form of a circle, ends hanging down the back and over the chest ; it is worn only by an archbishop — :the priest wears a stole. I have seen a priest in the garden dressed in alb and chasuble; vestments that are worn only at the cele- brations of the Mass. I have seen a monstrance on the altar when there was absolutely no reason for it to be there. I have seen performers pass in front of the altar, without genuflecting, or even bowing, as the characters whom they represent would do. The vest- ments of bishops, cardinals and others are very poorly imitated. The Catholic Church has the most beautiful cere- monies, of any church on earth, and they must be studied to be understood; the vestments likewise. All have a meaning and are worn at special times. Each ceremony has its own particular vestments. I have been fortunate enough to have an oppor- tunity of studying these things, and it goes very much against my grain when I see them used in some of the pictures improperly. The producer should have a man on his staff who understands these things. Another instance, just to further illustrate my point: "The Lad from Old Ireland." by the Kalem Co., is a beautiful picture, a grand subject, and a most interesting story, but I lost my interest at the death- bed of the girl's mother. Why, oh, why did the man who was piaying priest cross the eyes and nose, mouth and ears of the woman. It was a very poor imitation of the last sacrament. The sacrament of Extreme Unction, as the last sacrament is called, is adminis- tered by a priest wearing a stole. On a table nearby is a lighted candle, preferably two, a small vessel of water, a linen cloth, and holy oils the priest brings with him, and at the conclusion he does not bless every one in the room, he is at- tending the dying person. After going across the ocean to get a picture who would believe a big mistake of that kind would be made. Also, there was no necessity for the burlesque on Irish emotion or sorrow' given by the two women. Why choose the low things to follow? Is not the cry of the hour progress; upward; elevate the business? Pick out the better habits of a people when there is a choice. Mr. Producer and Mr. Editor, please do not think I am a knocker, or an old fogie who does not realize that the producer has his two hands full, and the other one is twice as busy. I have been in the picture business for five years, and I have been with the best and biggest houses in this locality, and have acquired enough knowledge of the business to realize the difficulties of making a picture correctly and of pleasing the public with it when finished. I am deeply interested in, and I want to see this paid attention to. I have tried to make myself clear, and if I have not I will gladly answer all questions in the same friendly spirit with which I send this letter. Wishing you an abundance of the joys of the season, I am Yours earnestly, THOMAS F. GIBLIN, Bijou Theatre. SOME SUGGESTIONS. Henderson, Ind., Dec. 10, 1910. THE FILM Publishing Co., New York, N. Y. Gentlemen: We want to congratulate you on your form of "Record of Weekly Licensed Film Releases," and find them very handy, and if every manager appre- ciates them as we do, you certaintly have touched upon the right thing. We secured a "Grip Individual File, Binder and Perforator," manufactured by the Cook & Cobb Co., Brooklyn, and have to trim the sheets a little, so sug- gest a little modification in the spacing, so that trim- ming will not destroy the columns "Exchange No" and "When Run." Another change .we suggest is the order of the sub- jects released, i. e.: Biograph, Selig, Lubin, Pathe, Vitagraph, Edison, Gaumont, Essanay, Eclipse, Pathe, Edison, Kalem, Biograph, Selig, Lubin, Melies, Edison, Pathe, Kalem, Vitagraph, Pathe, Gau- mont, Vitagraph, Essanay. Our reason for this sug- gestion is that the General Film Co. has been using these sheets for some time past and a large number of their customers have books containing them, and would like to have the sheets you publish in the same rotation, so that numbers can be supplied in rotation the same as the exchange uses; thus have two com- plete lists. While on this subject, we take it that your desire is to make this departure as practical as possible, therefore we suggest that beginning January 1 you not only adopt previous suggestions, but in addition you do the numbering, say beginning with 3,000, then ask the co-operation of all exchanges by adopting your numbering as official and number their reels accord- ingly. The exchange not buying the entire output can skip the unpurchased numbers and keep his custom- ers advised of the makes of films he does not buy. Then in this way the exhibitor in reporting films run or films desired can use the official number and save time, writing and confusion. We hope that such a system can be adopted. In conclusion, let us say that "THE FILM INDEX" is certainly a great help to every live exhibitor and we for one congratulate you on the many new and interesting departments. Yours truly, S. B. SAMPSON, Mgr. Princess Theatre. Our thanks to Mr. Sampson for his interest and suggestions. We have complied with one of t-hem by giving a little more space to the two outside columns. This will allow for trim to fit his files. We have not yet seen the file he mentions, but will get one and report. Regarding the matter of printing the releases in the order suggested by Mr. Sampson, and of numbering them, we regret that we cannot adopt the suggestion. In the first place the arrange- ment suggested is not followed by The General Film Co., in all its branches, but is used only by the exchange with which Mr. Sampson deals. Eventually a uniform system on numbering may be adoDted, but it is not for The Film Index to set the pace in this matter. It will be noticed that our table gives the releases in alphabetical order of makers. BAR PICTURES OX SUNDAY IN ALBIA, I A. Because of the protest made by the church- going people in Albia, la., the city council has caused the proprietors of all the photoplay the- atres to close on Sunday. Prior to the pass- ing of the new city ordinance, all the photoplay theatres kept open on Sunday and were pa- tronized by an excellent class of people. All the houses were conducted in a most refined manner, and did, in no way, cause any trouble for the city officials. After the passing of the ordinance the man- agers of the Comet and Scenic theatres an- nounced their intentions of keeping open on Sunday, claiming they had just as much right as druggists and butchers. A protest was made, however, and the matter taken before the coun- cil with the results that the photoplay men lost. It is now their intentions of taking the matter to the higher courts and make a test case of it. A motion picture theatre has been installed in the old Jerry McCauley Mission at No. 104 West Thirty- first street, New York city. The Dixie photoplay theatre, R. L. Ray, manager, was opened at West Palm Beach, Fla.. Dec. 4. East Forrester, N. Y., is soon to have a photoplay theatre. AT LIBERTY. Moving picture machine operator. Four years' experience. Address LESLIE PEEK. Box 3, Fowler- ville, Mich. Coming— "The Irish Honeymoon" 28 THE FILM INDEX want ANOTHER MOTIOGRAPH I am using two now and want one more with a double diseolver." So writes a prominent Minnesota theatre man. THE WISE EXHIBITOR WILL HAVE NO OTHER for he knows the MOTIOGRAPH projects the best pictures and is the most durable of all machines. The reasons are scientific and logical and are covered by patents to us. (Send for catalog. It will interest you) Jobbed by ENTERPRISE OPTICAL MFC. CO., 562 W. Randolph St., Chicago J. H. HALLBERG, Agt. 36 E. 23d Street, New York City "THE BAD MAN'S CHRISTMAS GIFT" A Unique Christmas Photoplay by the Essanay Western Stock Company ]GF=IE THE players of the Essanay western com- pany have given us a story rep.lete with Christmas spirit, but staged among the picturesque surroundings of Los Gatos, Cal. The story deals with the rough ranch life of the early west and despite the absence of snow and other accessories of the accepted idea of Christmas, we see the ranchmen and their families celebrating the greatest Christian holi- day with all the joyous festivities of the sea- son. The story opens in front of the ranch house of the Lazy X ranch, where we see Andy Car- son, a young cattleman, absorbed in conversa- tered by his rejection, becomes morose and sulky and soon gives voice to threats against the life of his successful rival. In vain his mother tries to dissuade him from the course to which he is drifting, and his companions, disgusted by his sulky ways, drop him from their society; all of this in- creasing his rancor against Brinsley. The wedding day arrives, and although the wedding is attended by all the neighboring ranchmen and their families, Carson is not present among the guests. The ceremony is concluded and the guests troop merrily into the dining room of the ranch house, where the SCENE FROM ESSANAY CHRISTMAS STORY "THE BAD MAN'S CHRISTMAS GIFT. tion with Gladys, daughter of Colonel Pierce, the ranch owner. Carson is evidently in love with the pretty western girl and she seems to admire the handsome young cowboy. Col. Pierce drives up, bringing with him Jack Brinsley, a young friend from the east, who has come to spend Christmas at the ranch. From the moment of Brinsley's arrival, it is evident that Gladys is deeply impressed by the easterner, and before many days pass he has proposed and been accepted. Carson, embit- table is spread for them. Brinsley rises to re- spond to a toast and as he does so Carson appears at the doorway and, unseen by the guests, fires at Brinsley and runs. The hasty shot misses, and although Carson is out of sight before the astonished guests can pursue him, all are confident that he is guilty of the at- tempt. Doubly an outcast now, he becomes a thor- oughly bad man, and not discouraged by the failure of his attempt, he awaits the oppor- tunity of carrying out his desperate resolve to kill the man who, he feels, has robbed him of his sweetheart. But no chance presents itself until Christmas eve. The ranchmen have decided to hold the celebration at Lazy X ranch, and one of their members is chosen to impersonate Santa Claus. Carson, knowing that the sheriff intends to watch him, determines to get that official out of the way, and going to his office gets the drop upon the astonished officer and forces him to shackle himself. After disarming the sheriff and handcuffing him, Carson places a cigar in the man's mouth and lighting it for him goes out, assuring the sheriff that although he failed to get his man at the wedding, he will make sure of his work tonight. His next move is to waylay the ranchman, who is to be Santa Claus, and force him to give up his costume and the bag of presents which he carries. Thrusting his victim into an old shed, Carson dons the costume and goes to the celebration, where he is mistaken by all for the man who was chosen to play St. Nick. He distributes the presents and upon Brins- ley's package he has written "Tonight is the night!" Brinsley is startled by the threat, but sees no chance for Carson to get into the ranch house that night, never suspecting that his enemy is even then by his side. The sheriff, freed by a chance visitor at the office, comes to warn Brinsley and is shown the note from the package, but even he does not penetrate the disguise of the Santa Claus costume. However, the Christmas spirit has taken a strong hold upon Carson, and despite the many opportunities offered in the course of the even- ing he cannot bring himself to fulfil the pur- pose for which he has come. Suddenly his mother arrives and her presence there com- pletely breaks his resolution. Manfully he steps up to the surprised Brinsley and the sheriff, strips off his disguise and confesses his inten- tion which he can no longer bring himself to carry out. The sheriff, stung by his defeat by Carson earlier in the evening, is about to arrest him, but Brinsley, his wife and his father-in-law protest against such a proceeding as a marring feature of the Christmas holiday and insist that they show the spirit of "Peace on Earth, Good Will to Men" by generosity to Carson. The sher- iff assents, shakes hands with the "bad man," who, deeply moved, joins the hands of Brinsley anl Gladys with the words "My Christmas gift to you!" and goes out, a bad man no longer. Besides being a novel Christmas picture, this release is notable for the fine work of the players, and the splendid photography which has been the feature of so many of the Essanay company's western subjects. ANOTHER "HALLBERG" MACHINE FOR LUSHER. Mr. W. R. Lusher, who recently built the new Dor- chester Theatre at Coney Island Ave. and Dorchester Road, is making every endeavor to furnish his patrons with the most up-to-date service. In addition to the two Motiograph motion picture machines, which he purchased from Mr. J. H. Hallberg, "The Economizer Man," he has just placed an order for a double dis- solving stereopticon outfit with a double lamp "Hall- berg" Economizer. THE FILM INDEX. THE MORE YOU KNOW of moving picture machines THE EASIER IT IS TO SELL YOU 19 11 MODEL Pat. Dec. 1, 1903 AT A CLANCE YOU WILL SEE ITS SUPERIORITY Gearing made of As a Projecting Machine the Edengraph merits Mechanism en- Phosphor Bronze the closest scrutiny. Managers and Operators closed in Dust and Steel. who are familiar with it are its best friends. Proof CaBings. Write for a catalogue to THE EDENGRAPH MANUFACTURING CO. GEORGE KLEINE, Pres. Selling Agents : 135 W. 3rd STREET, NEW YORK, N. Y. ige. 727 So. Main St Record of Weekly Licensed Film Releases (Week of Jan. 2 to Jan. 7, 1911) Maker Class Length Feet Date Released Biograph Drama 992 1-2-1 1 Lubin Com.-Dra. 950 1-2-11 Pathe Comedy 790 1 -2- 1 1 Pathe Scenic 197 1-2- I I Selig Drama 1000 I -2- I I Edison Drama 1000 1-3-11 Essanay Drama 1000 1-3-11 Gaumont Farce 969 1-3-11 Vitagraph Comedy 973 1-3-11 Edison Comedy 990 1-4-11 Kalem Drama 975 1-4-11 Pathe Drama 994 1-4-11 Urban Drama 978 1-4-11 Biograph Com.-Dra. 988 i-5-ii Lubin Drama 390 i-5-ii Lubin Comedy 600 i-5-ii Selig Drama 1000 i-5:n ^ Melies Drama Comedy \" 98o i-5-ii Edison Descript. 400 1-6-11 Edison Comedy 600 1-6-11 Kalem Drama 955 1-6- 1 1 Pathe Drama 997 1-6-11 Yitagraph Comedy 979 1-6-11 Essanay Comedy 1000 1-7- 1 1 Gaumont Comedy 945 1-7-11 Pathe Comedy 78i 1-7-11 Pathe Topical 220 1-7-11 Vitagraph Drama 984 1 -7- 1 1 Exchange No. Title The Two Paths Art and the Legacy The Misplaced Petticoat Dutch Kids The Argonauts In the Days of Chivalry The Redeemed Criminal The Artist's Pay Day All is Fair in Love and War Sleep, Gentle Sleep The Bolted Door The Cowboy's Innocence A Lock of Hair When a Man Loves His Last Parade A Mix in Masks Ramona's Father The Crimson Scars Fire! Fire! Fire! The Fire Department of New York City . . A Western Night The Runaway Engine An Intrigue The Misses Finch and Their Nephew Billy The Count and the Cowboys The Woman Wins Love Under Difficulties The Funeral of Count Tolstoi The Old Water Jar When Run Replying to the many inquiries, The Film Index wishes to make the fact plain that the above table is a permanent feature and will appear every week, giving all the licensed releases for the week, with the current song slide releases on the back of the sheet. This page may be cut out and placed in a permanent file. THE F LM INDEX The Slides the au- dience look and wait for are made by De Witt C. Wheeler, inc. 120 West 31st St. New York City The Slides that Bring Applause Scott & Van Altena's 59 Pearl Street, New York City SONG SLIDE RELEASES Synopsis of Productions by the Leading Song Slide Manufacturers RELEASED THIS WEEK. De Witt C. Wheeler. "I GET SO LONESOME FOR YOU." — Words by How- ard King; music by Raymond White; published by Koninsky Music Co., Troy, N. Y. These are the writers of the popular piece "How'd You Like +o Have Me for a Sweetheart?" and any new selection by them is welcome. If you want a set of slides that is beautiful in every respect, this is it. The model is Miss Helen Martin, who won the New York World's prize for being the giPl whose features re- sembled those of the Gibson girl more than any other person in New York. Her work in this set is ample proof that she is graceful as well as beau- tiful, and every exhibitor who desires art slides should not fail to get this set. "BE MY SWEETHEART."— Published bv Jerome H. Remick & Co., New York. A love ballad with a fascinating and popular theme. Slides by Wheeler are the "New Idea" kind. Each slide present an idea in an original and artistic manner1. Each slide is not only an illustration, but a story. Such is the modern "progressive" way, and of such a nature is the firm of Wheeler. Scott & Van Altena. "IF I WERE THE KING OF THE WORLD."— Words by Herbert De Pierce; music by Bert F. Grant; pub- lished by Ziegfeld Music Pub. Co., New York. A very high class ballad of the slow, sentimental kind. The illustrations for this song are in har- mony with the music— full of beautifully colored, artistic and novel ideas. This set is a fine example of the excellent work of Scott & Van Altena. •I DON'T BELIEVE YOU. "— Words by Wm. Dillon; music by Harry Vcn Tilzer; published by Harry Von Tilzer Pub. Co., New York. Now when these two authors put their heads together the public may well sit up and expect something worth while. They will not be disappointed in "I Don't Believe You"— the music is fascinating and the words are a scream. And because of the many farcical situations in the lyrics, Scott & Van Altena have been enabled to pro- duce slides that are highly humorous, and, as usual, novelty ones. 'LOV1E JOE." — Words bv Will Marion Cook; music by Joe Jordon; published by Harry Vcn Tilzer Music Pub. Co., New York. A song that has already made good, and promises to be a winner. The slides are first class, with some very original novelties. Models are graceful and coloring excellent. Alfred L. Simpson. 'COLUMBIA, THE GEM OF THE OCEAN."— Owing to the great demand for the old-time songs, Simp- son has decided to get out a series of pictures il- lustrating these well-known and ever popular fav- orites. He has made wonderful negatives of battle- ships and stirring and thrilling patriotic scenes, also IT'S w music by Jas McGavisk, a son's hit, "Play That Ba lished by J. Fred Helf Pu song Mr. Helf is going for dant pleasure winner. .yhood days and after together an applaus "Mid the Hills of Old Kentucky Far Away." In her latest number she has given us one of those really typical southern songs, with a most fascinat- ing melody, and it will probably prove to be a big hit. The slides tell the story in a simple manner and the set will rank as one of the best ever turned out by the Levi Co. 'IN GOOD TIME TOWN." — Words and music by Dave Reed, the writer of so many big hits. This song is published by Shapiro. Both lyrics and melody are good and so are the slides. Good looking models, clever posing and beautiful pictures. Excelsior Slide Co. •FATHER, DEAR FATHER. COME HOME WITH ME NOW."— Words by Joe McCarthy; music by Harry De Costa; published by Head Music Pub. Co., New York. A clever song with amusing lyrics that in themselves draw applause. The set is a highly humorous one, illustrating the many funny situations in which father and son are placed. The feature slide is a silhouette effect that is a hummer. 'EVERY CORNER OF THE WORLD HOLDS YOU."— Words by Arthur J. Lamb; music by Felix Brandon; published by the music house of Laemmle. The lyrics tell of a sailor who, no matter in what part he is. has the vision of his girl before him. This set, too, contains some novelties. RECENT RELEASES. De Witt C. Wheeler. 'I'M A MARRIED MAN."— Words by Ballard Macdon- ald; music by Harry Carroll; published by Jos. W. Stern & Co. 'I'LL BE RIGHT HERE IN THE SAME OLD PLACE." — Words and music by Billy Kent; published by Sha- piro. DOUGHERTY."— Words by William Jerome; music by Jean Schwartz; published by Jerome H. Remick, New York. 'THE VALE OF DREAMS."— Lyrics by Chas. E. Baer; music by Johann C. Schmid; published by Jerome H. Remick. New York. 'I'D GIVE THE WORLD TO CALL YOU MINE." — Words and music by Sadie Koninskv; published by The Koninsky Music Co., Troy, N. Y. •THEY'VE WON EVERY NATION'S BATTLES BUT THEIR OWN."— A novelty march" song by Ren Shields, John Nestor and Geo. Christie; published by M. .Witmark & Son. GET A GIRL TO LOVE YOU." — Words by Alfred Bryan; music by Albert Gumble; published by Jer- ome H. Remick & Co. 'IN MY DREAMS OF YOU."— Words and music by Clare Kummer; published by Jerome H. Remick & Co. Scott & Van Altena. •DREAMS. JUST DREAMS."— By Irving Berlin ft Ted Snyder; published by Ted Snyder Co., New York. WHEN YOU'RE IN WRONG WITH THE RIGHT GIRL."— Lyric by Gus Kahn; music by Grace Le Boy; published by the Kedzie Music Co., Chicago. 'STAR OF MY DREAMS, SHINE ON!"— Lyric by Arthur J. Lamb; music by John T. Hall; published by Charles K. Harris, New York. GLIDING O'ER THE SNOW."— Words by W. L. Wer- den; melody by K. V. Bowers and published bv the Harold Rossi tor Music Co.. of Chicago. I NEVER KNEW TILL NOW."— By Chas. K. Harris 8H M I WAY FRISCO." — Words by Jack Morse; published by Theo- M( Levi Company, Inc. 'DIXIE FOR ME."— Words and music by Catherine Hamilton Slater, author cf "Just For A Girl" and •ROSEBUD." — Lyric by Marvin Lee; music bv Donald Bestor; published by Will Rossiter. Chicago. 111. 'ALL ABOARD FOR BLANKET BAY."— Words by Andrew B. Sterling: music by Harry Von Tilzer; published by Harry Von Tilzer, New York. •DON'T YOU MIND IT. HONEY."— Words and music by Car Romo; published by the Temple Music Co., New York. Alfred L. Simpson. "DON'T WAKE ME UP, I AM DREAMING."— By Her- bert Ingraham; published by Shapiro. "PLAY THAT BARBER SHOP CHORD."— Words by William Tracey; music by Lewis F. Muir; published by J Fred Helf Publishing Co. "IN THE GLOAMING."— By Meta Orred and Annie F. Harrison. "THE STAR SPANGLED BANNER."— The National anthem. "THEN YOU'LL REMEMBER ME."— By H. Engel- mann. "ALL THAT I ASK OF YOU IS LOVE."— Bv Edgar Selden and Herbert H. Ingraham; published by Shapiro, New York City. "KELLY'S GONE TO KINGDOM COME." — Words by Sax Rohmer; music by T. W. Thurban; published by Will Rossiter. "THAT'S THE FELLOW I WANT TO GET."— Words by Alfred Bryan; music by Geo. W. Mever; pub- lished by the House of Haviland. Levi Company, Inc. "THAT'S GOING SOME FOR YOU."— Words by Al Bryan; music by Fred Fisher; published by Shapiro. "I'M LOOKING FOR A DEAR OLD LADY."— Words by Edgar Selden; music by Tom Kelly. "CRISTO COLOMBO."— Words by Thomas J. Gray and music by Fred Fisher. "TURN THOSE EYES AWAY."— Words and music by Billy Brent; published by Shapiro. "COME, JOSEPHINE, IN MY FLYING MACHINE."— Published by Shapiro. "LET ME SPEAK THE LONGING IN MY HEART."— Lyrics by E. S. S. Huntington; music by Arthur H. Gutman; published by Seymour Furth Music Pub- lishing Co., New York. "WAITING FOR A LITTLE GIRLIE."— Words by Stanley Murphy; music by Benjamin Hapgood Burt; published by Shapiro. "DON'T WAKE ME UP, I'M DREAMING."— Words by Beth Slater Whitson; music by Herbert Ingraham; Shapiro is the publisher. Excelsior Slide Co. "LUCKY BOY."— Words and music by Kendis and Paley; published by Kendis & Paley, New York. "HAS ANYBODY GOT A KISS TO SPARE."— Words by Gus Kahn; music by Grace Le Boy; published by Will Rossiter, Chicago. "SWEET ANNA LIZE."— Words by Bartley Costello; music by Henry I. Marshall; published by Ted Snyder. "DER DEUTSCHE RAG."— Words by Sam M. Lewis; music by B. O. Bennet; published by the music house of Laemmle. "ALL OVER TOWN."— Words by Al. Thahern; music by Percy Wenrich; published by F. A. Mills, New York. "SPRINGTIME BRINGS ROSES AND YOU."— Words and music by Kendis & Paley, and published by them. "THAT LOVIN' LAZY RAG."— By Billy Gaston and Edgar Selden; published by Shapiro. FOR SALE. Large Regina Corona Music Box; cost $425; holds 12 sheets of music and changes automatically. Equal to a piano and a dandy thing for moving pictures. I have several of those instruments and use one in my picture business instead of piano. Will send cut and price on application. Will sell one or more at a bar- gain. Music disks are 27 inches. Oak cases and fine looking. Can be operated as slot machine also. EDWARD C. SAKS, Mansfield, Pa. FOR SALE. Ground floor, opera house, in best five thousand town in Wisconsin; moving pictures every night; no op- position. B. HAHN, Sturgeon Bay, Wis. Coming— "The Irish Honeymoon' THE FILM INDEX HALLBERG THE ECONOMIZER SAVES two-thirds on electric bill and makes BIG CUT on the first cost of your com- plete equipment. I carry stock all makes M. P. Machines. Opera Chairs and Sup- plies. Free Catalogue I J.H. Hallberg,^6^ THE FILM INDEX, $2.00 ST. L00IS CALCIUM LIGHT CO, Established 1872 Oxygen and Hydrogen Gas famished In tanks for Stereopticon and Moving Pioture Machines. All orders to any part of the United States filled promptly. 16 Elm St., ST. LOUIS, Mo., U. S. A. Competition cannot touch the prices of the Excelsior Slides We are now selling a new lot of song slides, originally worth $5.00 per set and up, for only $1.75 per set. It would pay you to drop us a postal to get our lists, and inci- dentally get on our mailing list, and we will keep you in touch with the lateet hits in the song slide world. Our latest releases Father, Dear Father, Come Home With Me Now Every Corner of the World Holds You EXCELSIOR SLIDE CO. 138 E. 14 St., NEW YORK CITY WE HAVE POSTERS FOR THE Grand Central Explosion EXHIBITORS ADVERTISING & SPECIALTY CO. 105 E. 14th Street. New York City Only popular songs of merit are illustrated by THE LEVI CO., 24 Union Square, N. Y. NC. TURNER &DAHNKEN (inc.) 3 8 Eddy St., San Franciaco, Col. Largest Exchange on the Pacific Coast Pacific Coast Agents for the Pathe Machine FOR SALE al theatres for sale. Model B. and Edison gas outfits. $25 ; song sets. $1 ; odd slides, 5c. For Rent, 12000 ft. late film, one shipment, $12. Will buy, film. Passion Play machines, show goods. II. DAVIS, Watertown, Wis. Get SIMPSON'S SLIDES GEE, BUT IT S GREAT TO MEET A FRIEND FROM YOUR HOMETOWN. A Great Song Cleverly Illustrated A. L. SIMPSON. Inc., 113 W. 132d St., N. Y. PATHE'S WEEKLY Australasian Bulletin of Cinematography PUBLISHED WEEKLY The only Journal In Australasia dealing solely with the Moving Picture Industry. Posted to any address In the world for 13/ - a year. All Communications to PATHE'S WEEKLY, 50 Quten Slreeti Melbourne, Vic The Bioscope The Leading Journal of the Moving Picture Business in Europe. Has the largest cir- culation and is the best Adver- tising Medium, bar none. SUBSCRIPTION. $2.00 A YEAR. SAMPLE COPY MAILED FREE 31, 33, and 39 Litchfield Street, LONDON, W. C, ENGLAND MACHINES OVERHAULED . IMPROVED STAR CAMS, Etc., Etc. E. W. LAVEZZI 3042 N. Ashland Avenue - - Chicago AMONG THE EXHIBITORS. James Helion is running motion pictures and illus- trated songs in Lafayette Hall, 137th street and Alexander avenue, New York city. A photoplay theatre is being installed in the Ar- cade block, Cambridge Springs, Pa. West Pratt street, Baltimore, Md., is to have an- other photoplay theatre. The cost of the house will be $5,000. A motion picture theatre has been installed in the K. of P. Hall, Sharpsburg, Md. Amusement Hall, Livonia. N. Y., has been trans- formed into a photoplay theatre. Pictures will be shown every evening, besides Wednesday and Saturday matiness. Building Inspector Shaffer of Harrisburg, Pa., has granted a license to the manager of the Lyric theatn to add alterations to that house. Former Mayor William G. Bradley of Rochester, N. H.. has purchased a half interest in a motion pic- ture theatre. W. F Tilford, who has been connected with the Pathe people, has been secured as manager of the Ark photoplay theatre on North Eleventh street, Murphy- boro, 111. Sauer & Hahn of Philadelphia. Pa., are building a photoplay theatre at 241(> North Twenty-seventh street. The cost will be $20,000. Joseph A. L. Chaplain, of Revere, Mass., has been granted a license to operate a photoplay theatre at the Broadway theatre. Considerable work remains to be done on the pho- toplay theatre, Falmouth. Mass., before that house can open for business. Albert Taylor is ready to start building his photo- play house on West Broad street, Columbus, O. The house will be 21 x 120 feet, and when completed will be one of the most modern in that city. Michael Lyons, of Springfield, Mass., has filed plans erect a photoplay theatre on Oak street. The proposed theatre will be 26x65 ft. and will seat 400 persons. The building inspector at Weir, Mass., has given permission to a photoplay manager, to run a show in Forester's hall, on the main street. R. C. Guriads is preparing plans for his new pho- toplay theatre, at Los Angeles, Cal. The house is to be located at E. Fifth street and Central avenue. Pitt Moshier is making arrangements to erect a pho- toplay theatre in the new Whitsell building, London Mills, 111. Mrs. Sarah Coffman, of Dresden, O.. will open a photoplay theatre in Frazeyburg. sometime before January. Plans are underway for the erection of a photoplay theatre on Irving street. Rahway, N. J. H. F. Rudule, of Lahoma, Okla., has opened a pho- toplay theatre in Bonaza. L. Dusseau and Roy Phelps have purchased the Electric photoplay theatre. Sheridan, Wyoming. C. D. Chandler has purchased the Isis photoplay theatre in Longmount, Colo. R. V. Barclay has opened a photoplay theatre in Independence, Kansas. Theodore L. Monsco has just purchased the interest of his partner, George L. Sunderlin. in the Palace Theatre, Pen Yan, N. Y., and will continue to conduct the same. Robt. Jameson has taken over the Crystal Theatre. Victoria, B. C. Mr. Jameson formerly managed the Grand Theatre in Victoria. The Palace is the name of a new photoplay theatre opened in Harrisburg. Va., by Messrs. Wm. Snead and Percy Mardis. The Cosmospolitan Theatre Company will erect in Baltimore a new photoplav theatre to cost about $40,- 000. T. O. Thomas has opened a photoplay theatre at 402 Main street, Mt. Carmel. 111. Licensed films are used. Cecil Mears' new Gem Theatre at Blytheville. Ark., has been opened. Vaudeville and pictures is the policy. B. H. Vandenburgh is planning to build a photoplay theatre on the corner of Fortv-Seventh place and Moneta avenue, Los Angeles, Cal. The Ainu Theatre. Cadillac, Mich., has come into the possession of G. Lote Silver. The Mo-Ju-Vate photoplay theatre. South Milwau- kee, Wis., is a large and spacious building, with seat- ing capacity for over 300 people, and first-class in every respect, and so far has enjoyed a very nlie run of business. Mr. Poto formerly operated the Coliseum Theatre, at Cudahy, and sold the same to Jake J. Disch. the former manager of the Lyric, at South Milwaukee. Proprietor Otto Kolbe. of the Lenape Hall, Doyles- town, Pa., reopened his photoplay shows Dec. 24. The Simon building on east Main street. Pueblo, Col., is being transformed into an up-to-date photo- play theatre. All the licensed photoplay theatres in Duluth. Minn., report excellent business during the Christmas week. As extra attractions, the latest songs were sung by popular singers. The new Hippodrome nickelet. on South Main street, Pittstown. Pa., opened Dec. 15. Select Councilman Richard Walsh is the manager. The Opera Amusement Company, Avoca. Pa., have opened their photoplay show in the town hall. The new company of John Wodie. Leland Green and Amory Davidson, of Craftsburg, Vt.. have purchased the photoplay theatre from R. C. Wood. Middleboro. Mass., will have a new photoplay theatre in the near future. C. L. Langley, an Oakland capitalist, of Oakland, Cal., is arranging to open a motion picture theatre in the Chase building. Shattuck avenue. Berkelev. The interior of the building will be reconstructed arid it is expected that the playhouse will be opened within the next two weeks. H. H. Meyers is the ar- chitect. This will be the fifth moving picture theatre in the city. William Lynch, of Catasauqua Pa., who is part owner of the Dreamland Photoplay theatre, at Coplay Pa., is having a new house built at West Hazelton, Pa! Coming— "The Irish Honeymoon" THE FILM INDEX Unless you use BIO Carbons, you don't use good carbons -that is, good when judged by the BIO standard Goodness is a matter of comparison. Anything is good when compared with something worse. There were plenty of carbons, that could have been called good before the BIO was in- vented, but the BIO has set a new and higher standard that is not even approached by any other carbon. The BIO has had the most rapid and phenomenal success of any carbon ever put on the market because operators and exhibitors who know recognize its superiority. Some day you will use BIO Carbons. Why not begin now? Send us $1.50 for a sample 50, 5/s inch x 6 inch cored, prepaid. Charles L. 39 Cortlandt Street, New York, N. Y. 309 Carson Street, Pittsburg, Pa. 195 Fremont Street, San Francisco, Cal. Kiewert Co. 114 Huron Street, Milwaukee, Wis. 58 Plymouth Place, Chicago, 111. 1015 Pine Street, St. Louis, Mo. Last 4 Weeks' Productions of Licensed Film Makers— Jan. 7 BIOGRAPH CO. Date. Subject. Class. Feet. length. Dec. 19 The Lesson .Drama 994 Dec. 22 White Roses Comedy 588 Dec. 22 The Cecreation of an Heiress, Comedy-Drama 410 Dec. 26 Winning back His Love Drama 994 Dec. 29 His wife's Sweethearts Comedy 682 Dec. 29 After the Ball Comedy 311 Jan. 2 The Two Paths Drama 992 Jan. 5 When a Man Loves Comedy Drama 998 Date. Subject. Dec. Dec. Dec. Dec. Jan. Jan. Jan. Jan. EDISON CO. 20 The Police of New York City Education 21 The Joke They Played on Bumptious, Comedy 23 A Christmas Carol Drama 27 Eldora, the Fruit Girl Drama 28 A Family of Vegetarians Comedy 30 The Romance of Hefty Burke Drama 8 In the Davs of Chivalry Drama 4 Sleep, Gentle Sleep Comedy 6 The Fire Department of New York City, Descriptive 6 A Western Night Comedy 1,000 1, 990 1,000 1,000 990 400 ESSANAY CO. Dec. 20 Hank and Lank Comedy 265 Dec. 20 The Greater Call Drama 730 Dec. 21 The Bad Man's Christmas Gift Drama 975 Dec. 27 Girls Will Be Boys Comedy 1,000 Dec. 31 A Gambler of the West Drama 1,000 Jan. 3 The Redeemed Criminal Drama 1,000 Jan. 7 The Count and the Cowboys, Western Comedy 1,000 GAUMONT. Dec. 20 The Kingdom of Flowers Botanical Dec. 24 The Old Home Drama Dec. 24 Cain and Abel Biblical Drama Dec. 27 The Adventuress Drama Dec. 31 The Doctor's Secretary Drama Class. Feet, length. Jan. 3 Ahe Artist's Pay Day Drama 969 Jan. 7 The Woman Wins Comedy 945 KALEM CO. Dec. 16 Her Indian Mother Indian Drama Dec. 21 The Little Spreewald Maiden Comedy Dec.23 When Lovers' Part Drama Dec. 28 The Girl Spy Before Vicksburg. War Drama Dec. 30 The Stranger Drama Jan. 4 The Bolted Door Drama Jan. 6 The Runaway Engine Drama LUBIN MFG. CO. Dec. 15 The Musical Ranch Comedy Dec. 19 The Dead Letter Drama Dec. 22 An American Count Comedy Dec. 26 Making a Man of Him Drama Dec. 29 Blue Horse Mine Drama Jan. 2 Art and the Legacy Comedy Drama Jan. 5 His Last Parade Drama Jan. 5 A Mix in Masks Comedy Jan. 5 The Crimson Scars Drama) Jan. 5 Fire! Fire! Fire! Comedy J MELIES. Dec. 8 What Great Bear Learned Drama Dec. 15 Old Norris' Gal Drama Dec. 22 A Western Welcome Comedy Dec. 29 In the Tall Grass Country Drama PATHE FRERES. Dec. 19 Hunting Sea Lions In Tasmania Scenic Dec. 21 The Runaway Motor Car. .American Comedy Dpc 21 Max Goes Ski-ing Comedy Dec. 23 The Lucky Charm Colored Fairy Tale Dec. 2.'! Betty's Fireworks Comedy Dec. 24 Sunshine in Poverty Row, American Drama Dec. 26 The Atonement Drama Dec. 26 The Bowling Fiend Comedy 09.-, 985 963 935 988 998 97.-) ;>!>o 990 950 3!M) 394 1,000 658 344 Dec. 28 Dec. 28 Dec. 28 Dec. 30 Dec. 30 Jan. Jan. Jan. Jan. Subject. Class. Feet. length. Running Away From a Fortune, American Comedy 540 The American Fleet in Frtnch Waters, Topical 125 In Full Cry Scenic 331 Catalan, the Minstrel Drama 768 Carnival of Japanese Firemen in Tokio, Scenic 230 The Yaqui Girl Drama 1,000 The Misplaced Petticoat Comedy 790 Dutch Kids Scenic 497 The Cowboy's Innocence Drama 994 An Intrigue Drama 997 Love Under Difficulties Comedy 781 The Funeral of Count Tolstoi Topical 220 SELIG POLYSCOPE CO. Dec. 12 A Tale of the Sea Drama 1,000 Dec. 15 The County Fair Comedy 1.000 Dec. 19 John Dough and the Cherub Comedy 1,000 Dec. 22 Overland to Fremont Drama 1,000 Dec. 26 The Rustlers Drama 990 Dec. 29 Justinian and Theodora Drama 1.000 Jan. 2 The Argonauts Drama 1,000 Jan. 5 Ramona's Father Drama 1,000 URBAN-ECLIPSE. Dec. 21 The Tyrant of Florence Drama Dec. 21 A Chamois Hunt Sporting Dec. 28 A Mexican Romance Drama Dec. 28 Coaching in Devonshire, England. Travelogue Jan. 4 A Lock of Hair Drama VITAGRAPH CO. Dec. 17 A Dixie Mother Drama Dec. 20 The Light in the Window Drama Dec. 23 Clancy Drama Dec. 24 Jean and the Waif Drama Dec. 27 In Neighboring Kingdoms Drama Dec. 30 Crazy Apples Comedy Dec. 31 Where the Wind Blows Drama Jan. 3 All Is Fair In Love and War Comedy Jan. 6 The Misses Finch and Their Nephew Billy, Comedy Jan. 7 The Old Water Jar Drama Released Monday, January 9. Length about 935 feet. Tag Day at Silver Gulch Here is a story to arouse the soul-sympathy of any audience and hold the interest to the triumphant end. The opposition of the hardened miners to a new church at Silver Gulch changed quickly to enthusiasm which was none the less warm because it was started by the .44 calibre "persuaders" of one of their own number who had eniisted in the good cause through love for the minister'6 pretty daughter. There is Lubin high quality in every detail of this notable picture. LUBIN FILMS— CLEAR AS A BELL Length about 600 feet Double Reel Length about 390 feet A Mix in Masks At a masquerade party it is hard for a young man to tell his sweetheart from her mother— when they wear identical costumes. Very funny. His Last Parade The beautiful and touching drama of a veteran's patriotism. See the genuine Grand Army parade. You will like this one. Released Thursday, January 5 LUBIN MANUFACTURING COMPANY, BRANCH OFFICES CHICAGO, 22 Fifth Ave. MODEL NEW STUDIOS LONDON, 46 Cerrard St., W. 20th and Indiana Ave., PHILADELPHIA, PA. Berlin, 36 Friedrich str. <9i "The Redeemed Criminal" (Length, approx. IOOO feet.) Carefully staged — superbly acted — artistically photographed — unusual light effects. A photoplay feature full of that human quality that makes im- mense and immediate success. Released Saturday, January 7th The "The Comedy Treat of the Year Count a Cowboys" (Length, approx. 1000 feet. A genuine popular and laughing hit that will have people rolling with laughter every minute it is on the screen. Our Western company have never offered a funnier Western subject. INSIST THAT YOUR EXCHANGE BOOK YOU THESE FEATURES FOR AN EARLY DATE ESSAIMAY FILM MFC. CO, POSTERS at all Exchanges LONDON, 5 Wardour St. W. 521 First National Bank Bldg., CHICAGO, ILL. Get on our Mailing List BERLIN, 35 Friedrich Str. $2.00 PER YEAR 36 PAGES SINGLE COPIES TEN CENTS PATHfc FRERES FILMS THIS WEEK THE TWIN CINDERELLAS One of those pleasing American comedies, with a good plot, that always gives satisfaction to your patrons. THE BATTLE AT REDWOOD A great semihistorical story. Indians and soldiers are shown here in a most realistic mannrr. FINAL NOTICE This is the last week that yoitr exchange can order a copy of that great masterpiece IL TROVATORE To Be Released Friday, January 27th This being a colored Film d'Art, no orders received by us after January 14th can be executed INSIST ON A DEFINITE BOOKING FROM YOUR EXCHANGE This picture will be a tremendous money getter. Don't delay and get left. Order the music (26 pp.) from your Exchange, 50c. LEADING AMERICAN EXPONENT OF THE PHOTOPLAY Published Weekly by the Films Publishing Co., at No. 1 Madison Avenue, New York City 1911— A YEAR FULL OF PROMISE McQuade Refutes the " Kickers " and Optimistic Over the Prospects for the Picture THE outlook for 191 1 is full of promise for everyone connected with the licensed him business — the exhibitor, the film renter and the manufacturer. As yet in its infancy, but of sturdy and healthy growth, the li- censed picture industry of the future can be measured approximately by past achieve- ments. Viewing the great, onward strides made in the last three years in the manufactured raw product, in the nature and character of the film subjects turned out, in the certainty of the number of new films that can be depended upon weekly, in the relations between renters, exhibitors, and manufacturers, in the sphere of influence of the pictures themselves and of the popular favor which they have won under the most discouraging handicaps, there is most assuredly sufficient cause for con- gratulations and good cheer. Nothing less than a cataclysm, affecting all the avenues of human industry and enterprise by its mal- evolent influence or results, will be powerful enough to turn this child of Science and Art from the purpose for which it was called into being. The moving picture has come to ennoble entertainment and to en- large the horizon of the minds of men. The year 1910, as compared with 1909, has shown better results for the exhibitor. This can be proven by a comparison of the re- ceipts for the years mentioned, week by week and month by month. And, in the ultimate, if there be any disputing of this statement, the total gross receipts for 1910 will show a decided increase over the corresponding total for 1909. I am drawing a bow at a venture when I invite tins comparison. For several weeks preceding last Christmas, I have heard ex- hibitors complaining that business was bad ; so bad, indeed, that they had never known anything like it. And they carried their woes, severally and collectively, to their ex- changes. They asked for reasons, with faces lengthened to abnormal size. One of the managers of the General Film Co., F. C. Aiken, requested one of these dole- ful ones to go home and examine the cor- responding receipts for 1909, explaining at the same time that all places of entertain- ment suffered around the Christmas holi- days, assigning as one reason that the women were keeping close at home, making little articles that would be prized infinitely more than the purchased present. A few days afterwards the exhibitor re- turned smiling and more satisfied with him- self and all the world. He had discovered that every one of the days, which he had been citing as black letter days in 1910, showed an increase over the corresponding days in 1909 — all except one. And, strange to relate, that day — the blackest of all — showed receipts, equal in amount, to a cent, to those of the corresponding day in 1909. Moreover, comparing the receipts of other weeks and months, the exhibitor found that 1910 had dealt far more generously with him than 1909. And, doubtless, if the man- agers in Ohio and elsewhere, who have been writing to The Film Index seeking cause for the dwindling of their receipts around the period' cited, would take the trouble to total the receipts for 1909 and 1910, they would laugh with the humorous sides of their mouths. Such people are always loud in talking about their "poor" days, but we never hear a whimper from them about their "fat" days. They keep their joys to them- selves, and load their neighbors with their supposed sorrows. The balance at the end of the year is what counts. If that be on the right side, never worry about the few weeks before Christ- mas. And I'm willing to gamble that no wide-awake, intelligent, licensed exhibitor, who has been a live one in advertising and presenting his films properly, and as a show- man should, can show a smaller balance on the right side of the ledger for 1910 than for 1909. All of which means that I wish to direct Grows Business the attention of licensed exhibitors to the logical conclusion, other things being equal, that 191 1 will surpass 1910 in actual receipts more than 1910 did 1909. And why? In the first place increased receipts for 1910 means an increased patronage for that year, as compared with 1909. And just as a little leaven leaveneth the whole lump, so every succeeding year will show an increase of moving picture adherents over the preceding. This will appeal still more strikingly, when it is remembered that licensed manufacturers are ramifying every domain in which the moving pictures can be made serviceable. And not only that, but they are spending large sums individually and collectively to bring the moving picture closer to the exclusive classes, who at present look askance at the picture theatre. That is at the picture theatre of the present type, for we must acknowledge that, with a few notable exceptions, we house pictures dreadfully. And, in passing, I am optimistic enough to predict that 191 1 will witness the erection of many beautiful and worthy edifices for moving pictures, fitting mates for those of the Saxe type in Milwaukee, and of others in Denver, Los Angeles, and San Francisco. Again, the licensed exhibitor will be fur- nished a better service in 191 1 than he has had in any previous year. The various branches of the General Film Co. are getting into better shape every day to render a more efficient service. True, in the starting of such a complex system there may have been, and there may be now, little hitches and annoy- ances. But this magnificent system is fast getting into easy running order, and with a little change here, and tact and forbearance there, and hearty co-operation all around — for the aim of the licensed exhibitor and of the General Film Co. should be the same — the development of the picture business along the lines of least resistance and directly towards the greatest possible success — every exhibitor will be furnished the service best (Continued on page 25.) THE FILM INDEX Film Index Published by THE FILMS PUBLISHING CO. (Incorporated) No. 1 Madison Avenue, New York City Rooms 6007-6008 Tel. Gramercy 5538 JAMES L. HOFF, Managing Editor CHICAGO OFFICE: 611 Ashland Block 'Phone, Central 1605 JAMES S. McQUADE, Representative SUBSCRIPTION* RATES— One year. $2.00; six months, $1.00: three months' trial, otic. : single • •.pies, 10c. Post- age prepaid to all countries in Postal Union. FOREIGN SUBSCRIPTIONS— $2.50 per annum. All subscriptions payable in advance. INFORMATION FOR ADVERTISERS ADVERTISING RATES Whole Page $0i0.00 Half " 30.00 One-Third" 20.00 Quarter " 15.00 Old inch, single column 1.40 Discounts on Time Contracts— 5 per cent, on three months; lOperceut. on six months; 20 percent, on one year CLASSIFIED ADVERTISING - " For Sale," " Help Wanted," etc., 3c per word; minimum, $1.0(1 one time. "Situations Wanted," not to exceed 4 lines, 25c. one time. Cash must accompany all orders forclassified advertising. > SPECIAL NOTICE Copy and instructions for advertising must reach the publication office not later than Wednesday, to insure insertion the same week. REMITTANCES should bo made by express or postal order, check, or registered letter. Cash sent otherwise is at the risk of the sender. JANUARY 14, 1911. CASUAL COMMENT WHEN you hear a picture theatre manager grumbling about business take it with a grain of salt. It is the common failing of the exhibitor to kick about business conditions as he imagines they are, not as they actually are. To be sure, there are exceptions to all rules; there are picture theatres that are not doing as well this year as they did a year ago, but when a big slump in business is actually recorded, excellent reasons aside from the fact that it is the picture business can be found. The rule is that the receipts of the great majority of picture theatres at this time are greater than they were on corresponding dates one year ago. We hear this assertion made repeatedly at the exchanges in New York where exchange managers have been pinning some of the kickers down to facts and figures. Our Chicago repre- sentative sends along a similar story from the Western metropolis and reads a lesson to the grumblers who are trying to make everybody believe that the picture business is going to the demnition bow-bows. What exhibitibrs need is a little more optimism in their cosmos. * * * SOME one has sent us a copy of the Michi- gan Christian Advocate, a publication which has its offices in Detroit, Mich., and which circulates among the members of the Methodist Episcopal Church. In the editorial column of this Christian Advocate we found this paragraph: We have never seen the inside of a five and ten cent moving picture show, which are very common, but somehow we have come to wish that somehow or other they might all go out of commission. Now isn't that just like one of those Chris- tian Advocates. Can you beat it? He never saw the inside of "a moving picture show." Yet somehow he has come to wish that they were out of commission. He doesn't at- tempt to explain why, but it's not his game, therefore, down with the picture show. Do you know this man? He is the same one who puts ashes on the sliding pond because he doesn't slide; the same one who complains to the police when the boys play baseball in the vacant lot back of his house, and steals their ball when it happens to drop over his fence because he doesn't play ball. He strews tacks and broken glass in the road in front of his house for the automobiles and bi- cycles, because he doesn't ride in those new fangled things. He drives the boys out of the old swimmin' hole because he doesn't swim. He is agin' everything that whole-souled, true- hearted, human-blooded men, women and chil- dren do to amuse themselves, fish blooded, pes- simistic grouch, with never a kind word or a smile. It's no use, fellows, trying to do anything with him; he is just built that way and can't help it. The good Lord made him to be a living example of the way not to live, and the good Lord never made anything in vain. Pray for him. * * * THIS week's grist of news brings another de- cision from the United States Circuit Court of the Southern District of New York in the camera natent litigation. This time it is against the Yankee Film Company as a corpora- tion, and William Steiner, Herbert L. Miles and Joseph Miles and Charles V. Henkel, members of that corporation, as individuals; also, the Atlas Film Company, and Steiner, Herbert and Joe Miles, as owners of that alleged company. The Court waves aside the allegations of the defendants, to be taken up at the final hearing, and grants the petitioners, The Motion Picture Patents Company, the temporary injunction ask- ed for. In another column will be found the text of the decision. Looks as if the New Year was opening up with brightest prospects for the "independents." LETTERS TO THE EDITOR TAKES ISSUE WITH MR. MARTIN. New London, Conn., Dec. 30, 1910. To the Editor of The Film Index. Dear Sir: — I am a constant reader of vour valued paper, and take great interest in the articles written by Mr. Clyde Martin, but I cannot agree with him on all the subjects that he deals with. For instance, he scores the orchestra in the theatre as not being able to handle the picture properly. Now. here is where I come in with my objections. I am pianist and leader of an orchestra in the New Orpheum Theatre, located at New London, Conn. There are four of us in the bunch, violin, cornet, piano, drums, and if any one will produce any four men that will make more music or follow pictures better than we do — well, they have got to show me. I have been in the theatrical business 23 years, and have men around me in the pit that have had nearly that amount of experience, so naturally feel that we are all there. I agree with him heartily on some things that he speaks of, but not all, especially the orchestra question. The piano and drums are all right, but that pianist does not live that can raise or lower the emotions of an audience as can a good vio- linist. Take for instance, "Pharoah, or Israel in Egypt," by Gaumont. How many pianists would have the following pieces cf music up their sleeve ready to drop it out at a moment's notice: Beethoven's "Moonlight Sonata." Gounod's "There Is a Green Hill Far Away," "The Pilgrim's Chorus," by Wagner. All of these were used by us in connection with this pic- ture. Then again, how many picture house pianists will you find that are capable of playing this class of music? You will find a great many of them start a picture with one tune and finish with it. no matter what changes take place in the action of the picture. In one of Mr. Martin's recent articles, he speaks of the best bunch of fakirs in the business as wholly unsuitable for the picture business. Now, if it were possible for him to visit our town of 19.000 people here in old Connecticut and hear the bunch in the Orpheum. I think he would reverse his decision in regards to the motion picture house orchestra. Our music does not stop from the time a picture goes on the screen until it is finished, and my men are so i he movement of tune without the loss of a single meas- ure. They are acquainted by memory with all the standard music, as we make a specialty of memorizing the music that we play. I also introduce an organ in lots of the religious pictures and at other times where the organ is called for the pictures. I am going to write the music that I used with the picture, "The Golden Supper." 1. Opening Scene — Paderewsky's Minuet. 2. After W'edding Scene — Anitra's Dance, from the Greig Suite; "Naila Ballet," by Delebies. 3. Death Scene— Tschaikowsky's String Quartette. 4. Funeral Scene— "Ases Tod," from the Greig Suite. 5. Scene where Jullian in the Tomb— Second move- ment of Chopin's Funeral March. 6. Supper Scene — About 10 bars of Anitha's dance. 7. When Camilli is brought back in room and the dance is resumed — A short plaintive, then segue to "Soldiers Chorus" from Faust, 8 bars. 8. When Jullian in Garden— Segue and finish with Tosti's "Good-Bye. " These are all Segue numbers and were so arranged by me that they fitted the picture without a break. We did not use one note of music — played everything from memory. Now I hope what I have said in the first part of my letter will not cause any hard feeling with my worthy Brother Pianist, as it was written in the spirit of self-defense as it were, and also of the men that I have working with me. Yours for good music and the orchestra, Guy H. Phillips. SMALL TOWNS WANT BETTER SERVICE. Carthage, 111., Dec. 30, 1910. To the Editor of The Film Index. Dear Sir: — Every branch of business has a paper that is published for the betterment of the business. In writing you this letter I am doing so with the thought that you can and will do something for the "small towns." If something is not done soon the picture business in the "small towns" is going to be a thing of the past. . Reading your editorial "Casual Comment" in this week's issue, I want to say that it is not the fault of the exhibitor that he doesn't get good pictures. I will say this: If some man will show me an exchange that will live up to an agreement that it makes I will give him the best hat that he can find. The one object that an exchange has is to get your service and after they get it they forget all about the agreement they have with you. I have done business with the largest exchanges in the business, both "Trust" and "Independent" and in each case have written them asking what they would furnish me with two reels each day, one thirty and one sixty days' release, and got their price on same. I never asked them to take one cent less. For the first day I would get what they agreed to send and then the pictures would commence to run from three months to six months old. If the exhibitor doesn't make money how can the exchanges live; or do they depend on the city trade for their money, and what they get out of the "small towns" is just velvet? The picture business is getting better every day and has a long life if the exchanges will only take care of it. The people that I am now doing business with. I have written about ten letters asking them to send me 12 one-sheet posters with each reel, and I don't get any. Is that business? Why can't the picture business be run on a busi- ness basis, the same as any other business? When you sell a man one thing give it to him, and not some- thing in place of it, even if he is running a house in a "small town." When the picture "trust" was formed. I was sure that it would be a good thing for the "small towns," thinking that then a manager would get what he paid for, but have found out that in place of that the ex- changes send you what they want to. I am sure that your valuable paper could take this up and help the "small towns" out, and by so doing, you would prolong the life of the picture business in the "small towns." Thanking you very kindly for your valuable time, I am very truly yours, J. W. Williams. WANTS BETTER POSTERS. Editor THE FILM INDEX. The INDEX is getting better each week, and am glad to see the several new departments which have been opened recently. Mr. Hallberg's "Talks" are the best we have ever seen on the subject. We have noticed with interest what has been said of late regarding posters for pictures and songs. As a suggestion, would say that we find it would be a great help and also mean a great many more dimes in the box office if the posters were a little more self explanatory. It would be very easy to put on the poster whether it be war drama. Indian drama, biblical drama or the class of comedy or whatever the picture might be, we are sure it would be very much appreciated by the public. Also, where there are two subjects on one reel. Perhaps this would be of more real value to the man- ager in selecting his programs where he gets two changes in a shipment, but we think from our own experience that it would be appreciated by both man- ager and public. Thanking you in advance for the missing number of INDEX, and wishing you the success you deserve, we are Yours very truly, BURNELL & POST, Mgrs. Olympic Theatre, Toppenish, Wash. THE FILM INDEX 3 FAREWELL TO MONTY. Popular Pictureman Guest of Honor at Dinner Given by William "Bilkalem" Wright. Nearly everybody in the exchange and the manufacturing end of the motion picture busi- ness, not to mention several hundred exhibitors, knows E. H. Montagu, better and familiarly known to his friends as "Monty." He was one of tho first film renters of this country and later was the Chicago representative of Pathe Freres, with which firm he continued up to the pres- ent time. Dropping the reminiscent stuff for ■ moment we desire to call especial attention to the present time and the reason for men- tioning "Monty" at this length. The meat of the cocoanut is simply this: Monty has been engaged to represent William N. Selig, presi- dent of the Selig Polyscope Company, in for- eign lands. His mission will call him away from here, and he will shortly take up his resi- dence in either London or Paris. Hence these regrets, felicitations and, upon the invitation of William Wright, and for peculiar reasons of his own, the sumptuous eats, mentioned later. According to the story Mr. Wright told us, E. H. MONTAGU. the matter came up in this way: "I was in Chicago at the time, some three years ago, and received a wire from my old friend Sam Long, asking me if I could call on the picture ex- changes in that city and show a few samples of film. I replied that I could and would. Now, mind you, I had never seen a reel of film before in my life and didn't know one picture from another, but the firm told me to go see Swanson and show it to him. I got the film — it was "Washington at Valley Forge" — tuckei it under my arm and went to see Swanson. When I got to his office a man came out who said he was Swanson and that he would see me in a few minutes. Just then a big, stout fel- low slouched into the place and he and Swanson went into the back room. I waited about two hours before Swanson came out and apologized for keeping me waiting. "Then he asked to let him see the film. We ran it off on an old machine in the back room, which ripped the sprocket holes out for about seventy-five feet on one side. 'What do you think of it,' Swanson asked the big man. 'It's a good picture,' was the big man's reply. 'Do you mean it,' querried Swanson. 'Sure, it's the finest picture I ever saw,' the big man in-, sisted. 'Gimme two copies,' said Swanson. And that was the first sale of film I made. I after- ward learned that the big fellow was Montag'i, and I've never forgotten his good boost. That's why I am giving this little dinner in his honor, and that's why I've asked you boys to help him eat it." We boys allowed that there was reason enough, and before the evening was spent we said a lot of complimentary things about the guest of honor and the host, expressing espe- cially our regret that "Monty" was going away. Present around the table were: E H. Mon- tagu, Thomas Bedding, J. N. Naulty, L. Rosen- bluh. Alfred Weiss, H. T. Edwards, H. C. Han- cock, George Hardv, William Wright and J. L. Hoff. The menu card read as follows: Complimentary Dinner to MR. E. H. MONTAGU. MENU Sherry or Cocktail Buzzard Bay Oyster Cocktail Celery Farci Salted Almonds Stuffed Olives Green Turtle Soup Graves Premier Sauterne Filet of Kingfish Saute, Fines Herbes Cucumbers Potatoes Sarah Bernhardt St. Julien Claret Bordeaux Diamond-Back Terrapin, Maryland Club G. H. Mumm's Extra Dry Sweetbreads Glace, Pompadour French Peas Sherbet au Kirsch Roast Imperial Squab, Duxelles Confiture Fruit Salad, Marasquin Glace Fantasies Petit Fours Cafe Demi-tasse Liqueurs Cavanagh's Cigars 258 West 23d St., January, 4, 1911. N. Y. City. "Success to Monte in His New Work." Now, a word about "Monty." He came to New York from London in 1902, just to have a look at the country. He was a lawyer by profession and member of a prosperous firm of solicitors, but the law did not appeal to Monty, so he sold his interests and came to America. Among the first of his acquaintances here was Herbert Miles, which acquaintance resulted in Monty's joining Miles In the film exchange business in January, 1903. He continued with Miles until 1905, when he became associated with Pathe Freres as manager of the Chicago office of that concern, then first installed. Those were days when Pathe supplied about all the film used in the United States, and the quantity handled through the Chicago office was enormous. Mon- ty's English training, which had developed to the highest degree his well known quality of good-natured insistency, enabled him to handle this great business with minimum loss which, in those days, made the film business almost extra hazardous. About a year ago a shake up in the Pathe es- tablishment brought Monty to the New York of- fice, where he has since been handling the pub- licity end of the business. His good work in boosting the Pathe American pictures has brought that product into general favor. When it was learned that Mr. Selig had se- cured the services of Mr. Montagu as his per- sonal foreign representative, the general ex- pression was: "the best man in America for the job." From that opinion there has been uttered no dissent. Monty is quite enthusiastic over the possibilities before him and will enter upon his duties with an abundance of true Yankee spirit and push which he has acquired during the past few years. Here's to his success. Mr. Montagu left New York for Chicago on Saturday, Jan. 7, and after two or three weeks going over his plans of campaign, will sail for Londonk SCENE AT BANQUET TENDERED EMPLOYE S OF GRAND THEATRE. Jacksonville, Florida, by F. T. Montgomery, Prop. Those seated at table, reading from left to right. Ernest Fudch. operator; Harry Weis, doorman; ^hago Fregoli, cornettist; Brandy Bryon, violin; Jack Lewis, leader: Fred Pickett, manager Grand poolrojm; H. Lewis, poolroom assistant; Miss Bessie Welsh, vocalist; Le Roy Croneer, usher; Mrs. Berry, piano; W. Berry, drummer: Mr. Vignolia, Kalem Co.; Vliss Smith. Kalem Co.; Mrs. Eberstein, Savannah, Ga.; M. C. Eberstein, partner and manager Odeon. Sa- vannah, Ga.: Mrs. F. Montgomery, Jacksonville, Fla.; Mr. F. Montgomery. Jacksonville, Fla. ; Mrs. Per- oons, Selig Co.; Mr. Persons, manager Selig Co.; Miis Brown, Kalem Co.; Mr. Olcott, manager Kalem Co.; Mrs. Mix, Selig Co.; Mr. Mix, noted plainsman. Selig Co.; Mrs. Hodges, cashier Grand Theatre; Mr. Hodges, invited guest; Eddie Edwards, assistant manager Grand Theatre; J. Mackey, Jacksonville, Rep. •Mison Co.; Tom Hurd. Selig Co.; Tom McNut, Young Buffalo Wild West Show; C. Franklin. Hagenback Animal Show: Geo Otto, vocalist, Grand Theatre; Geo. Beck, lobby artist. Grand Theatre; A. F. Roberts, invited guest; Fred Baine. operator, 'Grand Theatre. THE FILM INDEX ELECTRICAL TALKS On Electricity in Its Relation to the Motion Picture Theatre By J. H. Hallberg Written Expressly for The Film Index. Copyright by J. H Hallberg. All Rights Reserved. SUMMARY OF ELECTRICAL TALK NO. 19.— Give most careful consideration to the arrangement of the switches and fuses for the different sets of lamps and circuits in a motion picture theatre in order to avoid total darkness of the house in case of accidental blow- ing of a fuse. Never put a large fuse inside of a smaller one for any circuit, unless, of course, there is some special reason for so doing; in general there is no such reason. Consult some competent authority on the electric installation for a theatre, as by so doing much un- necessary expense can be obviated and better results obtained. v "ELECTRICAL TALK" No. 20 Arrangement of Electric Circuits and Lamps for Motion Picture Theatres. (Continued.) Your attention has already been called to the general arrangement or layout for the electrical installation of motion picture theatres in "Elec- trical Talk" No. 19, wherein Figure 43 illus- trates a plan view of an ordinary motion pic- ture theatre showing the various outlets, switch boxes, etc. Reference was made to the necessity, or ra- ther advisability, of providing an emergency switch for the control of the ceiling lamps T in the auditorium, as illustrated in Figure 43. This emergency switch to be placed in switch box No. 1 in the ticket booth and connected ahead of main switch No. 2 on the panel board in the ticket booth, and then, connected on the inside of the house light switch in the operating room, permitting the lighting of the house ceiling lamps, even though the switch for these lamps should be open in the operating room. The accompanying Figure 44, gives a dla- gramatlc view of the general arrangement of the electrical service, fuses, meter and switches for the various circuits and, when used in con- junction with Figure 43 in the preceding talk, will be readily understood. In Figure 44 the current from the street en- ters the main switch No. 1, which is equipped with 100 ampere fuses as an illustration. From this point the current passes through the meter The wires then run from the meter down through the small panel board, or a set of cutouts, with switches for three or more cir- cuits as follows: One circuit for exit lamps. One circuit for auditorium side lamps. One emergency circuit for auditorium ceil- ing lamps in shunt with the circuit for these same lamps controlled in the operating room. There may also be a circuit from this special panel board for office, cellar, operating room ceiling lamps, and other special lamps. The current then passes through main switch No. 2, which may be provided with 75 ampere fuses, as an illustration. From this switch the current passes to a panel or distribution board, from which the various groups of incandescent lamps, arc lamps, fan motors, exhaust fans, M. P. machines, spot lights, etc., may be controlled. This arrangement makes the safest and most convenient means for controlling the electric circuits in a motion picture theatre, and should always be applied to new Installations, and Is also recommended for installation in existing theatres. By the expenditure of a few dollars, the necessary changes In an existing equipment can be made to accomplish; these results and every proprietor and manager will, no doubt, appreciate the advantage of being enabled to instantly light the auditorium ceiling lamps and to maintain the exit and side lamps burning at all times uninterruptedly, although the main fuse on the panel or distribution board may blow — due to an accidental short circuit. It is always well to provide a separate cir- cuit from the main panel board for each M. P. machine, spot light and stereopticon lamp and lamps, flood and spot lights, should be termi- nated in a suitable panel or distribution board located at a convenient point on the stage from which the stage electrician can control any group of lamps. The stage panel board may then be supplied with current by a circuit be- tween it and the electric service in front of the house, but this circuit should be connected in- side of main switch No. 2, so that in case of a short circuit on the stage panel board, the fuses on main switch No. 2 will blow, leaving the exit side and auditorium lamps still burn- ing. It takes years of experience and intimate knowledge of the peculiar lighting requirements of a theatre to lay out the electrical equipment. It is surprising how few architects and elec- trical contractors understand these requirements and this accounts for the fact that in many instances, installations are almost completed MAIN SWITCH NO. 1 [oooo| FOR OPERATING ROOM, OFFICE & CELLAR LAMPS - EMERGENCY SWITCH FOR AUDfTORIUM CEILING LAMPS FLAME ARCS. EXIT LAMP CIRCUIT .S\DE LAMP CIRCUIT LOCATED IN \TICKET BOOTH y OR IN / FRONT OF TO M.P. MACHINE TO SPOT OR STERIO LAMP TO STAGE PANEL BOARD- THEATRE — -TO EXHAUST FAN — TO WALL FANS J ^-TO CEILING FANS SWITCH BOX NO. 2 OPERATING ROOM FIG. 44. CIRCUIT FOR AUDITORIUM CEILING LAMPS Fig. 14 DIAGRAM OF ARRANGEMENT OF ELECTRICAL SERVICE FOR A PICTURE THEATRE. there should also be a separate circuit from the panel board to the switch box in the oper- ating room, which is referred to, as switch box No. 1, and switch box No. 2, in diagram shown in "Electrical Talk" No. 19. Where stage lamps are required, the various stage circuits including footlights, side lights, border lights, bunch lights, dressing room when changes have to be made often at con- siderable expense to the owners. Much expense and trouble can be saved by employing, or consulting competent authority on these matters, and the saving not only means reduced cost of the first equipment, but also considerable saving on cost of operating. There are so many inferior electrical devices THE FILM INDEX. 5 on the market, and new and improved devices are offered for sale almost every day, that the average man, even though in the electrical busi- ness, is not always up-to-date, and this is an- other reason why the best authority is none too good. Have specifications and plans prepared, no matter how small the job may be, and have specified therein the quality and specific style of fixtures and goods wanted and let every bidder furnish a proposal on the same style and class of equipment, thereby, putting each bidder on an equal basis which will enable the owner to then choose with justice to himself and the bidder. The lowest bid is not always the cheapest, because workmanship and hon- esty in carrying out the work contracted for are worth more than difference in some bids. SUMMARY. The front of a motion picture theatre is gen- erally the safest and best place to locate the electric service switches and panel or distribu- tion board. The service switches and distribution board if placed in the ticket booth should be accessible from the outside, by means of a door or win- low enabling the manipulation of the switches from the outside in case of fire. , All switches should be properly labeled. There should be 2 main switches; the first one having a 25 per cent, to 50 per cent, heavier fuse than the second switch, and be- tween these should be placed the cutouts and switches which control the circuits for exit and auditorium lights. In our next talk we will discuss the selection of electric fixtures and lamps for motion pic- ture theatres. RANCHERS DON'T LIKE PICTURES. Claim Picture Men Take Away Cowboys[and Make Actors of Them. Since the photoplay manufacturers have sent their traveling stock companies to invade the West, and especially the cattle ranches, in order to obtain local color for the so-called "Wild West and cowboy films," the ranch owners in and about that beautiful state of Oregon, would have us believe that the photoplay men are to some extent the cause of the high cost of beef, and that the cowboy is wont to become an actor and thereby forsake his native plains and be- loved occupation that has brought him fame, if not fortune. In fact so wrought up has some of the ranch owners become, according to reports, that he now intends to let the photoplay patrons know that they do not see the real cowboy life. The ranchers also claim that since the photoplay men have invaded the West in order to get pic- tures, the cowboys have all become actors and are letting the plains go to waste. The fol- lowing article is a special dispatch from Oregon to the Cincinnati Enquirer: Oregon ranchmen have a brand-new plaint; it is that the motion picture show is spoiling the cowboy. Film makers demand their services and pay them handsomely for riding bucking horses in front of the moving picture camera or for taking part in an al- leged "Western Drama." The cowboys like the idea ot being actors and look lightly upon their former em- ployers. The old ranchers who sigh for the old-fashioned "cow puncher" are sore at the change and do not at- tempt to conceal their hostility to film makers who frequently try to arrange for big cattle ranches as the setting for a "Wild West" picture. The sturdy old ranchers sneer at these representations of life as they know it and declare the pictures only make ornery cowboys and give Easterners wrong ideas of life in the cattle country. As a matter of fact, they say, riding bucking horses is but a small part of a cowboy's life, and the real WITH a prospector, a tribe of Indians and a bunch of untamed cowboys composing the California Stock Company of the Kalem Company, an Indian picture with lots of thrills, plenty of action and beautiful scenic effects will soon be released under the title of "The Trail of the Pomos Charm" that looks as if it might set a pace in the line of Western Indian pictures. The charm of this picture is the beauty and grandeur of the scenic effects secured by the producer. Ranges of moun- tains, beginning with the low foothills in the foreground to the towering peaks, blue and misty in the distance, are impressive. These effects, augmented by the variety of foliage which characterizes Southern California, afford ample backgrounds for the picture. In this particular picture the scenic effects have been well utilized and add greatly to the story. A beautiful Indian maiden forms the central figure of a story in which strong human pas- sions are aroused in the primitive breast. An Indian brave demands and secures one squaw as his wife, and then becomes deeply inter- ested in another girl who happens to join his tribe. His advances are rejected, but he swears by the "Pomos Charm," a mysterious token be- life on the plains cannot, for obvious reasons, be shown on a film. However, the motion picture cow- boy is becoming dissatisfied with the hard life on the range and must be pampered and humored to keep him on the job, once he gets his face on a picture film, declare the ranch owners. As for the traditional Western drama, where the rancher's daughter marries the heroic cowboy who foils the traditional "gunfighter" of the frontier, the dwellers of the range country have only contempt. They declare these productions are even worse than the usual cowboy play on the stage. As far as this state is concerned, however, the motion picture film will soon claim the cowboy for its own. The big ranches are being cut up and settled and the cattle business is becoming of less import- ance. Wheat is growing on the old ranges and rail- roads, now building into the heart of the old cattle sections, are bringing in an ever-increasing flood of homesteaders. NEW PICTURE HOUSE FOR PHILADELPHIA. Plans were filed Dec. 28, 1910, with the Bureau of Building Inspection for remodeling the building, 333 Market street, Philadelphia, longing to the tribe, to possess the girl, not- withstanding the protests of his squaw. The girl in question falls in with a prospector who is having a run of bad luck. Sympathiz- ing with him she steals the charm and gives it to him with the belief that it will bring him good fortune. The theft is discovered and, by following the girl, the prospector is located. As the charm is "big medicine" in the tribe a party of braves at once set off to recover it. They attack the prospector at his camp and a chase follows — a score of Indians after the one man. The Indian maiden who gave the charm to the prospector sees what trouble he has got into and hastens to a nearby ranch for help. Upon hearing her story a dozen cowboys leap to saddle and race to the rescue. After an ex- citing ride they arrive upon the scene of ac- tion in time to stop the Indians and save the prospector's life, bringing him into camp where the Indian girl is waiting for him. There is some good Indian "business ' in the opening scene which purports to be a repro- duction of the "watermelon feast" of this par- ticular type, when the first melon of the sea- son is broken by the chief as an offering to the Great Spirit. Several beautiful photographic ef- fects give this picture an artistic touch. It cannot fail to interest. Pa., into a motion picture theatre for Albionia Whartenby. The lot has a frontage of 25 feet, with a depth of almost 300 feet, widening in the rear to 64 feet. Entrance to the theatre will be from Market street through an arcade 25 feet by 100 feet. The auditorium will be in the rear of the lot and will occupy an area of 64 feet by 168 feet. The alterations to be made will cost $30,000. The property was the old Riegel dry goods store, which was purchased by Joseph Steele about two years ago for a price of about $150,- 000. Joseph Steel conveyed the property to Albonia Whartenby in March of the present year. About the same time he took title from Albonia Whartenby to the opera house at the southeast corner of Eleventh and Ludlow streets. The new theatre, it is understood, will be leased to the Moving Picture Company of America. SCENE FROM KALEM SUBJECT "THE TRAIL OF THE POMOS CHARM." KALEM WESTERN INDIAN SUBJECT California Stock Company Produces Capital Picture 6 THE FILM INDEX MUCH ADVERTISED YANKEE- ATLAS SUITS DECIDED Yankee Film Company, Steiner, Henkel, and the Two Mileses Will Be Enjoined Following closely upon the heels of the de- cision against The Champion Film Company, comes an opinion by Judge Lacombe, of the United States Circuit Court, for the Southern District of New York, deciding against the Yan- kee Film Company; and against William Stei- ner, Herbert L. Miles, and Joseph Miles trading as Atlas Film Company, and William Steiner, Charles V. Henkel, Herbert L. Miles, and Joseph Miles, individually. These suits have been widely advertised by those connected with the defendants, accompanied by wild prophesies as to their outcome. Some of defendants' papers used at the argument were published in full. These actions were commenced some time ago by the Motion Picture Patents Company against these defendants for infringement of the Edi- Pathe Bird Life Series — No. 2 Beautiful Views of Colonies of Seabirds Taken at Great Risk AMONG the forthcoming releases of Pathe Freres will be seen the second number of the Pathe Birdlife series which were pho- tographed by that eminent authority, Mr. Oliver G. Pike, F.R.G.S. "Wild Birds in Their Haunts," which was the first of the series, obtained a splendid reception wherever it has been shown and the latest subject, which is entitled "Sea Birds in Their Haunts," should be equally popu- lar. This picture deals principally with sea birds, among which are Guillemots, black-backed Gulls, Gannets, Puffins, Kittiwakes, Wild Raven, Richardson's Skua, Hawk, Young Kestrels and Reed Warblers. To the uninitiated it would appear that taking the pictures of birds is an easy job, but such is far from being the case. For instance, the photographer wished to "take" some Guillemots rope, dangling over a sheer precipice 300 feet in height. He had to make three journeys be- fore all the apparatus was got down, and when he had finished photographing three more jour- neys had to be made to get the apparatus up. The performance took an entire day. One other experience of Mr. Pike's is worth recording, and it occurred during an endeavor to locate the rare bird named Richardson's Skua in the Orkney Islands. After a long search the nest was discovered in a vast open moor. A hiding place for the photographer was made out of heather, but when he and the camera were concealed inside a thick mist came down. He was able to get a few photographs, and then the mist developed into a heavy rain. In a few minutes he wis sitting in a pool of icy water, but he remained, hoping to get more pictures. from -The Marker! Dollar son camera patent No. 12,037. The several defendants put up a vigorous fight, filing a lengthy brief, and setting up, among other things an alleged prior invention by Friese- Greene, and the allegation that the Edison-Mu- toscope litigation, by which the validity of the Edison camera patent was sustained, was a col- lusive one. These items were set aside by the Court for final hearing, and a temporary injunction against all the defendants provided for in the decision, the text of which follows: UNITED STATES CIRCUIT COURT, Southern District of New York. Motion Picture Patents Co. V. Yankee Film Company. Motion Picture Patents Co. v. William Steiner and others. Motion for Preliminary Injunction. The defense of failure to disclaim as to claim 4 was disposed of in decision on the demurrer. The defense of prior invention of Friese- Greene, now presented for the first time after the patent has been for several years in litiga- tion and long since sustained by the Circuit Court of Appeals, is one to be passed upon at final hearing. The defense that the suit against the Muto- scope Company, in which the Circuit Court of Anpeals sustained the validity of the patent, was a collusive one. must also be reserved for finai hearing which were swimming under the shelter of a large rock. Mr. Pike fixed the camera on the extreme .edge .of the rock during a gale, and had. great difficulty in preventing the camera being blown into the sea. While holding it firm- ly with one hand, he had to do all the manipu- lating with the other, and then to wait two hours in a freezing wind for the birds to arrive. In order to obtain the pictures of the Gannets Mr. Pike had to> descend 80 feet down a single However, the mist returned and he packed up. Then for two hours he was lost on the hill, drenched through, and almost frozen. Truly, photographing wild birds is no child's play. The illustrations herewith are from scenes in two American Pathe subjects, "The Marked Dollar" and "Trailed by an Indian." There is plenty of life and action in these subjects, which are Western in character and quite interesting in story and manner of portrayal. As to infringement. Defendants have been engaged ir> one way or another in having mo- tion pictures taken by two different cameras, or :n selling or leasing the reproduction of ex- posures thereon. Apparently, on their own ad- missions, they were satisfied with the statements of the persons taking the pictures that the ma- chines did not infringe; they took no steps to assume themselves that these statements were correct. It was so easy to demonstrate non- infringement by showing either that the film moved continuously or that the lens (or lenses) moved — a demonstration which might have been made to the court, if not to the adversary — that the failure to do so arouses suspicion. Un- doubtedly the detectives who testify for com- plainant were able to give but a hasty glance at the interior on the two occasions when the covering cloth was disarrange:!, but the affi- davit of the defendant Henkel, in connection with the other testimony seems to indicate suf- ficiently to make out a prima facie case that these two cameras are really of the Gaumont or so-called "beater" type which have been held to infringe in Motion Picture Company, v. The Champion Co., recently decided. Injunction may be taken against all the de- fendants. TED SNYDER'S MUSIC POPULAR. Ted Snyder, the well known music publisher, whose song hits are often seen in slide form, still keeps busy in supplying photoplay singers with big hits. Ted's latest stunt is to set up a music store at 1945 Broadway, New York city, where singers have a chance to get the latest song hits. M. F. Rittenhouse, who is the man- ager, is a popular young fellow and attends to the needs of all who are looking for popular music. SITUATION WANTED. New York Lawyer, 7 years' practice, with previous experience as accountant, commercial correspondent and salesman, seeks position as office manager or traveling representative for a film exchange or film manufacturer. Am now an exhibitor, a'nd can intelli- gently discuss films and service. Position desired is one offering fair remuneration, and in which integrity, education and good address are essential. B. A. L., Station E, Brooklyn, N. Y. Edward Watson and Roy Brammer have opened a first class photoplay theatre at Bevier, Mo. Mulligan's photoplay theatre, Washington street, Vicksburg, Miss., is undergoing extensive repairs. The house will be ready to reopen about Feb. 1. It is expected that Frederick, Md., will have a new photoplay theatre within the course of a few weeks. THE FILM INDEX 7 PROJECTION DEPARTMENT Problems of the Photoplay Operator Discussed and Questions Answered Edited by Will C. Smith Entrances to operating rooms must be left unlocked. Alterations or additions must be installed by registered electricians, and a certificate of ap- proval must be secured from the department before the current is connected. FOCUS; Three Rivers, Mich., writes that he is using a Motiograph Machine and one side of the pic- ture is out of focus. Have tried different lenses and do not seem to get any better results. Can you help us out? Answer — The trouble I think is due to your machine setting on one side of the theatre, that is, next to the wall. This would have a ten- dency to blur your picture on one side and at the same time make the picture larger on one side than on the other and unless you get your screen on the same angle as your machine all the lenses made would not give a good clear and sharp picture on both sides. Would ad- vise you to bring the side of the screen farthest from you out a little so as to have the picture the same size on both sides, then your picture will be good and clear. If, however, you are not working from one side of the theatre it might be due to your aperture on the film gate not being perfect; that is, one side would ex- tend over the aperture a little and if so that would blur your picture on one side, or. it might be that your aperture plate is worn a little more on one side than on the other and in this case I would recommend a new aper- ture plate. When putting a new one on be sure that your film tension springs have the same tension in each other, otherwise, if one has a little more tension than the other it will give you the same trouble- in a short while. FLICKER. R. S. Brooklyn, N. Y., writes that he has been using an Edison Model "B" Machine and has just purchased an Edison Exhibition Model and one machine flickers more than the other; what is the cause of the flicker? Answer — The objectionable flicker is mainly due to the transition from light to darkness and is caused by the revolving shutter cutting off the light between the projection of succes- sive pictures. In the Exhibition Model Ma- chine (two-pin mechanism) the ratio between stop and movement is three-fifths stop and two- fifths movement, or in other words, the shutter is cutting off the light two-fifths of the time. In the one-pin Movement mechanism (Model "B" Machine) the ratio between stop and move- ment is four-fifths stop and one-fifth movement, or in other words, the revolving shutter is cut- ting off the light one-fifth of the time. Conse- quently, the one-pin movement mechanism cuts down the flicker. The difference between two- fifths and one-fifth permits the use of a smaller revolving shutter and thereby increases the il- lumination, brilliancy and definition of the pic- tures, although the wear on the Starwheel and Cam in the one-pin Movement mechanism will be four times as great as it would be in the two-pin Movement mechanism. REVOLVING SHUTTERS. J. A., New York City, writes that he is using a Powers No. 6 Machine with the exterior shut- ter and sometimes he used Direct (D. C.) Cur- rent and sometimes Alternating (A. C.) Cur- rent and finds that when on Alternating Cur- rent he seems to get more flicker than when on Direct Current and not as much illumina- tion. "Is there any way I can fix this so as to get the same results on Alternating Current as on Direct Current?" Answer — In some cases where 60 cycle Al- ternating (A. C.) Current is used an effect con- siderably like a flicker is noticed. This is due to the wings of the shutter getting into synch- ronism at certain speeds with the alternations of the current, producing occasional dark spots or periods which resemble a flicker. In that case I would recommend a two-wing exterior revolving shutter, which permits a greater per- centage of light to pass through, and conse- quently, a brighter picture is projected upon the screen. There is no apparent flicker with thif style shutter and there is no danger of the blades getting in synchronism or in step with the Alternating (A. C.) Current. There- fore, where 60 cycle Alternating (A. C.) Cur- rent is furnished by the Electric Light Com- pany I would recommend that this style shutter be used. OUT OF ALIGNMENT. J. J. Q., Boston, Mass., writes: — I am ran- iting an Edison Machine and find that at times the film seems to buckle and then the picture is fill out of focus. Have had it all gone over ami have had a new aperture plate, new bush- ings ami new tension springs put on. In fact, the machine has had a good overhauling. Can \ou suggest anything that would prevent this? Answer — I think the trouble is due to the fact that your sprockets are out of line and until you have them in line you will always have the same trouble. The proper method of lin- ing up the three sprockets is to remove the takeup (or third sprocket) attachment. Then take a long scale or straight piece of steel and rest it on the location surface top and bottom on the inside of the left frame side. Next set the intermittent sprocket so that the distance from the location surface on frame side to the inner line of sprocket teeth measures one inch and one-sixteenth. Then proceed by lining up the upper sprocket in the same way. Then take the takeup sprocket attachment and line it up by using a flexible price of steel one inch wide. Place the steel over the three sprockets between the rows of teeth and you will be en- abled to set all three sprockets in perfect align- ment. A piece of flexible steel is the best thing to use, but if this is not easily obtainable then use a new piece of film. Also, be sure to adjust the picture gauge in line with the sprockets. NEW AND WISE RULES FOR OPERATORS. As a result of the fire in a Fillmore street moving picture theatre, San Francisco, Cal.. caused by the carelessness of an operator, W. H. Urmy, chief of the department of electricity, is determined upon a rigid enforcement of the regulations framed for nickelodeons. He has called upon every proprietor of motion picture shows to comply strictly with the following rules under the penalty of having their current shut off. The handle or crank used in operating the machine must be secured to the spindle so that it will not come off and allow the film to stop in front of the lamp. A shutter must be placed in front of the con- denser, arranged to close readily. Extra films must be kept in metal boxes with tight fitting covers. Machines must be operated by hand. A competent operator must be in charge of each arc lamp except that one operator may have charge of two lamps when they are not more than ten feet apart. MODERN IMPROVEMENT l\ MOTION PICTURE PROJECTION. Some two years ago Mr. S. L. Rothapfel, started experiments at Forest City, Pa., where he owns the Family Theatre, with the purpose of bringing the projection of moving pictures to a state of perfection never before attained. In the course of his experiments, he tried all makes of moving picture machines and had the reputation of producing the best pictures in all the neighboring territory. After making a success of his plan, the mat- ter was brought to the attention of Keith & Proctor and they were so favorably impressed that the Motion Photoplane Co. of America was formed, of which Mr. Rothapfel is one of the leading spirits. As a result of his efforts and through the work of this company, he has al- ready equipped several of the Keith & Proctor and affiliated houses, as well as other houses. It is a complete system of projecting pictures in daylight houses, and the results obtained by Mr. Rothapfel are really marvelous. CHATTANOOGA OPERATORS ELECT OFFICERS. At the regular meeting of the Chattanooga, Tenn., Moving Picture Machine Operators' Pro- tective Union, which was held at the hall of the Central Labor Union, Dec. 20, 1910, the following officers for the ensuing year were elected: S. C. Sands, president; W. L. Brown, vice-president; Julian C. Harkins, recording secretary; Edwin Heely, financial secretary and treasurer, and C. W. Smith, business agent. Samuel Donaldson, T. C. Thompson and George Overend were elected trustees. ENTERTAIN LOS ANGELES POLICE FORCE. The Orpheum, Los Angeles, Cal., gave, on Dec. 30, perhaps the most unusual and unique performance ever shown at a local amusement house — two "morning matinees," exclusively for the police force of the city. The occasion was the running of the Edison film showing "The Police Force of New York in Action." The Los Angeles Police Board had approved the plan for the matinees, and Manager Clarence Drown had his house staff on hand at 9 o'clock and again at noon, so that the various details could see the film, which was run twice on each occasion. The theatre each time was filled with interested policemen, who gathered considerable informa- tion from the film, showing the various lines of activity of the country's premier police depart- ment. At night the traffic squad and the com- missioners were entertained, they being unable to attend during the day. The house was well filled with policemen on each showing during the forenoon, and the men seemed to appreciate the efforts made in their behalf. The police board voted the Orpheum its thanks, as well. Later on a similar film show- ing the fire department will be exhibited, and on that occasion "milkmen's matinees" for the fire- men will be held, along the same lines. WANTS TO BUT PHOTOPLAY HOUSE. The Film Index is in receipt of the following com- munication, which speaks for itself: The Film Index, New York City. Gentlemen: Do ycu know of any opening for a photo- play house in Connecticut or Rhode Island? Any town of about .~>,000 that hasn't already got one, or any that are for sale with good reasons for selling. If this is cut of your line will you please refer me to seme one whom I may correspond with Any information you will give me will be greatly appreciated. Yours truly, Herbert L. Moor. Care Vermont People's Telephone Co., Newport, Vt. Coming "The Irish Honeymoon" THE FILM INDEX CHICAGO LETTER By James S McQuade The Selig Polyscope Co. Wins Case. A HEARING of the case brought against the Selig Polyscope Co. by the Chicago Film Exchange to recover $1,600, the amount claimed as rebates on the Gans-Nelson fight film taken by the former company for the said ex- change, was given Wednesday, Dec. 28, before Judge Turnbough in the Municipal Court. The question was as to whether the Selig Polyscope owed the Chicago Film Exchange anything. The film mentioned was taken Sept. 9, 1908, at Colma, Cal., by the defendant for complainant, and prints of the same afterwards made for said plaintiff. The case was bitterly fought in court and after a full hearing Judge Turnbough decided in favor of the Selig Polyscope Co., holding among other things that the contract between the par- ties was a special contract, one that called for a special service, and that the general discounts did not apply. The contentions claimed by the defendant were sustained in every way. Cooney & Verhoeven, Ashland Block, Chi- cago, were of counsel for the Selig Polyscope Co., and H. L. Doughtery represented the Chi- cago Film Exchange. Benefits for Firemen's Widows and Orphans. I. Van Ronkel, manager of the American branch of the General Film Co., informed me that all his customers had already arranged for days on which to give benefits for the widows and orphans of the firemen who lost their lives in the late fire. The Theatre Film Service branch of the G. F. Co. and also the Spoor branch report unan- imity among their customers in setting apart a day's receipts in aid of the fund, and days are being selected by the exhibitors themselves on which to hold the benefits. This policy is deemed best, as to appoint the same date for all the benefits would prevent the presence at each theatre of a fireman in uniform on bene- fit day. Fire Marshal Charles S. Seyferlich has given out that he will furnish a man, on application, to every exhibitor who gives a benefit. "Not for the purpose of taking tickets, or keeping tab cn the box office, however," said the chief. "That would show poor appreciation of the efforts of picture theatre managers who are voluntarily helping the fund. The firemen will be furnished in order to supplement by his presence the an- nouncements made by the manager." _ At the meeting of manufacturers and heads of the branches of the General Film Co. in the City, Saturday, Dec. 31, it was decided that the receipts at each theatre on benefit day shall be turned over by each exhibitor to the manager of the G. F. Co.'s branch that furnishes him serv- ice on the day following the benefit, and that a receipt for the amount turned in shall be given the exhibitor by the manager. The total amounts received by each branch manager will be turned over to the manufacturers' sub-committee ap- pointed by H. N. Higinbotham, chairman of the Citizens' Relief Committee of the U. S. Y. fire. The grand total will then be sent to John J. Mitchell, treasurer of the Illinois Trust and Savings Bank, and the showing thus made should reflect credit on the generous efforts of the picture men of Chicago. As the combined legitimate theatres of Chi- cago will give benefits on Jan. 13, and the lump sum resulting presented to Treasurer Mitchell the day following, it is hoped that licensed ex- hibitors will engage heartily in their benefits, so as to make as good a showing as possible for Chicago's picture theatres. It is- also deemed wise to hold the benefits, if possible, before Jan. 10, or not later than the 10th as public sympathy grows lukewarm as time passes; and besides the benefits in the larger legitimate theatres will tend to dwindle the receipts of a picture house should the date be fixed close to Jan. 13. To show licensed exhibitors that their volun- tary efforts to increase the firemen's widows' and orphans' fund is heartily endorsed, and, at the same time to bear its share of the dona- tions made by Chicago picture men, the Gen- eral Film Co., from headquarters in New York, notified branch managers in Chicago to allow every licensed exhibitor who gives a full day's receipts to the fund, free service on that day. In other words, the General Film Co. will donate to the fund one-seventh of its weekly rental receipts in the city of Chicago, a munificent aid to a most worthy cause. By the time this article is read by Chicago exhibitors, it is hoped that a goodly sum in re- ceipts will have been turned over to the branch managers, and that every effort will have been made to make the benefits the success they should be. From data received at the present writing the Ideal theatre, North avenue and Larabie street, has turned in $75, the gross receipts for its benefit day, and the Orchard theatre, North ave- nue and Orchard street, $125. Indeed a Masterpiece. Through the courtesy of K. W. Linn, West- ern manager of Pathe Freres, I was treated to a private exhibition of "II Trovatore," a colored art film which cannot fail to arouse the en- thusiasm of every picture lover that sees it. Such scenes, such technique and such acting! Combined they form a truly noble film, one that is certain to remain a landmark in motion pic- ture production for refined art, the acme of skill and brilliant talent. Whether one has seen the opera or not, and even if one does not recall the story, there is a power in this exquisite film that holds the spec- tator in delightful thrall throughout. It is mu- sic woven into radiant pictures; life's drama written with pencils of soft, reflected light. Everybody should see it. If only our grand opera dames could be prevailed on to take this film in at some picture theatre, no matter how humble, the motion picture would capture them for all time to come. Boom it, exhibitors! And, if you can, get some of the ultra critical, the people who scoff at picture shows, to come and see it. They will be your stanch friends there- after. Music to accompany the presentation of this film has been specially gotten out by Pathe Freres and may be purchased at all branches of the General Film Co., or licensed exchanges, at low rate. Release day, Jan. 27. Chicago Film Brevities. R. H. Hammer of the Biograph Co., New York, was in Chicago, Friday, Dec. 30. Mr. Hammer accompanied the Biograph's California Company, comprising sixty people all told, en route to Los Angeles, where they will be engaged for several months. Mr. Hammer will remain in Los Angeles for two or three weeks and will then return to New York. Schuyler Colfax, of the Eastman Co., Roches- ter, N. Y., visited the city Friday, Dec. 30. He left the same evening for South Bend, his old home of which city he once was mayor. Mr. Colfax spent New Year's day there, where he is a popular favorite. "The Yaqui Girl," the first film subject turned out by Pathe Freres' California Company, was released Saturday, Dec. 31. It made a big hit at the Orpheum here, and at other Chicago the- atres where it was presented. Harry Dodds, one of the oldest motion picture operators in Chicago, died Wednesday, Dec. 28. Mr. Dodds worked at Kohl & Middleton's theatre on State street (the house has long since been torn down) for ten years, and was also en- gaged at several other houses in the city. Mr. Dodds was a man of fine character and business ability. He was widely known and highly re- spected in Chicago theatrical and picture circles. George H. Diehl, manager of the Grand the- atre, Moline, 111., called at the American branch of the G. F. Co., 77 South Clark street, last week and arranged for a higher quality serv- ice. Manager Diehl gives one of the best pic- ture shows in the State and reports fine busi- ness. P. M. Riley, owner and manager of the Prin- cess theatre, Hammond, Ind., was a caller at the American branch of the G. F. Co., 77 South Clark street, one day last week. He subscribed for The Index, saying that he cannot do with- out 'it. This is the second subscription for The Film Index by the Princess, as the operator is also a subscriber. One would not do, as when Mr. Riley wanted it the operator was poring over it, and when the operator wanted it, Mr. Riley was sticking to it like glue. Now both are happy. The Princess never fails to put on every special release that is made, Irrespective of cost, and books all feature films. Manager Riley reported excellent business. A. B. Markwalter, who is building a new house on Evanston avenue, north of Bryn Mawr avenue, called at The Film Index office last week. Mr. Markwalter began building three weeks ago and expects to finish his house in about six weeks. It is his intention to run straight pic- tures and illustrated songs. The probable name of the new house will be the Bryn Mawr the- atre. H. A. Stanford, of Falls City, Neb., who has recently opened a pretty little house at that place, formerly ran a picture show at Marshall, Mo. He sold the house in the latter town and writes me that he is doing splendid business with licensed pictures in Falls City. Business around the New Year has shown a big improvement over that of Christmas week, so Chicago exhibitors inform me. They look forward to a steadily increasing business from now on, although the extremely cold weather will somewhat effect it. J. D. McKeen, owner and manager of the Empire theatre, Morris, 111., was a visitor at the G. F. Co.'s offices, 85 Dearborn street, last week. He stated that business was satisfactory up to the holidays, when it fell off. Manager McKeen says that it immediately recovered with the advent of the New Year. Tabor & Babcock of the Majestic theatre, Belvidere, 111., who also own the "Republican,'' the leading newspaper of that place, visited the Theatre Film Service branch of the G. F. Co. last week and arranged for advance bookings. They said that business was satisfactory. Willis & Moore, of Vincennes, Ind., who own a circuit of houses in Bedford, Mitchell and Vincennes, all in Indiana, called at 85 Dearborn street last week to arrange for future bookings. S. L. Phillips, manager of the New Star the- atre, Houghton, Mich., will open that theatre about May. It is being built without regard to cost and when finished will be a handsome lit- tle house that will seat about 300 people. Mr. Phillips was in the city last week and visited the Spoor branch of the G. F. Co., where he pur- chased two Kinodrome machines. Mr. Phillips will run a continuous show, with nothing but pictures — no songs. He will start with an up- to-date service. Hanson & Taylor, owners of the Grand Opera house, Rhinelander, Wis., called at the Spoor branch of tlie G. F. Co. last week and arranged to supply service for their Palace theatre, Antigo, Wis., in addition to the Grand Opera house. They express themselves as being highly pleased with the bookings furnished. The Spoor branch of the G. F. Co. took on the booking of the Argyle theatre, Argyle and Evanston avenues, last week. This house was formerly booked by the Standard, an "inde- pendent" exchange. Haimes and Knox, of the Photoplay, Bloom- field, Ind., arranged for their bookings last week is another dissatisfied exhibitor who has left the Standard Exchange of Chicago. T. L. O'Hara, manager of the Lyric theatre, Lexington, Neb., visited the city last week and arranged for service with the Spoor branch of the G. F. Co. He says he is doing a nice busi- ness. Hartman & Fuller, who own the skating rink at Lander, Ky., have arranged for a Kinodrome service for four nights in the week with the Spoor branch of the G. F. Co. They commenced service Jan. 4. G. W. Wales, manager of the Electric theatre, Stilman Valley, 111., contracted for service with the Spoor branch of the G. F. Co., to commence Jan. 2. C. T. McKinney, owner and manager of the Cozy theatre, Pontiac, 111, rearranged for service with the Spoor branch of the G. F. Co. after a three weeks' trial of "independent" service. Torpey & Bishop, proprietors of the photoplay theatre, Northampton, Mass., has sold out to some New York men. Coming- "The Irish Honeymoon" THE FILM INDEX "THE SPY" A Thrilling Story of Civil War Days by Selig 4h .IAS. S. MoQUADE THE regular picture theatre goer has grown accustomed to open his eyes and listen attentively when the announcement is made that a war drama is soon to be released by the Selig Company. As the title of the film subject under review shows, the story centers on a spy — in this case a daring Confederate of- ficer—and thus scenes of carnage and the shocks of battle may not be expected. But thrilling exploits, encounters and escapes abound, and to these are added, here and there, little ripples of comedy and warm touches showing the ten- demies and devotion of home ties. "The Spy" was produced in California by and butler are also well portrayed. And that clashing, resourceful little imp, Joe Wheelock. who rescues the wounded man and afterwards aids him in making his escape from the Fed- eral troopers is acted to the life. I believe it is a girl that impersonates this character and she gets a hearty hand clap, so far as I'm concerned. There is a something in the Southern Cali- fornia air and climate that makes it an ideal spot for the expert camera man. Clear, soft and perfectly detailed effects make "The Spy" a model of photography, both in exteriors and interiors. In the night scene, in the home of the spy, where he is being cared for by his is well within the Confederate lines, dismounts at the two large boulders and hurriedly ex- changes his Federal uniform for that of the gray. He is bearing important dispatches to General Lee, who had commissioned him to undertake a desperate mission. We see him concealing the papers on his person before re- mounting, after which he gallops away from us up the glade. At breakneck speed he ap- proaches its farther end, when, suddenly, from out the thicket to the right, appears a troop of Federal cavalry riding full tilt to meet him. With powerful grip on the bridle he swings his horse clean around and comes thundering back down the glade, passing us in a flash with the troopers fast gaining on him. When next we catch sight of him he is forcing his way through the brush, his horse jaded and slow and the foremost pursuer close in his wake. There is a puff of smoke in the rear a galvanic upward movement of the body of the spy, and he shoots out of his saddle sideways and falls prone and still. The captain of the troop, on coming up, leaves the body in charge of one of his men while he departs with the remainder on another mission. SCENES FROM THE SELIG WAR DRAMA " THE SPY. Francis Boggs and he is to be complimented on the happy way in which he has selected the natural settings, most of the scenes being out of doors. One of these, I believe, he must have built for the purpose. I refer to the old negro shanty, an exterior view, showing the squat chimney built from the ground up, look- ing as if it had been erected first and the ad- joining wall afterwards. As one views this building and the loafing nigger sunning him- self in the angle formed by the jutting chimney and wall, he is at once transported to the "black belt" and the atmosphere of Dixie. I refer to this scene especially, in order to direct attention to the fine artistic taste displayed by Producer Boggs in this pictured subject. Another scene that made a lasting impression on my mind is the opening one. It is pictur- esque, lonely and inspiring. We see a man (the spy) on horseback riding towards us on a lane leading over a sloping hill, the descent being away from the spectator. Tall trees and thick underbrush fringe the roadway. As 'they ap- proach the open glade in which the camera man stands, horse and rider are silhouetted on a . distant background that reveals a vista of rare rural beauty. Two huge boulders flank the outlet to the glade, on right and left, and the spy could not have selected a better spot on which to make a hurried change of uniform. As to the acting in this film, everyone will agree with me that Hobart Bosworth in the titu- lar role proves himself to be an actor vigorous, forceful and restrained. A skillful horseman, too, is Mr. Bosworth. Note that realisftic drop from his mount, when the bullet from the Federal trooper finds its mark and inflicts a glancing wound on his temple. It looks, for all the world, the real thing, and you give a gasp, with a surge of sympathy, believing that the man has been killed. The characters of the old, fat negro mammy people, we see the wavering flare of the lighted tapers and catch the haze of the smoke and the flicker of the flames as they rise from the fire on the hearth. The opening scene of. the story has already been referred to. The spy, thinking that he While the trooper is examining the clothes of the spy in the hope of discovering incriminating papers, a lad, Joe Wheelock, who has been hunt- ing squirrels in the vicinity, takes a pot shot at the trooper and sends a bullet through his cap. The latter starts in pursuit, but is no match SCENE FROM SELIG WAR DRAMA ' THE SPY THE FILM INDEX for Joe, who easily outwits him and doubles back to the place where the dead man lay. B'ut the spy has been only stunned, and, when Joe returns, he is conscious, and able to raise himself partly on one arm. Joe recognizes him and rushes off to bring succor from the home of the spy which happens to be near by. While in the spy's home, the trooper who had pursued Joe approaches it to make search for the boy who had come near slaying him. Joe escapes by climbing up the chimney. The trooper searches in vain and, being hungry and seeing the table spread with good things, he is tempted by the hostess to eat. In the mean- time Joe has returned to the spy and attempts to assist him to his home unaided. But the wounded man collapses after going a short dis- tance, and once more Joe goes for assistance, this time with success. While tender hands are dressing the wounds of the spy, a lookout warns the family that the Federals are approaching. He is borne to an upward bedroom as the troops halt. The captain demands passage up the stairs, but is restrained by the dignified hostess, mother of the spy. Just when things seem most desperate and the spy, stretched on a bed, resolver in hand, has decided to fight it out, Joe's busy brain evolves a means of escape. The wounded man is low- ered from the upper back window, by blankets and sheets knotted together, and Joe himself immediately follows. In accordance with the plan, two young ladies of the household assume repose in the disarranged bed, just vacated by the spy. When the Federal officer and his men discover them, the officer apologizes and orders his men from the room. Meantime Joe has assisted the spy to his horse and the precious papers are carried by him to the general. The closing scene shows the spy in a hospital, surrounded by his mother and sister and house- hold, and smiled on by the venerable general and his aides, who honor him for his bravery and desperate persistence in duty. ][==)□£=][ ALHAMBRA THEATRE OPENS New Nashville House a Beauty — Will Use First Run Films Crowded houses have greeted the Alhambra 5-cent photoplay theatre, Nashville, Tenm., ever since the artistic little show house opened a few days ago. The most critical playhouse visitors of the city have come in to inspect the much-advertised interior and to enjoy the "first- run" pictures which are provided for the patrons of the Alhambra. Among other recommendations stressed by the management is the fact that there are no steps to be climbed or descended, but that the floor is on the same level as the street, except for the necessary incline to give a free view of the stage from all parts of the house. The ventilation has been arranged carefully, looking after the health and comfort of the people. Recognition of these advantages has come in the way of large crowds. A NEW HOUSE FOll TAUNTON, MASS. Remodeling of the Armory Hall bowling al- leys, Taunton, Mass., into a photoplay house is being carried out by F. D. Williams. It will be quite an extensive job to bring the building to conform to the state requirements for motion picture shows. The alleys will be covered and preserved with a substantial floor- ing. The new picture show house will be opened shortly after New Years. The Messrs. Leonard will be the managers of the place and they have already made arrangements for films and the necessary equipment. A motion picture parlor is to be placed in the State Insane Asylum at Weston, W. Va. A moving picture machine will be installed to vary the monotony of the existence of the unfortunates confined there. Edgar Phillips and Charles Kauffinau of Waynes- boro, Pa., have opened a photoplay show in the Town Hall. THE MUTES AND THE MUMMERS Just How Far Do Photoplayers Offend the Lip Readers? By EPES WINTHROP SARGENT, "CHICOT" WE are hearing a lot of late about the grave offense given the deaf mutes by photo- players because of the ability of the for- mer to read human speech by visual observance of the formation of the vocal sounds — in other words the so-called "lip reading." There must be some fire where there hangs a cloud of smoke and a caution contained in the rules of a Chicago production department (and not long ago reproduced in the Film Index) argues that at least one director has found it necessary to warn his people. But to what extent is offense really given? Sometimes there is a pantomimed speech so clearly and definitely framed that even nor- ma! children, who never heard of lip reading, can catch the phantom phrase. Usually it is something like "Father! Forgive me!" "Saved!" or other innocuous phrases though now and then a bit of profanity is shown with a clearness that seems to turn the light rays into sound waves. Most exhibitors will recall a photo- play of some eighteen months ago in which the hero as an epilogue expressed his opinion of a week end in the country with such clearness that the section had to be cut out for most houses, but the writer takes it that these are not the matters to which the present controversy al- ludes. Those who know their way about the studios know that now and then a spirit of kidding will take possession of the players but herein they are no different from the players of the stage. Fanny Davenport delighted to die with her face from the audience and "kid" her lead- ing man until the curtain dropped and in mu- sical comedy the comedian frequently departs from his lines to "visit" with some friend "out front." The practice would seem far more pernicious on the stage than in the picture studio where there is no audience to be annoyed by extraneous lines. The kidding rarely takes the form of vul- garity, it may be a relief from the tedium of' an over rehearsed scene and the practice cannot sweepingly be condemned as bad because a few people are lip readers, although a photoplay- house is apt to contain a larger proportion of mutes than one where the spoken play is the attraction, and it would be well to cater to them. The practice is not defended here, photoplays should be acted in all seriousness, but it is strongly contended that the offenses are few and unpremeditated. Stock companies are for the greater part recruited from the regular stage and from the better class of players. It is not to be believed that there exist studios wherein the standard of morality is so low that the habitual use of ob- scene speech is encouraged as some of the com- plaints would lead us to believe. One strike play that was never shown con- tained a scene in which the young foreman, leader of the strikers, received a telegram from the head of the company granting all demands. "It's all right, boys," he announced. "The boss gives in. Longer hours, less pay and no holidays blankety blank the blanked old miser!" and with a hearty cheer for the dear old boss the men went back to work. Most persons of average intelligence could have caught the words from the formation of the sounds and had the picture been issued a new scene would have been required, but on the other hand had the man been standing sideways to the men the scene might have passed and only the few mutes could have fol- lowed the announcement. The use of the pro- fanity was inexcusable, but the remainder of the speech could be objected to only on the grounds of its distinctness. On the other hand are purely feminine oaths to be used for the benefit of the few? Can a couple of players work up a scene of tragic intensity with dialogue such as this? Hero: "Mercy Harold. Would you kill me? My Goodness! My Goodness!" Harold: "Yes, you horrid old thing, you stole my girl and I'm going to send you to the very depths of the bad place." Hero: "For the love of Mike, Harold, be rea- sonable." Harold: "Be reasonable, you sassy thing! Mercy! I'll slap you on the wrist." No deaf mute could object to the use of such language but the probabilities are that the act- ors would be convulsed with laughter and unable to work up the intensity required. Speech is improvised to fit the scene and not written into the scenario. A certain latitude is permitted the player but the few instances wherein liberty becomes licentiousness are so rare that it is unfair to permit the exception to be regarded as the rule. It would be better were the ten- dency to gag be met with a gag of more ma- terial sort, but harmless gagging is not a henious crime and the vulgar and indecent is rare. It is well to sound a note of warning against even the mild horseplay in a picture but it is unfair to the photoplayers to permit the impression to get abroad that they are a band of vulga- rians whose common speech is unfit for polite ears. BUYS THE ELITE PHOTOPLAY THEATRE James Rebb Now Controls Big Atlanta House- New Improvements Being Made James Rebb, of Atlanta, Ga., who has been connected with "The Elite" photoplay theatre for a long time has now purchased "The Queen Theatre," on Whitehall street from G. A. Hart- rampt, and will immediately begin extensive improvements, which should put that house on a footing with any in the Georgia metropolis. It is the intention of Manager Rebb to have the floor lowered to the level of the sidewalk, thus, dismissing with the old steps that formerly made the patrons ascend before reaching the main lobby of the theatre. There will also be new decorations, both in the interior and exterior of the house; a new picture machine will be installed in a fireproof booth, and only first run pictures will be exhibited. Should it be found a paying proposition, Manager Rebb will add first class vaudeville, as he is in line to secure good acts from reliable booking agen- cies. What Mr. Rebb is really striving for, is a place where the best citizens of Atlanta can go on an afternoon or night and thoroughly enjoy them- selves, without fear of having their morals shocked. Coming— "The Irish Honeymoon' THE FILM INDEX Playing the Pictures By Clyde Martin A SHORT time ago the New York office of Pathe Freres advised me that they were about to release a magnificent produc- tion of Verdi's "II Trovatore." I was not at all surprised at Pathe undertaking such a heavy production, as big things are right in their line, but I was agreeably surprised when they informed me they were to arrange a complete musical score to accompany the picture. Pathe has broken the ice; they have taken a step toward the upbuilding of the picture industry, and now it is up to the exhibitor. Are you going to pay the small price of fifty cents for this special folio? If you don't, Mr. Exhibitor there is something wrong with you. The Pathe Company should have the support of every exhibitor of motion pictures, they have no doubt spent a great deal of money in ar- ranging this score,' and when you take in con- sideration that it is for your own welfare, you should have the glad hand out for them and see that they are used properly. When you order the picture of "II Trovatore" for your theatre, don't wait until the day you show the picture to turn the music over to your musicians, order it in advance. The simple fact that the cues will be on the sub-titles is no excuse for not having the score in advance so the musicians can rehearse same, for such a production as "II Trovatore" can easily be ruined if the music is not perfect, and any mu- sician that is making a study of playing the pictures should be glad to have the music sev- eral days in advance. I received a letter from a piano player in the "show me" state and with all regards for the natives of Missouri, I believe they have Arkan- sas beat a mile when it comes to asking foolish questions. This musician said he had been playing "San Antonio," "Pride of the Prairie," "Idaho." "Cheyenne" and such pieces for west- ern pictures for the last year, and the manager asked him to change his music for western pic- tures and give the people something different. I told him to tell the manager to write Selig, Essanay and Melies and suggest some new ideas for western pictures, then we could change our music. It is the same thing with western pictures week in and week out, The Girl, The Fellow, a few broncos, rocks and pine trees, how can they expect us to change the music. Last week I had the pleasure, or I mean the time to visit an independent picture house in a near-by town and they were running some of those "Reliable" films, or whatever they call them, and after I had sit through forty-five minutes of blood and thunder, the trap drum- mer had the nerve to ask me to give the man- ager a list of good traps and effects. I told him I would mail the list and I did. I told him if what I had seen the night before in his the- tre was the average run of pictures he was get- ting, I would suggest as a list of effects for his drummer, twelve double barrel shot guns, sev- eral pounds of dynamite (with short fuses) and gave him directions for building a "dull sick- ening thud" machine. Up to the present writ- ing I have received no reply, he possibly did not "fancy" my suggestions. Life is too short to waste your time in play- ing for these blood and thunder pictures. If you can live on fifteen or twenty dollars a week and are satisfied with the same, it matters little whether you are playing for blood and thunder pictures or for pictures of merit. But, if you are looking to a future in this new profession of playing the' pictures, place yourself where your surroundings will help you. I had the pleasure of playing for the Edison release of November 29th. "The Greater Love" with Mme. Pilar-Morin in the leading role, and I only wish the producers could give us more pictures of this nature. Just such pictures as "The Greater Love" has been the making of many picture players. It is one of those pic- tures of heart interest and is pathetic through- out the entire reel, it gives the musician a chance to master expression and expression is what counts in playing the pictures. Some effect men are under the impression that they are to work sounds and effects on the principle features only, this is a sad mistake that has been made by many, time and time again some little effect has been overlooked that would have "made the picture." This point was illustrated to me the other evening while we were running a little short subject, the Pathe release of August 22, "Butter Making in Normandy." It is a short subject but, a very pretty picture and when the cows were shown on the screen I told the effect man to use a cow bell. He waited for a cow to appear with a bow bell hanging on it. But there was no cow bell shown in the picture. After the first show was over I asked him why he did not use a cowbell in the scene and he told me there was none in the picture, and I told him to use the effect the next show regardless of the fact that there was none shown in the picture. The next show he used the bells and that night the manager remarked about the number of com- ments he had received on that short picture, that might otherwise have gone unnoticed. I have found that in many pictures you can draw a little on your imagination in working effects and get very good results. Above all things, whether you are playing the piano, playing drums or working effects behind the screen do not over do your work, and never try to get a laugh unless there is one coming. I once visited a picture house where the drummer and piano player were doing stunts through a dramatic picture in order to get a laugh and I am sorry to admit it, but there was a number of brainless people in the house that really thought their work was funny. If you feel inclined to cut up, get out in the street and pull off your stunts, don't do it at the piano as it is very disgusting to the better class of people. Be serious in your work, if you have a dramatic picture to play, treat it with respect, if some "rough neck" in the house laughs at a scene in a pathetic picture, don't try to make him laugh again, try and make your music all the more impressive so the audience will more fully realize what a fool he has been. We have so many foolish patrons that go to the picture theatres to sit and giggle and act foolish that it makes it hard on the musicians in dramatic pictures but I have always found it pays to cater to the better class with your music. I do not want you to put me down as a kicker, but, from a musicians' standpoint I have, in my own mind, condemned the Biograph company in many pictures. You may think this a foolish assertion to make but it is true, and for no other reason than the way they "butcher" some of their best dramatic subjects by throwing in short comedy scenes that are uncalled for. I can recall a number of the Biograph pictures where they have stopped an interesting dra- matic scene to put in twenty or thirty feet of comedy. Of course the comedy is good, for everything the Biograph people put out is good, but these short comedy scenes only make the house noisy and when the dramatic scene is resumed it takes time the quiet the house and it makes the audience lose interest, and the musicians lose patience. Before closing my article for this week, the mail man handed me foolish question number 1001 from a piano player, and here it is, "Where Do You Get Chinese Music." I told him to ask his laundryman or the nearest chop suey chef. If that don't do him, I will leave it to the readers of the Index to put him next to some good place. RED BANK WILL HAVE BIG HOUSE W. K. Kelley, Well Known Hotel Man Will Be Owner— To Seat 1,000 A new motion picture and vaudeville theatre is to be erected on Monmouth street, Red B'ank, N. J., William K. Kelley, proprietor of the American Hotel, will be the owner. The plans have been drawn and accepted and the building will be pushed ahead for early occu- pancy. It will be a tile and stucco structure and modern in every respect. It will be one story with a high ceiling and the floor space will be 30 by 95 feet. No ex- pense will be spared to make it one of the most attractive and complete photoplay houses in the State. The Empire Theatre, on Monmouth street, was opened about two years ago by Frank Evans and Perry Ryan, the vaudeville perform- ers, and from the start it was a paying enter- prise. After a time Ryan decided to go abroad and Evans thought he would be more contented to resume his theatrical profession, and they sold out to Charles W. Ritter. Ritter secured the best vaudeville acts obtainable and put on first class picture reels, and the result was that he got the people coming his way. The the- atre will seat about 1,000 people, and with the small admission charged and the excellent per- formance given the house is usually crowded. ANOTHER PHOTOPLAY FOR CHARLOTTE. Charlotte, N. C, is to have another photoplay. It will be located at No. 23 West Trade street, in the store now used by the Mr. Sam Maxwell in the furniture business, which he will vacate at an early date. The management of the new theatre will be under that of Mr. J. Tate Powell, the present proprietor of the Casino moving picture house. The new place will be given a thorough overhauling from top to bottom, and work will begin after the first of the year. This will be among the best of the city's many pretty photoplay houses. Coming— "The Irish Honeymoon" 12 THE FILM INDEX THE excellent Essanay Eastern players have just completed a masterly production in "His Master's Son," a dramatic photoplay which opens in the south at the end of the Civil war and closes with an intensely dramatic cli- max in the board of trade circles in Chicago. The Essanay Company makes announcement that it is among the best of the Essanay's recent Tuesday releases and that it will be released at an early date. The most painstaking care has been exerted by the Essanay Company in making this sub- ject one of absolute flawlessness in the way of its traditions, costumes, etc. In the prologue of the photoplay in the Southern colonel's man- sion the details of the settings and costuming of the large cast are especially pleasing, while the reproduction of the customer's room in the large offices of a Chicago broker are, in point of setting, technically correct. The Essanay Eastern players, whose excel- lent work in recent photoplays has been so high- Si'ENK ly commended are at their best in this subject. Expert stage management and thorough coach- ing of the talent is in evidence in every scene and situation. The story is liberally supplied with that ever appealing element, "heart interest," while its dramatic situations are of a nature which should hold an audience breathless from the first foot to the last. A brief outline of the plot is given in the following paragraphs: Upon the close of the Civil war Col. Ten- B'roek, a veteran who had worn the gray, re- solves to sell the remnant of his estate and go North with the intention of recouping his lost fortune. However, upon the day of his departure when he bids his now freed servants goodby he is seized with an attack of heart failure and dies, leaving behind him his almost penniless widow and a little son of five years. Cyrus, the personal servant of the colonel's, resolves to continue in the service of Mrs. Ten- Broek and his "young marse" and despite the disapproval of his plan on the part of his mis- tress goes with them to the North. I The scene shifts to twenty-five years later when young TenBroek has established himself in Chicago and become known as an enterpris- ing young business man. Old Cyrus, still the faithful servant, is his only companion since the death of Mrs. TenBroek some years before. Ten Broek has made himself a favorite in the social life of the city and though a man of no great means is favored in his suit for the hand of Mabel "Ware, the daughter of a promi- nent grain operator. Mabel has another suitor in one Justin Wood, a broker, who, upon learn- ing of his defeat and that young TenBroek is the lucky suitor, resolves to have revenge upon his rival. His opportunity comes a few days later when he discovers that James has taken a flyer in July wheat, speculating a little more heavily than is his custom. Gathering a small clique of speculators about him, Wood institutes a bear raid, smashes the market until James' en- tire fortune is swallowed up, and his brokers demand additional margin. Young TenBroek receives the margin call at his rooms, and having no more money gives up the fight. As he sinks dejectedly into a chair, he drops the margin call to the floor, and it is picked up by the faithful negro, who won- ders what can be the contents of the letter, which so troubles his young master. Unable to read he seeks for a person whom he can trust to interpret the writing, and finally decides to ask his master's sweetheart. The young lady when given the note immediately comprehends the young man's predicament, tell- ing the negro that his master is facing ruin. Cyrus surprises her by telling her he has $1,- 000 saved up which he will gladly use to help "young marse." Mabel instructs the negro in how to aid his master and after the old man leaves seeks to enlist the aid of her father. Ware, after hear- ing the details of the case, immediately per- ceives that Wood, in his effort for revenge has probably gone the limit and placing heavy buying orders for his own account and also ad- vising his friends to do the same. July wheat takes a sudden turn which leaves Wood in the lurch and young TenBroek not penniless but handsomely paid for his investment. The closing scenes of the picture explain how James learns of the old negro's sacrifice and Cyrus finds himself a favorite not only with his master but also with the young lady who will soon be his mistress. The part of Cyrus is distinguished by excep- tionally clever character work by Joe Dailey, who has won considerable praise for his fine work in other Essanay photoplays. EMPLOYES GIVEN XMAS BANQUET Managers Toomey and Demara of Lawrence, Mass., Photoplay Theatre Give and Receive Presents. An excellent example of perfect accord and mutual understanding existing between em- ployer and employee was evidenced on the eve- ning of Dec. 26, when T. P. Toomey and N. L. Demara, proprietors of the New Nickel and Pre- mier photoplay theatres of Lawrence, Mass., and the Academy of Music at Lowell, Mass.. tendered their annual banquet to the employ- ees of their playhouses in Libbey's hall on Essex street. Messrs. Toomey and Demara were presented with heavy gold watch chains and charms from the employees and E. R. Oldfield, the manager of the Nickel photoplay theatre was presented with an Elks' watch charm and a gold-handled silk umbrella by the attaches under him at the New Nickel photoplay theatre. It was after 11 o'clock when the sixty or more people present sat down at the tables to do justice to the excellent menu. Manager E. R. Oldfield acted as toastmaster and before the first course was served he presented the watch chains and charms to Messrs. Toomey and De- mara with a neat and appropriate speech in which he referred to them both in the highest terms. Mr. Toomey replied in behalf of himself and Mr. Demara, thanking the employees for their kindness and the faithfulness with which they had performed their duties during the past year. Mr. Oldfield was then presented with a charm and umbrella by the attaches of the New Nickel photoplay theatre, and was so surprised that he could scarcely find words with which to make a reply. After the banquet had been served the hal! was cleared and an entertainment, consisting of vocal and instrumental music, was given by the talent present from the different theatres. Danc- ing followed until an early hour in the morning. Among those present were the following: T. F. Toomey, N. L. Demara, J. R. Oldfield, Mrs. Charles Pierce, C. J. Pearce, Miss G. Hollick, J. H. Blott, Mae Bagshaw, H. L. Stacy, J. J. Carney, Edyth Davis, Emma Pettingell, Lena Bernie, Mrs. John Hulme, John Hulme, Thomas Murcy, Ferdinand Campi, Leonard Champey, Dan Sullivan, C. L. Curran, W. McAvoy, G. S. Bateman, Maurice Noonan, John Gray, Joseph Kennedy, J. J. Hart, J. J. Kane, Edgar Gau- mond, Paul Dechamplain, John Sharkey, H. J. Banan, F. P. B'anan, F. J. Jordan, S. F. Mc- Donnell, H. D. Delmore, Frank Robie, M. A. Fitzgerald, Daniel Cummings, Oscar Blanchard, Pliny Rutledge, S. F. Kelty, T. M. McGuire, W. H. Looney, Luke Lyons, F. J. McGuire, Carl Frederickson, Josiah Glascon, D. D. O'Connell, Joe McHenry, F. H. Lucy, G. A. Marris, John Geogon, William Toomey, Tom McGuire, Steve Kelly and J. E. Toomey. GOOD BUSINESS AT BRONX CASINO. For good, clean photoplays and excellent man- agement, it is doubtful if there is a house in New York city running straight pictures that can eclipse the Bronx Casino, owned and man- aged by H. J. Martin, of 3329 Third avenue. The house, which seats 299 persons, is hand- somely furnished, the color scheme green, red and gilt. Each chair is large and roomy so that a patron does not have to sit in a crampeu up position. Besides seeing five reels of the latest and most carefully selected pictures, which are run off in a manner for the patrons to get thep roper effect. Manager Martin has engaged Alfred Wilson, a well known local tenor to sing the latest illustrated songs. HIS MASTER'S SON The Story of A Slave's Devotion by the Essanay Eastern Players THE FILM INDEX *3 BELIEVES IN EDUCATIONAL PICTURES. Mayor Seidel of Milwaukee Wants to See Them in Public Schools— School Should Give Entertainment. That there is something good in every line of amusement so long as it is used for the uplifting of the public welfare, has long been the watch- word of Emile Seidel, the Socialist Mayor, of Milwaukee, Wis. Mayor Seidel, since his elec- tion, has taken great interest in the welfare of the young people in his commonwealth and one of the first steps he took towards reform, was the breaking up of the low class of dance halls that abounded in his city. But of the many other things that have been watched by his eagle eye has been the develop- ment of the motion picture, and what was the best way in which he could apply it towards helping the boys and girls of Milwaukee. One of the first things he did, was advocate the use of motion pictures in the public schools, where they could help teach such subjects as geogra- phy, history and other school subjects. He also believes that the schools should run motion pic- ture entertainments consisting of the latest and best films on the market and that plenty of good, clean comedy should comprise a greater part of the show. He also believes that all motion pictures the- atres should, in themselves, be a place of educa- tion and that only censored pictures should bo used. He, like Mayor Gaynor, believes the Am- erican boy to be the brightest in the world and to train him in the right way and make him an honor to the nation he should see and have only the best of everything. In a letter to The Film Index, Mayor Seidel said; "I believe that the motion picture is well adapted to entertain while it educates. How far the manufacturers have gone to combine these two features, I am not prepared to say, but hoping that the day is not far distant when the manufacturers can furnish such films as will supply the needs of our communities in this direction." Morris Cunningham, formerly manager of the Peo- ple's theatre. Leavenworth. Kan., has built a new motion picture and vaudeville theatre at Excelsior Springs, Mo. It is a verv neat little theatre. The theatre was opened there last Sunday. DEAF MUTE AS PICTURE CENSOR Buffalo Police Superintendent Believes Mutes Can Tell What Actors Say On Dec. 22 Supt. of Police Regan, of Buffalo, N. Y., put into execution his little plan to reg- ulate the motion picture shows in such a man- ner that the films exhibited will not be offensive to deaf mutes. A deaf mute, now an inmate of one of the institutions of Buffalo spent the greater part of the day accompanied by a de- tective from Police Headquarters in visiting mo- tion picture shows. The deaf mute made notes on the lines of the drama as he interpreted them from observing closely the movements of the lips of the pictured actors. Whether or not any objectionable lines were noted Supt. Regan has as yet not made known. The report made to him by the deaf mute and the detective regarding the investigation has convinced him however that ample ground existed for making the inspection. The deaf mute readily interpreted the lines of the various dramas, and Supt. Ryan now has in his pos- session a general outline of the shows visited. "The man that I selected to do this work was reported to me as one of the most intelligent in the Buffalo institutions," said Supt. Regan to-day. "With a detective he made the rounds of the motion picture houses and has reported to me just what he learned. I don't want to say at this time that he found anything ob- jectionable. However, I will say that I be- lieve I was justified in making the inspection, and as a result of the report I have received I will in the future try to have every film exhibited in this city subjected to the censorship of a deaf mute." NEW PICTURE HOUSE IX FLA. A. R. Harper and B. W. Haynes are fitting up the north room in the Pound building, East Main street, Greenville, Fla., for the opening of a first-class motion picture show, with no vaudeville adjunct. Only the pictures will be shown, which can be visited by both clergy and laymen without their sense of refinement being marred in the least. N. G. Ziegler, pianist, and E. A. Bethel, operator, to- gether with Mr. Haynes, are already here. The room is especially adapted for the use to which it will be put, and it will be one of the best and most comfortably arranged motion picture theatres in the state. PICTURES FOR 15KJ ALABAMA THEATRE. On nights when there is no regular theatrical troupe occupying the Masonic" theatre, New De- catur, Ala., Manager H. B. Cade will run mo- tion pictures and vaudeville in order that the citizens of the town will have something of amusement. Although the house is on the Klaw & Erlanger circuit, Manager Cade is not going to deny his regular patrons amusement when there is a chance to give them something. The house is one of the best equipped in Alabama and has a large and aristocratic following. NATIONAL THEATRE BEING OVERHAULED. The new management of the National theatre, Winchendon, Mass., has just completed the over- hauling of the electric wiring which was in very poor condition. All the old wiring has been pulled out and new wires run in making it per- fectly safe, also helping the operator to show a much brighter picture. Coming — "The Irish Honeymoon" HIS HONOR EMILE SEIDEL, MAYOR OF MIL WAUKEE, WIS. THE FILM INDEX MANUFACTURERS' BULLETINS Advance Descriptions of Licensed Subjects i CALENDAR OF THE WEEK'S LICENSED RELEASES MONDAY, JAN. 9, 1911—4 REELS BIOGRAPH — The Italian Barber, comedy, 993. LUBIN — Tag Day at Silver Gulch, drama, 935. PATHE — The Evils of Betting, drama, 676. In the Land of Monkeys and Snakes, col- ored scenic, 276. SELIG — Shadows of the Past, drama, 1000. TUESDAY, JAN. 10, 1911—4 REELS EDISON — The Test of Friendship, drama, 1000. ESS A NAY — The Sophomore's Romance, comedy- drama, 1000. GAUMONT (Kleine) — A Child's Plea, drama, 758. The Hills of Corsica, travelog, 243. VITAGRAPH — ^octor Cupid, comedy, 987. WEDNESDAY, JAN. 11, 1911—4 REELS EDISON — The Home of the Seal, educational, 300. The Gardner's Ladder, comedy, 700. KALEM — Love for an Enemy, drama, 995. PATHE — The Twin Cinderellas, comedy, 705. Dusty Rhodes Takes a Plight, comedy, 249. URBAN (Kleine) — Washed Ashore, drama, 670. Woodcarving in Brienz, educational, 320. THURSDAY, JAN. 12, 1911— 4 REELS BIOGRAPH — The Midnight Marauder, comedy, 392. Help Wanted, comedy, 605. LUBIN — The Widow's Choice, comedy, 950. ME LIES — The Owner of the "L. L." Ranch, drama, 980. SELIG — The Rival Dramatist, Burlesque, 1000. FRIDAY, JAN. 13, 1911 -4 REELS EDISON — The Link That Held, drama, 960. KALEM — The Heart of an Indian Mother, In- dian drama, 1000. PATHE — Max is Almost Married, comedy, 572. So Near But Not Quite, comedy, 420. VITAGRAPH— W ater Lillies, drama, 991. SATURDAY, JAN. 14, 1911—4 REELS KSS.W VY — The Girl of the West, Western drama, 1000. GAUMONT (Kleine) — A Simple Rustic Tale, drama, 958. PATHE— The Battle at Redwood, drama, 1000. VITAGRAPH — Coward or Hero, drama, 975. G. MEL1ES. "THE OWNER OF THE 'L. L.' RANCH." — Lorna is a woman and she is all business when it comes to running the "L. L." Ranch, and she has no trouble in handling it and the "boys" who work for her, espe- cially "Jeff," her foreman, who gives her a hand. She evidently appreciates his services and thinks him a handy and pleasant fellow to have around; her "Runs" are the best in Texas. There is a question of title to her land; finally the Supreme Court decides against her and she is obliged to turn the "L. L." Ranch over to Sir Reginald Coutts-Harcourt in whose favor the decision has been made. He Is an overbearing fellow and meets with the dislike of the cow-punchers, who despise him as much on Lorna's account as for himself. Lorna gives him respectful attention, but repulses all his familiarities as she explains to him the bound- aries of the place, its general workings and stock. After turning things over to him she buys a smaller ranch and starts in business again with fresh hope and ambition. Sir Reginald has very little use for a ranch and places it on sale with a local real estate dealer to whom he gives full power of attorney to dispose of it, little thinking that Jeff, who has suddenly come into possession of money through the sale of a mine in iHF r ; ... which he had half interest, would be the buyer. "Sir Reggie" hates Jeff and Jeff returns the compliment and takes great pleasure in getting square with his lordship through the purchase of the "L. L." The climax comes and Jeff has his sweet revenge. Just as the cowboys, who are "soused," decide to have a "necktie party" by hanging "Reggie," Lorna notifies Jeff by messenger of the doings of the "boys," and he hastens to get his deed of purchase and hurries to the "L. L." Ranch, where he finds Sir Reggie with a rope around his neck and Lorna pleading with the boys not to do anything rash. Jeff jumps off his horse, tells the boys to stand back, shows Sir Reginald his deed to the place and orders him to make himself scarce as soon as possible. The ranchers wave their hats and cheer when they know that Jeff owns the "L. L." Ranch in joint part- nership with Lorna, who agrees to become his helper for life. GAUMONT. (George Kleine.) "A CHILD'S PLEA."— The Count de Lecourt after his marriages makes his home at his mother's house. The old Countess, his mother, loves the daughter-in- law, but her affection is not returned, in fact, the young wife shows a marked and unkind aversion to her. At the birth of the first child, the good countess, forgetting all the unkindness to which she has been subjected, makes her son a present of the home. This kindness is soon repaid by neglect and open enmity on the part of the fortunate daughter, who gives the old lady to understand that the home no longer has room for any but the family. The discontent on the part of the young mother develops into more radical dis- like as the old lady is lavished with her affection toward the child. The Countess feels that she is the cause of unhappiness to her son and his wife, so leaves the home she has so freely given to her chil- dren. The Countess after spending several lonely years, decides to hazard a visit to her grandchild. On the babe's birthday with the help of an old servant, she enters the child's sleeping room. The little one is praying, asking to see his grandmother again. After hearing his prayer to the end. she makes her presence known. The child's delight is witnessed by his mother who is touched with pity for the old lady and insists upon her remaining with them. "THE HILLS OF CORSICA."— The title of this sub- ject describes it perfectly, as the beautiful scenes one after another show vividly Corsica in its wild state. The forest of olive trees show plainly along with countless views of nature beautiful. Most of your auditors will know the more important facts in re- gard to this island in the Mediterranean Sea belong- ing to France and situated a matter of 100 miles south east of the French coast at Nice. The extreme length of the island is about 116 miles and the breadth is about one-half that distance. Greater part of the surface is occupied by a range of rugged mountains diverging in every direction. The the shore of the ocean, but in many instances do run out into great distances in the sea forming bays and gulfs. Tourists returning from Corsica are always enthusiastic in their descriptions of the plantations of olive, almond and fig trees. Our picture presents beautiful panorama of the coast followed by a trip inland among the valleys and hills of the island. We are given a good idea of the chief internal resources of the island, which are its vast forests covering the summits of the hills and which furnished timber for the navies of antiquity. We are surprised to note the way in which this source of wealth has been neglected. "A SIMPLE RUSTIC TALE."— Dupont and Durand, two farmers, are near neighbors. The one has an only son, the other an only daughter, and the young people are engaged for marriage. It is nutting time, and while the lovers spend their Sundays in the woods, their fathers are playing cards and their mothers are chatting and gossiping. We see the Dupont family making a call on neigh- bor Durand, and watch with interest the meeting of the lovers. The latter soon leave the old folks to themselves, and while the women engage in conver- sation, the men are seen playing a game of cards. It is evidently a well contested game, for both men are deeply absorbed in the issue. Suddenly Dupont jumps to his feet and seizes the cards in Durand's hand. Counting them, he shows that Durand holds one card too many, and then, shaking his fist angrily in his neighbor's face, he calls him a cheat and a knave and rushes from the room. The old ladies, happy in their cronying, are dis- mayed by the appearance on the scene of the angry Dupont, who, unceremoniously orders his wife to ac- company him home and to sever friendly connections with the Durand family. Then he goes off to find the lovers, and interrupts their blissful reveries by a raucous command to his son to leave his sweetheart forever. And we see the timid youth shrink before his father and leave his promised bride to weep over the blight that has come to her happiness. But the lovers are not so easily parted. There are midnight and other meetings, at which they re-pledge themselves. Durand discovers them during one of these clandestine love feasts and gruffly bids young Dupont to be off, while he raises his hand threatenly to his daughter as Love, however, still continues ie orders her home, to find a way and places for meeting until the climax comes. That arrives when young Dupont comes home late one night, and his father, suspecting the cause, refuses him rps of the range ordinarily terminate abruptly onadmittance and commands him to leave. THE FILM INDEX *5 + MELIES RELEASES * Jan. 12, 191 I THE OWNER OF THE "L. L. RANCH A8 fine a drama of Western life as it i: a peach and she knows how to handle 1 > does this picture. Length About 980 Feet Jan. 19, 1911 CHANGING COOKS This Is a comedy that's something llkf> a comedy. It will rope in the 1 sorve them to a full square meal of fun, highly flavored and well seasoned. Length About 980 Feet We hive Posters, too. Write us for them if your Eieh»no* does lot supply yon. C. MELIES, 204 East 38th Street, New York City WESTERN REPRESENTATIVE, JOHN B. ROOK, 100 RANDOLPH STREET, CHICAGO, ILL. The lovers, however, are not friendless, for they have in their mothers staunch allies. Mother Durand has a ready wit and, knowing her husband better han he knows himself, she plans to bring reconcile - ion between the families. She counsels her son to disappear, and arranges a hiding place for hiin in an unused building on the farm, where she sup- plies him with food. One other knows of the youth's whereabouts, and that is his sweetheart. Now we see the elder Dupont moving around his farm, and noting here and there evidences of the work of the banished son. And we see the gnawing at his heart by the pained and sad expression on his face as he thinks of his absent boy. His melancholy grows daily, and although he is too proud to confess condition to his wife, that knowing woman sees and understands just as well as he. One day he sits forlornly in the barnyard, deeply lost in thought, when his old neighbor Durand passes. The latter sympathizes with the sorrow of his old friend, but hesitates to let his presence be known. His better nature finally prevails and he offers his hand in friendship. The two men immediately become reconciled, and they are soon joined by the wives and children, all beaming with the joy of great hap- piness. URBAN-ECLIPSE. (George Kleine.) WASHED ASHORE."— This remarkable study in elemental human passions is just the kind of story that the "silent stage" is best fitted to represent. Two brothers go down to the sea beach to fish; the sea leaps grandly over the great boulders as they search for the Crustacea that clink in the nooks ind crannies. An unusual object attracts their atten- tion, and they fish up from bcnea.h the water an iron box, which, when shaken, sounds as though it con- tained gold. Their humble though useful occupa- ion is quickly forgotten, and the brothers hasten way to a quiet spot to examine their "find." When forced open the box is found to contain gold pieces, and a valuable pearl necklace. A division of the spoil is made, each man greedily anxious lest the ather should get more than his share. They part, but the elder brother remains, and the look of malevolent cunning he casts after the other man is not good to see. Evil intent is in that covetous ?lance. As he sits there drinking, and turning over black thoughts in his mind, he falls asleep. In a dream of fearful vividness, he finds himself creeping through the moonlight to his brother's cottage. Murder is in bis heart. His brother lies on his straw pallet, and the glancing moonbeams reveal a smile upon his face. The intruder stabs the motionless form once! Twice! Then beneath the straw he finds the bag in which his brother has placed his share of the treasure. After this (in his dream), the murderer finds himself in a big house, living in luxury. The remembrance of his brother haunts him, and he dares not be alone. The police come to inquire into his brother's death; he cannot face them and flees, they seize him and he struggles fiercely — and then he falls from the seat on which he has been sitting and awakes, in trembling agony. He hastens to find his brother to convince himself he has not really earned the brand of Cain. Fondling his brother and speaking in broken accents, he relates his dream and pushes from him the gold. The other, awstruck, and perhaps conscious of guilty thoughts on his own part, also comes to the decision that the access of sudden wealth will bring evil in its train. Together they go to a notary and hand over to the state the treasure which the sea gave up. "WOOD CARVING AT BRIENZ."— A novel indus- trial subject showing Tyrolean peasants engaged in wood carving, an occupation in which they display- great skill— especially in securing, by means of hot irons, delicate shading effects. Carving oxen from life, a rough block of wood, with skillful chipping, assumes the life-like contour of a bear. Providing bruin with dentition. A delicate "operation." A lec- tern with eagle supporting. The plumage in exquisite detail. Light and shade obtained by means of hot irons. Some examples of carving. LUBIN MFG. CO. "TAG DAY AT SILVER GULCH."— When the Rev. John Asher and his pretty daughter, Ruth, arrived at Silver Gulch mining camp they were not greeted very cordially by the miners. The minister's clothing marked him as a "sky-pilot" and that, said the Silver Gukhers. was a kind of person they "didn't have no use for." They preferred to spend their spare time in the First Chance saloon, helping to keep the distilleries at work. However, the minister and Ruth were not discouraged. In the course of a few days a tent-church had been set up, but this didn't cause any falling off in attendance at the First Chance saloon. As the congregation didn't come to him, the minister decided to go to the congregation and began holding meetings outside of the saloon. Bill, one of the miners, finally enlisted in the cause- attracted probably by Ruth. It was determined to build a church. A "tag day" was set aside when all the inhabitants would be solicited to subscribe— each subscriber being decorated with a tag after making his contribution. Hearing of this, the miners painted a sign: "Notice: We ain't goin' to have no church. Buy a tag and git plugged." The Silver Gulchers weren't very swift to contribute because wearing a tag meant about the same as wearing a sign, "Please shoot me." Bill saw Ruth disappointed and downcast. So he bought the first tag, tied it on, pulled out his "shooting irons," walked into the midst of the miners, and, before they knew it, had the ringleaders covered with his revolvers. But the minister appeared and put a stop to Bill's plan. Then he took off his coat and proceeded to give Hank, the ringleader, the licking of his life. After this little ceremony, Hank showed that he was a true sport. He and Bill sold the tags like hot cakes. If any man felt doubtful whether he needed a tag he was quickly "persuaded" that he just couldn't live without one. Of course, Bill became the minister's son-in-law. "THE WIDOW'S CHOICE."— Harold and Jack Man- ning were rivals for the hand of Mrs. Dorothy Love- land, a handsome widow. John Manning, their fa- il n absi-i ordering him iat some one :re gone, they ther guardian The father ther, was an elderly widower who hadn't smiled on a woman for many years. One day, Jack received a letter from his firm telling him to report at the office immediately, prepared for a business trip which would take him from home for at least a month. When -Harold heard of these orders, he was naturally elated because Jack's absence would give him a good opportunity to make the final plea for the widow's hand. But his rejoicing didn't last very long, as he soon received a message from to accompany his brother. Fe else might win the widow while drew up a contract appointing over the widow during their was unaware of his trust unti a letter which he received after his sons had gone. There was nothing he could do but go to see the widow. He looked good to the charming lady, and. when father was leaving, she pinned a rose on him. At the same time, the long absent smile appeared on the widower's face. He called again the next evening, but in the meantime he had visited a tailor and looked at least twenty years younger. Things moved pretty rapidly after that and by the time Harold and Jack returned from their business trip, they found the fair widow was their step-mother. This is as pretty a love comedy as has ever been produced. (Continued on page 18.) he learned it through 6 THE FILM INDEX VI TAG RAPH. "LIFE PORTRAYALS" "DR. CUPID" TUESDAY, JANUARY I Oth A mighty funny comedy. Two young people in love with each other. Her young fellow is troubled with poetical genius that settles it as far as he and his girl's father are concerned. She pines and falls sick. The young man gains entrance to her home by impersonating "Dr. Cupid/' She responds to his treatment immediately, and wins her father's blessing when he asks for his daughter's hand in marriage. Then the old gent learns that "Dr. Cupid" and the young poet is the same person, he acknowledges himself beaten and stands by his promise. WATER LILIES" FRIDAY, JANUARY 13th This is a beautiful picture of love among the water lilies, which are the means of keeping fragrant and fresh the pure and constant love of two kindred souls who are parted by the blight of blindness, but are brought together again by the message of the flowers, which are symbolic of their love. THE YITAGRAPH COMPANY OF AMERICA NEW YORK, 116 Nassau Street CHICAGO, 109 Randolph Street LONDON, 25 Cecil Court PARIS, 15 Rue Sainte-Cecile THE FILM INDEX 17 "VI TAG RAPH. "LIFE PORTRAYALS" COWARD OR HERO" SATURDAY, JANUARY 14th As a boy he was a shrinking, fearful little chap, who would run a mile to avoid danger. As a man he was ready to face death to save the life of his boyhood friend, and died like a man and hero. A wonderful portrayal of true courage in one of the most thrilling disasters of the Pennsyl- vania Coal Mines* C6 NEXT WEEK Three Men and a Maid" ESTi** Two old bachelors and a young private secretary. The old fellows don't want her to have the young secretary. She not only gets him, but gets them, too. The Girl in the Film" Friday, January 20th She's a pretty girl. How she got in the film, the pictures tell in a very entertaining and amusing manner. The young fellow with the camera falls in love with her, and she agrees to be a model wife to him. "Cast Up By the Deep" " 2is, A tale of the sea, a fishermaiden and a man of society who falls in love with her, but whom the fates keep apart by a remarkable series of happenings. (8 THE FILM INDEX EDISON FILMS TUESDAY, Jan. 17th, WITH INTEREST TO DATE, By REX BEACH WEDNESDAY, Jan. 18th, UNCLE'S BIRTHDAY GIFT, MIKE THE MISER, AN EVENTFUL EVENING, FRIDAY, Jan. 20th, TUESDAY, Jan. 24th, WEDNESDAY, Jan. 25th, THE LOVER AND THE COUNT, FRIDAY, Jan. 27th, THE BLACK BORDERED LETTE TUESDAY, Jan. 31st, THE TRY OUT, Length 1000 feet Length 995 feet Length 990 feet Length 1000 feet Length 995 feet Length 1000 feet Dramatic, Approximate Length 995 fee Completel Descriptions of These Films Will Be Found in Other Columns of This Issue Send us your name for the KINETOGRAM Mailing List. Use A. B. C. Posters. They will help you. Ask for circular on LOBBY DISPLA Y FRAMES. EDISON MANUFACTURING CO. 73 LAKESIDE AVENUE, ORANGE, N. J. 90 WABASH AVENUE, CHICAGO, ILL. M A M FA( TUKEKS* BULLETINS. (Continued from page 15.) SELIG POLYSCOPE CO. "SHADOWS OP THE PAST."— Under Florida's his- toric old live oak tree with its branches spreading one hundred and ninety feet in diameter, where Ponce de Leon many times sought its welcoming shelter and where numerous treaties between the Seminole Indians and the early day Spaniards were made, is a fitting spot to set the first scene of "Out of the Past" —our love tale of the old-fashioned south; a story getting its commencement in Florida during the inter- esting days of 1858. The quaint old colonial atmosphere of the south with rapturous environments of chivalry, lend the finishing touches that make possible the gripping interest manifest in this subject. "Out of the Past" is the old, old story of love — but told from a new angle; a little classic void of sentimentality and romanticism. To attempt to de- scribe, in this announcement, the tender, delicate feeling which runs through the story and the deft and dainty touches given it by the company of ex- cellent players appearing in the characters of the production would be altogether inadequate. We have no hesitancy in announcing "Out of the Past" as one of the purest, prettiest and altogether one of the most satisfying stories of love and devo- tion told in pictures. "THE RIVAL DRAMATISTS, OR COCK-A-DOODLE- DO."— "It is the martial bird of morn, Iiiave ('hantieler, the vocal lighthouse of the The bring one a ?r, so ii at in the early dawn of day coup and pen in unison with 2ast as the extent of their Chevalier de Rostando, a middle-aged French gen- tleman, enters his well-kept barnyard with its sleek groomed cows and horses, brilliant plumed birds and rolling fat swine who pay tribute to his entree. In the meantime the opposition camp moves into line with Se the Grosse leading the entourage. His ren- dezvous is in direct contrast with his rival for dram- atic honors. American farm pictures grace his wall, the old welcome dinner bell is made of corn — this is, with what was left over after making the crystal liquid that rests peacefully in Grosse's demijohn. The pigs, goose, turkey and donkey are bewailing the absence of food and Grosse's head aches from the night before. He is in little frame of mind to further his prospects of out-generaling his rival. When the manuscript of his crowning effort was returned "with thanks" he is desperate and to add to his agitated feelings he finds an announcement in the morning paper of the "Unparalelled success of the one epoch- making drama of the age! Chevalier de Rostando, the hero of the hour." His rage knows no bounds and in his fury he demands red ink— red as blood — to convey a telegram of death. The challenge given is accepted and the French and American roosters settle the difficulty a la barn- yard style. VTTAGRAPH CO. "DOCTOR CUPID." — Love ! What a wonderful thing is love. Cupid is a specialist in aching hearts and for sick men and maidens. Alice Linton falls in love with Percy Primrose, a young poet. Papa Linton says: "Cut out the poetry and keep the muse out of the family." He will not father-in-law a senti- mental versifier. % Alice is deeply smitten with Percy and she cannot be comforted, falls into a decline and looks very ill. Her father is anxious about her and hastens to see the family physician. Percy consults the doctor in advance of the father, however, and tells him all about Alice's trouble and his love for her. The old doctor is a friend of the young people and arranges to help them. When the father calls, the doctor feigns sickness and sends Percy, disguised as "Doctor Cupid," to attend the young lady's case. Dr. Cupid comes to see Alice and after making himself known she immediately be- gins to improve. "Marvelous! " cries hep father. Dr. Cupid calls the next day and Mr. Linton_notices the doctor and his daughter are very fond of each other. The climax comes when Dr. Cupid asks Mr. Linton for his daughter and gains his consent to their mar- riage, then removes his wig and reveals himself — IVrcy Primrose, the poet. The deed is done, papa cannot go back on his word and Percy wins Alice as his inspiration and poetry of life. "WATER-LILIES."— "Albertina" is filled with the rythm and poetry of grace and motion. She is a cele- brated dancer whose fame is widespread. She has overtaxed her strength, is forbidden to appear in public and is obliged to seek quiet and rest. She retires to her Aunt Mary's home, a beautiful and restful country place, where she secures the much needed seclusion and comfort. Next door to Aunt Mary there lives a very handsome fellow who has often admired Aunt Mary's niece and to tell the truth she admires him. Growing restless under the enforced retirement, Albertina strolls down toward the lake where the water-lilies grow. She pulls a number of the delicate flowers from the water and entwines them into a garland, which she holds bewitchingly above her head. They give her an in- spiration and involuntarily she pirouettes, bends and swerves her lithe and willowy form like a nymph of ethereal sweetness. The young man who lives next door is rowing upon the lake; he sees Albertina dancing on the velvety field of grass, is charmed by her and rushes toward her. She trips lightly away from him, like a thistle- down wafted by some gentle zephyr. Following, he takes her in his arms and from that moment they are held by Cupid's bonds. Fates are sometimes kind and sometimes harsh; in this instance fate has decreed that Maurice suffer blindness from a lightning stroke, which flashes into his eyes as he stands enchanted, gazing out of the window at a gathering storm. Albertina hears of his affliction and declares her undying love for him. But he will not have her engage herself to him, blind and helpless, and sacrifice her life for his, so he sacri- fices his happiness by declaring that he does not love her. Broken-hearted she returns to the city and again takes up her public career as an exponent of Terp- sichore and Del Sarte, gaining fresh laurels and mak- ing new triumphs; these divert but do not lessen her love for Maurice. After one of her exhibitions, a child presents her with a bunch of water lilies; her heart leaps within her and she resolves to return to her blind lover. She goes back to her Aunt Mary's, asks first for Maurice, then wanders down to where the water lilies will remind her of sweet memories of the past. There she finds him groping his way to the symbols of her constancy and love. She glides toward him, he hears her voice and they walk into each other's outstretched arms. "COWARD OR HERO."— Just a couple of kids, chums at school and friends at play. Ned is a deli- cate, timid child; the rest of the boys regard him as a coward, afraid of his own shadow, but he has a staunch champion and comrade in his sturdy little friend, Jack, who always stands up for him and beats the other chaps off whenever they try to bully Ned, which is quite often. Ned and Jack grow up together and while Ned grows to be a husky young fellow he has not lost that shrinking disposition he evinced when a boy. The result is that Jack always wins out wherever aggres- siveness is needed; even at love Jack is the victor in the conquest for Mary's heart. Ned is offered a job in the coal mines; he is fear- THE FILM INDEX FOR EVERY PURPOSE 1.000 STYLES Chairs ESTABLISHED 1865 WRITE FOR CAT. No. 31 The A. H. Andrews Co. 174-176 Wabash Ave., Chicago, 111. Branches in all leading cities Two-Pin Machines Changed to One-Pin Improved Easy-Running, Long- Wearing Cams, Stars, Etc., Etc. E. W. LAVEZZI 3042 N. Ashland Avenue, Chicago MI/IUCU ATHPD ADU The original and leading journal lYUlLlYlM I U UK Ml fl 0f the moving picture business Has a larger circulation and is recognized by the whole trade as THE ORGAN OF THE MOTION PICTURE BUSINESS. $2.68 per year, mailed free. Specimen free HERON & CO., Tottenham Street, London, W., England The Leading Journal of the Moving Picture Business in Europe. Has the largest cir- culation and is the best Adver- tising Medium, bar none. SUBSCRIPTION. $2.00 A YEAR. SAMPLE COPY MAILED FREE 31,33, and 35 Litchfield Street, LONDON, W. C, ENGLAND The Bioscope Ornamental Theatres PLASTER RELIEF DECORATIONS THEATRES DESIGNED EVERYWHERE Write lor Illustrated Theatre Calaloi Send us Si2» of Theatre far Special Detigua THE DECORATORS SUPPLY CO. Archer Ave. and Lima St. CHICAGO, ILL ful of working in the depths of the earth and refuses to take it. Jack comes along and accepts it without hesitation and Ned is obliged to seek employment in the less hazardous occupation of gardener. An explosion occurs at the mines and Jack is hemmed in the tunnel. The whole town is in a fever of excitement. Who will save Jack? Some volun- teer, but hesitate at the mouth of the shaft; others are dissuaded by the pleadings of wives and children not to risk their lives. Ned is told of Jack's peril and rushes to the scene of the disaster, goes forward, declares his willingness to rescue his friend. Mary grasps his hands and tries to thank him. Ned pats her head and says, "For his sake and yours, I will save him." Ned is lowered into the mine and finds his com- panion injured and helpless, ties the hoisting rope about his body and soon he is lifted out of the tunnel and drawn to safety. Another explosion occurs in the mine and Ned finds himself imprisoned in the dark passageway, a victim to the gradual rise of the water which is flooding the mine. BIOGRAPH CO. "THE ITALIAN BARBER." — "Sweet Italian love, mia Italian Love You don't need the moonlight your love to tell her." The author of the above lines surely knew his Italian well, for there is no easier victim of Cupid's darts than the Italian, and the miniature unclothed God has no need to resort to his many time-honored trimmings, such as the moonlight, babbling brooks or shady lanes to induce cardiacal intoxication. A pretty face, and the Latin gentleman falls. A por- trayal of this is given in this Biograph comedy drama. Tony, the barber, on his way to the shop meets little Alice, the newsgirl, who runs a stand on a neighbor- ing corner. He at once becomes smitten and can think of nothing else. Later they are betrothed and little Alice fancies she has made a good catch. However, clouds gather when Alice's sister Florence, who is a vaudeville artist, returns from her road tour with her sketch partner Bobby Mack, for the moment Tony sees Florence he transfers his affections to her. Poor Alice becomes aware of the waning of Tony's love for her and the heavy blow falls when on the night of the Barbers' Ball Tony escorts Florence thither. Alice being excessively romantic reasons that life without Tony is impossible so she is about to emu- late the heroine of a novel she has been reading by terminating her unendurable existence with a pistol when Mack enters. The bullet she intended for her own love-lorn head passes through Mack's hat, scar- ing him stiff. Recovering himself, he wants to know the cause of this rash attempt at self-slaughter, and Alice tells him in detail of the inconstancy of Flor- ence and Tony. At first Mack is wild with rage, but on second thought, he realizes that Florence is not worth worrying over as far as he is concerned, and convinces Alice of the same of Tony, so then and there a new vaudeville team is formed, with prospects of something even more serious. Mack invites Alice to go to the ball with him, which invitation she most willingly accepts. At the ball the two couples meet and for a moment it looks as if there is going to be something doing. However, the ruffled condition of the situation is smoothed out and each swain is well satisfied with the change of hearts and the quartet find significance in the dancing master's call "Hands all around," "Change your partner." Hence it is now certain that Alice and Mack, the celebrated protean artists will now delight the hearts of the vaudeville fans, while Tony will lather and shave to maintain a home for the ex-vaudeville artist Florence. "THE MIDNIGHT MARAUDER."— The braggadocio .8 always rooking up trouble for himself, because tie is forever setting such a high standard for himself that it is impossible for him to attain it, and prove it he must. Mr. Blowhard is forever throwing bouquets at himself as to his bravery, and as a -member of the "Gimlet Club" he would have been awarded medals. On this particular evening he is boasting of his wonderful prowess to a party of friends, stating that he is afraid of nothing — human or beast. He goes so far as to tell them that the bear skin rug adorn- ing his room is a trophy of a bear hunt when he sub- dued and killed the mighty bruin with no other weap- ons than his strong arms and hands. They, for po- liteness sake, pretend to believe him, and he be- comes as chesty as a blower pigeon. That night there calls a burglar on an expedition of pilfering. He is a bungling fellow and overturns some article of furni- ture at every step. The noise arouses the Blowhards and he has a chance to prove his metal. Well, it was a case of one trying to get away from the other, and in the mix-up they fall out of the window with Blow- hard uppermost, thereby saving him from bodily injury. The burglar is taken into custody by the po- liceman on the beat. At first glance at the morning paper you would assume Blowhard a hero, but — that "but" is the second line of the heading, which gives the credit where it is due. "HELP WANTED."— Don't pull a bluff, for it may be called and there is no more uncomfortable feeling than that after having a bluff called. Of course. Jack was in dire distress when he made a desperate appeal to his uncle for money. On account of his reckless habits Jack's allowance from his uncle is cut oft. His pleas for restitution have been received with a deaf ear by uncle, until he is forced to resort to some .extreme measure in order to make uncle loosen up. A great idea strikes him and he at once proceeds to put It into effect by writing the following letter: "Dear Uncle: Since you have cut off my allowance I face starvation. Unless we can make peace before eight o'clock I shall commit suicide and the family name will be disgraced." The uncle receives this letter while he is superintending the decoration of the reception room preparatory to his daughter's birth- day party, and in his excitement he forgets it. Mean- while, the clock's hands are moving slowly but surely towards the fatal hour, while Jack is preparing for his fake shuffle. First he considers hanging, but thai doesn't seem dignified; poison would be better hence he fills a bottle labeled "Poison" with water from which he drinks copiously. Still uncle doesn't como. Of course, we see the reason. It is 8.30 when he remembers the letter, and after reading the contents, makes a mad dash for his nephew's rooms, only to discover, with aid of the doctor, the hoax Jack has perpetrated. So instead of giving him financial help, hands him the "Help Wanted" page of the morning paper. A broad hint to look for work. ESSANAY MFG. CO. "THE SOPHOMORE'S ROMANCE."— In this photo- play the Essanay Chicago Company presents a story of lively interest, overflowing with good comedy situ- ations, yet with a touch of seriousness in its romantic side, which always meets with the approval of the photoplay audience. Little Flora Wiggins, a girl from a small town, is stage struck and after many applications for a posi- tion in some company, is offered a position with the College Life Company, a musical comedy, and told to join at once. Three months slip by and Flora, who has met with many hardships as well as pleasures, has slowly be- come accustomed to the life, and has eschewed all the little luxuries that the others of the company have enjoyed that the weekly remittance to her mother back home will assure that dear old person of a comfortable living during the season's tour. 2G THE FILM INDEX POWER'S CAMERAGRAPH No. 6 The Perfect Motion Picture Machine "In regard to your Powers No. 6 machine, can frankly say that we have and show the best, clearest and abso- lutely flickerless pictures, and that is more than any other picture house people around this part of the city can say." (Signed) GUS A. MILLER, Mgr. and Prop. Dated New York, Dec. 22, 1910. Lenox Theatre. "I assure you that I am sincere in what I say about this No. 6, as it certainly has all other makes cheated lo death in its projection, and is absolutely noiseless and flickerless. I think it will wear longer, if properly taken care of, than any other machine." (Signed) P. E. WH1TMER, Vaudette Theatre. "My manager has two houses, and he has changed the machine in his first house to a Power's, and he will also change to it soon in the one I am operating in, as it gives much better satisfaction than any other make." (Signed) HARRY C. McADAMS, 6500 Woodlawn Avenue. Dated Chicago, 111., Dec. 16, 1910. Dated Springfield, 111., Dec. 21, 1910. "I have used your No. 6 for the past six months, and onsider it the GREATEST machine on the market." (Signed) H. LING, Manager, Ling & Ling Amusement Co. Dated Paullina, la., Dec. 21, 1910. "In the many years that I have used picture machines, I have operated on all makes. "Your Power's No. 6 is absolutely the best, from every point that enters in the consideration of a moving picture machine. "I send you this unsolicited testimonial because you have earned it, when you put the Power's No. 6 on the market. "You can refer to me in any way you wish. I believe you deserve the encouragement and endorsement of all operators and electricians, as well as the manager who uses a picture machine." (Signed) JOHN P. WIGHAMAN, 103 Ann Street. Dated Bradford, Pa., Dec. 20, 1910. Send for Catalogue E describing it NICHOLAS POWER COMPANY 115-117 Nassau St. NEW YORK, N. Y. For thirteen years the Leading Manufacturers of Motion Picture Machines The show arrives at a college town, where catas- trophe awaits them. Their luck has been none too good the last few weeks and during the first per- formance a crowd of Freshmen cause such a dis- turbance that the curtain is rung down and the meagre audience leaves expostulating with the boys and also blaming the company. It is with due credit to the Freshmen that one of them may be said to have not sanctioned the boys' conduct after his eyes have fallen on the pretty Flora. Yet his remonstrances are of little avail after the evil has been done and seeking out the manager of the show he makes apologies and begs to be introduced to the young leading lady. Flora has an admirer in the young juvenile of the company, who, when he sees young Curtis, makes a bluff to start something, but the two are separated by the girl. Curtis has observed that the company have been in anything but a cheerful mood. They are without funds and hopelessly stranded. And when his thoughts revert to Flora, who must suffer for the rowdiness of his cronies he makes up his mind that things shai! be righted for the company. At the railway station he finds the company and Todden, their manager, and puts the proposition that inasmuch as the boys re- gret their actions at the first performance and would like to do something to help them out, they have proposed to lend their gle« club if the company will remain for another night. Famous all over the state the glee club would undoubtedly draw a good audience arid the manager knows it. And on the spot he ac- cepts, dispatching a little note to the theatre man- ager telling him the news and begging for another chance to make good. A little extra advertising and that night finds the house overflowing. The boys do their stunt and are roundly applauded. After the curtain has descended, Curtis s?eks out the company's manager and then Flora. The girl expresses her thanks in a grateful handclasp and with shining eyes which hold for him something more than all the words she could utter. Flora decides to go home and tells Curtis so. Cur- tis volunteers to see her to the train and when s.he is not looking, purchases a ticket to Flora's town. Unknown to the girl he follows her to her home, where, to her great surprise, he makes his appsar- ance, confesses his love, and wins the consent of mother and daughter. "THE GIRL OF THE WEST."— Dick Graham's fa- ther runs the general store in a small Western cat- tle town. Betty, his sister, assists her father in the store at the same time attending to the house work and, in a motherly sort of way, looking after Dick. The store nets the family a fairly good income and old Graham, blindly proud of his son, gives the boy a good allowance and his leisure time with the lesult that Dick falls into evil ways. His games finally break him and in deep debt he finds it necessary to appeal to his father and confess all or to in some way, raise the money by going to work. Neither appeals to him and when the devil in the person of one Pedro Verez, a Mexican, comes to him with an easy opportunity to re-establish himself without either work or a confession, Dick agrees to join him in the enterprise. Verez knows of a fine string of horses which should net the two a good round sum and which might be appropriated with little danger. Yet they have not counted on the alertness of the owner, who comes upon them and succeeds in capturing Pedro, although Dick gets away. The Mexican is turned over to the sheriff and a warrant is sworn out for the arrest of Dick Graham. It is timely to say here that Betty has for some time entertained a young deputy, Dan Morris, by name, and it is Morris who Tegretfully receives the warrant and is told to serve it. Duty bound he mounts his horse and rides to the Graham store, but just too late, as Dick has confessed to his sister and has begged her to save him. The girl thinks fast and finally in desperation dons a suit of her brother's clothes and while the father has detained the young deputy in the store, has slipped out, and mounted to the saddle. Morris, in the meantime, has informed the storekeeper that he will have young Graham if he must demolish the locked door between the store and the living quarters. Just then Betty, in her brother's clothes, rides by the store and is seen by Morris. He, of course, thinks she is Dick and after a scuffle the old man dashes out of the place, into the saddle and is soon in hot pursuit. Dick joyously listens to the retreating hoofs, and then, after writing a note of good-bye to his father and sister, in which he makes promises to mend his ways, slips from the house, mounts and rides in the opposite direction. Morris follows the supposed Dick and after an exhaustive chase on foot the girl drops, faint from sheer fatigue. It is then that Morris discovers the identity of the rider. In his heart he is deeply erate- ful, and as he carries her tenderly back to her horse he thanks heaven that Dick has got away. At the store again the girl accepts Morris upon his proposal, while the latter wins also the consent of old Graham. PATHE FRERES. '"THE EVILS OF BETTING."— Elsa Norton is en- gaged to Herbert Darrell, a man of excellent disposi- tion, but with a fatal propensity to gamble. He receives a reliable tip to put all he has on a horse. Alma II, that runs that afternoon. He is tempted to enter Mrs. Norton's home unseen, and to take a roll of bills from her desk, thinking that he can re- pay it after the race. Alma II is beaten, and the theft discovered. Darrell had dropped his pocketbook when entering the house, and confronted with it, he cannot but confess his guilt. Bitter, indeed, for he knows that from henceforth he and Elsa must be strangers. "IN THE LAND OF MONKEYS AND SNAKES." — In this picture we catch a glimpse of forest life in the Sunda Isles, and we learn how the natives coax the greedy monkeys out of the forest by distributing food to them. They are thus rendered familiar with man, and in time can be trained to gather cocoanuts, an example of their ability in this direction affording us a curious picture. Other inhabitants of the islands are large water snakes, and in one of the pictures is shown the entrance to a dark natural tunnel way, through which runs a clear stream. Natives bearing flaming torches are in the act of entering; their pass- age through the tunnel dislodges hundreds of birds which flutter out in clouds into the bright sunlight — a remarkably pretty spectacle. Some minutes elapse, and then without warning a couple of natives come springing out of the tunnel way; two large snakes have been driven out, and with a grab one of the men catches the large reptiles by the hand just below the head. "THE TWIN CINDERELLAS."— Jeanette Nally, in the exuberance of her joy at the wedding of her friend, takes off her overslipper and throws it after the happy departing couple. Officer Smith, Jeanette's THE FILM INDEX 21 ij5E&i G A U M O N T A N D n MIK ILIVI "A CHILD'S PLEA" Drama, about 758 feet "THE HILLS OF CORSICA" Travelogue, about 243 feet 99 "WASHED ASHORE Drama, about 670 feet "WOOD CARVING at BRIENZ" Industrial, about 320 feet "A SIMPLE RUSTIC TALE" Drama, about 958 feet Tuesday Jan. 10 1911 GAUMONT Wednesday Jan. 11 1911 ECLIPSE COMING Saturday Jan. 14 1911 GAUMONT CURRENT RELEASES are described at length on another page. POSTERS in four colors are made for each reel. 15c. is the price. ADVANCE BULLETINS suitable for lobby display will be mailed free to any ad- dress. RosMiK CEORCE KLEINE, 52 STATE STREET CHICAGO, ILLINOIS KosmjK (over, finds it and taking it to the police station, puts it in his locker for safe keeping. Hardly has he done so when Officer Swat stows away another pretty slipper iu his locker. The latter has been lost by an actress on leaving the stage door, and when she dis- covers the loss things begin to happen, for, stowed away in the toe is all her jewelry. Detective Reegan is assigned to the case, but is baffling until, upon go- ing with Smith to call on Jeanette, what should he see but the missing slipper. Of course it's not the one he wants, but he doesn't know that. Jeanette is arrest- ed, the actress is summoned, Detective Reegan, Ser- geant Doyle, Officers Smith and Swat all get mixed in an uproariously funny situation. Explaining would spoil the picture. See it and find out for yourself whose feet the slippers fitted. "DUSTY RHODES TAKES A FLIGHT." — Having stolen a paper windmill from a toy store, Dusty Rhodes, an unwashed tramp of dubious antecedents, dashes along the highway to escape from the pur- suing storekeeper. A man with a bicycle offers lit- tle prospect of resistance and the tramp secures his machine. He mounts it, and in his wild flight runs into a milliner's girl and a porter, whose big hat boxes becoming affixed to his wheel, form the body of an aeroplane; the windmill serves for a propeller, and it is thus that Rhodes mounts into the air over roofs and chimney pots, far from the reach of his enemies. In the clouds he enjoys himself serenely. The efforts of his poor fellow creatures to bring him down to their planet amuse him intensely. The mili- tary are brought out and a round of firing ensues; this is followed by the cannon shot of the artillery, but none of it disturbs the airman, who sails comfortably on his way without hurt or harm. The least of things, however, causes his fall. A youngster shooting with a popgun, directs his aim at Rhodes, and that bold and intrepid aviator comes to earth amidst the ruins of his machine within the space of half a second. He is captured and his flying days are brought to a conclusion by his hurried departure to prison. "SO NEAR BUT NOT QUITE."— A housebreaker is caught in the act of forcing an entrance into a large house; he escapes by appropriating a bicycle, and a policeman, having borrowed another, sets out in pur- suit. The chase proves to be an exciting one, for both policeman and thief are expert riders; pedes- trians are knocked down and ridden over, flights of steps are descended and small hills of sand and mor- tar are mounted. At length the thief succeeds in putting sufficient distance between himself and his pursuer to allow of time for refreshment. He steps off his machine and orders a drink which he is lifting to his lips when the policeman appears. Thereupon the thief adroitly pushes a chair before his enemy's front wheel, which brings that officer to earth; he quickly recovers, however, and the chase is con- tinued. A second time the unfortunate policeman suffers real disaster. He is knocked over by a motor car, and is picked up in an unconscious condition by another members of the force, who assisted by the thief, carries him to the police station. Here the thief is warmly thanked for his services, and a little remuneration is slipped into his palm by an over profuse police captain. "THE BATTLE OF REDWOOD." — An intensely in- teresting and thrilling reproduction of the famous Redwood massacre. The Indian agent at Redwood sells his entire commissary to a cavalcade of settlers driving across the plains. It has been a hard year and the Indians have been compelled to eat their very dogs for sustenance. Many are starving. Grey Elk, a Cheyenne, is saved from starvation through the kindness of Prudence, the niece of Father Laurent, at the Mission House. When the Sioux find that they have been swindled, they scalp the agent and take the warpath. Across the Prairies trails the long line of settlers. The Indians pursue them and the settlers make every effort to escape, but finally draw their prairie schooners up in a circle and make a last stand. Hope is gone, when a detachment of cavalry is sum- moned by Grey Elk. the grateful Cheyenne, and the tide of battle changes and the Indians are put to rout. The battle scene, the burning wagons, the cavalry charge,, all are thrilling. A delightful love story is woven through the entire picture. "MAX IS ALMOST MARRIED."— The inimitable Max hails with delight the opportunity to marry a rich millionairess, and is pleased to find that she is both young and charming. The lady seems equally impressed with Max. But "the course of true love never did run smooth." The lady's canine pets threaten to prove an obstacle to Max's happiness. 22 THE FILM INDEX ONLY UCCESS among motion picture machines is the MOTIOGRAPH and you can't show the best pictures without it MOTIOGRAPH It will encourage your operator to use a MOTIOGRAPH, because it is so simple, accessible and durable. Remember the MOTIOGRAPH is not an experiment— it has proven what it can do. Send for catalog. Manufactured and Jobbed by ENTERPRISE OPTICAL MFC. CO., 562 W. Randolph St., Chicago, U. S. A. 3. H. HALLBERG, Agt. 36 E. 23d Street, New York City Their mistress will not be parted from them, and they see in Max a rival to their mistress's affections. However, everything goes well, and the wedding day is fixed. Max breaths a sigh of relief when he is told that the pets will be locked up during the ceremony. But the faithful animals chafe at the unusual re- straint, and finally, bursting the kennel door, scam- per joyfully into the drawing room, where the wed- ding guests are assembled. Max, distraught with fear, when the dogs jump at him, rushes wildly out, and away run the dogs after him. Finally Max is brought to bay on a roof. Tearing a leaf from his pocketbook he scribbles a note, "I fear I would much sooner give you up than be devoured by your pets." This he tremblingly proffers to the foremost dog, and they all run off to their mistress. She is not broken- hearted; indeed, it seems obvious that she would lament the loss of her dogs more than she would that of her husband. EDISON MFG. CO. "THE TEST OF FRIENDSHIP." — When we deal with the huge "sky-scrapers" of our big cities, some of which are eighteen and twenty stories high and more, we are dealing with a purely American subject. One such gigantic steel skeleton of Mammon and business, which in construction cross-bars the sky like a huge prison window, is the background of this latest Edison motion picture, the sensational features of which are made the more effective by a realism that is all-convincing. The story deals with men of brawn and muscle, men of good red blood and nerve, men of steel and iron, who look like mere pygmies silhouetted against the blue sky, high up above the sidewalk, as they climb and haul and draw them- selves up, and still higher up, on this huge black monster, through whose ribs the winds whistle and birds flutter hither and thither. Fearlessly they swing themselves in and out upon the iron girders with a snatch of song or a merry jest upon their lips, or their thoughts wandering to some loved one who waits and watches with mingled hope and dread for their safe ret rn; contemptuous of danger they are by reason of its constant presence, heedless and careless of the awful death that waits upon their slightest misstep. They are rough, coarse men with blackened hands and faces, but beneath their dirt-stained clothing we find a nobility of heart that withstands the noblest test of friendship. Two of the workmen, Tom and Jim, whose fists are as hard as steel but whose hearts are of sterling worth, are in love with the same lady. Tom believes that Jim is the successful one and though hard hit, takes the blow like a man; but the supreme test of friendship comes when Jim, who has a quarrel with a truck driver on the top of a huge sky structure, is knocked unconscious and is hung out over the side- walk twenty-two stories below. The slightest move one way or the other and he is dashed to death, and when Tom is called upon to save Jim's life at the risk of his own, it is a test that proves the metal of the man. There they swing in mid-air, Tom and Jim, clinging together at this dizzy height. A thriller, a supremely dramatic moment in the motion picture art. The rescue and the winning of the girl by Tom gives a sweet touch of human nature to the close of this exciting melodramatic picture, which is well mounted and splendidly acted. "THE HOME OF THE SEAL."— This is a very extraordinary series of views, taken at close range, of the harbor seals on the Palominas Islands, off the coast of Peru, in their seemingly mad battle with the waves as they dash against the rocks. By hundreds they swim back and forth in the wild whirl of water, making desperate efforts to land on the rock — and all for what? Apparently, that when they have once succeeded in landing they may have the fun of tum- bling off into the water again! Anyway, whatever their motives may be they present a wonderfully interesting sight whirling and struggling about in the mad whirlpool, with the waves advancing and receding on the rocks as a background. A short section of film at the beginning shows some interesting views of the fishermen at Ancon, Peru, sailing and racing in their little craft with the very curious lateen rig. "THE CARDKXKK' one afternoon, chanci ing to his daughter, young man from the in her room. The n the daughter, endeavi The father, very mu. LADDER." — A stern old father g to see a young man propos- becomes infuriated, orders the remises and locks his daughter >ther, being in sympathy with •s to intercede, but to no avail, l agitated over the distressing 3 to the garden for a walk and a ladder which the gardener has placed against the balcony adjoining his daugh- ter's room. Seeing the position of the ladder, he immediately jumps to the conclusion that his daugh- ter has eloped, and without investigation he rushes off in a most excited manner in search of her. He meets a stranger on the corner and questions him as to his daughter. The stranger, seeing the old gentleman's perturbed state of mind, tells him of having seen a couple entering a nearby rectory just a few moments previous. He hastens to the rectory, where he finds the young man, whom without further inquiry he belabors. Then turning his attention to the young lady, whom he thought to be his daughter, he finds to his amazement that it is a case of mis- taken identity. Not feeling assured that she is not in the house, he makes a wild search and upsets all the furniture. He then rushes madly home, followed by all the others, who summon a policeman to their aid. The old man dashes to the locked door, and we Bash to the poor maiden inside, sobbing for her lost love as she has been all the time. The father has hardly time to recover from his surprise before the others burst into the room, and the lover, taking advantage of the situation, threatens to have him arrested for assault and battery unless allowed to wed his daughter. For a time remonstrances are unavailing, but finally as the sub-title has it, "the stern old parent is forced to surrender and Cupid triumphs." The ending is an exceptionally clever bit of com- edy, and the whole film demonstrates how ridiculous one can make himself by being too rash. While it provokes mirth in abundance it teaches a lesson as well. "THE LINK THAT HELD."— This story of Bannis- ter Merwin's is one that ought to reach deep down into the hearts of many and many a young couple, and one that should possess great popular attraction, because it deals with the same every-day, familiar characters — people whom we see in the street cars and on the streets. There is a foolish little wife who is dissatisfied with her humble estate, and in spite of the fact that she in a way loves her plodding husband and pretty little baby, is far from happy. The'husband is one of those passive but fundamentally true-natured men, whose enonomic position is such that he feels he must run no risks which might prevent his providing THE FILM INDEX 23 KALEIYI RELEASED WEDNESDAY, JAN. 18 LENGTH 980 FEET AN IDYL UNDER SOUTHERN SKIES This romantic story of the Southland will interest the ladies especially. Elise and her Cuban roommate, Martica, are chums at a finishing school. Martica comes home from school, and Pascale sees a picture of Elise and im- mediately proceeds to fall in love with it. Learning that Elise's father, who operates an orange grove in Florida, needs a foreman, he applies for the position, and is engaged. Meeting Elise, he finds her more captivating than her picture. Elise is unconsciously attracted by the handsome Cuban, and not being aware that he is her chum's brother, and seeing him as her father's foreman, she is inclined to keep him at arm's length. Pascale, however, loses no opportunity to show his love for Elise, and not being repulsed, at- tempts to take her heart by storm. Realizing the situation. Elise goes to her father and asks him to send her away, suggesting that she visit her schoolmate, Martica, in Cuba. On her arrival. Martica at once writes to her brother that Elise is there. Pascale quickly follows, and prosecutes his suit to a successful ending. RELEASED FRIDAY, JAN. 20 LENGTH 850 FEET A LITTLE BOY S INGENUITY PITTED AGAINST INDIAN CUNNING Our story is laid around a log cabin in the wilderness. Mischievous Robbie causes his sister and her beau no little amount of confusion. One night Robbie calls his father's attention to the old grandfather's cIock standing in the corner of the room. Something seems to have gone wrong with the works, which are taken out by Robbie's father, and an attempt made to get them in running shape. The job not being completed that night, the next dav Robbie crawls into the clock to play a joke on his sister. While getting ready for the prank, during the absence of his father and mother, a band of redskins makes a descent on the cabin. Robbie, hearing their approach, hides in the clock. While the Indians are in one of the rooms of the cabin, Robbie steals out and fastens the door, then takes up his position in the clock to watch developments. In the meantime, Robbie's sister, becoming aware of the situa- tion, rides for help. Soon the neighbors reach the cabin, and a sharp battle ensues between the redskins and the white men, the whites winning. On look- ing for Robbie, he is found fast asleep in the old-fashioned clock MODERN LIGHT TION, U. S BATTERY IN A., AT PINE PLAINS CAMP, N. Y. LENGTH, 95 FEET AC KALEM COMPANY, Inc. New York, 235-239 W.23rd St. London, 45 Gerrard St.W. Berlin, 35 Friedrich Str. EDISON PROJECTING KINETOSCOPES THE PERFECT MACHINE The machine of simple construction embodying all the essential features for the projection of steady, clear, brilliant pictures. Guara?iteed for one year against )>iecha?iical defects. FROM EXHIBITORS " I am running three of your Model 'B' machines and will have nothing else." They are all giving good satisfaction. " MILO A. TUFFT, Oswego, N. Y. " " I prefer the Edison machine to any machine made. " ALFRED SMITH, Lakeview, Oregon." EDISON MANUFACTURING CO. 73 LAKESIDE AVE., ORANGE, N.J. 90 WABASH AVE., CHICAGO, ILL. 24 THE FILM INDEX Trade Mark. BIOGRAPH FILMS RELEASED JANUARY 9TH, 191] The Italian Barber How Cupid Plays the Came of Hearts A very amusing comedy drama, snowing the impetuosity with which the Italian loves, and yet how easy it is for him to transfer his affections. Tony falls deeply in love with little Alice, the newsgirl. He can think of nothing else. He spends his entire time dreaming of her, until Florence, the sister of Alice, returns from the road after a season in vaudeville. Then a change takes place. He is as loony about Florence as he was about Alice. Poor Alice is driven to desperation when she meets Bobby Mark. Florence's vaudeville partner, who fills the void in her heart made by Tony. Approximate Length, O'X', feet. THE ITALIAN BARB RELEASED JANUARY 12TH, 1911. THE MIDNIGHT MARAUDER Mr. Blowhard is forever throwing bou- quets at himself about his bravery. He isn't afraid of anything, man or beast. As a member of the "Gimlet Club," he would have been awarded medals, and on this particular evening he is boasting of his prowess to a party of friends. Later in the night he gets a chance to prove his mettle when a burglar visits his home. He proves it all right. Instead of "mettle," he is made of wax. A coward of the first water. Approximate Length, 392 feet. WAN A short comedy subj< makes a desperate appe showing how the young spendthrift's bluff was called by his uncle. He for help, stating he is on the verge of starvation, and if he does not help out by 8 o'clock' that evening he will commit suicide. Uncle, however, discovers the hoax of his threat, and instead of giving him financial aid, gives him an envelope containing the "Help Wanted" column from the morning paper. A gentle hint to go to work. Approximate Length, G05 feet. MIDNIGHT MARAUDER. RELEASE DAYS OF BIOGRAPH SUBJECTS, MONDAY and THURSDAY. Get on our Mail List for Descriptive Circular. BIOCRAPH COMPANY, I I East 14th Street, New York City Licensees of the MOTION PICTURE PATENTS CO. well for his little family. His employer, a man about town, meets the young wife and becomes at- tracted by her beauty. He takes her for a ride in his automobile and brings her to the office, where her husband is at work. On another day, when she comes with the baby he takes her into the inner office to show her paintings and satuary and to advance his flirtation a little further. The little girl, who becomes "The Link that Held," seeing her father's suffering without un- derstanding it, goes into the inner office to summon the little mother. The entrance of the child in the midst of their flirtation suddenly brings sanity to the two people. The young wife leaves the room in tears, and the baby, remaining, slips her hand into that of the possible destroyer of their home. The touch of the childish hand is too much for the man and makes him realize what harm he might have done. Of course when the husband returns to his home. which he believes is home no longer in the true sense of the word, he finds his little wife carrying out new resolutions and quite willing to be held by "The Little Link" and by her lover for her husband. It is a simple story but direct, true and tremen- dously appealing, and played with the subtlety and depth for which the Edison players are becoming noted. It is a film which will not soon be forgotten by the public, and one that will be welcomed again and again in the same houses. KALEM CO. "FOR THE LOVE OF AN ENEMY."— This is a war- time story of the days of '61. A Federal spy operat- ing within the Confederate lines meets Hallie Coburn, a fair Southern girl, with whom he falls in love. The Spy enters into the social life. At a garden party he again meets Hallie and they become better acquainted. Gradually their acquaintance ripens into love. Hallie innocently takes the spy into the Confederate camp where he obtains needed information. Suspicion, how- ever, has become directed towards him and on his attempt to invade the camp alone at night is discov- ered by one of the pickets and captured. He, how- ever, makes a logical explanation of his presence in the camp and is allowed to depart. As he is leaving the spy unconsciously gives a military salute and the commander looks after him with a worried look on his face and a feeling that he is not what he claims to be. Hallie is summoned to military headquarters and told that her lover is suspected of being a spy. She indignantly denies the accusation and proposes that she will wring a confession from him and if guilty give him over to the military authorities, but re- solves to herself that even if guilty she will aid him to escape. With this resolve in mind she goes cut to find the spy. In the meantime the spy's room has been searched and incriminating evidence found and his capture ordered. Hallie meets her sweetheart and tells him of the suspicion pointed toward him and asks if he is a Federal spy. He admits his identity, but love proves the conqueror and Hallie determines to aid him to escape and suggests a plan. Her ruse succeeds and the spy by swimming under water eludes the soldiers who have been sent to arrest him and makes his way into the Union lines. At the end of the war he returns to claim her as his bride. "THE HEART OF AN INDIAN MOTHER."— This is one of the most exciting Indian pictures Kalem has ever made and yet it possesses a strong appeal to the best in us. A little deed of kindness proves the means 'of saving the lives of a whole family of white settlers. The true story of an Indian raid and how the gratitude of a poor squaw helped the whites to beat off the redskins. Shewing a real Indian travois, an Indian funeral, and other phases of Indian life true to nature. Pathos and true sentiment mingled with thrilling action. An Indian travoil passing through a section of the country sparsely settled by white pioneers stops for a few minutes while Bright Eyes, an Indian squaw, asks for a drink of water for her dying child. Her. request is granted. The needed drink is supplied by a little white child, a good act that is finally well re- warded. This wandering band of Indians, headed by Chief Snake Head, sends out Bright Eyes and Slow Foot to spy on the settlers with a view of attacking them and robbing them at some favorable time when the settlement is unprotected. The two sqaws calling at the cabin in the woods are given food and lodging by the father and mother of the little child who had furnished Bright Eyes' child with a drink a few days before. The heart of Bright Eyes is touched by the white child and she exposes the Indian plot. She tells the settler to ride for aid, which he does, after first binding Bright Eyes' companion, Slow Foot, so she cannot escape and warn the Indians. The settler arouses the nearby ranchmen and they start out to intercept the Indians. The Indians, however, have reached the settlement ahead of them and Bright Eyes, with the only gun in the house, puts up a str ng defense, but on being wounded Bright Eyes, with the mother and child, retire to an inner room praying they may hold out until the arrivel of aid, which puts in an appearance just in time to save the capture of the cabin's defenders and the destruction of the house. FILM MANUFACTURERS BUY HALLBERG ECONOMIZERS. Mr. J. H. Hallberg. "The Economizer Man," reports that he has recently sold his Standard Automatic Electric Economizers to the Biograph Company and to the Gnome Motion Picture Co. No better evidence of the value and superiority of the "Economizer" could be asked than the endorsement of such pur- chasers The Gntme Motion Picture Co. also pur- chased a Motiograph M. P. Machine after carefully investigating all other makes. Mr. Hallberg says his business in all its branches shows a gratifying in- crease over all previous records. The Men's League of the Gethsemane Baptist Church Trenton, N. J., will inaugurate the fall and winter series of motion pictures in the lecture room of the church. The shows will be conducted by Lin- coln G. Brooks, a member of the league. Mr. Brooks is an expert electrician. THE FILM INDEX 3g«T!!2 Sophomore's^ 1 Romance flfP hoiOPLtfS A Splendid i Light Comedy Production by ihe bll ^^^vA Essanay Eastern Players * HOTOPI / ' "The Glee fcJlub anded Company." Length, approximate, 1000 feet rilli; Released Tuesday, January 10 Distinguished by fine acting, excellently appointed scenes and brilliant photography, this photoplay by the Essanay Eastern Players will win more laurels for this organization as producers of fine, light comedy productions. Clean in its fun. deep in its heart interest, this subject will be found to be one of the best of the Essanay Company's late comedy productions. GET THE POSTER. The Girl of the West Released Saturday, January 14 WESTERN DRAMA Length, approximate, 960 feet An intensely interesting dramatic photoplay by the Essanay Western Players, a feature in fine acting and genuine Western scenes of unusual beauty. Full of intense dramatic situations, legiti- mately thrilling, great in heart interest. The photography, as in all the Essanay Western subjects, is of an unusually high order. Get i Ming Essanay Film Mfg. Co. 521 First Nat. Bank Bldg., CHICAGO, ILL. LONDON: 5 Wardour St. W. BERLIN: 35 Friedrich Sir. A YEAR OF PROMISE. (Continued from page 1.) suited to his needs and in a manner that will prevent unnecessary competition with nearby licensed rivals. The live exhibitor will contribute largely to making 191 1 a banner year. And the loyal ex- hibitor— I mean the exhibitor loyal to pictures, confident in their drawing power, zealous of their dignity and fully alive to their vast su- periority to cheap vaudeville — will accomplish still more. Let every exhibitor unite in him- self these two — the live and the loyal — and 1911 will be the first of a long succession of brilliant years in the history of motion pictures. BIG HOUSE FOR SAN ANTONIO A Place Where the Best Photoplays Can Be Seen to Advantage After many years of promising prospects at the hands of gifted theatrical promoters, San Antonio, Tex., is really to have a Majestic Vaudeville Theatre, one that will put it on the '"big time" theatrical map froni the vaudeville, and high class photoplay viewpoint, and in- sure it as one of the definite circuit connections, with Keith-Proctor, Orpheum, Kohl-Castle and Majestic Circuit combinations which operate from coast to coast. The new theatre will be built and operated by local capital in a corporation known as the Plaza Theatre Company, organized in San An- tonio and chartered under the laws of Texas in Austin on Thursday last. Sain Antonio's new Majestic Theatre will be built on the Conroy property and the property in the rear, located on Alamo Plaza, at Alamo and Blum streets, and will be, architecturally, a credit to the historic plaza, a modern play- house ample in size and equipment properly to show the capable vaudeville headliners photo- plays to its best advantage. It will have par- quet boxes and loges on the lower floor, boxes amd loges on the balcony floor, and a gallery sufficiently commodious to take care of the gal- lery gods with a great degree of comfort. The seating capacity of the house will be about 1,200, and the seating -arrangements will be thoroughly modern. Ample exits will be pro- vided to the streets, and it will be possible to empty the theatre in a few minutes. The architect's plans will be completed within the next few weeks, and the building on the prop- erty will commence in two weeks, with an open- ing date promised for the latter part of March. The Majestic Circuit has houses in all the larger Texas cities, and has made a most en- viable reputation for purveying the world's best talent in their weekly bills. The San Antonio show will come directly from the Greater Ma- jestic in Houston, and go from here to the Ma- jestic in Little Rock, Ark. ENTERTAIN 1,000 POOR CHILDREN. For the benefit of a thousand poor children of Milwaukee, Wis., The Milwaukee Journal gave a photoplay show in Turnverin hall on Fourth street, on the evening of Dec. 27. The entertainment in fact was under the auspices of the Salvation Army, who played the part of Santa Claus by giving all the youngsters a good dinner and some useful little token of Christ- mas. Besides the pictures there was extra music, drills and recitations. C. L. Peifer, who has been manager of the Park -theatre, Detroit, for Gilligham & Smith, has returned to the management of the Original Vaudette, Grand Rapids. Mich. SANDSTONE HALL REOPENED. A petition was presented to the village coun- cil, Sandstone, Minn., recently by business men asking for a modification of the new ordinance licensing local entertainments such as the mo- tion picture shows conducted by Larson Bros, in their large new hall on certain nights, which has been closed since the new ordinance took effect. The council decided to pass an amend- ment to exclude this playhouse from paying a license fee into the village treasury. Having already signed the contracts with a Lyceum course for some expensive numbers, those in- terested in this winter's entertainments of a better class felt themselves put out by the clos- ing of the opera house, as its seating capacity was the largest in the city. PICTURES FOR PENN TRAVELERS. Motion picture shows for passengers waiting for trains in the Pennsylvania Railroad Sta- tion at Pittsburgh, Pa., will be provided shortly by the railroad company. The pictures will be shown so that specta- tors may leave hurriedly for their trains. The films will do away with the necessity of train callers announcing the time of departure of trains for the train time announcements will be thrown on the screen so that passengers may be at their ease about making connections. The proposition met with ready favor from the local officials of the railroad, and after the Pittsburg arrangements are completed the mov- ing picture promoters intend to try to establish nickelodeons in other big railroad stations. THE FILM INDEX The Perils of a Camera Man THE Camera Man is the man behind the gun; his aim and judgment must be un- erring, he must always face the danger and take the consequences no matter what they may be. This sounds thrilling but not more so than the experiences of the camera man call for. He must be a man of iron nerve and always have his camera in the right position no matter how hazardous; he must handle the crank with unswerving regularity without giv- ing a tremor to his machine. (the International Aviation Meet at Belmont Park when Le Blanc's aeroplane was dashed against a telegraph pole just in front of the camera and yet the man at the "gun" never wavered but secured a most comprehensive view of the accident, and made a record that has never been duplicated. During the portrayal at Portland, Maine, of the Vitagraph pictures, "The Spirit of the Light" and "The Call," Mr. Arthur was obliged to take his position on a rocky prominence one ploded at Plainfleld, New Jersey, the camera men, Max Held and Walter Arthur, stood withiii twenty-five feet of the discharge, disregarding the advice of the foreman of the quarry, and the most wonderful part of their participation in this picture is that they are here to tell it themselves, but we reproduce the picture to prove it. It is clearly shown, however, in the scene itself as produced in the film of the "Vitagraph portrayal" of the "Unspoken Good- bye." Moving pictures are pleasant to look upon. They entertain millions throughout the world but very few persons, if any, think of the im- portant part "the man behind the gun" plays in furnishing so much amusement and enter- tainment to others while he never comes into the pictures or receives the applause he is in- strumental in helping others arouse. WALTER ARTHUR TAK] 'THE CALL.' M ERA MAN TAKING PICTURE OP DYNAMITE EXPLOSION. Varied and startling have been the narrow escapes of these intrepid fellows. While pho- tographing a scene of the French Bastile an immense crowd of men and women was surg- ing up the stairway, it gave way and-the crowd was thrown into a howling mass while the splinters and beams fell over on the camera man who threw them aside with one arm and kept turning the crank with the other. Fortu- nately, no one was hurt and the coolest man among them all was the camera man. Mr. Walter Arthur of the Vitagraph Company is one of the most expert camera men in the world, never considers danger when engaged in his work. Recently in taking pictures of the maneuvers of the U. S. Cavalry he occupied so close a position to the troops as they whirled past him in their maneuvers that he could feel the breath of the horses and one small devia- tion from the course as mapped out would have thrown the artillery against his camera and he would have been ground under the wheels of the gun carriages. At the inauguration of President Taft and at the reception of Col. Roosevelt on his re- turn from Africa were other instances that show of what kind of material the camera man' must be made. To maintain his position in the line and catch the procession as it went by, to resist the eager pushes and rushes of the surging crowds, takes a pretty husky strip- ping to stick to the job and take home the goods. Another evidence of the nearness of the camera man to the danger zone is shown in hundred feet above sea level just on the ragged edge of a steep crag, which meant certain death if he made a misstep or forgot himself for a moment. In this location he took two or three of the scenes which in themselves give no in- dication of the feelings of the camera man as he was taking the pictures. There is another point that very few per- sons take into consideration; to the credit of the operator; that is the weight of the camera. MAX HELD, VITAGRAPH CAMERAMAN. The double lens camera weighs about ISO lbs., the single lens about 75 lbs., and it is no small undertaking to transport these from place to place. In the explosion scene of "The Unspoken Goodbye," when 500 lbs. of dynamite was ex- WANT ALL OPERATORS LICENSED. Complying with letters from the Tennessee organization of fire underwriters, Thomas Dies, of Memphis, city commissioner of public utilities, is drawing up an ordinance compelling motion picture machine operators to pass a most rigid examination and to secure a license before they will be allowed to operate a machine. This ordinance will also apply to owners and man- agers of all photoplay theatres, to the extent that they must not employ any operator, unless he can show his license. The object of the proposed ordinance is to safeguard against fires and to improve this class of fire risk in Memphis. There is no doubt the ordinance will pass the city council, and will be welcomed by all managers of photoplay theatres. LONG BRANCH SOCIETY TREAT CHILDREN TO PICTURES. Six hundred children of Long Branch, N. J., were the guests of the Long Branch Society for the Improvement of the Poor, who entertained them to a motion picture show and afterwards treated to candy and sandwiches on the after- noon of Dec. 24. The motion picture show was given in the new Broadway theatre, through the courtesy of Walter Rosenberg, and his manager, Charles Bryant, who had extra reels of the latest film subjects. During the performance the little ones roundly cheered Mayor McFiddin, Mr. Ro- senberg and his popular manager. THE FILM INDEX «7 ECONOMY LAMP REGULATOR ^^60* FOR ALTERNATING CURRENT ONLY FIREPROOF Will Hold and Maintain n Arc from 5 to 7 Minutes Easily Adjusted for Variable Voltage Without Disturbing the Arc Will Make Carbons Last Longer SIZE, 12" X UK" X 11%" HIGH WEIGHT, 75 LBS. BOXED FOOLPROOF Noise at the Arc or in the Regulator Reduced to a Minimum Will Not Throw Ghosts or Dark Spots on Screen No Filing of Carbon Points CHICAGO SAN FRANCISCO For Sale by All First Class Film Exchanges ELECTRIC APPLIANCE COMPANY DALLAS NEW ORLEANS BUSINESS GOOD AT OGDEN THEATRES. Christmas Week a Winner — "County Fair" and "Red Cross Seal" Films Make Big Hits. The Ogden amusement public, of Ogden, Utah, must certainly appreciate the high-class entertainment they are receiving in the photo- play theatres of that city, judging from the immense crowds that filled the house during Christmas week. It is fortunate for Ogden that the management of the picture theatres is handled as it is. All the houses are owned by one company and under one management, making it possible to bring together all the best interests of the picture business. Since the Alhambra Theatrical Company have owned all the houses they have endeavored to give to the public the very best to be had in moving pictures and instead of making their entertainment less they have been able to give more than when all the houses were run under separate ownership and management. Only the best of skilled operators are em- ployed to operate the motion picture machines which explains in part why their pictures are clearer and steadier on the screen than are seen in many other picture theatres. The best of the musicians from the Local Musicians' Union are employed as also are the very best of our local singers. In one of their houses, the Globe, they employ an orchestra of six pieces, playing almost continuous while the pic- tures are on the screen. All the music is high class and consists of the latest and best selec- tions. The pictures shown are all license make. For last week an excellent Christmas program was arranged and no matter which house you visit- ed you were assured a most pleasant hour's entertainment. Selig's "The County Fair," that old play that takes so many of us back to our childhood days, was shown at the Oracle and was just as interesting and exciting as the day when it first came out. "The Red Cross Seal/' without mentioning the dramatic story connected with this picture, is one every person in Utah should see. This is a wonderful picture of appeal-a-lesson-a drama. The Edison Co. is proud of the fact that in making the picture they have the sanc- tion of the National Association for the Study and Prevention of Tuberculosis and the Ameri- can National Red Cross. These two pictures give a good illustration of the class of pictures shown last week and while many more could be mentioned we will just say this: That so long as the Ogden Photo- play Theatres keep up the same high-class en- tertainment, they have been giving our citi- zens for the past two years they will always have a liberal patronage. NOTES FROM ST. PAUL, MINN. The Princess theatre observed Christmas in the old fashioned way. All the employes and performers were treated to an elaborate ban- quet, served on the stage at the close of the performance Christmas Eve. To show the number of those connected with the house, cov- ers were laid for forty persons. On such occasions Manager Dempsey always receives instructions from Messrs. Ruben & Fin- kelstein to spare no expense, and to see that every one has plenty to eat and drink and that a good time in general prevails. Besides the "big eats and drinks" every one present was remembered with some sort of Christmas gift. To show how Manager Dempsey stands with Messrs. Ruben & Finkelstein, they presented him with a costly fur lined overcoat with a Persian lamb collar. Mrs. Dempsey was also well remembered. After the banquet there were speeches made by many of the performers and toast drunk to the success of the Princess and those con- nected with it. It was early Christmas morn- ing when the party dispersed, all declaring they had a Christmas that would long be remem- bered. LEROY TUDOR SELLS MAJESTIC IN MUNCIE, INI). Leroy Tudor, one of the best known photo- play men in Indiana, who, for a long time was the owner and manager of the well known Ma- jestic theatre, of Muncie, Ind., has sold his in- terest in that house to Dr. Clem Simmonds, of Logansport. Dr. Simmonds took charge of the house on January 1. For a number of years Mr. Tudor was looked upon as one of the pioneers of the photoplay business in the Middle West. He has been manager of several of leading houses and when he took charge of a new house he soon brought it up to a standard of efficiency that soon brought him the title of "The Barnum of the Motion Picture Business," in the Hoosier state. Be- fore coming to Muncie, Mr. Tudor managed the Star and Starrette theatres in Marion, his old home. REV. GEORGE A. HOUSE KEEPS BUSY. The Rev. George A. House, the lecturer and photoplay exhibitor, continues to keep busy at this season of the year, and is well booked with engagements for the coming spring. Last week, he gave lectures and exhibitions at Christmas entertainments, held at the Bethel Presbyterian church, East Orange, N. J., and the Cedar Avenue Presbyterian church, Mont- clair, N. J. Both the lecturer and films were enjoyed. Mr. House uses an Edison Model "B'" picture machine. VITAGRAPH NOTES. The beginning cf the New Year starts with a whole lot of resolutions; the Vitagraph Company have re- solved to have ready for issue the "Tale of Two Cities" in three reels on February 21st, 24th and 2;>th. The - "Deluge." the story of Noah's Ark, will be released on February Tth, and a right smart com- edy that will put to blush anything ever done in the comedy line will be "A Queen for a Day," on Feb- ruary 4th. These are only some of the lit 11 product. Keep your weather eye open for the "Life Portrayals " they will even surpass the life portrayal that have made the Vitagraph famous. The ■ oily polies" and the "Kiddie" picture, which are^ now under way for Valentine's Day and Easter, prove the originality and ingenuity of the Vitagraph to furnish something new and pleasing at all times, keeping away from the hackneyed and stereotyped fields of conventionality. The photographs of the Vitagraph players are now ready for delivery upon the receipt of the price at which they will be sold: 20 cents for single copies, postage prepaid and two dollars a dozen for assorted selections, which can be made from the miniature re- productions which will be mailed to all exhibitors. These portraits have been quite an undertaking, as it was desired to get the best work possible and the result is they are very beautiful and artistic in every respect; in some cases three or four sittings were necessary to secure satisfactory poses. All inquiries about these photographs should be made of the Pub- licity Department at the Studios. East l.r>th Street and Locust Ave., Brooklyn. Coming— "The Irish Honeymoon" 28 THE FILM INDEX GUNDLACH PROJECTION LENSES MAKE THE PICTURE SO MUCH SHARPER AND BRIGHTER THAT YOUR PATRONS WILL TALK ABOUT IT TO ORDER, all you have to do is state the height and width of the screen and the distance. The lenses we furnish will make the picture the exact size you want it and may be ordered subject to approval from us or through your Film Exchange. A complete stock of our lenses is carried by the NICHOLAS POWER CO., 115-117 Nassau Street, New York Insist upon getting our lenses when you buy a new machine Write for information CUNDLACH-M ANHATTAN OPTICAL COMPANY 828 CLINTON AVE. SO., ROCHESTER, N. Y. AMONG THE EXHIBITORS. A new photoplay theatre is being built by the .Merchants Amusement Company, of Springfield, Mo. The house will be located at 408 East Commercial street. The Hippodrome is the name of the new photoplay theatre, at 12 South Main street, Pittston, Pa. The New Hampshire Amusement Company has se- cured control of the Colonial photoplay and vaude- ville theatre, Lowell, Mass. William Gane, the enterprising manager of the Man- hattan photoplay and vaudeville theatre at Thirtieth street and Broadway, New York city, was the first to show motion pictures of the recent Grand Central explosion. Delphos, O., is to have a new up-to-date photoplay theatre. H. H. Lampe will be the manager. Reports from Gulfport, Miss., claim that the Elite photoplay theatre is attracting large crowds. A new photoplay theatre has been opened at Red Wing, Wis. R. L. Davenport is manager. Much interest is being taken in Ashland, Pa., as to who will manage the new photoplay and vaudeville theatre, which opens some time in February. A motion picture company has rented the Grange hall, Middlebury, Vt., and are now showing nightly. The Pastime photoplay theatre, Bristol, Conn., opened to a crowded house on the night of Dec. 23. William A. Wesley, of the Gardner theatre, Gard- ner, Mass., and a member of the firm of Hennocks- burg Bros. & Wesley, has leased the Princess theatre of New Bedford, which will be included in a circuit offering photoplay pictures and vaudeville. Harry and Charles Woodes will conduct the motion picture business in Hartigan block, Rochester, N. H. Li. B. Hancock of 1(513 Ripley street, N. W., Daven- port, la., is planning to open a photoplay theatre in Turner Hall. A ten-cent picture house will be built on Grand avenue, between Hartford and Juniata streets, St. Louis, Mo. The owners are the Otecy Amusement Co. The Arc theatre has been improved lately. Mur- physboro can boast of three motion picture theatres as good as any, and as well housed and equipped. C. W. Stafford has under construction on Derby street, in Kenton, Ore., a one-story concrete building, to be occupied by a moving picture show under lease. Benjamin Goodman, owner of the Arcade photoplay theatre, Niagara Falls, N. Y., has sold his house to a Syracuse concern. A new photoplay and vaudeville theatre is soon to be erected at South Elm, N. C. W. E. Edmiston of Columbus, O., is having a $10,000 photoplay theatre erected on West Broad street. The house will be 40 by 120 feet. George W. Bennethum, proprietor of the Victor photoplay theatre, Allentown, Pa., has purchased the Nickelet on Hamilton street. The motion picture theatre and store at 5220 Mar- ket street, Philadelphia, Pa., has been sold by Albert M. Greenfield to Louis M. Fleischer. The lot is 25x 214 feet to Ludlow street and the valuation as as- sessed for the current year is $15,000. Zweig Brothers of Cleveland, 0., are having the front of their house enlarged. D. H. Rockwell, of Tacoma, is planning the erection of a vaudeville and motion picture theatre in Pasco, Wash. W. L. Lonsway has purchased the Lyric theatre in Tiffin, O. Messrs. Ford and Chapman will open a moving picture theatre in Findlay, 0. W. S. Hoag of Fort Smith, Okla., and associates have commenced the erection of a moving picture theatre in Heavener. C S Protero and F. Rainey have sold their interest in the Iris theatre in Lead, S. I)., to O. F. Trisler. W. J. Carey and R. Musselman have opened a mo- tion picture theatre in Stockton, Cal. George Selley is making arrangements to open a motion picture theatre in Olney. W. J. Hartwig, of Helena, Mont., is planning to building a photoplay and vaudeville theatre. Harry Brown has opened a photoplay theatre at 99 "CHANGING COOKS A Comedy By Melies CIVILIZED New York is not the only com- munity whose residents have domestic dif- ficulties with their subordinates of the kitchen. Human nature is the same all over the world and what applies to one class of people applies to another. This will be seen in a coming comedy by Melies, entitled "Chang- ing Cooks." The X. L. outfit was a ranch in far-off Texas dainty ways did not quite appeal to the boys, and his endeavor to kiss one of them was his undoing. Applicant No. 2 was a fat negress, whose cooking was perfectly satisfactory, but who was partial to Tom, a colored member of the cowpunchers. His was the gravy — so much so that the boys made it plain that Eliza must either act impartially or go. She did the lat- ter, taking Tom with her as a spouse. After having gone through the full list of applicants, hope appeared upon the horizon of SCENE FROM MELIES SUBJECT, "CHANGING COOKS." that employed about two dozen cowpunchers, whose stomachs had a great capacity. These men worked hard for their money and eating was their greatest enjoyment. They had for a cook a former cowpuncher who confessed to know more about roping a steer than separating an egg. Consequently, the meals prepared by him were somewhat crude and did not by any means satisfy the tastes of the ravenous cow- punchers of the X. L. outfit. So they decided to oust "Stampede Pete," and strike for a new cook. The boss of the establishment consented to the change and an advertisement was placed for a new one. The first applicant was a French chef, whose despair in the person of a slight, well-dressed woman who, though thickly veiled, promised to be a winner. But when she raised that veil — there was the rub. Features loomed up whose ugliness dispelled all appetite from the hopeful ranchers. But this one was not to be turned away. If the boys refused to eat her hard bis- cuits, she would pelt them with them, and the authorities of London in forcing the suf- fragettes to eat, had nothing on this woman who forced the boys at her pistol's point to down her food. Now, genius is often hidden behind a mask of eccentricity, and this woman whose methods were rough, won out in the end, because of her ability to "come across" with the good eats. THE FILM INDEX. You Get In The Edengraph 1911 Model A MACHINE that throws a perfect picture at less expense than any other machine on the market. THE COST of installation is the same- as other high grade projectors, the difference is in the wearing qualities. THE EDENGRAPH IS A GOOD INVESTMENT EDENGRAPH MANUFACTURING CO. george kleine, Pres. | 35 W. 3rd STREET, NEW YORK, N. Y. Seljing Agents : Kleine Optical Co. - 52 State Street, Chicago, 111. C. B. Kleine. 19 East 21st Street, New York, N. Y. -al Film Co. All Offices Film Exchange, 727 So. Main St.. Los Angeles. Cal. Record of Weekly Licensed Film Releases (Week of Jan. 7 to Jan. 14, 1911) Exchange No. Title The Italian Barber Tag- Day at Silver Gulch The Evils of Betting- In the Land of Monkeys and Snakes Shadows of the Past The Test of Friendship The Sophomore's Romance A Child's Plea The Hills of Corsica Doctor Cupid The Home of the Seal The Gardener's Ladder For the Love for an Enemy The Twin Cinderellas Dusty Rhodes Takes a Flight Washed Ashore YVoodcarving in Brienz The Marauder Help Wanted The Widow's Choice The Owner of " L. L. Ranch" The Rival Dramatist The Link that Held The Heart of an Indian Mother Max is almost Married So Near but not Quite Water Lilies The Girl of the West A Simple Rustic Tale The Battle at Redwood Coward or Hero Maker Biograph Lubin Pathe Pathe Selig Edison Essanay Gaumont Gaumont Vitagraph Edison Edison Kalem Pathe Pathe Urban Urban Biograph Biograph Lubin Melies Selig Edison Kalem Pathe Pathe Vitagraph Essanay Gaumont Pathe Vitagraph Class Comedy Drama Drama Scenic Drama Drama Com.-Dra Drama Travelog Comedy Educ. Comedy Drama Comedy Comedy Drama Educ. Comedy Comedy Comedy Drama Burlesque Drama Drama Comedy Comedy Drama Drama Drama Drama Drama Length Feet 993 935 676 276 1000 1000 1000 ^58 243 987 300 700 995 705 249 670 320 392 605 905 980 1000 960 1000 572 420 991 1000 958 1000 975 Date Released 1 -9- 1 1 -9- 1 1 -9- 1 1 -9- 1 1 -9- 1 I-IC-I I-IO-I I-IO-I I-IO-I I-IO-I I-II-I I-II-I I-II-I 1-1 I-T I-I I-I I-II-I I-II-I I-I2-I I-I2-I I-I2-I I-I2-I 1-12-1 I-I3-I I-I3-I I-I3-I I-I3-I I-I3-I I-I4-I I-I4-I I-I4-I I-I4-I When Run Replying to the many inquiries, The Film Index wishes to make the fact plain that the above table is a permanent feature and will appear every week, giving all the licensed releases for the week, with the current song slide releases on the back of the sheet. This page may be cut out and placed in a permanent file. THE F LM INDEX The Slides the au- dience look and wait for are made by De Witt C. Wheeler, he 120 West 31st St. New York City The Slides that Bring Applause Scott & Van Altena's 59 Pearl Street, New York City SONG SLIDE RELEASES Synopsis of Productions by the Leading Song Slide Manufacturers RELEASED THIS WEEK. Scott & Van Altena. "NIGHTINGALE." — Words by Jack Drislane; music by Geo. W. Meyer; published by F. B. Haviland Pub. Co., New York. These authors, whose selections upon the market are many, need no introduction to song folk. They are already well known and popu- lar in the music world, and "Nightingale" is well up to their standard. Slides by Scott & Van Altena are posed in cowboy costume and afford many views of the West, toned artistically with beautiful, sil- very moonlight effects. Novelties abound. "LET THOSE SLEIGH BELLS BE OUR WEDDING CHIMES." — Words by Will J. Harris; music by Harry I. Robinson; published by Will Rossiter, Chi- cago, 111. More than half of the illustrations for this song are novelties, embracing clever and orig- inal use cf the sleigh bells and giving some snow scenes that are Striking and picturesque to the last degree. A good set for this time of the year. "LET ME CALL YOU SWEETHEART" (I'm In Love With You).— Words by Beth Slater Whitson; music by Leo Friedman; published by Harold Rossiter Music Co., Chicago, 111. These are the writers of "Meet Me Tcnight In Dreamland"— which is recom- mendation enough of their ability. "Let Me Calll You Sweetheart" is a fittiffg successor. Scott & Van - Altena's illustrations are on the high class love ballad order, gracefully posed and excellently well executed. De Witt O. Wheeler. 'MOONLIGHT DEAR."— By Murchison & Hodge; pub- lished by the Delmar Music Co. A song by these writers which is bound to become popular. The illustrations are posed in gcrgeous Indian costume upon a background of beautiful Western scenery shrouded in moonlight effects that are at once ap- propriate and magnificent. •WE'VE KEPT THE GOLDEN RULE."— Words by Ben Deely; music by Percy Wenrich; published by Jerome H. Remick & Co. Slides by Wheeler depict in charming manner the story of this loving old couple so rich in steadfastness, who for fifty years have lived a happy life to the rule, "Do to Others As Ye Would Be Done By." We see them in their old age and again in their youth, among the fields of the country. There are many beautiful rural scenes that are assuredly of home interest. II' YOUR 1 1 10 ART KNEW A HEART LIKE MINE." — Words by Jack Mahoney; music by Theodore Morse; published by Theodore Morse Music Co. Novel lyrics set to a swinging melody; cannot fail to please for that reason. Illustrations posed in col- onial costume contain all the pomp and grandeur which surrounded the medieval period. Resplendent coloring. Alfred L. Simpson. 'TIPPERARY TWIRL."— Words by Jack Drislane; music by Geo. W. Meyer; published by F. B. Havi- land Pub. Co.. N. Y. This is a clever song with good pictui pany situat 'SKIP! by It "Som Just an humor, such as is demanded by all the Lheatres. Simpson has posed his stock com- jdels to great effect in a clever series of t SUSIE GREENE."— Written and composed celebrated author, Don Ramsay, author of )ay When Dreams Come True," "You Look le a Girl I Used to Know," "The Star of Burning in My Heart for You"; published sea — some marine scenes that are very worthy. This is considered by Simpson to be one of the best sets of slides he has ever made. Levi Company, Inc. DON'T WAKE ME UP, I'M DREAMING."— Words by Beth Slater Whitson; music by Herbert Ingraham, writer of "Roses Bring Dreams Of You," "You Are The Ideal Of My Dreams," and "All That I Ask Is Love"; published by Shapiro. The senorial was written by Mr. Shapiro and it was illustrated under his personal supervision. He expects it to be a bigger seller than any of Ingraham's other numbers and judging from the way he is going after it, it can't be otherwise. The scenes are beautiful, show- ing some of the richest interiors ever used by Levi in a set of slides, and it will rank as one of his best sets. Words by Ren Shields; music )lished by F.' A. Mills. "Steam- laracter and in a short time icq'uamtahce with everybody, n the average song and the hearty reception with it. In raphy is good and the ideas ■STEAMBOAT BIL by Leighton Bros boat Bill" is so: will claim Intim Entirely differen singer can bank Love is Burning m My by Walter Jacobs, Bost told in this tuneful littl ing their toy boat gave pictures and exquisite shows the return of th home by the Excelsior Slide Co. "SPRINGTIME BRINGS ROSES AND YOU."— Words and music by Kendis & Paley: published by Kendis & Paley, New York. This song is already popular and will make a hit in any picture theatre. Beauti- fully colored, well posed slides illustrate it and con- tain srme winning novelties. "I'M GOING BACK TO THE LAND OF SPAGHETTI." — Lyrics by J. Irving Young; music by Harold J. Norman; published by Head Music Pub. Co., New York. An Italian song cf lively nature, with illus- trations in typical "wop" costume and surroundings. RECENT RELEASES. Scott & Van Altena. "IF I WERE THE KING OF THE WORLD."— Words by Herbert De Pierce; music by Bert F. Grant; pub- lished by Ziegfeld Music Pub. Co., New York. "I DON'T BELIEVE YOU."— Words by Win.. Dillon; music by Harry Von Tilzer; published by Harry Von Tilzer Pub. Co., New York. "LOVIE JOE."— Words by Will Maricn Cook; music by Joe Jordon; published by Harry Von Tilzer Music Pub. Co., New York. •DREAMS. JUST DREAMS."— By Irving Berlin & Ted Snyder; published by Ted Snyder Co., New York. ■WHEN YOU'RE IN WRONG WITH THE RIGHT GIRL."— Lyric by Gus Kahn; music by Grace Le Boy; published by the Kedzie Music Co., Chicago. STAR OF MY DREAMS, SHINE ON!"— Lyric by Arthur J. Lamb: music by John T. Hall; published by Charles K. Harris,' New York. 'GLIDING O'ER THE SNOW."— Words by W. L. Wer- . den; melody by K. V. Bowers and published by the Harold Rossiter Music Co., of Chicago. T NEVER KNEW TILL NOW."— By Chas. K. Harris and published by him. De Witt C. Wheeler. ■I GET SO LONESOME FOR YOU."— Words by How- ard King; music by Raym nd White; published by Koninsky Music Co., Troy, N. Y. 'BE MY SWEETHEART."— Published by Jerome H. Remick & Co., New York. •I'M A MARRIED MAN."— Words by Ballard Macdon- ald; music by Harry Carroll; published by Jos. W. Stern & Co. 'I'LL BE RIGHT HERE IN THE SAME OLD PLACE." —Words and music by Billy Kent; published by Shapiro. 'DOUGHERTY."— Words by William Jerome; music by Jean Schwartz; published by Jerome H. Remick. New York. THE VALE OF DREAMS."— Lyrics by Chas. E. Baer; music by Johann C. Schmid; published by Jerome H. Remick, New York. "I'D GIVE THE WORLD TO CALL YOU MINE."— Words and music by Sadie Koninsky; published by The Koninsky Music Co., Troy, N. Y. • THEY'VE WON EVERY NATION'S BATTLES BUT THEIR OWN."— A novelty march song by Ren Shields, John Nester and Geo. Christie; published by M. Witmark & Son. Alfred L. Simpson. "DON'T WAKE ME UP, I'M DREAMING."— By Her- bert Ingraham; published by Shapiro. "PLAY THAT BARBER SHOP CHORD."— Words by William Tracey; music by Lewis F. Muir; published by J. Fred Helf Publishing Co. "IN THE GLOAMING."— By Meta Orred and Annie E. Harrison. "THE STAR SPANGLED BANNER."— The National Anthem. "THEN YOU'LL REMEMBER ME."— By H. Engelman. From the "Bohemian Girl." "KELLY'S GONE TO KINGDOM COME."— Words by Sax Rohmer; music by T. W. Thurban; published by Will Rossiter. "THAT'S THE FELLOW I WANT TO GET."— Words by Alfred Bryan; music by Geo. W. Meyer; pub- lished by the House of Haviland. "MOTHER, DEAREST SWEETHEART."— Words and music by Wm. T. Vayo; published by Wm. T. Vayo Music Co., Boston, Mass. "AS DEEP AS THE DEEP BLUE SEA."— By H. W. Petrie; published by the House of Haviland. Levi Company, Inc. "DIXIE FOR ME."— Words and music by Catherine Hamilton Slater. "IN GOOD TIME TOWN."— Words and music by Dave Reed, the writer of so many big hits. This song is published by Shapiro. Both lyrics and melody are good and so are the slides. Good looking models. clever posing and beautiful pictures. "THAT'S GOING SOME FOR YOU."— Words by Al Bryan; music by Fred Fisher; published by Shapiro. "IM LOOKING FOR A DEAR OLD LADY."— Words by Edgar Selden; music by Tom Kellv. "CRISTO COLOMBO."— Words by Thomas J. Gray and music by Fred Fisher. 'TURN THOSE EYES AWAY."— Words and music by Billy Brent; published by Shapiro. •COME, JOSEPHINE, IN MY FLYING MACHINE." — Published by Shapiro. •LET ME SPEAK THE LONGING IN MY HEART."— Lyrics by E. S. S. Huntington; music by Arthur H. Gutman; published by Seymour Furth Music Pub- lishing Co., New York. Excelsior Slide Co. "FATHER, DEAR FATHER, COME HOME WITH ME NOW." — Words by Joe McCarthy; music by Harry De Costa; published by Head Music Pub. Co., New York. "EVERY CORNER OF THE WORLD HOLDS YOU."— Words by Arthur J. Lamb; music by Felix Brandon; published by the music house of Laemmle. "LUCKY BOY."— Words and music by Kendis and Paley; published by Kendis & Paley, New York. "HAS ANYBODY GOT A KISS TO SPARE." — Words by Gus Kahn; music by Grace Le Boy; published- by Will Rossiter, Chicago. "SWEET ANNA LIZE."— Words by Bartley Costello; music by Henry I. Marshall; published by Ted Snyder. "DER DEUTSCHE RAG."— Words by Sam M. Lewis; music by B. O. Bennet; published by the music house of Laemmle. "ALL OVER TOWN."— Words by Al. Thahern; music by Percy Wenrich; published by F. A. Mills, New York. Coming — "The Irish Honeymoon" THE FILM INDEX Quality Counts After All "ELECTRA" •TRADE MARK ■ PINK LABEL CARBONS COLONIAL THEATRE ^^^^ 'ELECTRA" PINK LABEL CARBONS If you are one of those using something claimed "just as good as 'ELECTRA,' " send for a trial order of PINK LABEL CARBONS and you will be as pleased as the above correspondent. HUGO REISINGER (&* import. | | Broadway, New York HALLBERG THE ECONOMIZER SAVES two-thirds — m on electric bill and makes BIG CUT on the first cost of your com- plete equipment. I carry stock of all makes M . P. Machines, Opera Chairs and Sup- plies. Free Catalogue P. J.H. Hallberg, ffVSft THE FILM INDEX, $2.00 ST. LOUIS CALCIUM LI6HTC0. Established 1872 Stereoptlcon and Moving Picture Machines. All orders to any part of the United States filled promptly. 16 Elm St., ST. LOUIS, Mo., U. S. A. Competition cannot touch the prices of the Excelsior Slides We are now selling a new lot of song slides, originally worth $5.00 per set and up, for only $1.75 per set. It would pay you to drop us a postal to get our lists, and inci- dentally get on our mailing list, and we will keep you in touch with the latest hits in the song slide world. Our latest releases SPRINGTIME BRINGS ROSES AND YOU I'M GOING BACK TO THE LAND OF SPAGHETTI EXCELSIOR SLIDE CO. 138 E. 14 St., NEW YORK CITY Send for Supplement 33 »• Bargains Edison Kinetoscope $45. Powers Camera graph $75, Optigraph $;;.>, Cinengraph $l.>, < (ptitfrapli X.>. 4 for $4.".. $-'15 Monograph $105, Standard Edison Model B, Passion Play Film, Electric- Lamps, Rheostats. Cal- cium Jets. etc. Many others. Machines wanted. MOTION PICT PRE MACHINES. HARBACH & CO., 809 Filbert St., Phila , Pa. THE BIC SONC HIT "Don't Wake Me Up, I Am Dreaming" BY HERBERT INCRAHAM Opening order from Shapiro, the publisher, 100 sets Illustrated bv THE LEVI CO., Inc. 24 Union Square NEW YORK TURNER & DAHNKEN (inc.) 38 Eddy St., San Francisco, Cal. Largest Exchange on the Pacific Coast Pacific Coast Agents for the Pathe Machine 88 Iff FOR SALE 1,000ft. reels of film, $5, $10 and $15: song sets, *1; odd slides, 5c : Lubin machine. $60; Motiograph, $125: new Kdison, Power'smachines.Sloo. Moving PiHure Theatres cheap. For Rent, 0000 ft. film, $0: l'JOOO ft., $12; up-to date film, all in one shipment. Will buy, film, machines. Passion Play. H. DAVIS, Watertown, Wis. Get SIMPSON'S SLIDES for the latest hit GEE, BUT IT'S GREAT TO MEET A FRIEND FROM YOUR HOMETOWN. A Great Song Cleverly Illustrated. A. L. SIMPSON, Inc., 113 W. 132d St., N. Y. SIKWIK CEMENT! FOR ALL KINDS OF FILM! STICKS IMMEDIATELY! DOES NOT EVAPORATE! Send for Sample Bottle Free W. U. C , 227 E. 1 50th St., New York NEW CORPORATIONS. The Kinotype company of Rochester, N. Y., has been incorporated to deal in motion pictures. The capital is $10,000 and the directors are: Tiffany Bar- nard, James H. Westcott and Herbert T. Ranney, of Mt. Morris. Crescent Stock Theatre Company, Terre Haute, Ind. -^Capital stock, $10,000; object, to operate moving picture shows and theatres. Incorporators: J. B. Roberts, John Heutzy and Thomas G Moore. Cosy Amusement Co., Portland, Ore.— To operate motion picture theatres— Capital, $2,500. Incorpora- tors, E. L. Cooper, Katie Cooper and B. E. Selerman. The Western Moving Picture Co.. Salt Lake City. Utah; with a capital stock of $2,500, in $5 shares, filed articles of incorporation in the office of the county clerk, Dec. 19, 1910. The officers are A. P. Mehesy, president and treasurer, and J. K. Johnson, vice-president. Moving Picture and Projecting Machine Operators' Protective Union, Local No. 145, of the International Alliance of Theatrical Stage Employes of the United Sttaes and Canada. Chicago. Porter Smith, Percy C. Moore The Germania Amusement I maintain places of amusement picture theatres. Directors: tha Reis, 226 East 87th st; I( Slst street, New York City. Seventh Avenue Theatre C conduct theatres for motion rectors: Martin B. Hotmail, Ham Michelson, 155 East 9i Vaczy, 70 Berry street. New rard Incorporators: Edv and William Schreider. )., New York City.— To Charles Reis and Ber- Podliascnck, 161 East , New York City.— To picture purposes. Di- t5 Nassau street; Wil- li street, and Edward ork City. 32 THE FILM INDEX THE BIO ARC SCREEN is the greatest convenience ever devised for the operator. It enables him to see at all times exactly what is going on in the arc without "squinting" through a peep-hole or straining his eyes. You must see it to appreciate it. During the past two months we have sold hundreds of "BIO" Arc Screens on the "money-back-if- you-want-it" plan— and not a single call for the money. What better evidence could we give that every operator who sees it thinks it worth the money ? Send us a dollar today on suspicion. Charles L. Kiewert Co. Largest Importers of Flame Arc Lamps and Carbons in America 39 Cortlandt Street, New York, N. Y. 114 Huron Street, Milwaukee, Wis. 195 Fremont Street, San Francisco, Cal. 15th and Pine Streets, St. Louis, Mo. 58 Plymouth Court, Chicago, 111. 309 Carson Street, Pittsburg, Pa. Last 4 Weeks' Productions of Licensed Film Makers— Jan. 14 BIOGRAPH CO. Date. Subject. Class. Feet. length. Dec. 26 Winning back His Love TDrama 994 Dec. 29 His wife's Sweethearts Comedy 682 Dec. 29 After the Ball Comedy 311 Jan. 2 The Two Paths Drama 992 Jan. 5 When a Man Loves Comedy Drama 998 Jan. 9 The Italian Barber Comedy 993 Jan. 12 The Midnight Maruder Comedy-Drama 392 Jan. 12 Help Wanted Comedy 603 Dec. Dec. Jan. Jan. Jan. EDISON CO. 28 A Family of Vegetarians Comedy J90 30 The Romance of Hefty Burke Drama 1.000 3 In the Days of Chivalry Drama 1,000 4 Sleep, Gentle Sleep Comedy 990 6 The Fire Department of New York City, Descriptive 400 6 A Western Nigh' Comedv 600 10 The Test of Friendship Drama 1,000 11 The Home of the Seal Educational 300 11 The Gardner's Ladder Comedy 700 13 The Link That Held Drama 960 ESSANAY CO. Dec. 21 The Bad Man's Christmas Gift Drama 975 Dec. 27 Girls Will Be Boys Comedy 1,000 Dec. 31 A Gambler of the West Drama 1,000 Jan. 3 The Redeemed Criminal Drama 1,000 Jan. 7 The Count and the Cowboys, Western Comedy 1.000 Jan. 10 The Sophomore's Iiomane. .. Comedy-Drama 1,000 Jan. 14 The Girl of the West Western Drama 1,000 GAUMONT. Dec. 27 The Adventuress Drama Dec. 31 The Doctor's Secretary Drama Jan. 3 Ahe Artist's Pay Day Drama Jan. 7 The Woman Wins Comedy Jan. 10 A Child's Plea Drama !ior, 981 969 Jan. 10 The Hills of Corsica Travelogue 243 Jan. 14 A Simple Rustic Tale Drama 958 KALEM CO. Dec. 23 When Lovers' Part Drama Dec. 28 The Girl Spy Before Vicksburg. War Drama Dec. 30 The Stranger Drama Jan. 4 The Bolted Door Drama Jan. 6 The Runaway Engine Drama Jan. 11 For Love of an Enemy War Drama Jan. 13 The Heart of an Indian Mother, Indian Drama 975 990 990 950 3!>0 LUBIN MFG. CO. Dec. 22 An American Count Comedy Dec. 26 Making a Man of Him Drama Dec. 29 Blue Horse Mine Drama Jan. 2 'Art and the Legacy Comedy Drama Jan. 5 His Last Parade Drama Jan. 5 A Mix in Masks Comedy Jan. 5 The Crimson Scars Drama) Jan. 5 Fire! Fire! Fire! Comedy S Jan. 9 Tag Day at Silver Gulch Drama Jan. 12 The Widow's Choice Comedy ME LIES. Dec. 15 Old Norris' Gal Drama Dec. 22 A Western Welcome Comedy Dec. 29 In the Tall Grass Country Drama Jan. 12 The Owner of the "L. L." Ranch. .. Drama PATHE FRERES. Dec. 26 The Bowling Fiend Comedy 344 Dec. 28 Running Away From a Fortune, American Comedy 540 Dec. 28 The American Fleet in French Waters, Topical 125 Dec. 28 In Full Cry Scenic 331 Dec. 30 Catalan, the Minstrel Drama 768 Dec. 30 Carnival of Japanese Firemen in Tokio, Scenic 230 Dec. 31 The Yaqui Girl Drama 1,000 Jan. 2 The Misplaced Petticoat Comedy 790 Jan. 2 Jan. 4 Jan. 6 Jan. 7 Jan. 7 Jan. 9 Jan. 9 Jan. 11 Jan. 11 Jan. 13 Jan. 13 Jan. 14 Subject. Class. Feet. length. Dutch Kids Scenic 497 The Cowboy's Innocence Drama 994 An Intrigue Drama 997 Love Under Difficulties Comedy 781 The Funeral of Count Tolstoi Topical 220 The Evils of Betting Drama 676 In the Land of Monkeys and Snakes. Colored Scenic 276 The Twin Cinderellae Comedy 705 Dusty Rhodes Takes a Flight Comedy 249 Max Is Almost Married Comedy 572 So Near but Not Quite Comedy 420 The aBttle at Redwood Drama 1,000 SELIG POLYSCOPE CO. 19 John Dough and the Cherub Comedy 1,000 22 Overland to Fremont Drama 1,000 26 The Rustlers Drama 990 29 Justinian and Theodora Drama 1,000 2 The Argonauts Drama 1,000 5 Ramona's Father Drama 1.000 9 Shadows of the Past Drama 1,000 12 The Rival Dramatist Berlesque 1,000 URBAN-ECLIPSE. Dec. 28 A Mexican Romance Drama Dec. 28 Coaching in Devonshire, England. Travelogue Jan. 4 A Lock of Hair Drama Jan. 11 Washed Ashore Drama Jan. 11 Woodcarving in Brienz Educational VITAGRAPH CO. Dec. 23 Clancy Drama Dec. 24 Jean and the Waif Drama Dec. 27 In Neighboring Kingdoms Drama Dec. 30 Crazy Apples Comedy Dec. 31 Where the Wind Blows Drama Jan. 3 All Is Fair In Love and War Comedy Jan. 6 The Misses Finch and Their Nephew Billy, Comedy Jan. 7 The Old Water Jar : Drama Jan. 10 Doctor Cupid Comedy Jan. 13 Water Lillies Drama Jan. 14 Coward or Hero Drama 13k S E Lr I G Tfie Leading Motion Picture Producer of file World JAN. I2TM "The Rival Dramatists OR Cock A Doodle Doo" A Burlesque on the Reigning French Dramatic Craze! GET ON OUR MAILING ^mm^ . Length, iooo feet ft is the martini bird of morn. Brave Chanticleer, the rocal lighthouse of the Dawn .' " Code Word, DOODLF. "The Curse of the Red Man" ON J AIM- 1ST USE SEXIG POSTERS "Buddy— The Little Guardian" An Interesting Domestic Drama of the Present Day Length about iooo feet Code Word, BUDD\ COMING COMING SX>Ji& Po/ys'cojSd Co. Chicaao U.S-.A. EUROPEAN OFFICeS ' \ LONDON BERLIN S*T PETERSBURG. Released Thursday, January 12. Length about 950 feet. THE WIDOW'S CHOICE Father may have seemed slow, but when he was left as "guardian" to a handsome widow during the absence of his two sons who were her suitors, he proved to be a regular human cannon ball. And when the boys returned they found father had made the widow their stepmother. There's a lot cf fun in the story and the widow is so handsome and charming that almost any man could fall in love with her. There is the kind of appeal in this plot that will make people tell their friends about it. LUBIN FILMS— CLEAR AS A BELL Length about 715 feet Double Reel Length about 250 feet It Ever Come To This? A roaring burlesque on the new woman. It's about Mrs. and Mr. Sarah Jane Brown and their family. One continuous scream. The Film Index printed a special story about this fiim last week. Easy Coin This little story shows that a quick wit is better than industry when a tired "son of rest" has a snow shovel- ing job. Also that it has drawbacks when the victims "catch on.'' Released Monday, January 16 LUBIN MANUFACTURING COMPANY MODEL NEW STUDIOS 20th and Indiana Ave., PHILADELPHIA, PA. ■f ■■ II III ■■■aMWMBHMMMMWWMgl BRANCH OFFICES 9 CHICAGO, 22 Fifth Ave. LONDON, 46 Cerrard St., W. BERLIN, 36 Friedrich Str. $2.00 PER YEAR 36 PAGES SINGLE COPIES TEN CENTS PATHfc FfcERES FILMS 4 BIG HEADLIIMERS FOR THIS WEEK TRAILED BY AN INDIAN A Thrilling American Drama of the Western Bad Lands MARGUERITE'S BIRTHDAY A Captivating Little Drama of Artist Life in Paris SEA BIRDS IN THEIR HAUNTS Another of those Marvelous Colored Films of Bird Life THE MARKED DOLLAR Great Success! Great Action ! Great Thrills! A Feature Film Story of the Spring Round Up on a Great Cattle Ranch, with a Little Girl and a Big, Husky Cowpuncher for the Leading Characters. This will be another of the F=>ATHE ORE AT AMERICAN SUCCESSES BE SURE TO BOOK THESE, IF YOU'RE IN BUSINESS FOR MONEY LEADING AMERICAN EXPONENT OF THE PHOTOPLAY Published Weekly by the Films Publishing Co., at No. 1 Madison Avenue, New York City CHARLES PATHE — WORLD PROMOTER OF THE PHOTOPLAY Brief Sketch and Likeness of the Man Who Has Made the World His Field CHARLES PATHE, the moving spirit in the great establishment of Pathe Freres, whose photograph is published here for the first time in America, was born 4 3 years ago in Vincennes, where he has since resided. The palatial residence he now occupies is in strong contrast to the humble home where his eyes first blinked in the warm sunshine of sunny France, for Mr. Pathe is, as we say in America, a self-made man, whose success is due to no other cause than his indomitable will and his ability to grasp little old Dame Opportunity when she goes galloping by on the wings of Time. Mr. Pathe's house has often been used in motion pictures when a particularly fine villa and extensive grounds were needed. When a very young man, Mr. Pathe had succeeded in saving enough money to buy a small phonograph. These instruments were then very new affairs and still a considerable novelty and thus he had small difficulty in sell- ing his machine at a profit. With the money thus obtained he bought two phonographs and sold them both. Elated at his success he man- aged, by dint of economy, to open a small sales- room for phonographs and his business being small found much time on his hands in which to do nothing but think. It was then that he first developed his ability to take the initiative. He found that though his patrons liked phono- graphic music they lost much of their enjoy- ment because there were no records but Co- lumbia and Edison, both of which were in Eng- lish only. Noting this, Mr. Pathe hired vaude- ville singers to sing French songs and made his own records. The popularity of these first Pathe records was immediate and from that time on things looked rosy. About this time the first motion pictures were produced and Mr. Pathe gave, them careful study. He finally designed a camera and had two built from this design. These worked very well; so well indeed that he built a third which he sold for $2,000. He bought his blank film from Lumiere and Eastman. This was in 1896 and Pathe films were then sold at about 30 cents a foot, and were what would now be con- sidered very poor productions. The longest films were approximately 150 feet and good sell- ing lengths were 45, 65 and 85 feet. These films were made in a little factory in the Rue Polyscope, Vincennes, and the place is still in use, having been enlarged from time to time as the business grew. In 1897 the enterprise had assumed such pro- portions that a company was formed with a paid up capital of $2,000,000 which was subscribed by the wealthy men in and around Vincennes. At the first meeting Charles and his brother Emile Pathe were elected directors for life. To Emile's management was entrusted the phono- graphic end of the business which prospered un- til within four years it had grown to be the largest concern of its kind in Europe. Charles Pathe understood the management or the cinematograph, but hard days were in store for this end of the business. During the three years following, the business of motion picture making fell upon hard lines and many, in fact, all of the manufacturers in France went out of business except Melies and Pathe Freres, who revived the industry. In 1900 prosperity again smiled on motography; factories were MR. CHARLES PATHE. enlarged, experiments undertaken and everything done to build up a sound business. In 1902 Mr. Pathe discovered a way of making colored films by a mechanical process and through his efforts the colored films now put out by Pathe Freres are marvels of artistic beauty. There are now no films colored by hand in any of the Pathe factories. All this time the concern was growing rap- idly and agencies being opened the world over. To all branches of the business Mr. Pathe gave, and still gives, his immediate and personal attention. No particular portion of the work is favored. Everything from executive work down to the selling of films is overseen and aided by this wonderful man. At the beginning of last year a disagreement arose between Mr. Pathe and Mr. Eastman, who supplied the film for Pathe pictures. Mr. Pathe would not be dictated to by Mr. Eastman and in consequence the latter cut off the supply of film. Mr. Pathe's resourcefulness is shown in that he did get film and at the same time studied the manufacture of the raw product. The firm now makes its own raw stock, which is conceded by the best authorities to be the finest blank film made. To Mr. Pathe is due the credit of being the first to make titles for films. Now they are printed in 15 different languages. To him also is due the acknowledgment of being the first to do "tinting" and "toning," and finally coloring on films. To him also belongs the credit of introducing the latest Pathe novelty known as "The Pathe Animated Gazette." This is a film of about 500 feet in length, made up of scenes taken at events of international in- terest all over the world, released wreekly like a weekly illustrated newspaper or magazine on current events. The success of this in Europe and Australia has been so instant that Pathe Freres now have resident camera men in al- most every country on earth who may be called "camera-correspondents" for this unique ani- mated journal. Mr. Pathe is a man of keen mind, pleasant, quick, alert and everlastingly on the job from early morning until late at night of every busi- ness day in the year. Some idea of his at- tainments in his chosen work may be gathered from the fact that the firm employs about 5,000 people distributed everywhere, has the largest output of projecting machines in the world, make approximately 140,000 miles of film a year and the stock of the company which, though worth, but $20 per share, par value, is sold on the market in France at an average of $200 per share. Mr. Pathe gets to America very seldom and stays but a short while on any visit, but he is known nevertheless to the trade as the man who stands, for all that's biggest and best in motion pictures. PATHE TO CLOSE CHICAGO BRANCH. The Film Index has been advised by Pathe Freres that it is the intention of that company to close its branch distributing office in Chi- cago about March 1st. The reason given is that the present method of distributing film renders the maintenance of an office in Chi- cago no longer necessary. Mr. Kurt W. Linn, who has represented Pathe in Chicago during the past year has been ap- pointed special representative of the company with headquarters in New York. Mr. Linn was in New York the greater part of last week arranging for the change. He returned to Chi- cago last week, Thursday. Mr. Linn is a well known personality in the motion picture business, having been in charge of the Southern offices of Pathe Freres at Bir- mingham, Ala., and New Orleans, La., for near- ly three years, and from which he was pro- moted to the managership of the Chicago office. While in Chicago Mr. Linn made many friends in the trade, who will deeply regret the break in the circle of good fellowship his absence will cause. THE FILM INDEX Film Index Published by THE FILMS PUBLISHING CO. (Incorporated) No. 1 Madison Avenue, New York City Rooms 6007-6008 Tel. Graniercy 5538 JAMES L. HOFF, Managing Editor CHICAGO OFFICE: 611 Ashlcnd Block 'Phone, Central 1605 JAMES S. McQUADE, Representative SUBSCRIPTION RATES— One year. $2.00; six months, $1.00; three months" trial, 50e.: sin«le copies, 10c. Post- age prepaid to all countries in Postal Union. FOREIGN SUBSCRIPTIQNS-$2.50 per annum. All subscriptions payable in advance. INFORMATION FOR ADVERTISERS ADVERTISING RATES Whole Page $60.00 Half " 30.00 <>„e-Third" 20.00 On.-irt-r " 15.00 One inch, single column 1.40 Discounts on Time Contracts— 5 per cent, on three months; 10 per cent, on six mouths; 20 per cent, on one year CLASSIFIED ADVERTISING - " For Sale," " Help Wanted," etc., 3c per word; minimum. $1.00 one time. "Situations Wanted," not to exceed 4 lines. '.'.V. one time. Cash must accompany all orders tor classified advertising. , SPECIAL NOTICE Copy and instructions for advertising must reach the publication office not later than Wednesday, to insure insertion the same week. REMITTANCES should be made by express or postal o-der, check, or registered letter. Cash sent otherwise is at the risK of ihe sender. JANUARY 21, 1911. CASUAL COMMENT LAST week we received and published a letter from the manager of a picture thea- tre in a small town. It was in the nature of a complaint against the exchange from which the manager was getting his service, though the name of the exchange was not mentioned. The point the theatre manager made was that he had bargained with the exchange for a certain service and was unable to get the service agreed upon. Our correspondent went on to say that he had been looking for conditions to improve under the "trust," but up to now he could not see that there had been any change in the way the ex- change business was being handled. There are two sides to every story, and it is a singular fact that the parties to a transaction never see it in the same light or from the same angle. By this observation we do not mean to hint that the particular complaint made by our correspondent is not a true statement of fact; nothing has reached us to the contrary, yet the fact is that there are two sides to the "small town" theatre question, the way the "small town" manager sees it and the way the exchange sees it. Undoubtedly there is something to be said on both sides. Of the specific charge that exchanges do not keep their agreement with their patrons much has been written in the past. Exchange solici- tors and managers have been known to agree to anything the exhibitor wanted in order to get his business and then to trust to luck, or the exhibitors helplessness to compel him to take anything that was sent him. When finally driven to explain his failure to keep his agreement the exchange man usually answered: "What do you expect for the price?" which would indicate that the terms for the service contracted for were almost nominal. It is not to be hoped that the small town man- ager will ever be able to pay for the best ser- vice. It is also surprising what some small town managers expect in the way of service and prices. We have before us a letter written by a certain exchange to a certain exhibitor quot- ing a price of $7.00 for three reels weekly, or $12 for six reels weekly, the exchange to pay the royalty and the exhibitor to pay expressage. This quotation brought a reply in pencil on the same sheet as follows: "You must have an idea that the picture business is a mint in a small town. I will not be robbed." Notwithstanding, the small town exhibitor is a factor in the business and is entitled to a square deal. The old exchange game of getting their money and handing them anything as long as they will stand for it really has no place in the new order of things. It should stop, end, cease. Exchange men should determine just what they can give the small town exhibitor for the price he is able to pay, and then give it to him according to the agreement made. The old game of four-flushing, stalling, film-flamming, bluffing, backing and filling is what got the ex- changes in bad at first. The good of the busi- ness demands that it be cut out. WE had the pleasure of listening to a very interesting story of the experience of a successful exhibitor the other day. It was related by Mr. F. T. Montgomery, now of Jacksonville, Fla., who happened in on us dur- ing his recent visit to New York. Mention has been made from time to time of the remarkable success Mr. Montgomery has had with "just pictures." It will be remembered that he started in Memphis but three years ago and, in a very short time, had three houses in successful opera- tion. Not long ago he sold his Memphis houses and went to Jacksonville, where he spent about $20,- 000 in the purchase and fitting up of what is now the Grand Theatre. Everybody in town told him he would fail, but he had heard that story so often that it didn't count for anything with him. He just went ahead and made the Grand the finest little photoplay house that he could imagine and invited the good people of Jacksonville to come to see it. The result: "I don't mind telling you," Mr. Montgomery ex- plained to the writer, "that I am now receiving a larger percentage of returns on my investment than I have ever received before." Mr. Montgomery said that his method was to give the best. In fitting up his house everything was the best. Some managers would put lino- leum on the floor; Montgomery bought the thick- est velvet carpet he could find. Someone told him he was foolish to buy expensive velvet car- pet when no one would notice it. He replied that the people he wanted to reach knew good velvet carpet when they set foot on it, and that they were the people he was after. As to the people who didn't know the difference, he did not care if they never came to his theatre. "Every afternoon my theatre looks like a so- ciety 'pink tea'; all the best women of Jackson- ville are there with their children," declares Mr. Montgomery. 'All my attendants appear in evening clothes and they look after the comfort of my patrons. They know what pictures are being run and can tell about the program when asked; they know why wo have the best show in Jacksonville and what makes it better than any other show. I require them to see all the other shows and note the difference. What is the result: Jacksonville is now a good picture town. I have made a success where others have failed and it is not an unusual thing to see several hundred people standing in front of my house waiting to get in-" w T must be remembered that Mr. Montgomery | runs only pictures and songs in his thea- tres. Nothing could induce him to in- stall vaudeville. Picture theatre managers all over the country could take a few pages from his book with profit to themselves and the busi- ness in general. The big idea is: get the best, get the best of everything from the pictures down to the carpet on the floor and then g after the very best people in your town. If you can please them the rest will not kick. But remember: nothing is good enough if there is something better. PROJECTION DEPARTMENT TEMPORARILY SUSPENDED Editor Smith Sailed for London Last Week— Will Resume Writing Upon His Return. Will C. Smith, editor of the Projection De- partment of The Film Index, sailed on the S. S. America for London, Eng., Thursday, Jan. 5, to carry out an important business mission. Mr. Smith expects to remain in London for two weeks at least, before returning, and may make a trip to Paris. During his absence the "Projection Department" will not appear, but Mr. Smith promises to have some interesting information to impart upon his return. Among other things he will make a careful study of the methods of projection in English picture theatres. H0DKINS0N DROPS EXHIBITING INTERESTS W. W. Hodkinson, formerly of the Progressive Film Exchange of Ogden, Utah, and interested in several of Ogden's best motion picture thea- tres, writes The Film Index that he has disposed of those interests to C. W. Midgeley, a theatrical man of Salt Lake City, and will hereafter devote his energies entirely to the rental end of the business. Mr. Hodkinson has been appointed general manager of the General Film Company's branch at Salt Lake City, which requires his entire time. He reports that the Salt Lake City branch has about all the business in that territory worth having and that everything is running smoothly. A new theatre, The Mirage, was opened in Salt Lake Christmas Eve and is running licensed pictures. Another house is soon to open. Mr. Midgeley's new house, the Liberty, also to open soon, will be one of the finest in the country. It will seat 1,000 persons and will give pictures and music only at prices 10c, 15c, and 20c. It is proposed to run the program a full week, which is something of a new departure for American picture theatres. The Liberty has cost about $30,000 to build. Other Salt Lake houses running licensed pic- tures are the Isis, Luna, La Vista, Empire, Mis- sion and Casino. WEDNESDAY IS EDISON COMEDY DAY With the work proceeding on schedule time in all branches of the picture department, the Edi- son Manufacturing Company now definitely an- nounces Wednesday as the day for its weekly comedy release. "A comedy every Wednesday" is the way to think of it, and an Edison comedy, at that, for the term has represented for some time an excellence in comedy pictures that can- not be overlooked. There's the "Bumptious" series, for example — many of them real gems. We might mention any number of miscellaneous subjects that hold a place in the very front rank of motion picture art. Exhibitors need have no hesitancy in scheduling the Edison comedy re- lease for Wednesday; they will not be disap- pointed. THE FILM INDEX 3 PICTURES THAT CHILDREN LIKE Indians and Cowboys For Boys Girls Have a Wider Range El EH WHEN it comes to motion pictures boys and girls know what they like, says the New York Sun, in a story reviewing the work of investigation recently made by the Child Wel- fare Committee of New oYrk, which sent in- quiries to various schools for the purpose of ascertaining the character of pictures best liked by the children. This information is to be the subject of a report upon the influence of the motion picture to be made at the next meet- ing of the committee. Two of the questions asked were: "How often do you go to a moving picture show?" and "What picture do you like best?" Among the hundreds of replies received there was an occasional formal "I do not go to moving picture shows." One fancied sometimes one saw the upturned nose of a little Pharisee behind that statement. But generally it was unmistakably wist- ful. Most of the children declared that they went to the film shows pretty regularly, anywhere from three or four times a year to three or four times a week. The usual rate of indulgence seemed to be "about once a week." One little girl naively wrote: "I go about as often as my mother lets me." One eight- year-old boy declared that he went to a picture show every day. This little chap was right in line with three-fourths of the boys on the subject he liked best. "Cowboys and Indians," "Indians and cowboys"— certainly many more than half the boys named that combination as the one that took their fancy. Out of one class of boys, all about 8 years old, one said he liked best a picture of robbers; one liked "The Duke's Revenge," one George Washington, one the Revolutionary war, one "the falls, how they fall" — probably a picture of Niagara; one "The Hero and His Mother," one "The Three Bears." The rest of the class was divided between Indians and cowboys and —"The Life of Moses"! But the Indians had twenty-five partisans, while Moses en- listed only five. One admirer of the former says that he goes "three times a vig," which way of spelling "week" is an indication of the manner in which the Bast Side juggles English orthography. One curious thing about these replies is the differ- ence between those from boys and those from girls. Apparently every boy who had ever seen moving pic- tures had a definite idea of what he had liked. The answers to that question are not particularly interest- ing. They are generally just a plain statement of the general character of the subject — Indians and cowboys, cowboys and Indians, over and over again. A few boys recall some particular picture and indi- cate its action, as, for instance: "I liked 'The In- dian's Revenge,' how the Indian killed the chief in the neck." Another declared a partiality for "the Americans fight with the britches!" which one re- luctantly interprets as "British." And in certain classes one finds perhaps the influence of a different environment or more likely of a different teacher guiding their judgment. For instance, one class of eleven-year-old boys gives a very respectable range of subjects as the ones liked best: "Jesse James," "Rescue of Company D," "The Holdup of the Stage Coach," "Lady of the Lake," "Sleeoing Beauty." "Uncle Sam's Soldiers," "Rip Van Winkle," "The Two Questions," "The Dolls," "Hia- watha," "Pony Boy," "Lincoln Celebration," "Sign- ing the Declaration of Independence," "Joan of Arc" and "Custer's Last Fight." In this list "Hiawatha," "Lady of the Lake" and "Rip Van Winkle" have the most admirers. But this elevated taste in canned drama is so en- tirely exceptional among the boys that only one con- clusion is possible. The replies were guided some- how or other by some Olympic nod. One cannot but detect the teacher in these preferences when one turns over hundreds of other boyishly penned pages, all proclaiming their allegiance to Wild West films. It is different with the girls. To be sure, two or three of those in every class declare themselves de- voted to the Indian and cowboy combination adored by their brothers. But it is evidently an individual preference. That is the striking thing about the girls' replies, the range of subject and the variety of emo- tion which appeal to them. One other thing is very significant, too. Whereas not one boy in all the hundreds who answered the question failed to express some preferences, dozens of girls write "Yes, I go to moving picture shows"; and then in reply to the second inquiry, "What picture do you like best?" just say "I don't remember." In one class this reply comes a dozen times to the one instance in which a girl does express a prefer- ence. Evidently there was some collusion here. Some one girl, shirked the question and the contagion spread to the rest. For in other classes the "I don't remember" is rare. Still, it does occur in all the girls' groups and in some of the boys'. There is still another point of difference. Not one boy in fifty does more than name the picture or kind of picture he likes. But when the girls do express their preference they almost Invariably try to give the story told by the film. Not all of them do. In one class of girls about 9 years old, two expressed a preference for Indians; six little members of the sex which is accused of having no sense of humor declared that they thirsted for "funny pictures," while one confessed to a complex nature which made her "like to see sad ones and funny ones." But most of the girls try to tell the story which has captured their fancy. For example, there is ten- year-old Gertrude, who lives in The Bronx and says she goes to the film show "once a while." This is the way she describes the tale which most impressed her: "There was a little boy he went to leave mis mother he got a little pollow of his bed and he open his window there stood a baloon and got in his mother called her little boy she look out of the window the little boy was away up in the clouds he lost his breadth (breath). It was very sad." And here is what Minnie, 11 years old, thinks the most wonderful of pictures. She says she goes once a week, so she evidently has a wide experience, and it is almost noble of Minnie to choose for the crown of her approval the picture called "Gold is Not All." Thus does she explain it: "A rich lady came from a house and a poor lady seeing her drop her newspaper gave it back. The rich lady talked to her a short time. The rich lady was very unhappy. But the poor lady was very happy. So gold is not all." Nine-year-old Ruth, who also goes to a moving pic- ture show once a week, is on another track. The film she likes best is called "Tickled to Death." Says Ruth: "There was a man who was very ticklish and he went to get a pair of shoes. He was so ticklish that he could not have them put on and he rolled out of the store into the gutter. An automobile came along and ran over him. Then his wife came along and saw him and she was tickled to death that he was run over." A congenial spirit of Ruth would be nine-year-old Ida, who gives the following synopsis of her favorite: "A man went out and brought a tame mouse in a cage. He brought it to his wife. She was so frightened she jumped up on the chair and was yelling. This wife was very cruel. She was so mean to him he went out and got a bigger cage with rats. He put about five of them in the pot. Then he went out again. She came in and looked to see if the meat was boiling. She saw it was rats. She was so frightened she dropped the pot." Here is the favorite of nine-year-old Marion: "Once a man was smocking his pipe and a little girl was in his pipe. She went in a big box with another ladie. At last the man stoped smocking his pipe and the little girl was dancing on the table. The man got a drink of whiskey and the picture was over." Marion seems to be rather hazy in her description, but is strong on the drink of "whiskey." This abso- lute failure to comprehend the action in most of the pictures is often rather bewildering, as in the case of ten-year-old Hattie, who launches into this fevered dream: "I saw a picture about Oncle Sam. This man came in his office and then came a lot of man in and tied his hands and feet. They were British man. They brought him to the office where the British had it and Oncle Sam said you just leave me alone or I will kill you if I get out of this rope. So they locked Oncle Sam in prison. After (ward) they let him out and brought him to get killed. And just as they was shooting a man came in. Put down that gun and so they did. Before he dies he must kiss his baby. But he got free." Nine-year-old Myra is another little girl whose heart is stirred by a touch of war. Her favorite is "How the Dog Saved the Flag." "There was once a man who had to go to war. He had a little dog. One day when he was at war he got shot. He called for some one to save the flag but no one came. But the dog came and took the flag from his master. The master gave it to him and then fell down and died." . With true feminine variety the next jump is from the sublime of Myra to the ridiculous as doted upon by Rita- "Once there was two children, a boy and a cirl One day their mother went out and when she came back the two children thought that their mother had brought something for them. But she had brought fly paper instead. When the whole family had gone to bed the children got up. They took the fly paper and they put it all over the house, in the chairs, on the bed and all over. Then they had some company and when they sat down on the chairs the people s^ook to the fly paper and then the children got court (raueht) and that is all." Quite enough, too. it seems to the unbiassed mind, which turns with relief to the romantic soul of Ce- celia, aged 9. "There was once a little boy," writes Cecelia (she may be allowed to spell her own name as she chooses), "whoes mother was dead and his farther liked him very much. One day his farther went out in an auto- mobble. One day this little boy saw where his far- ther's gun was. He went and got it and he shot him- self. They had a trained nurse and she picked him up and telephoned for his farther. The farther came home in a flying express and came in. He was shocked. The baby did not know the farther and he whold not go to the farther and the farther got mar- ried to the nurse." Human interest is what the girls like. One of them, though rather confused on the spelling of "hus- band" is quite clear as to the story she best likes: "Once there was a family, a wife, husband and child. The husband was a woodcutter and worked very hard to earn his daily bread. As they were eat- ing dinner one day the little girl went to the window and got very dizzy and fell out and was brought up dead to her parents. One day they had a quarrel and made a separation. The husband packed his things and at last they came to the little girl's clothes and they did not separate." No words wasted on the climax, but it evidently did not miss fire as in some of the other cases; as, for instance, in the following, where one cannot but feel unduly excited over the mysterious powers of Easter rabbits: "There was once a rich little girl who had a play- mate who was very poor and the rich little girl went out with her mother, then the rich girl gave the poor girl a Easter rabbit and the poor little girl got rich." The girls in one school attended chiefly by those of American and Irish parentage gave the following list of favorite picture shows: "The Ice Bears" (probably polar bears), "The Ride of Paul Revere," white peo- ple and Indians, picture of how a little girl got rich. George Washington. "The Runaway Mother-in-Law," "Minnie Ha Ha," "The Cowboy and the Squaw," "The Indians and the Pilgrims," Blue Beard, Indians and cowboys, the girl and the wolf. Others in the same class specified more particularly: "I like the moving pictures of our Lord," "I like the picture of the girl that did not believe in Santa Claus " "I like 'The Police.' It is a stick that changes to different things." "I liked best 'The Old Maid's Valentine.' " On the whole, the girls show more imagination, more variety of sentiment and curiously enough more craving for humor or what strikes their minds as humor. It is an interesting basis of comparison. MONTGOMERY IN TOWN. Mr. P. T. Montgomery, proprietor of the Grand theatre, Jacksonville, Fla., accompanied by his Savannah, Ga., partner, Mr. M. C. Eberstein, ar- rived in New York, Saturday, Jan. 7, and spent the several days following in visiting the man- ufacturers and the picture theatres in New York. The Film Index wishes to acknowledge a pleas- ant call from Mr. Montgomery and Mr. Eber- stein, and the very interesting relation of the former's experience with motion pictures. Mr. Montgomery stopped at the principal cities along the route to New York and remarked that his investigations had failed to discover a single theatre that approached his Jacksonville house in appointment or attention to its patrons. COMING KALEM HEADTjINERS. Kalem's advance sheet of coming headliners announces these subjects for early release: U. S. Light Artillery in Action at Pine Plains, N. Y., Jan. 20; The Secret of the Still, a tale of the turpentine forests, Jan. 24; Puritans and In- dians, Jam. 27; The Sheriff's Sister, Feb. 1; The Trail of the Pomos Charm, Feb. 3. It is hinted that the feature for the week of St. Patrick's Day will be "The Irish Honeymoon," another of those Irish-American pictures. INDEX HAS REACHED PERFECTION. Editor The Film Index: Dear Sir: — I beg to extend to The Film Index the compliments of the season and wish to say I think it has now reached perfection as a newspaper devoted to things pertaining to those interested in photoplay. I have been a sub- scriber to Views and Films and noticed the im- provements since the early days. The Princess projects association films exclusively. Wishing vou success, Yours sincerely, • CHAS. P. DEMPSEY, St. Paul, Minn. Princess Theatre. THE FILM INDEX "CHARITY FOR THE CHASE' By EPES WINTHROP SARGENT (Chicot) EVER see a six-foot man streaking it across the show lot with a six-year-old boy and trying to explain that he's taking Johnnie to the circus? "Awful bore, of course, but he made such a row that for the sake of peace — " and more to the same effect. That's the sort of fellow who gets high in the air and writes about "the old fashioned chase" and other nasty things. You would think his idea of Heaven a place where there were no chase pictures shown and that he pictures a pro- gressive Hades wherein the proportion of chase pictures to dramatic subjects is carefully al- lotted in accordance with our earthly sins. That's what you think, but is it so? Of course, no one wants the steady succession of fhases that was offered some years ago any more than one cares for the everlasting western picture of to-day. The chase was overdone just as the sobby story was overdone, the western and the slapstick. There can be too much of anything — even of money, to listen to Andrew Carnegie. But the mere fact that a thing had been overdone does not mean that it should be "canned for keeps." Chases were funny when they first came out. They are just as amusing to-day. Why should the fact that they were at one time too numerous make them less humor- ous now? The critical writers, perforce, must assume a lofty tone, a "better than thou" attitude to im- press the readers with their superiority, but there are plenty of things from 'Jersey Scen- ery" to "looking at the camera" that are better worthy of condemnation than the chase. The public wants chase pictures, they laugh when they get them and the laugh comes from all over the house, not merely from the gallery. That's the sort of laughter that really counts; when the man in the front row of the orchestra laughs as loudly as the woman in the middle of the balcony or the boy in the last row of the gallery. And if the public wants chase pictures what's the use of scolding them for it, or hammering the manufacturer for making them? It is not argued that any chase is funny. A lot of people running through a picture and try- ing to see how utterly idiotic they can be is not a funny chase picture, but there are clever com- binations and on programs they are welcomed no matter what the high brows may say. It is not easy to find good comedy stories and it is harder still to find comedians who can get their personalities over the picture footlights. The drollery of dialogue is absent, the quaint mannerisms of speech aid not at all and so the chase helps out because there is plenty of life and action. That's the real answer. It's the answer to the western picture, too, but the western picture is more limited, while the chase is elastic. Take any cowboy story and the riding will save the weakness, but it is always the same riding whether the cowboys chase the Indians or the Indians chase the heroine. In the chase picture there is always room for novelty and when that novelty is shown the exhibitor gives thanks and is exceedingly glad as he counts up the day's receipts and thinks of the pleased patrons who have stopped to tell him that they liked the show. It is not contended that the chase is the high- est form of art. To the contrary the chase is cousin once removed to the slapstick and what it stands for. It is low comedy, but if rightly done it is comedy, and that is the main point. Photoplay patrons want laughs. They may be interested in strongly dramatic pictures and weep generously over the sorrows of the heroine (who dies interestingly and when the picture stops gets up and says things about the property man who forgot to put springs on the couch of death, leaving her with a crick in the back). They like the tragic pictures and they talk about them, but let a rattling good chase come along and see how quickly the news will spread that there is an awfully funny picture down at the Nicolett. "She loved him but she lost his ad- dress" will be entirely forgotten, although that was a beautifully sad picture, but weeks after- ward people will be wanting to know when "that funny picture" is going to be shown again. "A Hot Time At Atlantic City," for instance, is far removed from classification as perfection in the art of production. It was based on a theme that was old when burlesque shows were young and the acting average was low, but there was an undeniably funny chase along the Board- walk and over the sands and one exchange or- dered no less than four reprints at intervals of four months to fill the steady demand for that reel. It is still going the rounds yet. On the other hand many truly artistic productions have been forgotten in less time than it took to wear out the first print. The artistic productions are good things for the picture field. The higher the standard of production the more general is the picture pat- ronage, but because the artistic standard is some- thing earnestly to be desired, it does not neces- sarily follow that the humble chase is to be de- spised and rejected. The knockabout act of the Brutal Brothers would be a genuine curiosity in vaudeville to-day, yet it was that sort of vaude- ville that led to the sort of vaudeville wherein have appeared stars from the dramatic stage of the magnitude of Bernhardt, Mrs. Patrick Camp- bell and Rose Coghlan. These and hundreds of others have raised the dignity of the vaudeville profession to a plane almost if not quite equal to the dramatic stage, yet the clever manager will make certain that on the bill containing a heavy dramatic act there are one or two strong comedy turns. The more distinguished the headline at- traction the more amusing is the comedy and the balance is preserved. The "old fashioned" chase is just as necessary to the bill as the high- ly artistic productions and it is not fair to kick away the lower rungs of the ladder because you have ascended to the top. A sixty-foot ladder with only the five or six top rungs would be a pretty useless affair to the man in a hurry to get down or up. The program that includes only the highly clasical day after day would spell ruin to any house. Let's at least be charitable to the chase if it is fairly well done. It may be a poor thing art- istically, but it's the breadwinner for the man- ager and serves to emphasize the value of the better things. NEW TREASURER FOR LINCOLN SQUARE THEATRE. Albert R. Lottarelli, a popular and well known box office man, who has been connected with many of the best photoplay and vaudeville thea- tres in New York city has been appointed treas- urer of the Lincoln Square Theatre, at Sixty- sixth street, and his smiling countenance can now be witnessed from the box office window every night. Mr. Lottarelli, while comparatively a young man, has been connected with the financial de- partment of theatres, for the past seven years. He was, for four seasons, treasurer at Keith's Fifty-eighth street, theatre, after which he put in a year and a half with the Hurtig & Seamon, theatre in Harlem. His next engagement was at the Columbia theatre, Brooklyn, from which house he was transferred to the Murray Hill theatre, where he remained, until he came to the Lincoln Square a shore time ago. Mr. Lottarelli's long experience, together with his pleasing manner, should cause him to be a valuable man in the box office at the Lincoln Square, and his friends wish him much success in his new position. BE CAREFUL ABOUT FOREIGN POSTAGE. J. D. Williams, the American picture man, who is making good in Australia, writes to make a suggestion to his many friends in the States regarding the matter of postage. "I receive from fifty to one hundred letters on every American mail which arrives here twice a month and most of these letters have insuf- ficient postage. We are compelled to pay double the rate at this end in order to get these joyful tiding from our many friends. They are well worth this extra amount of money to get the news from dear old America. How- ever, it would be much better to pay the fiddler at the other end." It is hardly fair to Mr. Williams to compel him to pay postage that we ought to pay. If it was only the deficiency that he had to pay there would probably be no kick, but when insufficient postage is attached a fine of double the regular rate is exacted from the person to whom the letter is addressed, which he must pay to get the letter. So, have a little pity, also exercise a little care when addressing let- ters to Australia, and put on five cents instead of two. J. L. Morgan, of Hiteman, la., and T. Morrish, of Beacon, la., have decided to start a motion picture theatre in Creston, la. CHRISTMAS AT THE STAR RANCH. The Melies Stock Company of actors, with their director and the head of the company, Mr. Gaston Melies, were entertained at the St. Anthony Hotel, San Antonio, Texas on Christ- mas Eve. Many interesting stories were told 'by Mr. Melies and his company of their ex- periences in making and taking moving pictures. The guests who were present seemed highly de- lighted to find actor folk very much like the rest of the human race, and they certainly did enjoy being among them, the feeling was mutual on the part of the players. After the ban- quet, the company went direct to Mr. Melies' "Star Film Ranch," where a large Christmas tree was in evidence, filled with presents for the different members of the company. After the singing of "Auld Lang Syne" and "He's a Jolly Good Fellow," evidently meaning our friend Gaston, they wished each other a Merry Christmas and then went to their home at the Hot Wells Hotel, amid the ringing of bells and blowing of horns, and the joy of the populace who had stayed up until after midnight to greet each other with "Peace and Good-will." THE FILM INDEX. I Nif TWO INTERESTING PATHE AMERICANS j I IS A Laughable Comedy and a Gripping Drama s\ | THE Pathe American stock company is fast making a reputation in comedy pictures. Already a number of good subjects have been produced and each succeeding effort marks a step in advance. The latest to come to our notice is a forthcoming release entitled "A Father Against His Will." It is unfortunate that a more expressive title could not be found for Ihis picture, but that is one of the diffi- culties sometimes hard to overcome, and when you see the picture the title will appear to be more appropriate than it at first seems. The story begins with a young man and a girl who are in love, but are forbidden to meet by the girl's watchful mother. Clandestine meet- ings are the result and it is in trying to keep one of these dates that the trouble begins. The tion of the hero with the result that they fall in love. On one occasion while in her father's private office at about the hour of closing she gets in- terested in the big office safe which one of the clerks has left open. While her father is show- ing the arrangement of the interior of the vault the attendant closes the door and locks it. To be locked in the safe means death from suffoca- tion if not released. The father realizes the danger and makes a desperate attempt to escape without avail. The struggles of the two in the interior of the vault is depicted in a most dra- matic manner. Finally, the father, fearing the agonies of suffocation, draws his revolver and is about to end the lives of his daughter and himself when the girl gets an inspiration. WOULD DOUBLE LICENSE FEE Boston Police Ghief Says Houses Increase Fifty a Month By the annual report of the district police, just issued by General J. H. Whitney, of Bos- ton, Mass., chief of the force, appears that of 6,080 licenses applied for, for entertainments, to be given on the Lord's day, he approved all but 13, which he refused for what seemed to him good and sufficient reasons. This is an increase of 917 over the number he received in 1909 or nearly 18 per cent. Since the introduction of motion pictures there has been an average of 50 applications per month for such exhibitions in churches, halls and other buildings in various parts of the state, and since it is required of the in- spector that he shall visit each building and report recommending the granting of a permit PATHE SUBJECT "A FATHER AGAINST HIS WILL. PATHE SUBJECT "SAVED BY TELEGRAPHY.' young man has promised to meet the girl at the park entrance and is on his way to the trysting place when he passes two children sitting on a bench in the park where their mothers have left them but a few moments before. Stopping for a moment to entertain the chil- dren the young man is about to attend to his own business when an ever watchful police- man halts him and insists that he shall not abandon the children. He attempts to con- vince the policeman that the children are not his, but the bluecoat has heard of that trick before and compels the young man to take the children with him. He makes several attempts to abandon the children and is finally arrested and taken to the station house, followed by the girl, whom he meets and who believes that she has discovered him to be a flirt and is anxious to see him punished. While the young man is having his troubles with the kids the mothers return to find that their darlings have vanished. They also land at the police station and denounce the young man as a kidnapper. He has a rather interest- ing time of it between the two irate mothers and his tearful sweetheart. But the matter is finally patched up and everybody is happy. Plenty of good action and good photography make this an interesting picture. Saved by Telegraphy. This is a very interesting love drama which introduces a novel use of the Morse code to ex- tricate the heroine and her father from a criti- cal position and make the way of the lover smooth. The hero of the story is employed in a telegraph office. The general manager's daugh- ter visits the oflce and becomes so interested in telegraphy that she prevails upon her father to permit her to learn how to send messages. Consequently she is thereafter a daily visitor at the office and takes her lesson under the direc- Snatching the revolver from her father she com- mences to pound out the call for help by the Morse code with the revolver butt against the safe door. In the meantime the young man, who has a social engagement with the manager and his daughter, appears at the office. No one is about, but upon looking around the office he finds the girl's furs on a chair; then he hears the "tap- tap-tapping" on the safe door and realizes that someone has been locked in. He answers and by the use of the code learns the combination and opens the door. The girl falls fainting into his arms and the father staggers out. When both have been revived the young telegrapher receives due and proper reward. It is an interesting story faithfully worked out. or otherwise, based upon the conditions as he finds them; because of the considerable expense incurred the chief recommends that the pres- ent fee of $1 to be paid by the owner or user of a motion picture booth for the inspection of the same shall be doubled, and that $2 be hereafter the legal fee charged. Because of the increased duties by succes- sive acts of legislation imposed upon factory inspectors, Chief Whitney recommends that five additional members of the district police be employed as inspectors of factories and public buildings. He also urges the appointment of two additional fire inspectors. RATHER HARD ON THEATRICAL MEN. At the request of Norman Hall, chairman of the motion picture censors, of San Francisco, Cal., Supervisor Herget introduced an ordinance prohibiting photoplay theatres and other simi- lar amusements within certain prescribed lim- its. The ordinance provides that no theatre or amusement parlor of any kind shall build within 200 feet of any school or church, or within 100 feet of the property line on side or rear of any school or church. These restric- tions, however, will not interfere with any build- ings now in the course of construction. The proposed ordinance will no doubt cause much contention on the part of some photo- play and theatrical managers as many churches and schools are located right in the rialto dis- trict, and will cause many well laid plans to be changed. SHAPIRO PRAISES LEVI SONG SLIDES. That Levi Company's slides are gaining in favor every day with exhibitors and publishers is evidenced by the many congratulatory let- ters being received constantly by that firm. Elsewhere in this issue is reproduced a highly commendatory communication from the Chicago Song Slide Exchange, and following is one re- ceived from Shapiro, the publisher: Levi Company, 24 Union Square, New York City: Dear Sirs — In acknowledging receipt of the last de- livery of slides you especially made for us, I want to compliment you upon the vast improvement shown in their manufacture, both as to photography and color effect, as well as to the selection of appropriate models and aritstic posing. You have certainly improved 100% in the manu- facture of song slides, in our opinion, and we are thoroughly well satisfied with this last lot. Wishing you continued success, Very truly, (Signed) SHAPIRO. 6 THE FILM INDEX WINNIPEG HAS NEW PHOTOPLAY HOUSE. The Starland Limited Now Has Fifteen Big Houses —Will Build Three More. The Starland photoplay and vaudeville the- atre, a new addition to the long list of theatres belonging to the Starland Limited, was opened in Winnipeg, Man., a few days ago, and gives promise of being another successful venture un- dertaken by the well known Western Canadian theatrical enterprise. The new house is the largest and best equipped of the fifteen theatres owned by the* Starland Limited, and is one of the finest photoplay and vaudeville theatres to be found in the whole of the Dominion. The opening night was rather a commend- able occasion in theatrical circles in Canada; on that night there were represented many of the city officials who took keen interest in examining how the house was built, and what new safety devices had been added. To fur- ther grace the occasion, Mayor Holmes made an address commending the beauty of the new theatre and also the class of performances that would be given to entertain the fast growing city of Winnipeg, that is now looked upon as the queen city of Canada, besides being one of the greatest wheat markets in the world. The stage of the new theatre is equipped with ten complete settings, which have been es- pecially made. The stage itself, is large enough to accommodate any kind, of road company. A feature of the fixtures is two sets of dimmers, which are seldom to be found in a theatre of this kind. The building itself is strictly fireproof, noth- ing being exposed, while in addition to being very well ventilated, there are two emergency doors in the side of the building, and one at the back of the stage. The aisles are wider than usual, being one and a half inches in excess of what is called for by the underwriters, and it is a pleasure to sit in the chairs, there being ample knee room, and a footrest for every member of the audience. There are two lobbies, the one for ladies being finished in mission oak and leather, while the dressing rooms are spacious, and, like the remainder of the building, strictly fireproof. The decoration scheme, which was planned by the architect is superb, and when the inside fittings are completed the effect will be first- class. In order to secure the best pictures, the man- agement sent to Chicago to get an Edison oper- ator to take charge of the machine. The pic- tures will be the latest obtainable and only the best educationable, comic and dramatic will be shown. The Starland Limited is one of the most en- terprising firms in the Dominion of Canada; it has recently increased its capital stock to $500 - 000 and are getting ready to erect three more up-to-date photoplay and vaudeville theatres. PICTURE HOUSE CHANGES OWNERSHIP. A theatrical deal of some importance was consummated in Jamestown, N. Y., last week, when the Royal, a motion picture theatre, was sold by George Cohen to Joe Brown. Cohen formerly was a Jamestown merchant. Some years ago he built the Royal. He formed a chain of theatres, making his headquarters at Newburgh, N. Y. Jamestown is out of the way for the balance of the theatres, so when Mr. Brown made a good offer, Cohen let go. The new manager' is a well known Jamestown theatrical man, and should make good. 'HOW MARY MET THE COWPUNCHERS" MARY was of the proud, prudish sort — a Bostonian, educated in a New England in- stitution— dignified and haughty. She had met the society young man but the real man of the West — the cow-puncher — was an unknown person to her. Consequently when she visited her uncle's ranch out West, she held herself high above the cow-punchers. These honest fel- lows, however, were smitten by Mary's presence, and were not sufficiently well versed in the act- ing line to hide their emotions. The foreman especially was particularly attentive to his boss' niece, but all to no avail, for the young lady A Western Drama by Melies an embankment of stone and wood and were able to temporarily stand off the attacking In- dians by a well directed gun fire. An ingenius ruse was cleverly thought of by the captain. He took Mary's coat and (after strenuous objections) her skirt and made of them a dummy which he placed on a horse and set loose. The trick worked ; the Indians gave chase to the dummy, believing it was Mary. S.r Harry went off for help. But the cow-punchers headed by the fore- man, spy this band of Indians in chase of whom they supposed was Mary, and set out to capture KM < ■ MM' 1 SCEXE FROM MELIES SUBJECT "HOW MARY MET THE COWPUNCHERS would not deign to even look at him. Natur- ally he was down-hearted and his comrades sym- pathized with him, but one can't make a young lady love one any more than one can make a horse drink. So the punchers decided to lay low and await developments. Their opportunity was not long coining. Sir Harry Granville, an English army officer visit- ing the neighboring ranch, was introduced to Mary, and together they one day went on a wild horse back ride across the country. Love of adventure outweighed prudence and the young couple wandered into the neighborhood of In- dian's, who gave chase. There followed a des- perate ride for life and Mary and Sir Harry finally succeeded in securing themselves behind the band. After a desperate ride they capture the red skins and secure Mary's clothing. They searched for Mary and found her still behind the intrenchment. She held them off at pistol's end, rather too proud, we believe, to be seen without the conventional outer garments. After negotiating, however, by notes which were thrown to and fro, she agrees to meet the boys after the latter had thrown her skirt to ' her and looked the other way. Her opinion of cow- punchers was considerably changed after that brave action cn the part of the boys and she thanks them with apologies for their kind serv- ices. The picture ends with her looking up into the foreman's eyes with an expression that be- trays something more than gratitude. PICTURES FOR INSANE AT TACOMA, WASH. With a photoplay show — the first one half of them had ever seen — the inmates of the West- ern Washington Hospital for the Insane at Fort Steilacoom, Tacoma, Wash., were given ( a Christmas eve entertainment. In addition to this innovation they were treated to a full fledged Christmas tree, with all the fixin's, and they had a chicken and sweet potato dinner that would tempt anybodys' appetite. The motion picture machine, Superintendent A. P. Calhoun says, had been installed as a permanent feature of asylum life. It was set up in the amusement hall several days before Christmas, and its presence has been kept as a profound secret until the first film was flashed onto the screen. To say that it created a sen- sation among the asylum inmates is putting it mildly. The films were mostly of the comic order, and these created intense merriment. The ups and downs of the heroes and heroines of the motion pictures were followed with attention that no nickle theatre patron ever bestowed. For the rest of the winter, Dr. Calhoun says, a motion picture show will be a weekly event or else will be given every two weeks, dances as heretofore being arranged for the alternate dates. The program was varied by illustrated songs, Traveling Guard Hendricks furnishing the solos. Mr. Porter has sold the Bungalow motion picture theatre in Jacksonville to W. Stevenson, of Jersey- ville. A new photoplay theatre is to be erected on Water- loo street, St. Johns. N. B. The house will be one of the best equipped in the city. W. G. Cummings has bought the Grand motion pic- ture theatre in Springfield, Mass., from E. E. DeGray. THE FILM INDEX J "BUMPTIOUS AS ROMEO" Famous Picture Comedian Takes a Hack at Theatricals Good Edison Drama IT is some time since the Edison players have given our old friend "Bumptious" a chance to show how things ought to be done. You 'know it is the especial mission of "Bumptious" to "show us how," and his past efforts in that line have been quite amusing, not to say up- roarious. Whether Bumptious has always been satisfied with his efforts or not, does not ap- pear; he has, however, always come back after self, ' is about the way Bumptious puts it, and he sets out to make good. Far be it from Bumptious to lend his talents to anything of a piffling character when it comes to dramatic work. Nothing short of Romeo and Juliet will satisfy him. There is due rehearsal during which Bumptious sustains his well-known reputation and finally the performance. And what a performance. All the mishaps known surance that it is all of the good wholesome kind that will pull the cork on many a bottled laugh. SELLING oi l) MASTER. Here is a simple but touching drama of hu- man life that will not fail to please. Old .Mas- ter is a fine old Southern gentleman of before the war. He dies, leaving his daughter in some- what straitened circumstances. The girl goes to New York and becomes a teacher of music. A rich man falls in love with her and marries her. Back in old Virginia two faithful retainers, relics of slavery days, who have clung to the fortunes of the family until nothing remains, pick up their few belongings, one item of which is a portrait of Old Master, and journey North. SCENE FROM EOISOX SUBJECT "BUMPTIOUS AS ROMEO.' SCEXE FROM EDISOX SUBJECT "SELL1XG OLD MASTER. each apparent defeat, willing, even anxious, to try again. In the forthcoming "Bumptious" soon to be released, our irrepressible friend attempts to do some real play acting. A regular theatrical company comes to his town and everybody turns out to the performance. The entertainment does not come up to Bumptious' idea of good play acting and he leaves the- hall in deep disgust. "Call that acting? Why I can do better my- to stage folk come to Bumptious, but he strug- gles manfully along until he sets eyes upon his unfailing hoodoo, the "Gum Chewing Girl." Poor Bumptious is in the midst of the balcony scene at the time, but in the next moment he is in the midst of the scenery, for the setting collapses, and great was the fall of Bumptious. There is a lot of fun in this picture that is not mentioned in this brief review, so you will have to see the picture; but you have this as- They arrive in New York and are soon penni- less. As a last resort they are compelled to sell "Old Master." They take the portrait to the auction room where it is about to be dis- posed of when the daughter happens along and recognizes it as that of her father. A recognition of the two old negro servants follows and the story ends by the little "missy" giving them a new home in her own lovely home. WILL ENFORCE PHOTOPLAY THEATRE LAW Factory Inspector Delaney of Pennsylvania Issues Orders to Picture Theatre Managers Chief Factory Inspector John C. Delaney, of Harrisburg, Pa., has isued general orders to all of the Deputy Factory Inspectors in the districts outside of Philadelphia, to strictly enforce the law regulating motion picture shows. This order is the direct result of the Supreme Court decis- ion that the law is constitutional. The order of Chief Delaney is as follows: "You are hereby advised that the Supreme Court of Pennsylvania has affirmed the judgment of the Dauphin County Court that act No. 233, P. L., 1909, is constitutional. This decision has the effect of lifting the injunction which re- strained us from enforcing the provisions of said act in respect to aisles, etc., in certain places of amusement, particularly photoplay theatres, and it makes all such places, without exception, subject to said act. "You will, therefore, first of all, secure early compliance with the law in question on the part of those against whom we have been for so long enjoined from its enforcement, lists of whose places were sent you following the issuance of the injunction. Failure to comply within a rea- sonable time will merit prosecution at law, and you are hereby authorized to bring suit against every delinquent within your respective districts. If necessary, in any case, resort to injunction proceedings, rather than to have an unsafe place open to public patronage. "Fortified as we now are by the decision of the State Supreme Court, we will be able to better safeguard the lives and limbs of patrons of places of amusement, and we must do so without fear or favor." GIVES FREE USE OF FILMS. The General Film Company, of Boston, Mass., donated four reels of pictures for the benefit entertainment that was given at the Spa, Sun- day, Jan. 7, for the families of the victims of last week's explosion at Morewood Lake. The company also sent Manager Eager a nice letter stating they are only too glad to aid in some way in raising funds for the relief of the fam- ilies. In addition to the pictures Manager Eager has arranged for several local singers in addi- tion to his regular two singers. NEW THEATRE FOR OTTAWA, ILL. The new Gaiety theatre, of Ottawa, 111., which was built by Simeon Gay, a wealthy carriage manufacturer, and open on the night of Jan. 3 will be devoted entirely to high class photo- play and vaudeville entertainment. The house is modern in every way and great- ly adds to the city's business section. The seating capacity of the house is 1,000. In order to have some local attraction to christen the new house, the Ottawa Lodge of Elks gave a minstrel show. TWO MORE HOUSES FOR SPRAGG AMUSE- MENT CO. The Spragg Amusement company, of Bellaire, Ohio, has added two more houses to its string. "The Photoplay," the latest addition of houses, which was opened on Jan. 9th, is located at Woodsfield, a hustling little town near Bellaire. The other house is the Grand Opera House, at Salem, which will be opened some time the latter part of January. The Grand Opera House is one of the largest photoplay theatres in Ohio — seating over a thousand persons. NEW HOUSE FOR CARTHAGE, N. Y. Carthage, N. Y., is soon to have another pho- toplay theatre, which will be the second house of its kind to be located in the lower part of State street — right in the heart of the business section of the city. The theatre will be in the old hardware store formerly occupied by Arnot & Meyers. The managers of the new theatre, are having the place repainted and decorated and an ex- tension made to the rear. A new fireproof machine booth is being installed and the latest style opera chairs put in. The front of the house will be made most attractive — -with a large electric sign and fine display of posters. It is expected that the house will be ready for occupancy within the next two or three weeks. Coming— "The Irish Honeymoon" 8 THE FILM INDEX CHICAGO LETTER By James S McQuade Firemen's Widows' and Orphans' Benefit Fund. THE exhibitors who are customers of the American branch of the G. F. Co., at 77 S. Clark street, have made a good showing in giv- ing benefits for the widows and orphans of the firemen who lost their lives in the recent stock- yards' fire. All those enumerated herewith refused to take advantage of the liberal offer made by the Gen- eral Film Co., preferring to stand all expenses and pay for the film service on benefit day: C. Abrams, Acme theatre, 3410 Ogden avenue, $25. Mr. Abrams sold tickets personally from house to house among his patrons. Hammond & Ball, Delphi theatre, 225 E. 31st street, $14. Clark & Houston, Bijou theatre, 6312 Ash- land avenue, $5. Louis Phillips, Home theatre, 3949 W. North avenue, $10. Fetcher & Nortman, Imperial theatre, 1210 E. 63d street, $55. A. E. Atkinson, Adelphi theatre, 335 S. West- ern avenue, $6.50. Daniel Pintozzi, Star theatre, 114 South Hal- sted street, $10. P. S. Grozovsky, Boulevard theatre, 163 S. Halsted street, $15. Morris Choynski & Noon, Odeon theatre, 181 S. Halsted street, the oldest picture house in Chicago, $25. Hy W. Shell, Boulevard theatre, 5522 Ash- land avenue, $10.40. The operator at this house charged the manager $2 extra for the matinee during the benefit, although according to contract he should have worked at the mati- nee. He receives $20 per week salary. Is it possible that this man is a union operator? The Lamm Amusement Co., Palace theatre, 1554 Milwaukee avenue, $4. J. Fingold, Grand theatre, 1354 S. Halsted street, $15. E. M. DeBerri, Eagle theatre, 2002 Ogden avenue, $26.65. Herman Schoenstadt, Palace theatre, 4845 Ashland avenue, $25. Sam Minover, Castle theatre, Taylor and Cen- ter streets, $7. The Spoor branch of the G. F. Co., at 435 N. Clark street, has had the following amounts turned in: Geo. Friedman, Electric theatre, 1302 S. Hal- sted street, $35. E. L. Reid, Amity theatre, 142 8 S. 40th ave., $7.20. Herman Goldberg, Medora theatre, 4238 W. Harrison street, $16. The exhibitors in these cases availed them- selves of the offer of the G. F. Co. to stand the cost of service for benefit day. It is hoped that greater interest will be taken in the benefit performances by customers of the G. F. Co. at 85 Dearborn street. Many well-to- do exhibitors get their service there, and as this is a purely voluntary matter, and one that is highly worthy of spirited support, these pic- ture theatre managers will do honor to them- selves by showing their appreciation of the brave men who lost their lives in the stern perform- ance of duty. Roll up the figures, brothers, for Chicagoans have ever been alert to recognize bravery and to relieve distress. A Live Exhibitor from Aberdeen, S. Dak. J. C. Jamieson, 'owner of the Cosy theatre and part owner of the Idle Hour theatre in Aber- deen, South Dakota, spent two days in the city last week. Mr. Jamieson has been getting his service from the Van Duse exchange in Minne- apolis, but starting Monday, January 9, he arranged for service with the American branch of the General Film Co., this city. The Bijou theatre, Aberdeen, formerly an "in- dependent" house, will have licensed service, dat- ing from Monday, Jan. 16, the American branch of the G. F. Co. also furnishing the bookings. All three houses in Aberdeen — the Cosy, Idle Hour and Bijou — will then be using the licens- ed product. Mr. Jamieson is a live, up-to-date manager and believes in giving his patrons the service that they demand. His audiences are very crit- ical and they applaud, in the most vociferous fashion, the film subjects that appeal to them, just as they show their disapprobation of pic- tures that do not. They will not accept pic- tures that lack in careful detail work, and any* incongruity is quickly noted and roundly hiss- ed. For example, they will not stand for cow- boys that ride in full stride, with their shoot- ing irons held high in the air, emitting smoke and flame. The cowboys with whom they are familiar don't do these things. Nor can they reconcile themselves to the type of Indian who rides at breakneck speed with his rifle held in the right hand, the arm stretched to full length in a vertical position. Indians don't do such things. Those who have fought them on the plains out there know that the redskin keeps his rifle close under his left knee when he is galloping on horseback, always convenient to reach and use when the emergency calls for it. When they see a film representing a trip across the plains in '57 or '49, and showing a prairie schooner, rigged up on iron wheels, they shout in derision; just as they resent the incongruity of a woman, who has been found famishing for lack of food, dressing up in a satin lined cloak and a big fashionable hat, when asked to a Thanksgiving dinner by the man who has discov- ered her need. Mr. Jamieson told me that he has one of the coziest of cozy houses in his Cosy theatre. It will seat 346 people, and the seats are the most comfortable opera chairs. The interior decora- tions are chaste and pleasing, the walls being of dark green, with panel lines of light green. The ceiling is done in light green frieze, with a cream field, and red and green borders. The auditorium is well lighted when pictures are being projected, 21 lights with green shades being employed. Besides these, there are frost- ed lights in the stairway and red lights at the exits. A first violin, a piano and a clarionet are used to play the pictures. Mr. Jamieson is well pleased with the returns in the Cosy, since he opened it a few months ago. He has arranged for an excellent service with Manager I. Van Ronkel, of the American branch of the G. F. Co. He spent half a day during his stay here going over the plant of the Selig Polyscope Co., and will have a big story to tell his people when he gets back home. Motion Picture Harvey Complimented. I have just received the clipping quoted below from Manager Harvey of the Colonial and Col- onade theatres, Decatur, 111. For the six months that Mr. Harvey has operated picture houses in Decatur, he has done considerable worthy serv- ice for the advancement of pictures, and it is gratifying to note that the Decatur "Herald" commends him for his accomplishments in that direction: FIGHTING THE WHITE PLAGUE. Decatur is more fortunate than most cities in more than one respect. The case in point is the city's motion picture theatres. In many cities trouble is experienced from the fact that the motion picture places are held up as a place of ruination of young girls and strenuous efforts are being made to stamp out these adjuncts of the White Slave trade. Such conditions do not exist in Decatur, where the spectators sit in well lighted rooms. Motion Picture Harvey brought this innova- tion to Decatur of his own volition and the re- sults to his business have amply justified the expense. Now, Mr. Harvey enters the limelight as a public educator. "RED CROSS SEAL." At a considerable expense he has secured the series of films known as the "Red Cross Seal." This series of films has received the unqualified indorsement of the metropolitan papers as be- ing of inestimable value for the education of the masses against the dreaded Great White Plague. It is Kipling's begging poem of "Pay, Pay, Pay," in silent drama. Intermingled with these views are shown the actual conditions that breed tuberculosis; the work of the district nurses; the open-air day camp of the Tubercu- losis Association at the Vanderbilt clinic; the right way to live and the wrong way to exist. Conditions of the tenement that are fast giving way before the aggressive campaign of educa- tion are also shown. The whole series of pictures has the sanction of the National Association for the Study and Prevention of Tuberculosis and the American National Red Cross. Mr. Harvey has invited as his guests for Fri- day the members of the Macon county and Decatur Medical Societies, the Board of Health, the Board of Education and the Civic League. A Clever Selig Burlesque. I thoroughly enjoyed a private view of Se- lig's feature film, "The Rival Dramatists," or "Cock-a-Doodle-Doo," last week. This is a full length reel and will be seen before this notice is read, the release date being January 12. Those who are familiar with the passages at arms which have taken place between Edmond Rostand, the French poet, and Mr. Gross of Chi- cago, over Cyrano de Bergerac and Chanticleer, will hugely enjoy this pictured burlesque of the works of both men. First we are treated to an American scene, showing a barnyard well stock- ed with fowls, cattle, etc. Gross, or Se the Grosse, as the scenario and subtitles have it, is seen in the foreground with pencil and note- book in hand. He is seeking an inspiration. A large rooster, followed by a goose and turkey, appears. Immediately succeeding this is a similar scene laid in France, only that the fowls are of the game variety, and that Chevalier de Rostando is the man seeking an inspiration. Again we are transported to America and discover Se the Grosse in his roughly furnished studio, with "corn juice" and coffee a-plenty to assist him in his imaginative flight. As this flight is depicted we discover a country barn- yard in which are seen a rooster, a turkey, a goose, a donkey, and cow, all of course imper- sonated by human actors. Once more we visit Rostando in his studio, a handsome interior furnished with Louis XIV fur- niture. He drinks wine instead of "corn juice," and smokes cigarettes to stimulate his fancy. As he begins to smoke, the scene dissolves into a barnyard, in which several hens and a dog are discovered, impersonated, of course, by hu- man actors. Soon Chanticleer enters and struts past, joining a hen pheasant for whom he shows great partiality, much to the woe of his two rightful hen wives. The rooster is so absorbed in his love making that he forgets to rise in time to wake the King of Day, and in despair over his failure commits suicide. As the vision fades we see Rostando springing from his coucn much elated. The succeeding scenes show the success of Rostando's drama and the rejection of that of Se the Grosse, and the consequent charges of purloining and appropriation by the latter against the French poet. Se the Grosse chal- lenges Rostando to mortal combat and the lat- ter sends acceptance by wireless as follows: "I will meet you on one condition — that we settle our differences a la Chanticleer." The closing scene shows the diminutive game bird fighting the giant rooster in the cockpit, and defeating him with a blow of his spur that pierces the brain. The airy lightness with which this imagina- tive subject is treated will commend it to every intelligent man and woman who sees it. The photography is excellent and the great wealth of properties employed in the film has been fur- nished with much care and art. A Handsome Xmas Present. I called for the first time last week at the new Essanay quarters, in Suite 521, First National Bank Building, and greatly admired the lux- urious furnishings and appointments. Mr. Spoor's private office is a spacious room and beautifully fitted up. My attention was par- ticularly attracted by a large, electric lamp shade on Mr. Spoor's desk, the delicate filigree work on which compels close scrutiny. Then I learned that it was a Christmas present from department managers to Mr. Spoor. A neatly engrossed card accompanied the shade and bears the legend: To our Dear Friend, Mr. George K. Spoor, The Merriest Christmas Possible. (Continued on page 25.) THE FILM INDEX THE BORDER RANGER" A Thrilling Drama of the Mexican Frontier by the Essanay Company A TALE that thrills with episodes of adven- ture and daring, romantic and picturesque and true in its local color, is the Essanay Company's photoplay of Saturday, Jan. 21, "The Border Ranger." Designed to be a "thriller," it is consistently so, with not a point strained, not a single error to be criticised; and to those who occasionally delight in feeling their nerves tingle and the blood quicken in their veins it will be found more than satisfying. "The Border Ranger" of the old Southwest is a picturesque character, whose deeds of dar- ing, sacrifices to duty, are not fictional, yet savor of a romance of even an earlier day. To the government (he is an employe of the treas- ury department) he has proved himself an in- dispensable agent, particularly in the Southwest. As the watchdog of the frontier it is his duty The next morning Dan finds the note and is informed by Molly's little sister of two bad men who ran off with her sister. Dan acts imme- diately. Scribbling a note to the captain, tell- ing of his purpose and advising the others of the rangers to follow on his heels, he mounts his horse and dashes away up the trail to where he believes from the report given out by the little sister, that Molly is being confined. His mission ends in disaster, as he is captured, dragged to the shack and brought face to face with his sweetheart to be humiliated by the jeering taunts and sneers of the smugglers. After the girl is taken back to the old hag who is watching over her, a brutal whip is applied to the shoulders of the ranger hero. Molly watches her chance and when the old hag rum sodden, drops off to sleep, slips through of room for everyone to sit with comfort during a performance which is a treat in some houses. So far as possible, Mr. Doan has nearly all first run pictures. The interior of the theatre is most artistically decorated in green, red and gold. On the walls and in the corners there is much statuary work, while all the entrances leading to the ladies re- tiring room and men's smoking room, are banked with palms and other potted plants. On the coldest winter days, the interior of the Hip- podrome looks like a tropical garden. In the fireproof machine booth are to be found a Powers No. 6 and Edison Model B. picture ma- chines. There are also two licensed machine op- erators, who do their best to produce the clearest and brightest pictures. The lobby of the Hippodrome is most attrac- tive. On each side of the walls are painting and statuary, the ceiling is frescoed and studded with many small electric lights. At the entrance of the lobby there are two large marble lions. In front of the house there is an electric sign forty LITTLE SISTER INTERRUPTS A to intercept all smuggled goods passed one country to another and to arrest and bring to justice the offenders. In the early days of the Southwest the Mexi- can border was the scene of much of this il- legal practice. These untaxed imports consisted chiefly of gold and silver, precious jewels, opium from the Orient, while large numbers of Chinese, unable to gain entrance to the State at Ameri- can ports came over the border from Mexico. The Essanay story dates back to the -early '70's. Dan Coughlin, a ranger, captures one of a number of opium smugglers, turns him over to his chief, who endeavors to wring from the prisoner a confession as to the whereabouts of others of the band. But the smuggler is loyal and refuses to make any confession. It is not long before the others of the band make steps to liberate their pal. Dan is in love with pretty Molly Parsons, a young woman of the village, who, in attending to the wants of the rangers such as mending their clothes, cooking for them, etc., supports herself and little sister. Dan finds it hard to propose to his sweetheart because of the vix- enish little sister, who frustrates every attempt of Dan's to pop the question. However, Dan summons his courage and after locking the lit- tle sister in a closet succeeds in making his proposal and obtaining that mystic word of three little letters, "Yes." Unknown to the happy lovers, "Indian" Joe, a half-breed and member of the smuggling gang, has spied upon Dan, followed him to the girl's house and through the window has witnessed the betrothal of the two. Then, hurrying away to the rendezvous of the bandits he informs his chief of what he has seen. The leader thinks for a while and finally tells the others of his plan. A note is addressed to Coughlin to be delivered by Joe that night, while twTo others are to watch Molly and when the opportunity occurs to spirit her away to their hiding place. PROPOSAL. SCENES FROM ESSANAY SUBJECT from the window and hurries away from the shack. The other rangers have in the mean time found Dan's note and are on the way to his rescue when they meet theterror-stricken girls, who directs them faintly to the shack. The rangers arrive in time as the smugglers have grown tired of the p'easure of torturing their captive and have decided to make an end of him when the door bursts open and four Win- chesters are pointed at them. Dan is lifted to his feet and the captives bound and led from the shack. A few hours later Dan and his sweetheart are together again, happy that they have both pass- ed through their terrible ordeal. Photographically the subject is of fine quality DAN AND HIS SWEETHEART BROUGHT TOGETHER. THE BORDER RANGER." feet high. This sign can be seen from nearly every part of the business section in the city. Since the opening .night July 23, there has al- ways been a good business. Mr. Doan tries to get the best of pictures for his patrons and un- less a picture is really a feature he will not ad- vertise it in the news papers, even through he advertises extensively in the three dailies of the city. Mr. Doan left for Philadelphia, Tuesday after- noon, where he will stay until Thursday before returning home. md destined to a long and successful run. HOWARD E. DOAN IN NEW YORK Well Known Lancaster Photoplay Manager Look- ing over Picture Field. Howard E. Doan, proprietor and owner of the Hippodrome photoplay theatre, North Queen street, Lancaster, Pa., was an early visitor to the offices of The Film Index, last Tuesday morning. Manager Doan has been in New York since Sun- day, during which time he has been looking over the different picture theatres, to see if there were any new ideas and devices that had slipped him during the past season. The Hippodrome is the largest and, perhaps, the best equipped house of its kind in Lancaster. It seats 900 persons and three shows are given during the afternoon and evening. All the seats are of the latest improved pattern — each seat being of the folding style, besides there is plenty REFORM SCHOOL CHILDREN SEE PICTURES Four hundred children, inmates of the State Reform School, at Greendale, Ky., enjoyed a photoplay show on Dec. 28. Superintendent Doak, with the aid of the local picture mem saw that the boys and girls were given some good wholesome views. Everybody enjoyed the show and all are looking forward for the next one to take place. ALL THE WAY FROM BUTTE. Mr. F. F. Bailey, president, and Mr. George H. Grombacher, secretary and treasurer of the Montana Film Exchange of Butte, Montana, were in New York last week. They were accompanied by their wives and said they were doing a little shopping. Both gentlemen reported that the picture business in the Northwest was in excel- lent condition and that the exclusive motion picture house was steadily winning the patron- age from the vaudeville "picshows." IO THE FILM INDEX Playing the Pictures By Clyde Martin FROM the large .number of questions I have received during the last couple of weeks, I am led to believe that the greatest prob- lem that is confronting the motion picture mu- sicians is the short scene proposition or the quick changes. It is true that a great num- ber of the recent productions have been filled with these quick changes where the picture jumps from one scene to another and hardly gives the musician time to play over four or five bars to a change. This is a proposition that is hard to handle as there are different conditions to be found in the different pictures. In some pictures where you find the quick changes of scenes it is pos- sible to play the same music through the changes, but in the average picture there is such a great contrast in the scenes that you are com- pelled to change your music to be in keeping with the picture. I believe one of the best examples on this point is found in the Biograph release of Jan- uary 2d. "The Two Paths." Throughout the entire picture the scenes shift from the easy life, to the life of toil, it is true that in some of these scenes we hardly have time to play over three or four bars, but there is such a great contrast in the scenes that we are com- pelled to make the change in the music. The improvisor has the advantage in such cases as this, for he can blend his changes and not be obliged to stop on the sub-titles. By all means try and avoid abrupt endings as well as cutting your music on the sub-titles as such practice only gives the audience the impression that you are trying to overdo your work. S. M. B. of Oklahoma asks, "Don't you think it advisable to only use the sound effects on the feature picture of the program?" Answer — No, Mr. "B." I believe in work- ing sound effects whenever you have a good opportunity in all pictures on the program for the sound effects, to my notion, are just as es- sential to the picture as the music, and if sound effects are an improvement to one picture on the program, they will help all pictures. It is true that in many Biograph and Vitagraph pic- tures you seldom have occasion to use effects, but when you do get the chance, make the best of it. I recently had the pleasure of playing for the Vitagraph release of December 24th. "Jean and the Waif" and in this picture there is a small effect that can be used to good advantage and be the making of a scene, it is where the little waif is awakened by an alarm clock at four o'clock in the morning. The alarm clock is supposed to be ringing when the scene opens and if you will use same when you show the picture in your theatre you will find this small effect will be appreciated. I believe you will find it pays to work all effects in the entire program, and not the feature pictures only. Miss C. C. of New Orleans, La., asks, "What kind of music would you play for a picture like "The Police Force of New York City?" Answer — This picture, Miss "C." I would class under industrial or scenic, and for such pictures I play either a march or waltz. There are a few exceptions among this class of pictures where you can work in a little special music. We will take this Edison picture "The Police Force of New York City" for example, there is one place in this picture where you can get away from your march or waltz, and that is during the scene of catching runaway horses in Central Park, in this place you can use some good "hurry" music during the actual chase and then fall back into your march or waltz. The same can be applied to the Edison release of January 6th. "The Fire Department of New York City." Mr. A. L. of St. Louis, Mo., asks, "can you tell me of any one that can use a good piano player?" Answer- — I am not a booking agent, Mr. L., if you are competent and can deliver the goods, you should have no trouble in locating a posi- tion. I might suggest that you insert a small card in the "Index," there are hundreds of places open for people who play the pictures. C. F. V. of Hennessey, Okla., has been play- ing traps for two years and asks for any tips that will be a help to a drummer. Answer — If I had the time, Mr. "V." I would run down to Hennessey and shake hands with the first drummer I have ever heard of playing two years and not knowing it all. The tone of your letter makes me believe you will be suc- cessful, and, if, as you say, the people down there appreciate the efforts of the musicians, you have half of the battle won. A great many picture piano players are under the impression that their audience is wanting a program of classic music during the showing of the pictures. It is just as easy to find classic music to fit the pictures as it is to find popular music, but, if you will just consider that the motion picture audience is composed of all class- es and that the majority of your audiences are the working people, I believe, as a suggestion, I would try and arrange the most of the music from popular compositions. You can take some of the popular songs or comic opera selections like "Lonesome To-night," from "The Time, the Place and the Girl," or "You're A Dear Old World After All" from "The Prince of Tonight," and if you handle them with expression and feel- ing, you can bring the soul out of a picture, and I believe the majority of the audience will ap- preciate such music a great deal more than they would heavy classic selections. I have made a close study of the use of popu- lar selections for playing the pictures and next week I will publish a list of what I believe to be the most appropriate for use in the average picture. VAUDEVILLE THEATRE FOR SALE. E. A. Parks, of Louisiana, Mo., writes that he desires to dispose of his vaudeville house, The Lyric. He describes it as a first-class house located on Main street, Louisiana, Mo., with a capacity of 400; ample stage room and up-to-date scenery. Edison machine, Hallberg Economizer, and 20th Century Graphaphone, not to speak of many other improvements. HERE'S A "HIGH BROW." Editor FILM INDEX. Dear Sir: Will you please allow me space in your paper in which to vent my bottled wrath? I confess, I do not know whether I am mad or highly amused. I fancy it's a little of both. The root of the trouble is the fact that I saw Aquilla's Napoleon picture last night. The picture had no title, but from the various scenes I gather that It was probably "A Plot Against Napoleon." I looked in vain for a signature throughout the film, but found none and came to the conclusion that the makers were wise enough to omit this feat- ure—this badge of ownership— this sign of father- hood. Herein they showed good judgment. The man in charge of the theatre told me it was made by Aquilla. This Aquilla is one I do not know, but who- ever he is he ought to be ashamed of himself for this output — this joke on Napoleon. On the reel with Nap. was winter sports of the Hungarians and it was a splendidly interesting and entertaining picture, but it was too short. There was too little of the Hungarians and too much of Napoleon. The film went flying through the machine, and from the frozen glassy lake where the Hungarians cut fancy skatatorial didos we were slammed down without warning into Napoleon's camp in a beautiful summer wood. No title proclaimed this jump from the frigid to the temperate zone and it was altogether too sud- den. Believe me, it was a case of from the sublime to the ridiculous, and we had no time to get acclim- ated. And Napoleon himself! Ye gods! At first he amused me. Later on I got tired of his funny busi- ness, and lastly I waxed wroth and grew hot under the collar. It was a good comic opera stunt through- out— a farce, pure and simple, and in very bad taste. Napoleon at times reminded me of The Great La- fayette in his actions. At other times he was a dead ringer for Dave Montgomery. The antics, the facial grimaces, the peculiar style of mincing, jerky, stamp- ing walk that he introduced into the part of Napo- leon has no place on the stage except in comedy parts. And Napoleon's life — if we believe history — was any- thing but a comedy. And to bring it to the level of farce comedy, burlesque, travesty, is assuming a little too much on popular credulity. It is a pure case of fudging on poetic license and this Aquilla ought to be ashamed of himself and this product of his. He spoiled a lot of good Hungarian Winter Sports film by using this catch of so-called Napoleonic stuff. And while using your space, may I intrude a little further? I desire to register a protest against too much dramatic piffle of the 5-cent novel variety. Why can not the makers desert this brand of rot alto- gether? Picture more of the Biblical subjects, more of Shakespeare, more - of the big poems of the old masters of poesy— Tennyson, Longfellow, Whittier, Bryant and the others. The possibilities of the mo- tion picture business are marvelous if the makers will only take advantage of their opportunity. Just here I wish to make a prediction, and the ful- fillment of it is up to the film makers. There is no question that films teach more quickly and more thor- oughly than text book or lectures. I predict that before many years have passed the machine will be a part of the equipment of the public schools, the Sab- bath schools and the churches. As an example of its potency, let us suppose that a high school class is just setting out on the study of Shakespeare's "Julius Caesar." A half hour is devoted to the motion pic- ture of the play. The students then enter upon the study of a thing they have seen; a mental picture- that may possibly be wrongly pictured — is not neces- sary and the study of the class is more productive of results and these results are more lasting. A class enters upon the study of some foreign country and as a preliminary a scenic or industrial picture of that country is shown on the screen. Does anyone hesitate to say that such means will not be productive of good and lasting results? Further: The Sabbath school is entering upon the study of the life of Esther, or Sampson or the Cruci- fixion. A motion picture is shown of the events and the story is fastened in the child mind and will never be erased. It is up to the film makers to say whether or not the motion picture business is to be a vast benefit and pleasure combined, or simply a pleasing diversion. I claim the business is yet in its swaddling clothes and that the future will far outstrip the fond- est dreams of the promoters. But it's up to them to make it so. I would urge that Pathe send us less of his dramatic and comedy stuff, which is not to our lik- ing, to say the least. His plots are largely the same —(in love with another man's wife — discovery— shot gun)— and the American public does not lean to this brand of stuff. I would entreat Pathe to send us more of his splendid scenics. The great majority of Ameri- cans will never see the Old World's beauties except as Pathe— or some other— sends them to our town. In my knocking around I have found these scenics to be great favorites, vastly interesting and of great edu- cational value. Let the makers— all of them— come up to the stand- ard set by Biograph and Vitagraph in their dramatics. Give us good, soild dramas, clean, wholesome comedy and plenty of the big, heavy grade of jDH?ture^zed lit- erature. Jan. 4, 1911. CARL ANDERSON, Spencer, Indiana. THE FILM INDEX SCENARIO WRITING From a Writer's Point of View By ROBERT SAUNDERS WITHIN the last few years, there has oc- curred so enormous an expansion In the motion picture business, that the nine or ten leading companies are searching high and low to unearth clever and original ideas. Three of these companies are advertis- ing their needs in The Editor, while at least four others purchase scenarios. Five years ago the scenario writer was not; now he caters to a pub- lic more wide and more appreciative than that of the most successful magazine writer. That the "photoplaywright" — to use a re- cently coined word — is very often a young and inexperienced writer, who has not yet succeeded in breaking into the held of periodical literature, is a fact, and the reason for this is very evident. One contributing circumstance is the reluctance of a successful author to mould his plot idea into a scenario for an anonymous film, when he might work that same idea into a short story and thus — for of cour^fhis name will appear as the author of the tale— enhance his reputation. But even if the established writer does make a scen- ario, the apprentice has an equal chance of ac- ceptance. A motion picture scenario is a plot; a plot stripped of all the adornments which it wears in the guise of a short story. In it there is no description, no dialogue, no subtle character analysis, no accurate delineation of motive; it is but an idea, plain and bare, the skeleton of a story. Now anyone with a good imagination may easily fabricate a fairly interesting plot. If that plot is written as a scenario by the in- experienced writer the chances of its be- ing preferred to the work of the ficton writer are excellent, simply because it is and must be a plot of action and nothing more. The apprentice can conceive an interest- ing situation and work backward from that until he has his ideas complete. Picture scenarios deal, of necessity, with actions rather than with mental states and motives, and this limitation largely offsets the greater ability of the old hand in portraying and making use of mental compli- cations. The scenario is physical rather than psychical, so that a lifetime of observation and varied experience is not necessary for its ade- quate treatment. But if the same idea is written as a short story the advantage is all the other way. The fiction writer who has arrived possesses a delicacy and finesse in the handling of dialogue, description and character drawing which the unknown writer can not hope to attain save by long and diligent application. The magazine editor buys the work of the first, in preference to that of the second, because it is more artistically handled, and because the successful author has gained a reputation. Readers wait for and buy the maga- zine containing his work. Although it has been said that the scenario is an unadorned skeleton, slipshod and careless work will not find acceptance. No scenario should exceed six hundred words, and it should give a short synopsis of the story before de- lineating the action scene by scene. Nothing that is not clear, concise, with all verbiage pruned away, and full of interesting situations calculated to grip and hold an audience, aside from the actors' interpretations of their parts, need hope to receive favorable consideration. DOUST, in "The Editor" Scene must follow scene in logical sequence; there must be no inconsistencies. The emotional progress must be steady, with the climax as near the end as possible. The scenario is a skeleton, but its joints must not squeak. Scenario writing is much more than hack work. The writer who is ambitious to succeed in short story writing, can receive no better training, than that involved in turning out a certain number of these playlets each month. The editors of many periodicals are crying aloud for the story of plot. They wish neither tales of subtle character analysis nor of tortured dia- lect. P-l-o-t, plot is demanded, and the mo- tion picture scenario is precisely that. Its basic idea is concealed by no witty dialogue, no vivid figure of speech, no tedious circumlocution. And the natural result of scenario writing is that the author who has been wasting postage to send out short stories which are built upon no plot whatever, through his scenario work, will secure a grip upon the elements of plot compli- cation which will enable him to erect a strong, symmetrical framework for his short story, capable of bearing the weight of dialogue and other adornments without making the disgusted reader wonder that so much is said about so little. In short, scenario writing will drill into the author's consciousness that one rigid neces- sity of the short story, — condensation with the ultimate purpose of producing a single premedi- tated and striking effect. The scenario aids the short story, but to secure complication in the playlet itself is rather dif- ficult. Practically there are but three methods; the actions of the characters, letters shown on the screen, and sub-titles. This makes it dif- ficult to arouse interest in the audience. The best method is to be found by observing the best pictures. Then there is Wilkie Collins' slo- gan: "make 'em laugh, make 'em cry, make 'em wait." Make each scene amusing, pathetic, or thrilling, and use no risque ideas, as the lat- ter will render impossible the sale of your work. As to the actual payment for scenarios, the companies vary but little. Those soliciting manu- script advertise ten to one hundred dollars as their rate, but it should be said that one hundred dollar scripts are few and far between. A fairly good comedy idea will command about twenty dollars, while a pure dramatic subject of the same merit will sell for a trifle more. This will not mean sudden wealth, but it is better than to sell a five thousand wrord short tstory to some minor publication for ten dollars or less. The motion picture offers large rewards in itself for the beginner; it is a most excellent training in the fundamental laws of plot con- struction; and it is capable of high artistic de- velopment. SIEGE OF THE ALAMO IN PICTURES. The Melies Star Company are now busily engaged in reproducing "The Siege of The Alamo" in which every scene will be taken on the actual spot where it was first enacted. All the data relating to this siege has been obtained from direct descendants of the illustrious war- riors who sacrificed their lives in fighting for their country. These native Texans, who are thoroughly imbued with the intense patriotism with which their forefathers were inspired, have entered into this remarkable work of the Melies Company and are extending every help and giv- ing their most eager interest and assistance in reconstructing this great historical event. Every- where the company has been supplied with in- formation and documents which will make this series of historical pictures unique in the annals of motion picture photography. The company has covered the ground most thoroughly to the Mexican border, and have lived over again the experiences of those who fought for the freedom of the Lone Star State. VIEW OF FRONT OF WHITE CITY THEATRE. PUEBLO, COLO. J. C. Schnorr, Manager. Featuring a Biograph Pic- ture. This house is one of Pueblo's best. THAT AUTOMOBILE TOUR. Several weeks ago McQuade, in his Chicago letter, told of an automobile tour that started from Chicago to Amarillo, Texas, which was to pay its way by giving motion picture exhibitions enroute. Here's the last word that was received from the tourists: The Vitagraph Co. of America, Gentlemen: I thank you very much for the kindness of extending to me the courtesy of a writeup in your bulletin of January 1 to January 15, 1911, in bulletin notes, speaking of my Automobile trip down to Am- arillo, Texas, with Vitagraph Life Portrayals. I am pleased to state that the car this week is in Arkansas City, Kans., on the Oklahoma line, west bound to their destination, meeting with varied success. They have passed through the Ozark Mountains In a south westerly direction from St. Louis, Mo., to Jop- lin over the roughest kind of roads of limestone and frozen mud, the only draw back being tire troubles and want of electricity in small towns. It is as you state, a novel trip, Mrs. Chris Taylor being the only lady in the party, she acting as treas- urer and seeing that the contract is fulfilled. Rope and small saplings being used in the mountains for tires, after the regular tires were blown out, so that in the state of "show me" they had plenty of trouble. Now it is smooth sailing, good roads, good weather, and I believe that the trip will be successful at the finish. Yours very respectfully Chris. C. Taylor, Prop. Dreamland Theatre, Kewanee, 111. LEGISLATORS TO BE SHOWN THROUGH PICTURES. The needs of the State Normal School at Kirks- ville, Mo., will be shown to the State Legislature this winter by means of pictures, lantern slides and modern pictures, according to President John R. Kirk. It is proposed to make a series of motion pic- tures, illustrating student activities on the 100- acre State farm and on the garden of the modern rural school, where the boys and girls from the farms are shown how to cultivate vegetables and flowers. The pictures will illustrate also the manner in which the big covered wagon gathers up about two dozen children each morning at the farm homes situated from two to six miles from town and brings them to this model rural school for daily instruction, returning them to their homes each afternoon. Coming— "The Irish Honeymoon" IO THE FILM INDEX 1 Playing the Pictures 1 By Clyde Martin FROM the large number of questions I have received during the last couple of weeks, I am led to believe that the greatest prob- lem that is confronting the motion picture mu- sicians is the short scene proposition or the quick changes. It is true that a great num- ber of the recent productions have been filled with these quick changes where the picture jumps from one scene to another and hardly gives the musician time to play over four or five bars to a change. This is a proposition that is hard to handle as there are different conditions to be found in the different pictures. In some pictures where you find the quick changes of scenes it is pos- sible to play the same music through the changes, but in the average picture there is such a great contrast in the scenes that you are com- pelled to change your music to be in keeping with the picture. I believe one of the best examples on this point is found in the Biograph release of Jan- uary 2d. "The Two Paths." Throughout the entire picture the scenes shift from the easy life, to the life of toil, it is true that in some of these scenes we hardly have time to play over three or four bars, but there is such a great contrast in the scenes that we are com- pelled to make the change in the music. The improvisor has the advantage in such cases as this, for he can blend his changes and not be obliged to stop on the sub-titles. By all means try and avoid abrupt endings as well as cutting your music on the sub-titles as such practice only gives the audience the impression that you are trying to overdo your work. S. M. B. of Oklahoma asks, "Don't you think it advisable to only use the sound effects on the feature picture of the program?" Answer — No, Mr. "B." I believe in work- ing sound effects whenever you have a good opportunity in all pictures on the program for the sound effects, to my notion, are just as es- sential to the picture as the music, and if sound effects are an improvement to one picture on the program, they will help all pictures. It is true that in many Biograph and Vitagraph pic- tures you seldom have occasion to use effects, but when you do get the chance, make the best of it. I recently had the pleasure of playing for the Vitagraph release of December 24th. "Jean and the Waif" and in this picture there is a small effect that can be used to good advantage and be the making of a scene, it is where the little waif is awakened by an alarm clock at four o'clock in the morning. The alarm clock is supposed to be ringing when the scene, opens and if you will use same when you show the picture in your theatre you will find this small effect will be appreciated. I believe you will find it pays to work all effects in the entire program, and not the feature pictures only. Miss C. C. of New Orleans, La., asks, "What kind of music would you play for a picture like "The Police Force of New York City?" Answer — This picture, Miss "C." I would class under industrial or scenic, and for such pictures I play either a march or waltz. There are a few exceptions among this class of pictures where you can work in a little special music. We will take this Edison picture "The Police Force of New York City" for example, there is one place in this picture where you can get away from your march or waltz, and that is during the scene of catching runaway horses in Central Park, in this place you can use some good "hurry" music during the actual chase and then fall back into your march or waltz. The same can be applied to the Edison release of January 6th. "The Fire Department of New York City." Mr. A. L. of St. Louis, Mo., asks, "can you tell me of any one that can use a good piano player?" Answei* — I am not a booking agent, Mr. L., if you are competent and can deliver the goods, you should have no trouble in locating a posi- tion. I might suggest that you insert a small card in the "Index," there are hundreds of places open for people who play the pictures. C. F. V. of Hennessey, Okla., has been play- ing traps for two years and asks for any tips that will be a help to a drummer. Answer — If I had the time, Mr. "V." I would run down to Hennessey and shake hands with the first drummer I have ever heard of playing two years and not knowing it all. The tone of your letter makes me believe you will be suc- cessful, and, if, as you say, the people down there appreciate the efforts of the musicians, you have half of the battle won. A great many picture piano players are under the impression that their audience is wanting a program of classic music during the showing of the pictures. It is just as easy to find classic music to fit the pictures as it is to find popular music, but, if you will just consider that the motion picture audience is composed of all class- es and that the majority of your audiences are the working people, I believe, as a suggestion, I would try and arrange the most of the music from popular compositions. You can take some of the popular songs or comic opera selections like "Lonesome To-night," from "The Time, the Place and the Girl," or "You're A Dear Old World After All" from "The Prince of Tonight," and if you handle them with expression and feel- ing, you can bring the soul out of a picture, and I believe the majority of the audience will ap- preciate such music a great deal more than they would heavy classic selections. I have made a close study of the use of popu- lar selections for playing the pictures and next week I will publish a list of what I believe to be the most appropriate for use in the average picture. VAUDEVILLE THEATRE FOR SALE. E. A. Parks, of Louisiana, Mo., writes that he desires to dispose of his vaudeville house, The Lyric. He describes it as a first-class house located on Main street, Louisiana, Mo., with a capacity of 400; ample stage room and up-to-date scenery. Edison machine, Hallberg Economizer, and 20th Century Graphaphone, not to speak of many other improvements. HERE'S A "HIGH BROW." Editor FILM INDEX. Dear Sir: Will you please allow me space in your paper in which to vent my bottled wrath? I confess, I do not know whether I am mad or highly amused. I fancy it's a little of both. The root of the trouble is the fact that I saw Aquilla's Napoleon picture last night. The picture had no title, but from the various scenes I gather that it was probably "A Plot Against Napoleon." I looked in vain for a signature throughout the film, but found none and came to the conclusion that the makers were wise enough to omit this feat- ure—this badge of ownership— this sign of father- hood. Herein they showed good judgment. The man in charge of the theatre told me it was made by Aquilla. This Aquilla is one I do not know, but who- ever he is he ought to be ashamed of himself for this output— this joke on Napoleon. On the reel with Nap. was winter sports of the Hungarians and it was a splendidly interesting and entertaining picture, but it was too short. There was too little of the Hungarians and too much of Napoleon. The film went flying through the machine, and from the frozen glassy lake where the Hungarians cut fancy skatatorial didos we were slammed down without warning into Napoleon's camp in a beautiful summer wood. No title proclaimed this jump from the frigid to the temperate zone and it was altogether too sud- den. Believe me, it was a case of from the sublime to the ridiculous, and we had no time to get acclim- ated. And Napoleon himself! Ye gods! At first he amused me. Later on I got tired of his funny busi- ness, and lastly I waxed wroth and grew hot under the collar. It was a good comic opera stunt through- out—a farce, pure and simple, and in very bad taste. Napoleon at times reminded me of The Great La- fayette in his actions. At other times he was a dead ringer for Dave Montgomery. The antics, the facial grimaces, the peculiar style of mincing, jerky, stamp- ing walk that he introduced into the part of Napo- leon has no place on the stage except in comedy parts. And Napoleon's life — if we believe history — was any- thing but a comedy. And to bring it to the level of farce comedy, burlesque, travesty, is assuming a little too much on popular credulity. It is a pure case of fudging on poetic license and this Aquilla ought to be ashamed of himself and this product of his. He spoiled a lot of good Hungarian Winter Sports film by using this catch of so-called Napoleonic stuff. And while using your space, may I intrude a little further? I desire to register a protest against too much dramatic piffle of the 5-cent novel variety. . Why can not the makers desert this brand of rot alto- gether? Picture more of the Biblical subjects, more of Shakespeare, more - of the big poems of the old masters of poesy — Tennyson, Longfellow, Whittier, Bryant and the others. The possibilities of the mo- tion picture business are marvelous if the makers will only take advantage of their opportunity. Just here I wish to make a prediction, and the ful- fillment of it is up to the film makers. There is no question that films teach more quickly and more thor- oughly than text book or lectures. I predict that before many years have passed the machine will be a part of the equipment of the public schools, the Sab- bath schools and the churches. As an example of its potency, let us suppose that a high school class is just setting out on the study of Shakespeare's "Julius Caesar." A half hour is devoted to the motion pic- ture of the play. The students then enter upon the study of a thing they have seen; a mental picture — that may possibly be wrongly pictured— is not neces- sary and the study of the class is more productive of results and these results are more lasting. A class enters upon the study of some foreign country and as a preliminary a scenic or industrial picture of that country is shown on the screen. Does anyone hesitate to say that such means will not be productive of good and lasting results? Further: The Sabbath school is entering upon the study of the life of Esther, or Sampson or the Cruci- fixion. A motion picture is shown of the events and ihe story is fastened in the child mind and will never be erased. It is up to the film makers to say whether or not the motion picture business is to be a vast benefit and pleasure combined, or simply a pleasing diversion. I claim the business is yet in its swaddling clothes and that the future will far outstrip the fond- est dreams of the promoters. But it's up to them to make it so. I would urge that Pathe send us less of his dramatic and comedy stuff, which is not to our lik- ing, to say the least. His plots are largely the same —(in love with another man's wife— discovery— shot gun) — and the American public does not lean to this brand of stuff. I would entreat Pathe to send us more of his splendid scenics. The great majority of Ameri- cans will never see the Old World's beauties except as Pathe— or some other— sends them to our town. In my knocking around I have found these scenics to be great favorites, vastly interesting and of great edu- cational value. Let the makers— all of them— come up to the stand- ard set by Biograph and Vitagraph in their dramatics. Give us good, soild dramas, clean, wholesome comedy and plenty of the big. heavy grade of pictureized lit- erature. CARL ANDERSON, Jan. 4, 1911. Spencer, Indiana. THE FILM INDEX n SCENARIO WRITING From a Writer's Point of View By ROBERT SAUNDERS WITHIN the last few years, there has oc- curred so enormous an expansion in the motion picture business, that the nine or ten leading companies are searching high and low to unearth clever and original ideas. Three of these companies are advertis- ing their needs in The Editor, while at least four others purchase scenarios. Five years ago the scenario writer was not; now he caters to a pub- lic more wide and more appreciative than that of the most successful magazine writer. That the "photoplaywright" — to use a re- cently coined word — -is very often a young and inexperienced writer, who has not yet succeeded in breaking into the field of periodical literature, is a fact, and the reason for this is very evident. One contributing circumstance is the reluctance of a successful author to mould his plot idea into a scenario for an anonymous film, when he might work that same idea into a short story and thus — for of cour^his name will appear as the author of the tale — enhance his reputation. But even if the established writer does make a scen- ario, the apprentice has an equal chance of ac- ceptance. A motion picture scenario is a plot; a plot stripped of all the adornments which it wears in the guise of a short story. In it there is no description, no dialogue, no subtle character analysis, no accurate delineation of motive; it is but an idea, plain and bare, the skeleton of a story. Now anyone with a good imagination may easily fabricate a fairly interesting plot. If that plot is written as a scenario by the in- experienced writer the chances of its be- ing preferred to the work of the ficton writer are excellent, simply because it is and must be a plot of action and nothing more. The apprentice can conceive an interest- ing situation and work backward from that until he has his ideas complete. Picture scenarios deal, of necessity, with actions rather than with mental states and motives, and this limitation largely offsets the greater ability of the old hand in portraying and making use of mental compli- cations. The scenario is physical rather than psychical, so that a lifetime of observation and varied experience is not necessary for its ade- quate treatment. But if the same idea is written as a short story the advantage is all the other way. The fiction writer who has arrived possesses a delicacy and finesse in the handling of dialogue, description and character drawing which the unknown writer can not hope to attain save by long and diligent application. The magazine editor buys the work of the first, in preference to that of the second, because it is more artistically handled, and because the successful author has gained a reputation. Readers wait for and buy the maga- zine containing his work. Although it has been said that the scenario is an unadorned skeleton, slipshod and careless work will not find acceptance. No scenario should exceed six hundred words, and it should give a short synopsis of the story before de- lineating the action scene by scene. Nothing that is not clear, concise, with all verbiage pruned away, and full of interesting situations calculated to grip and hold an audience, aside from the actors' interpretations of their parts, need hope to receive favorable consideration. DOUST, in "The Editor" Scene must follow scene in logical sequence; there must be no inconsistencies. The emotional progress must be steady, with the climax as near the end as possible. The scenario is a skeleton, but its joints must not squeak. Scenario writing is much more than hack work. The writer who is ambitious to succeed in short story writing, can receive no better training, than that involved in turning out a certain number of these playlets each month. The editors of many periodicals are crying aloud for the story of plot. They wish neither tales of subtle character analysis nor of tortured dia- lect. P-l-o-t, plot is demanded, and the mo- tion picture scenario is precisely that. Its basic idea is concealed by no witty dialogue, no vivid figure of speech, no tedious circumlocution. And the natural result of scenario writing is that the author who has been wasting postage to send out short stories which are built upon no plot whatever, through his scenario work, will secure a grip upon the elements of plot compli- cation which will enable him to erect a strong, symmetrical framework for his short story, capable of bearing the weight of dialogue and other adornments without making the disgusted reader wonder that so much is said about so little. In short, scenario writing will drill into the author's consciousness that one rigid neces- sity of the short story, — condensation with the ultimate purpose of producing a single premedi- tated and striking effect. The scenario aids the short story, but to secure complication in the playlet itself is rather dif- ficult. Practically there are but three methods; the actions of the characters, letters shown on the screen, and sub-titles. This makes it dif- ficult to arouse interest in the audience. The best method is to be found by observing the best pictures. Then there is Wilkie Collins' slo- gan: "make 'em laugh, make 'em cry, make 'em wait." Make each scene amusing, pathetic, or thrilling, and use no risque ideas, as the lat- ter will render impossible the sale of your work. As to the actual payment for scenarios, the companies vary but little. Those soliciting manu- script advertise ten to one hundred dollars as their rate, but it should be said that one hundred dollar scripts are few and far between. A fairly good comedy idea will command about twenty dollars, while a pure dramatic subject of the same merit will sell for a trifle more. This will not mean sudden wealth, but it is better than to sell a five thousand word short Istory to some minor publication for ten dollars or less. The motion picture offers large rewards in itself for the beginner; it is a most excellent training in the fundamental laws of plot con- struction; and it is capable of high artistic de- velopment. SIEGE OF THE ALAMO IN PICTURES. The Melies Star Company are now busily engaged in reproducing "The Siege of The Alamo" in which every scene will be taken on the actual spot where it was first enacted. All the data relating to this siege has been obtained from direct descendants of the illustrious war- riors who sacrificed their lives in fighting for their country. These native Texans, who are thoroughly imbued with the intense patriotism with which their forefathers were inspired, have entered into this remarkable work of the Melies Company and are extending every help and giv- ing their most eager interest and assistance in reconstructing this great historical event. Every- where the company has been supplied with in- formation and documents which will make this series of historical pictures unique in the annals of motion picture photography. The company has covered the ground most thoroughly to the Mexican border, and have lived over again the experiences of those who fought for the freedom of the Lone Star State. VIEW OF FRONT OF WHITE CITY THEATRE. PUEBLO, COLO. J. C. Schnorr, Manager. Featuring a Biograph Pic- ture. This house is one of Pueblo's best. THAT AUTOMOBILE TOUR. Several weeks ago McQuade, in his Chicago letter, told of an automobile tour that started from Chicago to Amarillo, Texas, which was to pay its way by giving motion picture exhibitions enroute. Here's the last word that was received from the tourists: The Vitagraph Co. of America, Gentlemen: I thank you very much for the kindness of extending to me the courtesy of a writeup in your bulletin of January 1 to January 15, 1911, in bulletin notes, speaking of my Automobile trip down to Am- arillo, Texas, with Vitagraph Life Portrayals. I am pleased to state that the car this week is in Arkansas City, Kans., on the Oklahoma line, west bound to their destination, meeting with varied success. They have passed through the Ozark Mountains in a south westerly direction from St. Louis, Mo., to Jop- lin over the roughest kind of roads of limestone and frozen mud, the only draw back being tire troubles and want of electricity in small towns. It is as you state, a novel trip, Mrs. Chris Taylor being the only lady in the party, she acting as treas- urer and seeing that the contract is fulfilled. Rope and small saplings being used in the mountains for tires, after the regular tires were blown out, so that in the state of "show me" they had plenty of trouble. Now it is smooth sailing, good roads, good weather, and I believe that the trip will be successful at the finish. Yours very respectfully Chris. C. Taylor, Prop. Dreamland Theatre, Kewanee, 111. LEGISLATORS TO BE SHOWN THROUGH PICTURES. The needs of the State Normal School at Kirks- ville, Mo., will be shown to the State Legislature this winter by means of pictures, lantern slides and modern pictures, according to President John R. Kirk. It is proposed to make a series of motion pic- tures, illustrating student activities on the 100- acre State farm and on the garden of the modern rural school, where the boys and girls from the farms are shown how to cultivate vegetables and flowers. The pictures will illustrate also the manner in which the big covered wagon gathers up about two dozen children each morning at the farm homes situated from two to six miles from towin and brings them to this model rural school for daily instruction, returning them to their homes each afternoon. Coming— "The Irish Honeymoon" THE FILM INDEX ELECTRICAL TALKS On Electricity in Its Relation to the Motion Picture Theatre By J. H. Hallberg Written Expressly for The Film Index. SUMMARY OF ELECTRICAL TALK NO. 20.— The front of a motion picture theatre is generally the safest and best place to locate the electric service switches and panel or distributing board. The service switches and distribution board if placed in the ticket booth should be accessible from the outside, by means of a door or window enabling the manipulation of the switches from the outside In case of fire. All switches should be properly labeled. There should be 2 main switches: the first one having a 25 per cent, to 50 per cent, heavier fuse than the second switch, and between these should be placed the cutouts and switches which control the cir- cuits for exit and auditorium lights. "ELECTRICAL TALK" No. 21 The Selection of Electric Fixtures and Lamps for Motion Picture Theatres. In making selection of electric lamps and fixtures for the illumination of a motion pic- ture theatre, one is confronted with a dozen or more types of electric lamps, and hundreds of different designs and styles of fixtures, so that the selection of these is rather difficult, unless some general rule is followed. You must tackle this subject with your mind made up to secure an efficient, practical and artistic equipment. All of these good quali- ties cannot always be had at the lowest price, but suitable equipment can be had at a suf- ficiently low price to warrant anyone, when building a motion picture theatre, to consider only a proper equipment, and it is the object of this "Talk" to give you a few pointers on what may be considered good methods. Outside Illumination. For the outside of a motion picture theatre I do not believe there is any illuminating me- dium which is as economical and, at the same time, as effective in drawing patrons to the front of the theatre, as the flaming arc lamp. The flaming arc lamp is a comparatively recent in- vention, and two lamps are usually operated in series on either direct or alternating current. A good lamp of this type will produce over 3,000 candle-power and carbons for it can be had giving either golden yellow, or a brilliant white light. The flaming arc lamp is compara- tively simple and, if properly taken care of and trimmed, will last a long time. Two flam- ing arc lamps cost anywhere from $100 to $125 installed, and two lamps together consume ap- proximately one kilowatt of current per hour which, at the 10c. rate, makes the operation of the two lamps about 10c. per hour, with an ad- ditional expense of about l^c. per hour for each lamp for carbons. I will, in a later "Talk" give further information on the flaming arc lamp, as at the present time, we are only inter- ested in the commercial advantages of the lamp. The next attractive illuminating medium for the front, would be, an electric sign, which can be made as plain or as elaborate as desired cost- ing anywhere from $50 to $1,000 or more. A cheap inartistic sign is, in my opinion, not a paying investment. An attractive electric sign costs a great deal of money to put in and it also costs a considerable amount to operate. The average price for a good sign for a motion picture theatre is about $200 complete, installed, and the cost of operating such sign is about 20 to 40c. per hour at the 10c. rate, depend- ing of course, upon the number of lamps re- quired. Copyright by J. H. Hallberg. All Rights Reserved. Another attractive form of exterior illumina- tion for a theatre, is the outlining of the front with a number of 2 or 4 candle-power incan- descent lamps. These lamps can be arranged in many attractive ways and, by selecting dif- ferent and harmonizing colors, beautiful effects can be obtained. But this form of lighting is expensive to install and quite expensive to operate. As a guide, I may state that at the 10c. rate for current, it costs about two-tenths of a cent per hour for each 4 candle-power lamp and twelve-hundredths of a cent for each 2 candle-power regular carbon filament lamp. It is, of course, understood that the value of an electric sign, or decorative lighting, in front of a theatre can be increased considerable by the use of electric flashers to switch groups of lamps on and off, making an animated and brilliant display. In the larger cities, these more or less, fancy illuminations pay because of the transient trade, which in that way can be attracted, but I do not believe that any great expense for outside lighting display is warranted in a smaller town or in settled dis- tricts where there is mo competition. Remember, that the exterior illumination of a theatre takes the places of the newspaper advertisements of a regular business house and is intended to attract the attention of the pub- Fig. 46 lie. A theatrical manager can make no worse mistake than to spend a lot of money on the outside of his theatre at a sacrifice of his pro- gram. If he does, he is in the same position as the merchant who advertises extensively and then does not have the facilities for selling or delivering the goods properly and promptly. The answer is the same in both cases, the public may bite once, but not the second time. It is far better to use a moderate amount of dis- play lighting outside and making the exhibition on the screen the best that can be produced, because that is what counts. Lobby Illumination. The lobby of the ordinary motion picture theatre is, as a general rule, a comparatively small space to illuminate, especially in the larger cities where ground is valuable. It is not necessary to make a very extensive dis- play of electric lamps in a lobby, because it can only be seen from across the street, and therefore, sufficient illumination of entrances and exits, and to enable the public to read your signs, is all that is necessary. It is, of course, a matter of taste with each individuwal owner as to how far he should go in the decorative illumination of the lobby of his theatre. I feel however, safe in recommending two or more simple, but artistic and efficient fixtures; each one equipped with a large Tungsten lamp, which may be of any desired size from 60 to 250 watts. I herewith call your attention to the accom- panying illustrations: Figure 45 and Figure 46 as giving a good idea of a fixture for lobby illumination. Figure 4 5 is a simple, one-light ceiling pen- dant fixture, . equipped with a keyless socket, glass shade and tungsten lamp of proper size. This fixture is plain, durable, inexpensive and efficient. Where a more ornamental fixture is desired, something along the style of Figure 46 may be used or any other fixture possibly in the way of a lantern or something similar. The fix- ture in Figure 46 is practically the same as that shown in Figure 45, but to it, is added a shade which may be on the Japanese style made of bamboo frame with colored paper or silk body having a glass bead fringe at the bottom, or where a more permanent and expensive fix- ture is desired, this general design can be had with the dome made of leaded glass. When the ceiling of a lobby is low, the lamps may be put in a receptacle close to the ceiling, doing away with the stem of the fixture or a very pretty effect can also be had by a regular ceil- ing fixture having an 8 to 12-inch frosted, col- ored, or cut glass bowl under the lamp fitting in a ring screwed against the ceiling. Rich effect can also be had by installing a handsome three-armed bracket on each side wall of the lobby and possibly one on each side of the ticket booth window. I have run across many installations where incandescent lamps have been applied for deco- rative illumination of the lobby and where this form of lighting has been a complete failure, and only in special instances do I recommend the placing of incandescent lamps in rows and circles, for the decorative illumination of a lobby. SUMMARY. Flaming arc lamps are, as a general rule, the cheapest and most efficient illuminating me- dium for the exterior of motion picture theatres. Electric signs can be used to advantage in some cases, but are generally too expensive and are, in most instances, unnecessary. Incandescent decorative lamps in front of a theatre are attractive, but too expensive to in- stall and operate and are not generally neces- sary. Simple and artistic electric fixtures, prefer- ably few in number, make good form of il- lumination for the lobby of a motion picture theatre. In our next "Talk" we will further discuss the Selection of Electric Fixtures and lamps for Motion Picture Theatres. A NEW CLUB FOR OPERATORS. Joseph B'oyd, who signs himself recording secretary, says that he has been instructed to notify The Film Index of the organization of the United Association of Operators, a social club, having a membership of 257. It is the purpose of the organization, Secretary Boyd writes, to work for the betterment of the oper- ator. Managers as well as operators will be admitted and the problems that trouble them will be discussed. At any time any of its members have trouble with their work instruc- tions will be given them to enable them to cor- rect the errors. We regret that Secretary Boyd did not state the place of meeting and the city in which his club holds forth. THE FILM INDEX •TRADE MARK- A BUSINESS MAN should know as much about his competitor's business as his own. ^ Your competitor's picture is clearer than yours! There's a reason / ^ Investigate and you will find that he uses "ELECTRA" PINK LABEL CARBONS ^ Write for free samples and try them yourself. HUGO REISINGER Sole Importer 1 1 Broadway, New York City M THE FILM INDEX f' MANUFACTURERS' BULLETINS Advance Descriptions of Licensed Subjects 5 CALENDAR OF THE WEEK'S LICENSED RELEASES MONDAY, JAN. 16, 1911—4 REELS BIOGRAPH — His Trust, drama, 996. LUBIN — Will It Ever Come to This? comedy, 715. Easy Coin, comedy, 250. PATHE — Marguerite's Birthday, com.-dra., 659. Saved by Her Prayers, drama, 331. SELIG — Buddy, the Little Guardian, drama, 1000. TUESDAY, JAN. 17, 1911—4 REELS EDISON — With Interest to Date, com.-dra., 1000. ESSANAY — His Master's Son, drama, 1000. GAUMONT (Kleiene) — The Sealed Letter, drama, 837. A, Water Contest, sporting, 168. VITAGRAPH — Three Men and a Maid, comedy, 1000. WEDNESDAY, JAN. 18, 1911—4 REELS EDISON — Uncle's Birthday Gift, comedy, 995. KALEM — Her Chum's Brothel*, com.-dra., 980. PATHE — Trailed by an Indian, Indian drama, 495. Sea Birds in Their Haunts, educational, 462. URBAN (Kleine) — By the King's Order, drama, THURSDAY, JAN. 19, 1911— 4 REELS BIOGRAPH — His Trust Fulfilled, drama, 999. LUBIN — A Brother's Redemption, drama, 1,000. MELIES — Changing Cooks, comedy, 980. SELIG — An Englishman's Honor, drama, 1,000. FRIDAY, JAN. 20, 1911-4 REELS EDISON — Mike the Miser, drama, 990. KALEM — Robbie and the Redskins, Indian, drama, 850. Modern Light Battery in Action, military, 95. PATHE — The Tables are Turned, comedy, 981. VITAGRAPH — The Girl in the Film, comedy, 963. SATURDAY, JAN. 21, 1911—4 REELS ESSANAY — The Border Ranger, drama, 985. GAUMONT (Kleine) — The Kleptomaniac's Re- pentance, drama, 965. PATHE — The Marked Dollar, drama, 968. VITAGRAPH — Cast up by the Deep, drama, 1,001. KALEM CO. love with it. Martica, a natural-born matchmaker, and pleased at her brother's attraction toward her picture, tells him that Elise's father is in need of a superintendent for his orange grove and suggests that he take a letter from her, recommending him as a capable man for the position. Pascale quickly grasps the opportunity and proceeds to Florida and presents his letter of recommendation. Elise's father, liking the clean-cut appearance of the attractive young Cuban, gives him employment. Meeting Elise, Pas- cale finds her more captivating than her picture. Elise on her part is unconsciously attracted by the handsome Cuban, but riot being aware that he is her chum's brother and seeing him as her father's fore- man, is inclined to keep him at arm's length. Pascale loses no opportunity to show his love for Elise. Not being repulsed, he attempts to take her heart by storm. Elise, realizing she is falling in love with an employee on the plantation, goes to her father and asks him to send her away, suggesting that she be allowed to visit her school chum Martica in Cuba. The fond parent, pleased to grant her request, tells Elise to go and have a good time. On her arrival at Martica's home, Elise tells her secret. Martica tele- graphs Pascale "Come home at once. Elise is here." The young man loses no time but quickly follows and prosecutes his suit to a successful ending. "ROBBIE AND THE REDSKINS."— Our story, in which a little boy's ingenuity is pitted against Indian cunning is laid around a log cabin in the wilderness. Mischievous Robbie causes his sister and her beau no little amount of confusion. One night on the return home of Robbie's father he calls his attention to the old grandfather's clock standing in the corner of the living room. The clock has stopped. Father takes out the face and the works and looks them over, deciding that it will be a longer job than he cares to tackle at that time and they are laid aside. Next morning early a neighbor comes to the cabin with news of a sick cow. Robbie's parents go over to the neighbor's cabin in an effort to give aid, leaving the boy and girl alone. While Robbie's sister is in an adjoining room, the young elf crawls into the clock and hides. Robbie had just about got nicely settled in the clock when a band of marauding Indians burst in the door. During the excitement and while the Indians were raiding the pantry Bob- bie's sister, who has been hiding behind the door, escapes and goes for aid. Robbie all the while keeps as quiet as a mouse in the clock until the Indians all having passed into an adjoining room in their search for loot, slips out of the clock and fastens the door, locking them in, then taking up his position in the clock to watch developments. In the mean- time Robbie's sister has secured aid and a wild race to the cabin is made to save the boy. Just as the rescue party rides up the Indians break down the door and are given a hot reception. Robbie is found safe and sound and declared the hero of the hour. G. MELIES. "CHANGING COOKS."— The cook has been the bane of many a family, but when it comes to stirring up a western ranch and getting the goats of the cow- punchers there is going to be something doing, and the doing of the something is full of interest, to wit: The cook is' not satisfactory and the boys strike for a new "chef." They appeal to the boss and he promises them relief, and it is not long in coming from San Antonio in the person of a very swell fussy French guy, whom they look upon as a huge joke. He lasts just one day, and we see his finish to a turn and he beats it with more haste than grace. The next applicant is a scream, a fat negress who falls in love to the charms of Sam, a colored cowboy, with whom she elopes in the silent watches of the night. "HER CHUM'S BROTHER." — This romance of the orange groves will particularly interest the ladies. Elise and her Cuban room-mate, Martica, were chums at a young ladies' finishing school. The story opens with the last day of school. Martica has stripped the walls of college banners and the many other little tokens and keepsakes dear to the heart of a school girl and has packed them in her trunk. The special treasure that she carefully lays in the top of her trunk is a large picture of her chum Elise. While unpacking her trunk on Martica's arrival home, Pas- cale, her brother, pays her a visit and sees her prize picture of Elise and immediately proceeds to fall in It seems they have gone the full list of applicants, but hope appears on the horizon of despair when John Chinaman puts in an appearance, gets the job and queers himself by cooking Chinese noodles they can't eat and that squirm like worms. This leads to pre- cipitous retreat and disappearance. Ah there! "See who's here!" The buggy ap- proaches and a veiled woman of fair proportions alights, every "hemale" on the place is bowing and scraping like a parcel of mashers. She lifts her veil and causes a stampede, followed by a loss of appe- tites. Her face is the limit— a regular funny face. When she gets dinner ready and the bunch sit down to grub, they kick at the biscuits and refuse to eat the stuff she has prepared. She beats them to it, and it is not long before she has them all eating out of her hand, and she holds the job and runs the cook-shop with neatness and dispatch. BIOGRAPH CO. "HIS TRUST."— In every Southern home there was the old trusted body-servant, whose faithful devotion to his master and his master's family was extreme to the extent of even laying down his life if required. This Biograph subject portrays a story which in no way exaggerates the self-sacrificing love of the man for his master. The cruel war has just begun and when Colonel Frazier leaves home to join his regi- ment of Confederate soldiers, he tells George, his big body-servant, to take good care of the wife and child he is leaving behind. A short time after the husband is killed in battle and one of his comrades brings the news of his death to his wife, giving her his sword. This is hung over the mantel. This is indeed a heavy blow to the poor woman, but her burden is made heavier when the Union force appear, plunder the house and burn it to the ground. When this occurs the child is alone asleep in her crib, it being the hour of her afternoon nap, and the mother has gone for a walk about the grounds for diversion to ease her heartache. The old servant is also out on the farm repairing a hedge. Seeing the flames he at once thinks of the child. Without thought of self, George dashes through the flames into the house, where he finds the child on the floor overcome by the heat and smoke, and carries her out, placing her safely in her mother's arms, the poor woman being now in front of the burning house, frantic with anxiety. Recovering somewhat from the effects of his struggle in the house, he thinks of his master's sword, and at the risk of his life he re-enters the building and secures it. It is not long after that the entire house collapses and a most pitiable illustra- tion is given here of the sufferings of many a South- ern woman during that awful time of strife — home- less, with no apparent asylum. George now realizes that sacredness of his trust, and taking the heart- broken woman by the hand, leads her and the child to his own humble log cabin, where he gives his all for their comfort, he being content to spread a blan- ket on the ground outside the door on which to lay his head. Thus far has the servant been faithful to his trust. "HIS TRUST FULFILLED."— This Biograph sub- ject, while being a complete story in itself is a continuation of that told in "His Trust," the synop- sis of which is as follows: The master leaving home at the opening of the war to join the Confederate Army, tells his body-servant to take good care of his wife and child. The master is killed in battle; the home is sacked and burned, leaving the woman and child homeless, and the old negro, faithful to his trust, gives up his little cabin for their comfort. The only thing saved from the wreckage was the master's sword. The opening scene takes place four years after- wards. The war has closed, and the negroes leave to enjoy their emancipation, but George remains true to his trust. He has all these years cared for the widow and her child. The poor woman, worn with worry and heartache, is stricken and dies. The care of the child devolves upon George, who takes her to the lawyer, with whom he arranges for a home for her, paying for her support out of his savings, en- joining absolute secrecy on the part of the lawyer. For several years things go along uneventfully until the child, now grown, desires to go to the seminary to procure an advanced education. To the lawyer this seems impossible, but George, when he sees the girl break down and weep, insists that he take the last of his savings and appropriate it for the pur- pose. This is an awful ordeal which old George goes through, denying himself even the positive ne- cessities of life in order to keep her in school for the full term. However, at the end of the first term there is nothing left of George's savings and the lawyer is forced to inform the girl that a return to school is impossible. To witness the child's dis- appointment is more than old faithful George can THE FILM INDEX i5 * MELIES RELEASES * Jan. 19, 1911 CHANGING COOKS This is a comedy that's something like a comedy. It will rope in the crowds and serve them to a lull square meal of fun, highly flavored and well seasoned. Jan. 26, 1911 HOW MARY MET THE COWPUCNHERS A western drama. A desperate fight with a band of Indians, who are defeated and cap- tured t>y the cow punchers, wh.0 rescue Mary and win her everlasting gratitude and respect. Length About 980 Feet Length About 980 Feet We have Posters, too. Write us for them if your Eichsoge does not supply you. G. MELIES, 204 East 38th Street, New York City WESTERN REPRESENTATIVE, JOHN B. ROOK, 109 RANDOLPH STREET, CHICAGO, ELL. stand, and going to the lawyer's office, he finds a cousin from Europe there inquiring as to the con- dition and whereabouts of Miss Frazier. George en- ters the office surreptitiously, espies a fat wallet in the Englishman's coat pocket. His lo%'e for the child and his desire to grant her every wish leads him into temptation, so he takes the pocketbook. However, he has hardly secured it when his better self asserts itself and he puts it back, but not before he is de- tected. The lawyer, knowing the negro's worth, real- izes what prompted his action and sends him off. The English cousin later meets the girl and they are betrothed and a happy wedding follows shortly after. Old George at a distance views the festivities with tears of joy streaming down his black but honest cheeks, and after they depart for their new home, he goes back to his cabin, takes down his master's saber and fondles it, happy in the realization that he has fulfilled his trust. EDISON MFG. CO. "WITH INTEREST TO DATE."— This latest Rex Beach story is almost a companion piece to "With Bridges Burned," which scored so successfully a few months ago. Like its predecessor it deals with the business world and shows what good red blood, a good strong will, and' youth and health can accom- plish. Hanford, a young engineer on construction work, is ambitious to succeed in business, and also to marry the daughter of his employer. A big contract comes up and he feels that if he can land it, his chances will be decidedly good with the father. The girl he has made sure of in advance. The big contract is the rebuilding of the Wiley plant. He calls upon the Wileys and they lead him to understand that there is a possibility of his getting the order. He goes to work and spends much of his valuable time in study and research and finally lays his plans before their force. When he has finished his exposition the Wileys thank him genially and bid him good-day. He is given to understand that he does not get the order, that they simnly wanted to have their force see how a really good salesman went to work (and incidentally they have had valuable points given them in struc- tural engineering). Naturally Hanford is pretty sore and makes up his mind to get even. The opportunity comes when he finds himself a rival of young Wiley for a big English contract in London. Wiley has letters of introduction and every pull; Hanford has nothing. But Wiley incautiously shows the girl, for whose hand he is also a rival, a cipher cablegram to his father and she passes it on to Han- ford. Then Hanford sees a way to beat Wiley, Jr., and get square with Wiley, Sr. In the office of the English syndicate having the contract to give is a clerk who strongly resembles Sir Thomas Drummond, the chief of the syndicate. Hanford makes a friend of this man and sends him to America, where he meets Wiley, Sr., and impersonates the English man of affairs so successfully that Wiley, Sr., takes his tip and cables his son to add fifty thousand pounds to their bid for the English contract, thinking that he is thereby adding this amount simply as graft for the Englishman. Of course, the result is that the contract is awarded to Hanford, and he returns to America on the same steamer with the disgruntled young Wiley. In the custom house, while waiting for their trunks to be examined, all the characters come together and Wiley, Sr., learns how he has lost the big contract and how Hanford has gotten square with him. Incidentally Hanford convinces his prospective father-in-law that he is not only a clever salesman, but a valuable addi- tion to to family, and everything ends happily. This is a good, vigorous story, splendidly played by the Edison company and out of the ordinary run of modern love stories. There is no doubt of its warm and hearty welcome by audiences all over the coun- try. "UNCLE'S BIRTHDAY GIFT."— Uncle, a jovial old bachelor, who is passionately fond of practical jokes, conceives the idea of sending a valuable necklace to his niece concealed in the pot of a rubber plant. The messenger boy to whom the old gentleman en- trusts the plant, through an unfortunate mishap, loses it. The boy realizes the importance of delivering a plant and buys one, but as he has only a quarter and all plants look alike to him, he buys a small fern and delivers it. The niece sees from the contents of the note that she has not received the proper plant, and she and her husband question the messenger boy until he confesses how he lost the original. After offering him a reward he promises to recover the plant. The uncle arrives at an unexpected moment and is immediately taken to another part of the house while the niece and her mother hurry to a neighboring florist to purchase a rubber plant so as not to incur the old gentleman's displeasure. The newly acquired plant is quickly placed upon a pedestal in the drawing room near an open window, after which they go to fetch the uncle to show him the place of honor which the plant occupies. In the meantime the plant falls to the pavement below. The case now reaches a point of utter hopelessness, but at the critical moment the messenger boy, having displayed considerable skill as a detective, arrives with the original rubber plant and the valuable necklace reaches its intended re- cipient. "MIKE THE MISER."— "Mike the miser" is a little district telegraph messenger boy who has won the sobriquet by his closeness, and the story deals with the reasons for this closeness and also with the trials which the title bestowed upon him forces into his young life. We see him first in the office of a hospital asking for information as to an operation which shall restore his little crippled sister to health. Then fol- lows the receipt of a letter from the hospital authori- ties, telling him that the sum of fifty dollars will be needed. This is a large sum for a small boy whose little income is the only means of support for his widowed mother and the aforesaid little sister. But he goes bravely to work to save the money and keeps it a secret. This is why he refuses to spend his money as the other boys do; to play craps, or to buy pop-corn or peanuts. Naturally his fellow messengers resent his appar- ently stingy character and they dub him "Mike the Miser." Then pin a placard on his back which reads: "Mike the Miser. He never spends a penny. Don't give him a tip, he aint wuth enny." It is very badly misspelled, but it serves its purpose in the resultant discomfort to poor little Mike. A friendly policeman finally tells him of the sign and takes it off. Mike retains the placard and meeting two of the boys later, discusses the subject with them vigorously, the result being a fight in the snow in which Mike, despite his valor, gets decidedly the worst of it, the other boys considering that they have given only the proper treatment to anyone as close-fisted as our hero. And then follows an accident; stepping off a street car Mike sprains his ankle and is laid up. Fearing to lose his job and thereby lose the chance of paying for the much desired operation, he writes a note to the superintendent, asking him to keep the job for him and telling him how it happened that he is away from work and why he wants so much to retain the position. This letter falls under the notice of the largest boy in the office and cerates in him a sudden change of heart. He shows it to the others and shame covers their small faces. After a few seconds of remorse one of them gets a brilliant idea and producing an old worn pocketbook, he shows how much money it contains and suggests that they all contribute what they can and make up the balance needed for the operation, which balance is now only a few dollars. And then, forming them- selves into a committee of the whole, they wait upon our disabled little hero and with immense formality and boyish stiffness tender him a letter of apology and the purse of money. It is too much for little Mike's stubbornness and he breaks down and hides his eyes that the boys may not see the tears. But little sister rewards them as they should be rewarded — by a hug and a kiss for each boy — and the picture ends with their receiving Mike into their arms and hailing him as a comrade again. It is one of the most appealing of child stories and full of unconscious humor of boyhood, none of which is lost by the youthful participants. There is little doubt that it will be in demand for return dates In every house where it is shown throughout the coun- try. PATHE FRERES "MARGUERITE S BIRTHDAY."— The twentieth of July is Marguerite Vandall's birthday, and she slyly writes the fact across the calendar, so that her hus- band, a young artist, may be reminded of it before the day is out. She places the almanac in a promi- nent position, and then goes out to do some shopping. Whilst she is gone, Arthur, her husband, finds the calendar, and anathematizing his forgetfulness, hastens out to buy some gift for his wife. During his absence, a burglar breaks into the flat below, and having appropriated a fair amount of valuables, is preparing to depart, when a step is heard. He at once makes every effort to get away unseen, and ultimately takes refuge in the Vandall's flat, where he hides himself in a small lumber room. In his hurry, however, he leaves a part of his booty on the table, so that Marguerite, on her return, finds a number of valuable jewels and other articles, which she presumes to be gifts from her husband. She is i naturally delighted, but to her dismay Arthur, on his return, falls into a rage, and declares they must be presents from the tenant of the flat below, who has often regarded her with an indulgent eye. Gath- ering them up in his arms, the young man marches down the public stairway, and entering the flat be- neath, finds himself in the presence of a family bit- terly bemoaning the depredations of the burglar. Arthur's appearance, as he stands loaded with the stolen property, is suspicious, and he is given into custody. However, he insists that all shall ascend to his own flat to hear his wife's story. His sug- gestion is adopted, and Marguerite is just giving her version, when the scared burglar, in endeavoring to make his escape a second time, falls through the door of the lumber room. Everything is then ex- plained, and with many mutual apologies, the Van- dalls and their neighbors lay the foundation of a lasting friendship. "SAVED BY HER PRAYERS."— Before setting sail for a long voyage, a mariner plights his troth to his sweetheart before a shrine at the entrance to the church built amongst the sand dunes which fringe the coast. During his absence a heavy storm arises, and his sail and part of the rigging being carried away, his boat is tossed helplessly on the waves. He implores heavenly aid, and at the same moment, his sweetheart, divining that her lover is in peril, runs id THE FILM INDEX BIOGRAPH FILMS Trade Mark RELEASED .1 ANl'ARY HIS TRUST, The Faithful Devotion and Self Sacrifice Of An Old Negro Servant "His Trust" is the first part of a life story, the second part being "His Trust Fulfilled," and while the second part is the sequel to the first, each part is a complete story in itself. The master, leaving home at the opening of the war to join the Confederate Armv, tells his body servant to take good care of his wife and child. The master is killed in battle; the home is sacked and burned, leaving the woman and child homeless, and the old negro, faithful to his trust, gives up his little cabin for their comfort. The only thing saved from the wreckage was the master's sword. Approximate length 996 feet. HIS TRUST. RELEASED JANUARY 19, 1911. HIS TRUST FULFILLED The Sequel to "His Trust" The opening scene of this section takes place four years after, at the close of the war. Though emancipated, the old darkey remains true to his trust, denying himself even the neces- sities of life to provide for the child after the mother's death, which occurs at the opening. He pretends that the money paid for her support comes from her estate. After a struggle of years he sees her happily married. After this occasion he goes back to his cabin, fondles his old master's saber, happy in the realization that he has fulfilled his trust. Approximate length 999 feet. RELEASE DAYS OF BIOGRAPH SUBJECTS, MONDAY and THURSDAY. Get on our Mail List for Descriptive Circular. BIOGRAPH COMPANY, I I East 14th Street, New York City Licensees of the MOTION PICTURE PATENTS CO, to the shrine among the dunes to pray there for his safety. Her appeal is heard, and an angel descends to earth to reassure her, then goes forth to quell the tempest, and with outstretched wings to guide the boat safely back to land, where the girl anxiously awaits its return. "TRAILED BY AN INDIAN."— Two of the ranch hands, proving troublesome and quarrelsome, they are paid off and dismissed by the ranch owner, Jack Crawley. Riding off, they come across Jack's little daughter, and tying a note to the collar of her pet dog, that Jack will never see his daughter again, they ride off with her. On the dog's return, the note is found, and an Indian volunteers to trail the cow- boys and bring back the little girl. Some magnificent western country is seen as the Indian follows the two horsemen in a long pursuit. Ultimately, at the top of a hill, where they have halted, he manages to get at their horses and drives them away. One of the cowboys he then tackles in the middle of the lake, and manages to overcome him. The other takes the girl and it is not until his last cartridge has been expended, and the Indian has vanquished him in a hand-to-hand fight, that he finally gives in and allows the Indian to take the child and return her to her parents. This is a thrilling western picture of very great merit. "SEA BIRDS IN THEIR HAUNTS."— A group of buillemots swimming under the shelter of a large rock. The photographer fixed the camera on the extreme edge of this rock during a gale, and had great difficulty in preventing it from being blown into the sea. While holding it firmly with one hand, he had to do all the manipulating with the other, and then to wait for two hours in the freezing wind for the birds to arrive. The next picture shows a panoramic scene of a large colony of these birds. They are packed so tightly on the table-like top of the rocks that returning birds have to alight on the backs of their companions, and then to squeeze and shuffle their way down. These thousands of birds are nevertheless each covering either an egg or a young bird. No nest is made, the single egg being laid on the bare rock, and it is of such a shape that, if pushed or blown about, it simply revolves round and round. Some Lessel Black Backed Gulls were photographed while they were standing near their nests, which were built amongst the flowers of the sea-shore. At first the gulls were shy, but the pho- tographer, remaining perfectly still, they returned and he was able to obtain a very good set of pictures. The birds are great robbers and will often plunder each other's nests; they also take large numbers of other young birds with which to feed their own A series of pictures of large Gannets are next shown, which give a vivid idea of their home life. The birds are seen in all stages — the parents guard- ing their young, and sitting upon their eggs. Large young birds are to be observed in the nest; one por- tion of the film shows a large flock flying past and away from the camera. To obtain this picture of gannets the photographer had to descend eighty feet down a single rope dangling over a step precipice 300 feet in height. He had to make three journeys before all the apparatus was got down, and when he had finished photographing, three more journeys had to be made to get the apparatus up. The per- formance took an entire day. Next is a panoramic scene, showing a group of those ridiculously funny Puffins or Sea Parrots, as they have been called, sitting on the edge of a cliff. Next is one of the most graceful and beautiful of gulls. A family party of Kittiwakes at their nest, which was built on a very narrow ledge on the cliff side. This picture was obtained at great risk, for the camera and operator were on the extreme edge of a neighboring cliff, and it was almost impossible to work the apparatus, owing to the strong wind which did its utmost to send both into the sea. The kittiwake builds its nest on the most precipitous cliffs, and is usually found in very difficult and dan- gerous situations. To obtain photographs of a wild Raven might be called a triumph of bird-cinemat- ography, for this large and rare "outlaw of the air" is one of the most difficult birds in the world to approach. In fact, it has the reputation of being the most cunning of birds. By exercising almost impossible patience, the photographer was able to photograph the bird in its own home in the heart of Wild Wales. The next view is that of Richardson's Skua, a beautiful and rare moorland bird which was photographed in the remote Orkney Islands. After a long search the nest was discovered on an open moor. A hiding place for the photographer was made out of heather, but when he and the camera were con- i THE FILM INDEX 17 VI TAG RAPH. "LIFE PORTRAYALS" THREE MEN AND A MAID" TUESDAY, JANUARY 17th Two old fellows, bachelors, are made, by the death of their cousin, the guardian of his child. Never having seen the child, they prepare for her reception, supposing her to be a little tot. When she comes to them they are confronted by a handsome young lady. She falls in love with their private secretary, whom they discharge. She pleads for him, and it is not long before the young fellow regains his position and wins their ward. FRIDAY, JANUARY 20th "The Cirl in the Film" He is a camera fiend. While sleeping on a bench in the park, two young girls take his camera and make snapshots of themselves. When his films are developed he discovers the strange face of a very pretty girl. He falls in love with it and searches high and low until he finds the original, and now they are engaged. SATURDAY, JANUARY 21st "Cast Up By the Deep" A man of society and wealth, at the seashore, falls in love with a poor fishermaiden whose happy, bright disposition has captivated him. He proposes to her, she loves him, but ques- tions his sincerity and refuses to become his wife. She marries and five years later is a widow. He remains single. From the deck of his yacht he throws a bottle in which he has placed a note. It is cast up by the sea where she is sitting, dreaming of the past. By a strange destiny she gets the bottle, but never reads the note. Next Week Tuesday, January 24th "It Did Look Suspicious"] "Firemen's Parade" j "Cirl of the Mountains" 2™ "Davy Jones in the South Seas" Sat., Jan. 28th THE VITAGRAPH COMPANY OF AMERICA NEW YORK, 116 Nassau Street CHICAGO, 109 Randolph Street LONDON, 25 Cecil Court PARIS, 15 Rue Sainte-Cecile r8 THE FILM INDEX Mr. Exhibitor: Let Us Tell You Why YOU Should Purchase POWER'S CAMERAGRAPH No. 6 YOU WANT DURABILITY, so that you will get long service and have no expense for repairs. "POWER'S No. 6" is absolutely guaranteed for one year. RELIABILITY, so that you won't have to stop your show to tinker with you machine. "POWERS No. 6" has fewer things to adjust and is more massive in con- struction than any other machine in America. PERFECT PICTURES to please your patrons. "POWER'S No. 6 " has received the enthusiastic endorsement of over a thousand purchasers in the past year for its splendid pictures. Bear all these facts in mind when you buy and insist on having "POWER'S No. 6" Catalog E tells all about it NICHOLAS POWER COMPANY 'SSi'WSStf* For thirteen years the Leading Makers of Motion Picture Machines cealed inside, and his companions had left him, a thick mist came down. He was able to get a few photographs and then the mist developed into a heavy rain. In a few minutes he was sitting in a pool of icy water, but he remained on, hoping to get more pictures. However, the mist returned and he packed up; then for two hours he was lost on the hill, drenched through, and almost frozen. The apparatus was also soaked, and so swollen that it was many days before it was in working order again. The Buzzard, like the raven, was also a difficult bird to photograph. A hiding place was built on the cliff near the nest, and inside this the photographer waited for three whole days. All this time he was sitting in a crouching position, peering through a small peep- hole, on the lookout for the large bird of prey. During the whole of this time, the buzzard only re- turned to the nest for about one minute, but the operator, of course, took full advantage of this very short visit. An attempt was made to photograph the parent Kestrels feeding their young, but was not successful. For four hours the photographer sat through a ter- rible mountain storm, until both he and the camera were absolutely soaked. The parent Kestrels did not, however, return to the nest, and so the young birds were photographed alone. As is generally known, the Cuckoo never makes a nest of its own, but places its egg in the nest of another bird. The picture shows a cuckoo that chose the nest of the warbler. When photographed, the young cuckoo was about twice the size of its foster mother, which is seen bringing food to her big over- grown baby. The nest was built amongst reeds, in deep water. But for the heavy storms of last nesting season, a longer series of pictures of this particular bird might have been taken; still, the actual picture figuring in this film is practically perfect. "THE TABLES ARE TURNED."— Betty's mother has some shopping to do, and leaves her irrepressible daughter to the watchful care of her husband. Dad tells Betty to practice on the piano, whilst he occu- pies himself in his own special "den," a room ad- joining that in which the madcap is sitting. Betty, however, is not particularly enthusiastic upon the delights of practicing, and finds playing with a ball far more exhilarating, the more so that her father's quick hearing necessitates some very strategic move- ments. Several times she is nearly caught, and at last her father, out of patience, pushes a long look- ing-glass into the corridor between the two rooms. In it Betty's every movement is reflected, and she is soon regretting upon her sins. Dad thereupon returns to his den with a smiling face, and soon after a pretty maid enters. Feeling rather dull, he chucks her under the chin, and fol- lows up this amatory advance with a kiss, another, and yet another — the fourth is interrupted by Betty, who points exultantly at the mirror and demands as the price of her silence that her mother be not in- formed of her delinquencies. "THE MARKED DOLLAR."— Budd Right, the fore- man at Colonel Bob's ranch, was sent in charge of the boys when they drove some 1,500 head of cattle to the packer's depot. When saying good-bye to his wife and little daughter, the Tatter gave him a marked dollar to buy her a teddy bear. Budd sold the cattle at a good price, but getting in bad com- pany, had his wallet with the money in it stolen. On his return the Colonel had Budd arrested. Fortun- ately, however, his little girl, while out on the prai- rie, picked up a cowboy's hat that blew off and was rewarded by him with a dollar for so doing. She noticed this was the one she had marked for her dad. She quietly follows the two horsemen and ascertains where they have the contents of the wallet hidden in an old trunk. Waiting till they are gone away, she persuades the wife of one of them to re- turn it. Taking the wallet to the Colonel, her story soon convinces him of Budd's innocence, and he is speedily restored to favor on his promising to give up his bad associates. LUBIN MFG. CO. "WILL IT EVER COME TO THIS?"— Here is a roar- ing burlesque on the new woman. Mrs. and Mr. Sarah Jane Brown — note the names— are a married couple in 1920. They first appear in the Brown din- ing-room where Mr. Brown enters from the kitchen with a tray and puts breakfast on the table. One of the Brown girls slaps one of the Brown boys, a timid creature of 13, and makes the poor dear cry. Mrs. Brown, dressed in a very masculine costume, comes in, sits down at the table and pours her coffee. Mr. Brown waits on her, tremblingly. She tries to cut the meat, but it is too tough. She declares the coffee is cold, gets angry and scolds Mr. Brown. That poor man bursts into tears and flees to the kitchen. Mrs. Brown rises angrily, takes her overcoat and Derby and goes out, slamming the door. We next see Mrs. Brown at her office, where she is very attentive to a ladylike young man, her stenographer. We see her at the club, smoking and playing cards with others of her kind. We sea Mr. Brown at home making beds, sweeping, washing the clothes, hanging them out and gossiping over the back fence with another man who is similarly employed. We see Mr. Brown "up against" a problem that troubles some present-day women. He stops his wife, one morning, just as she is leaving for the office, shows her his worn-out clothes and shoes and pleads with her for money to get new ones. Mrs. Brown laughs and snaps her fingers and goes out, slamming the door and leaves poor Mr. Brown in tears. Then, dear, sweet Willie Brown is wooed and won by a handsome young wo- man, whom his mother brings home and introduces, and the scene closes with the wedding bells ringing merrily for the young woman and her blushing bride- groom. "EASY COIN."— Tired Thomas is pressed for ready cash as a square meal is almost a stranger to him. After a heavy snowfall he is offered a quarter to shovel off a sidewalk. He accepts the contract and starts in to work, but finds work a little too hard. He is about to give up when he gets an idea that almost throws him in a snow bank. Looking down the streets, he sees several of the neighbors shoveling their sidewalks. He starts to cry, the men and women from the different houses run to where he is and ask him what is the trouble. He puts his hand in his pocket and shows a hole, telling them he has lost his last dollar. The kind neighbors agree to shovel off the snow in the hope of finding the lost coin. After the sidewalk has been cleared and they fail to find the money (Thomas has been crying all this time) they take up a collection and realize a fair sum which they hand him. He thanks them. After they leave, he picks up the shovel, goes to the door and receives the quarter for cleaning the pavement. But just as he is receiving the money one of the neighbors spies him and informs the rest. They have a little rough THE FILM INDEX 19 KOSMIK F"l TWO FEATURE o A M O IM T A IM "The Sealed Letter" A Drama About 837 Feet "A Water Contest" Travelogue About 168 Feet GAUMONT Tuesday Jain. 17,1911 About 1005 feet CURRENT RELEASES are described at length on another page of this issue. GAUMONT Saturday Jan. 21, 1911 About 965 feet "The Kleptomaniacs Repentance " ECLIPSE Wednesday, January 18, 1911 About 991 feet A Strong Society Drama "BY THE KING'S ORDER" IN EVERY WAY AN EXCEPTIONAL PRODUCTION GEORGE KLEINE, IM e: O 52 STATE STREET CHICAGO, ILLINOIS house with our friend Mr. Jackson and the picture stealthily entered the house, found the drafting paper, stole it and immediately presented himself at the recruiting place, where he was accepted in place of his brother. The last scene shows him in the midst of a battle fighting bravely and recklessly. Suddenly he drops, mortally wounded. During a short period hill. throwing him down a "A BROTHER'S REDEMPTION."— In 1863, two brothers were conducting a prosperous brokerage business left them by their father. The older brother was very industrious; the younger was easy-going and inclined to drink. Through his negligence, the busi- ness was brought to ruin in spite of all the older brother could do. When the crash came, the younger brother, ashamed of himself, went home, left a note to his mother stating that he was unwilling to be a burden to her, and went away. The older brother saved enough out of the wreck to open a country store. In the village, he met a young girl and they became sweethearts. Meanwhile, the younger brother had gone from bad to worse and finally became a derelict and a tramp. In the course of his wander- ings, he came to the village, and as chance would have it, called at the home of his brother's sweetheart in search of food. She took him in and gave him a meal and some clothes. While he was eating, the older brother arrived. From the kitchen, the tramp overheard him tell the girl that he had been drafted to go to the war. Though he was anxious to become a soldier, he hesitated on account of his mother and sweetheart. In that moment, the prodigal was over- whelmed with remorse and determined to redeem himself. When his brother left, he followed him, of consciousness before his life is ebbed away, he has a beautiful vision of his mother, his older brother and the latter's sweetheart, now his wife, living in hap- piness and peace. Drama and love interest are ex- tremely strong in this story. URBAN-ECLIPSE. (George Kleine.) "BY THE KING'S ORDER."— A romantic story of mediaeval days laid in France, is the subject of an Urban-Eclipse film viewed by me in the Kleine exhibi- tion room last week. Of full reel length, the film has not a dull moment. There is action, action and still more action. One can easily follow the thread of the story after the opening scenes, and the interest gradually increases as it proceeds to the finale. The pretty little love tale interwoven with the main plot serves to soften the harshness of the encounters at arms common to those days of blood and rapine. The four principal roles are sustained by those clever and finished actors, Messrs. Habay, Etievant and Gay, and Mile. Ceilat, the two former of the Ambigu theatre, and the two last named from the Odeon, Paris. I watched this mimic acting very closely and I am of the opinion that the keenest criticism must end in warm praise. The opening scene shows the elder Villon lying in wait, with his band of retainers, to waylay travelers on the highway that passes by his fortress on the hill. The three wayfarers are seized and robbed of their belongings and, while in despair over their losses, they espy the Marquis of St. Leu approaching them on horseback. To him they relate their wrongs and he promises redress and a remonstrance with his brother, the elder Villon. The next scene shows the arrival of the Marquis at the home of his brother and the angry conversa- tion between them. Jasper, the son of Jean Villon, is much moved by the denunciation of the latter's crimes by the Marquis, and engages in a heated dis- pute with his father after the Marquis has departed. He leaves his home in high dudgeon, espies a young girl lying prostrate by her horse. He rushes to her aid and, restoring her to consciousness, finds that she has been thrown by her mount. Then he assists her to walk towards home. Unknown to Jasper, the young lady is none other than Lucy, only daughter of the Marquis of St. Leu and his own first cousin. As they approach the St. Leu castle, we see the Marquis meet them. He shows deep concern over his daughter's condition. She explains, and dwells on the timely service of the stranger who rescues her. The Marquis turns to thank the young man and, recogniz- ing Jasper, treats him with marked coldness. He orders his daughter to the house and bids Jasper be off. The latter, full of pride and resentment, turns his back on father and daughter and walks rapidly away. Following this scene, in close succession, is another, showing the arrival at St. Leu castle of a squad of soldiers in charge of an officer. The latter presents a letter to the Marquis. It commands him in the King's name, to seize, dead or alive, Jean Villon on a charge of rebellion against the royal authority. Lucy has heard her father read the King's lettter and fearing for the safety of Jasper, whom she has loved from first sight, she rushes off to warn him of his danger. In the meantime, Jasper has returned home. Jean Villon with his servants and followers are assembled in the old tower. A look-out tells him of the approach of the soldiers and we see the grim old man hastily arm his retainers and order them to the loop-holes of the tower. Spying Jasper, he thrusts a musket into his hands and rushes up the winding stairs to command the defense. But Jasper hears a knock on the outer door. Throwing it open he finds that it is Lucy. The girl soon convinces him that he must flee. It is now too late to depart by THE FILM INDEX EDISON FILMS Tuesday, Jan. 24th An Eventful Evening From MISS CIVILIZATION By RICHARD HARDING DAVIS A young girl, daughter of a railroad President, left at home alone with her sick mother in a big house, which is entered by three burglars, forms the main situation for this absorbing drama. The film might be called a very high class " thriller." Wednesday, Jan. 25th The Lover and The Count How a persistent young lover and his sweetheart outwitted a determined old mother and a French count, the mother's choice for her daughter's hand. A very ingenious comedy, fairly bubbling over with fun and laughter. Friday, Jan. 27th The Black Bordered Letter A Detective Story Played with all the finesse which would be expected from a Broadway production. A novel plot, with sev- eral thrilling situations, is worked out to an unexpected and startling denouement. EDISON COMEDY DAY, WEDNESDAY. Release of Feb. 1st, 'BUMPTIOUS AS ROMEO." Ask for it. Send us your name for the KINETOGRAM Mailing List. EDISON MANUFACTURING CO. 73 LAKESIDE AVENUE, ORANGE, N. J. *0 WABASH AVENUE, CHICAGO, ILL. any of the doors, for the castle is surrounded by the soldiers. Jasper presses a spring in the masonry of the stairway and an exit is immediately revealed. Through this the lovers disappear and the entrance to the passageway closes. Just as they emerge from the doorway in the ground floor of the structure, they run into the arms of the Marquis of St. Leu. Lucy begs her father to permit Jasper to escape and he listens to her appeals. The Villon fortress is finally entered, and we see the soldiers rush into the room in the old tower, on the floor of which the bodies of the dead defenders lie strewn. But that of Jean Villon is not among them. He has taken refuge in the tunnel underneath, by means of the secret passage. We next see Jasper and Lucy in happy conference at her home. At this juncture a Mr. Minion is ushered in. He is a favorite of the King and carries a pardon for J-asper. The latter is jealous because Mr. Minion is an aspirant for Lucy's hand, and when the parch- ment is handed him he tears it up, throwing it at Minion's feet, and meanwhile announcing his refusal of the pardon. Then he rushes away to the old tower. Lucy induces her father and Mr. Minion to accom- pany her to the Villon home in order to save her lover from any rash act. As they approach, the elder Vil- lon is seen to discharge a pistol. The bullet is in- tended for the Marquis, but it inflicts a glancing wound on Lucy's shoulder. When Villon fires his last shot he again seeks ref- uge through the secret opening. On that instant Jas- per enters the tower, ignorant of the shot and its con- sequences. He lifts the pistol from the floor, and is examining it when the Marquis and Minion, who are supporting Lucy, rush on him and disarm him. It is the thought of both men that Jasper is the guilty one but the latter angrily asserts his innocence and is overcome by the condition of his sweetheart. One morning she goes to Jack's boat, gives him a letter and makes him promise not to read it until he is on the open sea. The letter reads: "Dear Jack: Forgive me, I am going to marry the rich American. Do not judge me too harshly; I am thinking of father. When you read this letter I shall be sailing for America." This news is a terrible blow to him. Jack forgives but he cannot forget. After many years, when he is ,en mad with the he e reveals the secret irds the aged crimin; ched away. The lov( gives his sanction to GAUMONT. (George Kleine.) near the slls them ! the at- .mcrican, who owns a yacht. comes to ask the father for impted by the jewels and riches :pts. an old man, he still remembers the beautiful girl who had broken his heart. Her picture and their last meeting appears to him in a vision. "A WATER CONTEST." — Martigue is a small town in the South of France, near Aix and Marseille, on the banks of the little lake of Berre, which communi- cates through a canal with the Mediterranean. The film shows Bucco and its many fisheries and boats. Further, it shows the canal from Port to Bouc. The youngsters of Martigue in gala attire. Finally, the film ends by an interesting tilting match, in which the contestants mounted on the bows of row boats, punt one another with padded spears. "THE KLEPTOMANIAC'S REPENTANCE."— At an evening party, a young lady invited to play at the piano, removes a ring of great value and puts it upon a table near her. Another guest, seeing her move- ment, steals the ring and hides it in her bodice. The lady, not finding her ring, suspects a chambermaid, who has been in the salon. She protests her innocence and the kleptomaniac becoming afraid, slips the stolen ring into the servant's pocket, who, found in posses- sion of the jewel, is immediately taken into custody. Six months after, the servant leaves the prison and comes back to her home to see her husband and child. But the pitiless husband turns her away. To see her child she is compelled to wait for him on his way to school or come in the night to kiss him through the garden gate. She is employed by a woodcutter's wife and she gives her address to the child. Soon after, the husband of the unhappy servant, re- ceives a letter proving his wife's innocence. Luckily, the child has kept his mother's address and, in haste, the husband brings her home. SELIG POLYSCOPE CO. ■'BUDDY. THE LITTLE GUARDIAN."— Two suitors for the hand of Betty and the accepting of the wrong one as is many times the case, forms the nucleus for the story conveyed in the picture story of "Bud- dy." After a rather unhappy life of seven years, during which time the couple is blessed with a boy —the tie that often binds. "Buddy" was the light and joy of the home, yet in his tender years he shuddered at the father's drinking and often seeks him out at late hours and pleads for his return home. The wife can no longer bear with the husband's actions and leaves home and becomes a nurse— the father realizing at last the responsibility of caring THE FILM INDEX a: llLUBIN FILMS© Released Thursday, January 19 Length, about 1,000 feet A BROTHER'S REDEMPTION This is a story that stands out strong among the strong dramas produced by LUBIN'S. The scene is laid in Civil War times. Two brothers are conducting a prosperous business left them by their^father. They are brought to ruin by the neglect of the younger brother and he disappears. By a strange chain of circumstances, he is enabled to make a great sacrifice and thus make up for his early wayward- ness. It is a drama sure to touch the heart chords of the masses. Excellently acted. Carefully staged. Released Monday, January 23 Length, about 975 feet FATHER MAKES HIMSELF USEFUL A sparkling comedy. Sure to put your patrons in high good humor. It teaches that a husband should not only love his wife, but show her that he lovesher. Otherwise he may have occasion to become jealous. It'6 a picture that any audience will delight in. LUBIN MANUFACTURING CO. MODEL NEW STUDIOS : 20th STREET and INDIANA AVENUE, PHILADELPHIA, PA. BRANCH OFFICES CHICAGO: 22 Fifth Ave. LONDON: 45 Cerrard St., W. BERLIN: 35 Friedrich Str. THE FILM INDEX PROOF", not GUESS WORK, COUN During its three years of life the MOTIOGRAP has proven constantly that it has no equal. WHY DELAY when it is well known that the Motiograph is essential to the best projection work? Get one, Be convinced, and rejoice in your increased patronage, for remember the Motiograph Pulls. (Send for catalog- of reasons.) MToteTbdyand ENTERPRISE OPTICAL MFC. CO., 562 W. Randolph St., Chicago, for the boy and the unhappiness his actions have caused, decides to begin life anew — secures work in a broker's office. Buddy, anxious to help daddy, answers a want ad. for an office boy and is engaged by a downtown manager as messenger boy. His employer sends him on an errand, his long absence worries him and he calls at the station and finds Buddy has met with an accident, being run down by an automobile and taken to the hospital. The office manager at once leaves, to visit the boy — upon his arrival, to his sur- prise, he recognizes the voice of the nurse, who proves to be none other than his former sweetheart in years gone by, and the mother of the patient. The father, being prevailed upon to enjoy a social glass with some friends, finds his old love for liquor has returned and in his stupor falls and injures him- self. An ambulance conveys him to the hospital in a critical condition — before realizing his situation and discovering that both wife and child were in the same room, he expires. Completing a story of human im- pulse replete with delicate touches of nature. "AN ENGLISHMAN'S HONOR."— Nigal Drayton thinks himself rich, but unknown to him his cousin, Gwendolin, with whom he is in love, supplies the funds. Finding himself loser both at cards and on the Derby, he continues his requests for money. Sir Reginald having become enamored with the fair Gwen- dolin, makes it possible for Drayton to learn the secret source of the funds he thought were his and upon realizing this, his manhood asserts itself. He seeks work but is unsuccessful — being an expert whip and good rider, he applies to the academy for the position of instructor. His suave and discreet actions make him at once a favorite of the master of the stables, whose daughter's admiration for Drayton asserts itself plainly, but is rejected by the debonair instructor, causing the ill feeling of the master who in a short time discharges him. Finding an outgoing ship, Nigal takes passage in the steerage and landing in America he meets Blodsoe, an old prospector in time to save him from ill treat- ment at the hands of the miners and cowboys. They set out to seek their fortune in the gold field, the old prospector finds a rich pocket and Nigal is rewarded for his manly protection in time of need — given half interest. In the final things go well and the former riding master becomes comfortable and sets sail for England as a first cabin passenger— not the steerage, as was his trip to America. He arrives just in time to intercept the proposed wedding of Gwendolin to Sir Reginald. He returns to America with his bride and meets with a hearty welcome from his cowboy and miner associates. ESSANAY MFG. CO. "HIS MASTER'S SON."— The prologue of the photo- play is laid in the South at the close of the Civil War. Broken in fortune, Col. TenBroek, a Confederate vet- eran, sells his estate and prepares to go North. But on the day he dismisses his former slaves Death calls him, leaving behind him a widow and a son of three years. Cyrus, the Colonel's personal ser- vant, refuses to leave his "young Marse" and goes North with the widow and the boy. Years later, the young man grown to manhood is a prosperous Chicago business man, a favorite in society. Cyrus, the old servant, is with him and takes delight in looking after the wants of his old master's son. Young TenBroek proposes to Mabel Ware, daughter of a financier, and is accepted. He has a rival in one Justin Woods, who, later learning that the young man has played the wheat market rather heavily, endeavors to ruin his rival and win the girl. The game works and young TenBroek finds his small fortune swallowed up in the crash. The old negro knows there is something wrong and finding a telegram that has come from his master's brokers, seeks out Miss Ware, asking her to read it to him. She understands her lover's predica- ment and tells the old negro that if he can get money and do as she bids he may save his master. The old regro has saved scrupulously and the neat sum of a thousand dollars is at his command. With this, and the aid of Major Ware, who advises all his friends to bull wheat, reinstates young TenBroek and wipes out his rivel. The story is intensely dramatic in many scenes and artistically produced. "THE BORDER RANGER."— A sensational melo- drama of the Mexican frontier. Dan Coughlin, a rang- er, captures "Easy" Joe, one of a band of smugglers, but pays dearly for his pains when the smugglers kidnap Molly Parsons, Dan's sweetheart, whom they will hold, they declare, until Joe is released to them. Dan learns of his sweetheart's kidnapping through the girl's little sister, then writes a note to the cap- tain, telling him to follow with the other rangers, and rides off to where he believes Molly is being held a captive. His mission ends in disaster, how- ever, when the smugglers capture him and put him through a terrible torture, failing, however, to win his promise to release Joe. In the meantime, Molly, left in the charge of an old rum-sodden hag, manages to make her escape, when her keeper is sleeping, and meeting the loyal rangers informs them of the where- abouts of the smugglers' rendezvous. The rangers ar- rive in the nick of time, for the smugglers have tired of the sport of torturing poor Dan and have decided to put an end to him. All are captured and Dan lib- erated and sent home to Molly. While the story is most thrilling, it is entirely logical and consistent, and of a nature which will prove intensely interesting to all who view it. VITAGRAPH CO. "CAST UP BY THE DEEP."— Strange things have happened, but stranger than this has never happened. Drayton, a man of means and social prominence, se- questers himself in an obscure fishing village for rest and quiet. He becomes acquainted and finds com- panionship with a young fisher maiden, who appeals very much to his fancy. He grows very fond of the girl and falls in love with her. She is very fond of him, but cannot under- stand why one of his station and breeding should show her so much attention. Her people do not hesitate to tell her that his purpose cannot be honorable; she is in a quandary between the promptings of her heart and the suspicions which have been aroused by whispering distrust. The little fisher maiden marries one of her own class, a coarse fellow of violent nature. Five years later she is a widow with a child. Dayton is still a bachelor, he cannot forget his "mermaid," as he is wont to call her. He tries to forget what might have been and resorts to the gayeties of society and this summer finds him with the smart set, cruising in a yacht the shores where he first met the "child of the sea." He is thinking of her, he writes a note to her, places it in an empty champagne bottle, corks it and throws it overboard, hoping that it may drift to her and let her know that he is still waiting for her. Sitting on the jetty, she is looking pensively out to sea, dreaming of the happy days of Drayton's wooing. As she looks listlessly into the deep she espies the bottle, she asks her companion to get it. He gets the bottle, breaks it and cuts his finger trying to extract the note. She is all sympathy, forgets the note and tells him to throw the bottle back into the sea, thus it is decided by the fates that she and Drayton re- main apart. "THREE MEN AND A MAID."— Two brothers, jolly old bachelors, receive a letter from their cousin stating that he is dying and will leave his only child, Vivian, and her large inheritance to their guardian- ship and care. Recovering from their surprise, they call the house- keeper and immediately begin preparations for her reception— buy all sorts of toys and comforts to make a child happy and welcome. They have a good-looking young fellow in their employ as their private secretary, in whom they place great confidence and, indeed, they have every reason to, for he is attentive to his business and theirs. Vivian is expected and her two guardians are very happy in their expectations of entertaining the child —one is beating a drum, the other working a sort of Jumping Jack, anticipating the pleasure of the little one when she sees the amusements. While thus engaged Vivian is announced, and when they get a glimpse of an attractive young lady instead of a child they are very much embarrassed and try to hide the cause of their confusion. They have to adapt themselves to new conditions, and Vivian is soon engaged in straightening up the house and giv- ing it a thorough overhauling. She meets the private secretary; there is an im- THE FILM INDEX 23 Chairs ESTABLISHED 1865 WRITE FOR CAT. No. 31 The A. H. Andrews Co. Two-Pin Machines Changed to One-Pin Improved Easy-Running, Long- Wearing Cams, Stars, Etc., Etc. E. W. LAVEZZI 3042 N. Ashland Avenue, Chicago TUC l^llirUATflPDADU The origind and leadingjournal lllL rVmLr/lH 1 UUlAHrn of the moving picture business Has a larger circulation and is recognized by the whole trade as THE ORGAN OF THE MOTION PICTURE BUSINESS. $2.68 per year, mailed free. Specimen free HERON & CO., Tottenham Street, London, W., England —"HOW TO GET THE MONEY" — Is the problem confronting exhibitors today. LET US SHOW YOU HOW We are practical exhibitors ourselves, and have made a study of it in everyday practice. TRY SOME OF OUR ADVERTISING SPECIALTIES Border designs for Posters. Stock Posters of all kinds. Snipes, 50 different wordings. Passion Play Paper. We carry the largest stock of A. B. C. (and other makes) of posters in the country. Send us your name and address for our mailing list. EXHIBITORS' ADVERTISING & SPECIALTY CO., 105 E. 14th St., New York Ornamental Theatres PLASTER RELIEF DECORATIONS THEATRES DESIGNED EVERY Wl ERE Write (or Illustrated Theatre Catalog. Send us Sizes of Theatre for Special Oesigoi THE DECORATORS SUPPLY CO. Archer Ave. and Lime St. CHICAGO, ILL mediate mutual admiration and it is not long before it becomes more pronounced between them, and the old gentlemen become suspicious and decide that the secretary must be discharged. This is the signal for Vivian to assert herself and she does it, convincing her guardians that she is well able to manage her own affairs. The secretary takes his dismissal to heart, is taken sick and reduced to want. The young ward goes to see him an dis followed by the two old fellows. They trace her to the clerk's lodging. When they see her and the young man together they haven't the heart to find fault; thir feelings gradually subside and they succumb to the pleadings of their ward, give their blessing and re-engage the young fellow with an increase of salary. "THE GIRL IN THE FILM." — Charlie, who is a camera fiend, goes out to the park to take a few snap- shots for his collection of photographs. He scouts around and gets some "dandies." Tired out, he sits down on a bench in the warm sunlight and falls asleep. In this position he is seen by a couple of young ladies, ' Nan" and her friend. The friend in- duces Nan to have her picture taken; softly they tip- toe up to the bench and remove the camera. Nan strikes a pose, her friend snaps the shutter and that is how she got in the film. The girls put the camera back on the bench and steal away. Charlie wakes up, takes a few more photographs and starts to the de- veloping shop to have the films developed. In the course of a day or two he goes for the films and is very much surprised to see the strange face and figure of a young girl on one of his films. At first he will not believe it belongs to him, but the pho- tographer assures him that it does. He is attracted and charmed by the girl's face, and determines upon finding the original at all costs. He walks the thor- oughfares and looks into the faces of every passing female until he at lasts sees her with his chum, begs an introduction, and secures an invitation to visit her home. He accepts, and the longer he stays at her home the better acquainted they become. He lingers, and the longer be lingers the more he hates to leave. Eleven o'clock comes, and he goes — as far as the front door, where he delays his going until 4 a. m., and It is doubtful that he would have gone then if Ma and the policeman had not put in their appearance and started him on his way. The next morning. What a difference! Nan lies in bed until 10 and poor Charlie has to go to work at 8. Both are tired and sleepy, He gets very little sympathy from his fellow workers, who have evidently gotten wise to the girl in the film. ANOTHER HOUSE FOR CAPT. BLAND. Capt. Charles T. Bland, of Portsmouth, Va., who for the past two years has owned and man- aged the Dreamland photoplay theatre on High street, is remodeling a store, at 319 High street, which will be transformed into, what will be known as the "Olympic" photoplay theatre. It is expected the house will be ready for business some time the latter part of the month. Capt. Bland is putting all the latest safety de- vices in his new place. There will be the fire- proof booth, plenty of wide exits and a fireproof curtain. He will use the latest model of Edison picture machine to project his pictures. The house, when completed will seat 300 persons. PICTURES FOR SAN FRANCISCO SCHOOLS. The Motion Picture Censor Board, of San Francisco, Cal., has issued invitations to city officials, members of the Board of Education, Park Commission, Playground Commission, clergy, social workers and newspaper publishers to attend a meeting at the Photoplay Theatre, 9 41 Market street, for the purpose of discuss- ing a movement to introduce motio© pictures in the public schools. The board at that time will show films ques- tioned by the board and films of an educa- tional nature, such as are considered for school use, and opinions concerning the plan will be asked. NO MORE SUNDAY PICTURES FOR BROCKTON. There is nothing more doing in the way of "Sacred concerts" or photoplay shows for the Sunday folks in Brockton, Mass., in the future, that is, if Mayor Harry C. Howard has his way. According to what can be gleaned from some of the Brocktonites, the photoplay entertain- ments and Sacred concerts has been catering to a bad element, while more contend that Brockton, being a big manufacturing city, the photoplay theatres were the only kind of amuse- ment that many of the laboring people had chances to see, and Sunday afforded them more time than any other. In the future the Brockton people will have to go to Boston for their Sunday amusement. Coming— "The Irish Honeymoon" THE FILM INDEX KALEIV1 RELEASED WEDNESDAY, JAN. 25 LENGTH 950 FEET A ROMANCE OF THE TURPENTINE FORESTS In this characteristic story of the South we are taken to the heart of the pine forests where the chief industry is the gathering of the pitch from the pine trees and its distillation into turpentine. Throughout the pictures the various stages of the industry are shown. The story centers around a young Southern girl who has two lovers, both employed in the turpentine camp, tff course, she loves but one and the discarded suitor attempts to discredit his rival by having a negro to open the main vent and allow the tur- pentine to go to waste. His deed is worse than he anticipated, however, for the turpentine takes fire and the still is partially destroyed. As was intended, the finger of suspicion points to the girl's accepted lover and it would doubtless have gone hard with him had not the negro met with an accident and confessed as he was about to die. So the real culprit is run down and punished and the lover of the girl is freed of suspicion and wins his bride. RELEASED FRIDAY, JAN. 27 LENGTH 970 FEET A THRILLING STORY OF EARLY DAYS IN THE COLONIES Much romance centers about the early days of the Puritans in New England and in this production the Kalem actors have given a very accurate representation of Puritan life, all details of costume and environment being historically correct. Janice Studwell, a pretty Puritan maid, is beloved by Ralph Allyn. Ralph's suit is favored until by chance one day Janice's father catches Ralph indulging in a forbidden game of dice. Ralph is commanded to cease his attentions to the girl and is openly denounced in meeting on the Lord's day, and driven from the place of worship. He wanders disconsolately into the forest and almost bumps upon a band of marauding Pequots. In the meanwhile Janice has taken a restless child out of the meeting to a nearby spring. The Indians are upon her and Ralph saves her at the risk of his life. They then flee to the church, where there is a spirited defense against the Indian attack. The Pequots are finally repulsed and when it is all over. Ralph's sin is forgiven and he receives the hand of the fair Janice as a reward for his gallantry. KALEM COMPANY, Inc. New York, 235-239 W.23rd St. London, 45 Gerrard St.W. Berlin, 35 Friedrich Str. EDISON PROJECTING KINETOSCOPES ENDORSED BY EVERY EXHIBITOR WHO HAS EITHER SEEN OR USED THEM MODEL "B," WITH OUTSIDE SHUTTER The Machine You Will Finally Install WHY? Because it provides for the best results in the matter of projection, is built to stand the wear and tear and guaranteed to be mechanically perfect. It is indispensable and catalog No. 470 will give you the reasons. Send for it. EDISON MANUFACTURING CO. 73 LAKESIDE AVE., ORANGE, N.J. 90 WABASH AVE., CHICAGO, ILL. THE FILM INDEX NA/I SILVO KURTAIN KOAT Pottsville, Pa., Dec. 8, 1910. Please ship C. 0. D. one can of Kurtain Koat, as I have used the other can and found it to be the greatest thing 1 ever saw. $6.00 IN Kansas City, Mo., Dec. 17, 1910. We have examined Mr. 's curtain and have nothing but praise for the results in comparison with other curtains. and following directions will give you the same results as above. One can covers 350 square feet. Order from your exchange or C. O. D. , 2109 W. Lake Street, Chicago, HI. CHICAGO LETTER (Continued from page 8.) One of the squarest men on the face of the earth. Kindly accept this 1910 Christmas gift from your department managers. A small but repre- sentative number of individuals who wish to express their well wishes for your continued suc- cess and who consider your interests their in- terests. Miss A. C. Hoffman, Bell, Day, Bomb, Red- field, Dietz. Cowboys are in High Favor. Picture men, especially manufacturers, re- ceive some extraordinary communications; but, I believe, the letter subjoined, which was re- ceived by a prominent manufacturing plant in this city, is near the limit. For obvious reasons the name and address of the young lady are omitted, although she took great pains to write them twice in her letter. I hope she will read this and appreciate the suppression of her name and address. She evidently needs a mother's care. "To The One That Opens This, "Dear Sir: — I am asking you so kindly would you please be so kind as to write and tell me any cow- boy's address and name, and if you don't know any, please just put this in a paper. "My name is . I live at . I am sixteen years old. I want to be a cowboygirl, and rid on a broncho beside my cowboy lover side. "The boys of this part of country are to tame. They haven't any proper idea how to treat a girl. They just shuff in and out of poolrooms and smoke cigarettes until they are thin and sallow. For my lover I prefer a reel live, wide awake cowboy who lives out of Doors rounds up the cattle and horses and carries around big Colt in a yellow leather hostler at his hip. That's the kind of a man I want for my lover and to really love him cherrich and obey him. I think that any of those men who rid for months and months on the Western plains and skirmish with redskins and occasionally Drop in to town to stir up the native and have a little sport are far more better to the smart shining example of American manhood. Oh I just hate the city fellows. And please write in the paper if they know any adress and cowboy's name would they please write to me and tell me. I will wait with Great Im- patience. "Good bye "Do please try to find some cowboy's name and ad- dress and send it to me, because I want to go out West, please answer me "Good bye." Chicago Film Brevities. Mr. and Mrs. E. H. Montague will sail from New York on the Lusitania Wednesday, Jan- uary 18, en route for London and Paris. Mr. Montague will be the European representative of the Selig Polyscope Company. K. W. Linn, Western manager of Pathe Freres, left for New York Sunday, January 8, where he remained most of the week. Manager Bell, of the Spoor branch of the G. F. Co., at 435 N. Clark street, inform me that henceforth the Kalem Company of New York will send their film direct to the Spoor branch of the G. F. Co., where on Wednesdays, at 2 p. m., they and the Essanay films will be exhibited before the censor board and exhibitors who may desire to see the new releases run off. On account of the facilities offered in the pri- vate projecting room of the Essanay Company, the Kalem Company selected it for the private showing of their films. The following theatres were taken on by the Spoor branch of the G. F. Co. Mionday, January 9: The Crystal, Idle Hour and Lyric theatres, owned by the Central Amusement Co., Indian- apolis, Ind., and all located there. The Annex Theatre of Indianapolis, Ind., owned by the Annex Amusement Co. The Mabie Theatre, owned by B. Le Vee, 3960 Elston avenue, Chicago. The Grand Theatre, owned by J. B. Matous, 1808 West Forty-seventh street, Chicago. The Monogram Theatre, owned by Slavin & Lewis, Thirty-fifth and Halsted streets, Chicago. Fred Schuler, operator of the Standard The- atre, 816 Sixty-third street, called at The Film Index office last week. The Standard is owned by Will J. Sweeney, as is also the Ideal Theatre, at Sixty-third and Halsted streets. Jack Miller is operator at the Ideal. Mr. Schuler reported that both houses did well all through 1910, al- though business was a little dull around the Christmas holidays. Harry Dodds, whose death was referred to in these columns in the issue of January 14, formerly did the booking for the Standard and Ideal. Mr. Schuler is attending to that business at the present time. Hoof & Johnson, of the Olympic Theatre, Rockford, 111., have dissolved partnership. A. Johnson assumed the management and is con- tinuing his Service with the G. F. Co., at 85 Dearborn street. W. Berkhardt, owner of the Royal Theatre, Sandwich, 111., was a visitor at 85 Dearborn street last week, where he congratulated the maangement on the service furnished him. Con. S. Sullivan, manager of the Royal The- atre, in each of the towns — Hancock, Ishpeming and Calumet, Mich. — was a visitor in the city last week. "Con" tells me that the bad weather around the holidays interfered seriously with the success of his business, but that things are looking brighter now. Manager Sullivan is a great boomer of his feature films, and when "The County Fair" was on his list he used the regular issue of the Neil Burgess half-sheet lithos to advertise the film in his vicinity. Six of these half-sheets were employed, and an ex- cellent showing was made. F. Greenberg, manager of the Lyric theatre, Peoria, 111., was in the city last week and ar- ranged for advanced booking with the G. F. Co., at 85 Dearborn street. D. C. McClelland, manager of the Idle Hour Theatre, Pekin, 111., is in mourning. His mother died Saturday, January 6, and business was suspended at the theatre out of reverence for her memory. SOME VITAGBAPHS ON THE WAY. Among the forthcoming Vitagraph "life por- trayals" are a number of interesting titles. For Jan. 24 is listed a double reel "It Did Look Suspicious," a comedy, and "The Fireman's Par- ade" which shows a number of the few re- maining volunteer firemen's organizations at one of their annual meetings. For Jan. 28 is "Davy Jones in the South Seas," a comedy. St. Valen- tine's Day will be portrayed in a release of Feb. 14th, which will be Cull of fun. PICTURES Of VENICE PLEASE BIG AUDIENCE George Nox McCain's Views of City of Canals Praised by Motion Picture Lovers George Nox McCain delighted an audience, which packed the Acamedy of Music, Phila- delphia, Pa., on the night of Jan. 5th, with his lecture on "Venice and the Adriatic." Mr. McCain has probably produced his masterpiece in this lecture, in which he takes his audience through the narrow watery streets of the "Queen of the Adriatic," and then down the rugged, yet wondrously picturesque, "Norway of the South," the Dalmatian coast. The vast audience was held spell-bound as the views of Venice were shown upon the screen, the impression being that they were gliding through the narrow canals in a huge gondola, the interesting places — St. Mark's Square, the Doges Palace and a score of artistic wonders being explained by Mr. McCain as they noise- lessly passed. The motion pictures, too, added greatly to the charm, and coupled with the de- scription throughout the lecture, made many of the persons who attended say, after the lec- ture, that Venice had been removed from the Adriatic and brought to this city. After the winding old canals, the Grand Ca- nal, the strange houses of Venice had been passed, Mr. McCain took his audience down the Dalmatian coast, stopping first at Flume, the only seaport of Austria-Hungary, which the lec- turer characterized most aptly as "the shuttle- cock of Europe," having belonged to such a number of countries, where the Whitehead tor- pedo works were visited, some remarkable pho- tographs being shown of torpedoes being fired in practice. Mr. McCain had special permission granted to make these negatives. Several picturesque and quaint cities of Dal- matia were shown, including Zara and its an- cient gates; Spalato, where the monster palace of Diocletian, with its huge walls and odd Ro- man ruins, was visited and Salona, the Pom- peii of Dalmatia, Ragusa, one of the most beau- tiful cities on the eastern shore of the Adriatic, was also shown, with its queer dwellings and narrow and tortuous streets, the lecture end- ing in Cattaro, the toy city of Europe. S. T. Smith has opened a new house at Wichita Falls, Tex. The house will be known as the Ruby, and will seat 600 persons. The Royal photoplay theatre, Bellefontaine, O., is undergoing extensive repairs. The People's photoplay theatre, under the manage- ment of J. N. Blanchard, at Sundary, Pa., did a record business during the Christmas holidays. Coming — "The Irish Honeymoon" THE FILM INDEX BUTTE'S IMPERIAL THEATRE. Picture House That Is A Marvel of Beauty and Model of Equipment. Butte enjoys the distinction of having what is by long odds one of the finest and most ex- pensively equipped motion picture show houses in America. The Imperial theatre on North Main street, which was recently opened to the public, is easily the prettiest show house in the north- west, if not in the entire country. No expense has been spared in the interior furnishings and making every provision for the comfort and en- joyment of patrons. The mirrored lobby with its hundreds of in- candescents, each one adding to the blaze of glory, the lavishly furnished and equipped foyer and the beautifully decorated interior are dis- tinctive innovations in the motion picture show field. Since Manager Cutts started out to renovate the old American theatre thousands of dollars have been spent in making the new Imperial a thing of beauty. Nothing but the most up-to- date furnishings and trappings were purchased. Upon entering the theatre one is immediately struck with the walls and ceiling of plate glass mirrors set with myriads of electric lights. An electric fountain, equipped with 100 or more in- candescents, sheds its glow far out onto the street and attracts for blocks. White-tiled floors and white marble baseboards add to the beauty of the whole effect. The cupola-shaped box office, veneered with white marble is set im- mediately to the left of the lobby. On each side leather-upholstered settees will be placed for the accommodation of patrons waiting to pur- chase tickets or gain entrance. Through great white entrance doors, finished in brass and richly curtained, patrons pass into a commodious foyer, from where they are ushered to seats by attendants in evening dress. Every employe of the establishment who comes directly in contact with the public is similarly attired. The foyer is equipped with telephones, ice water and many similar conveniences for pa- trons. Boys pass through the audience at in- tervals with the ice water. The curtains in the foyer are double-faced green velour and harmon- ize nicely with the general color scheme. On each side of the foyer chemical tanks have been provided for use in the event of a blaze. The seats in the new house are a distinct novelty in Butte. They are leather-upholstered divans, by far the finest of any in the city, and probably the only ones of their kind to be found in any moving picture show house in America. Every other seat is a double seat for the accom- modation of ladies and escorts. Throughout the house is beautifully equipped with electrical fixtures. Pretty little electroliers, a score or more of them, are used effectively on the side walls in carrying out the lighting scheme. In every instance the color scheme is carried out to the smallest detail, even to the carpets, which are of rich velvet. Huge ventilating fans in the front and rear of the house insure a steady flow of pure air through the theatre, while the heating facilities are so arranged that the theatre always wili be comfortable in any weather. An electrical program on which the hand de- signates each succeeding series of pictures, a spotlight for the singer of illustrated songs and travelogues explained in detail by a lecturer are distinct novelties in the new house. New motion picture machines and a solar screen have been installed since the work of renovation started. THE BORDER RANGER A Thrilling Drama of the Mexican Frontier Released Saturday, January 21 \.re Captured by the Smugglers." Length, approximate, 985 feet Thrilling-exciting-sensational— this drama of the Southwest is rich with the glamour of romance and adventure. In plot, acting and superb Western scenery it is a subject of more than passing interest. Ask your exchange to book it quick. HIS MASTER'S SON THE STORY OF A SLAVE'S DEVOTION Released THIS Tuesday, January 17 Length, approximate, 1000 feet A thoroughly artistic dramatic production with a fascinating plot, excellently acted. Pine character work, rich settings, clear, clean-cut photography— positively the best photoplay yet produced by the Essanay Eastern Company. Essanay Film Mfg. Co. 521 First Nat. Bank Bldfj., CHICAGO, ILL. LONDON: 5 Wardour St. W. BERLIN: 35 Frledrich Str The program for each show will consist of an illustrated song, five series of high-class and up- to-the-minute motion pictures and a travelogue. Each show will last one hour and ten minutes, and four shows will be given daily. Triweekly changes of program will be the order. The four-piece orchestra is another feature of the new house that commends itself to the amusement seeking public. In all probability the Imperial is the one motion picture show house in the country that boasts a four-piece or- chestra. With the innovations which have made the new theatre one of the finest in the northwest, a change in the price has come. Hereafter the admission fee will be 15 cents, which, consider- ing the added comforts and enjoyments, seems reasonable. COMPLIMENTS TURNER & DAHNKEN. Evidently Turner & Dahnken, the licensed exchange men of San Francisco, Cal., are mak- ing a special effort to please their patrons. At least, that is the conclusion we draw from the following letter from one of them: Messrs. Turner & Dahnken: Dear Sirs— We thank you very much for sending us Francesca di Rimini, even if it did come before our drawing. It came up to expectations and we and everyone thought it very fine. The Biograph "The Golden Supper" was another fine film. Such pictures are bound to heln the motion picture business. Now, if you can send us the Edison film "The Police of New York," for Tuesday, or something that we can adver- tise as a specialty, we will appreciate it, as we are giving away $20 in cash prizes on that night and will have a large attendance. Thanking you in advance. 1 am. Yours truly, T. SQUIRES, Petaluma, Cal. THE FILM INDEX ■7 4fc "CATHERINE HOWARD" Revival of Old Historical Drama by Eclipse JAS. S. McyUADE BLUFF King Henry the Eighth of England, the uxorious, dominating British mon- arch, who defied alike the power of mother church and the rules of good morals to gratify his passions and his whims, has been brought once more to act his part before the eyes of men, in one of the most pitiful and ignoble incidents of his remarkable reign. Mo- tion pictures have resummoned him from the tomb, as well as one of his ill-fated victims, who posed as a real queen for a few short weeks, and who finally expiated her pre-nuptial indiscretions on the block. Eclipse has filmed the old historical drama faithfully, and the producer has availed him- self of the license used by the writer of the drama in question, which in some important points ignores historical facts. It must, there- fore, be borne in mind by those who view this film, that it by no means reflects the true b's- The Duchess had a country house at Horsham, in Norfolk, and a Loudon suburban residence at Ladbeth. While at Horsham, Catherine be- came familiar with a musician, Henry Man- nock, a dependent of the Duchess, and clande- stine meetings were held. At Lambeth she met Francis Dereham, a kinsman of her own and a member of the retinue of the Duke of .Norfolk, who became her second lover. They interchanged love tokens and the two were fully engaged to each other; and such an en- gagement, according to the custom of the times, imalidated any subsequent marriage that was at variance with it. The lovers called each other husband and wife, although their en- gagement was unknown to the world, and, on one occasion, when Dereham was reminded that he kissed Catherine very freely, replied, "'Who shall hinder me from kissing my own wife?" When Catherine was called to court, their folk's service, showing the indiscretions of Cath- erine with both Mannock and Dereham. The king was deeply moved, but incredulous. Then he ordered a strict investigation. Man- nock and Dereham were arrested, the latter on the charge of piracy, in order to cover the purpose of the king. The former acknowl- edged his relations with Catherine, which were not of so grave a nature as those admitted by Dereham. The latter was tortured and com- pelled to tell all. Catherine was next approached, but denied her guilt until she saw that her plight was hopeless. Then she confessed everything. The king spared her life and ordered her removal to Sion House, where she still had the name and dignity of queen, with a small establish- ment. But the lecherous monarch had determined to break his promise of clemency to Catherine, and to avoid the charge of breaking his kingly word should he bring his queen to the block, he had a bill of attainder passed through both houses, the third reading taking place Feb. 7, 154 2. Before the royal brute would give his assent to the bill, with fiendish cruelty another pitiful confession was wrung from the hapless Catherine. On Feb. 10 she was placed in the Tower, and three days later she laid her neck cn the block; not, however, before humbly acknowledging the justness of her punishment SCENE FROM URBAN-ECLIPSE SUBJECT "CATHERINE HOWARD" — THE EXECUTION' OF CATHERINE. torical narrative. To enable the spectator to I judge intelligently between the story of this mimic drama and the historical incidents on which it is founded, I shall give a brief sketch of Catherine Howard's life, as obtained from reliable historical sources. Catherine was the fifth wife of Henry VIII of England. She was the daughter of Lord Edmund Howard, a younger son of the second Duke of Norfolk, who won renown at the battle of Flodden Field. He was as poor as the pro- verbial church mouse, as younger sons of the nobility were then much worse off than younger sons are now. Catherine, there- fore, was much neglected in her girlhood and had poor education. Her father, on his sec- ond marriage, was glad to resign her to the care of his mother, the old Duchess of Nor- folk, and even then the girl had not that care- ful supervision which might have changed the course of her life. ntercourse was broken off, and Dereham left the household of the Duchess of Norfolk and operated as a pirate in the waters surround- ing Ireland, acts for which he was destined to suffer severely in the near future. Henry VIII had married his fourth wife, Anne of Cleves, whom he called "a great Flem- ish mare," in 1540, and was sorely disappointed in the match. And so, when he met Catherine Howard in the house of Bishop Gardiner, where he was being entertained, it was a case of love at first sight. Anne was divorced July 9, of the year mentioned, and on July 2 8 Henry married Catherine privately. On November 2, the same year, the day fol- lowing All Saints Day, whi'e Henry was at mass, Archbishop Cranmer put a paper in his hand and requested him to read it in the strictest privacy. This paper contained the confession of a maid, formerly in the old Duchess of Nor- and pleading for the lives of the members of her family who were guiltless. Thus died Catherine, against whose married life as Queen of England, not one jot of evi- dence had been furnished to prove unfaithful- ness. And as has been mentioned previously her engagement to Dereham invalidated any subsequent marriage, so that her marriage to Henry was really no marriage; and Dereham, who was tortured to death, was the man whose affections and honor were injured. Catherine had hazel eyes, auburn hair and a bright, cheerful face, but contemporaries say that her claims to beauty were only common- place. It was her dashing, imperious ways that captivated men and these, most likely, won the lustful Henry. The Filmed Story. The drama from which the film is taken as- sumed that the Duke of Norfolk, an intimate friend of Henry VIII, secretly wed Catherine 28 THE FILM INDEX Howard, and the opening scene gives us a view of the country seat in which they live happily in honeymoon days. Catherine is kept in ig- norance of the station of her husband, for he has won her on his merits and by force of his fine personality. We see them taking leave of each other as he departs to carry out a cer- tain mission for the king. Raffaeli, the king's alchemist, who chances to be in the neighborhood, catches sight of Catherine and on his return to court informs his Majesty of the pearl he has discovered in the country. The king immediately resolves to see the unknown beauty for himself, and invites his friend Norfolk to accompany him and Raf- faeli to the spot. To his horror, Norfolk dis- covers that the unknown lady is none other than his own wife, and on hearing the king de- clare, after having seen Catherine from am- bush, that he will make her his wife, the duke is in despair. But his love for Catherine finds a way to prevent the marriage. He gives her a nar- cotic, which keeps her in a state so closely resembling death for several days that she' is buried in the family vault, where she is viewed by the grieving king, who places one of his royal signet rings on her dead finger. A short time before this Henry had signified his royal favor of the marriage of Norfolk to his sister, the Princess Margaret, whom he knows loves the Duke secretly. This complica- tion, added to the king's passion for Catherine, contributes still more to the difficulties of the secretly married pair. Norfolk shows Catherine, after her recovery, the king's letter regarding his proposed mar- riage to Margaret; and, to escape the ceremony, he, too, decides to take the narcotic. He gives Catherine the key to the Norfolk vaults, where his body will be placed, and she pledges to come and release him at an appointed time. The king's grief over the supposed death of Norfolk is poignant and, as he gives way to his sorrow a figure with features garbed in white approaches him, holding out a finger on which he sees the ring he had placed on the dead Catherine's finger. Catherine reveals her features and the affrighted king, believing her a ghost, staggers back from her presence. But she explains that her supposed death was only a cataleptic seizure, and the overjoyed king em- braces her and announces to the courtiers who have come near that Catherine will be their future queen. Catherine is left for a moment by herself and we see her throw the key, which Norfolk depends on for his release, far out into the river near which she stands. She has sac- rificed her husband and honor for a throne. Next we see Princess Margaret on the same scene. On a stand nearby she espies the key to the Norfolk vaults, which the king had used that day to pay the last visit to the body of his friend Norfolk. Unknown to Catherine there were duplicates of the key which she had thrown into the river. Margaret eagerly seizes the key and hastens to the vaults to mourn over the body of the man she had loved. In the meantime Norfolk had been rushing through the damp vaults like a madman. On recovering from the effects of the potion, he had waited for Catherine hour after hour, only to be disappointed. About to give up hope of release and in the last stages of despair, he hears approaching footsteps outside the door. He hides behind a pillar and to his surprise sees Margaret approach. When he is seen by the princess she is seized with terror, but he proves that he is indeed flesh and blood. Then he learns of Catherine's betrothal to the king and understands her perfidy, and he hastily es- corts Margaret from the scene of death. Next we see Henry in a towering rage, as he confronts Catherine with a letter and accuses her of infidelity. But Catherine smiles scorn- fully, takes the letter from his hand and dis- daining to read it, crumples it up and throws it on the floor. She triumphs for the time, but almost immediately afterwards the door to the royal chamber is opened and a man with a mask appears. The queen is frightened, but almost turns to stone when the man lifts his mask and discovers her husband, the Duke of Norfolk. With fierce denunciation he enum- erates her crimes, and we can see from the fury on his face that he is threatening her with exposure and death. Suppliantly she kneels and begs for mercy. But the duke's face never softens. Then hearing footsteps the duke exits quickly, forgetting to take his cloak and hat. "THE LITTLE SISTER" A Pleasing Comedy Drama by the Kalem Southern Company a' ERE is a picture that will appeal to every girl who has an older sister who is looking- for a beau. Big sister is always a nice girl, you know, but she is sure to think that all the young men belong to her, and the idea of little sister having an admirer is not to be tolerated for a moment. The result is lots of heartaches and disappointments until the fel- low finally declares himself. The Kalem stock company down in Florida have worked out this problem of "the little sister" in a picture of that title in most appeal- ing terms. Little sister is a regular madcap; she rides astride and does all sorts of uncon- very angry at the intrusion of little sister at critical moments, but nothing happens before the young man recovers sufficient to go his way. Afterward he is invited to a party given at the home where he was so well taken care of. Little sister attempts to get into her party dress, but her arms and neck are so browned by the sun and wind that she is a sight in a ball dress. Girls know all about this. In despera- tion she slips on a long coat and goes out to peek in through the verandah window at the dancers and, incidentally, to get a glimpse of the only boy. While she is peeking the young man, who has tired of dancing and slipped out BALLROOM SCENE FROM KALEM SUBJECT "THE LITTLE SISTER. ventional things. One day she happens upon a motorcyclist who has had a bad fall from his machine. She picks him up, helps him upon her horse and manages to get him to her home. He is a handsome fellow — a regular Prince Charming. As the period of convalescence progresses the big sister pre-empts the young man to the ut- ter exclusion of little sister, who gets but ' lit- tle more than a sly glance. Big sister gets to enjoy a cigar, comes upon her, whereupon the usual event happens. Throughout this picture will be found a num- ber of most delightful scenes, beautiful in com- position and photography. Especially pretty is the ballroom scene, illustrated herewith. As the little sister, Miss Gene Gauntier is delicious, appearing to better advantage, possibly, than has been her good fortune to appear in many of the pictures in which she has been featured. The king enters and discovers the articles. He is seized with a frenzy of anger and loudly calls for his courtiers and attendants. Before them all he exposes the damning evidences of Catherine's guilt and she is led off to the Tower. The high court of justice finds Catherine guilty of infidelity, and sentence of death is passed upon her. When all hope has fled, the nimble mind of Catherine is turned to the valuable necklace that she wears. She is alone with the heads- man and gives the precious jewels to him as the price of her freedom. He is to disappear and leave the doors open. He does indeed dis- appear, but the bars are kept in their places. Next morning, the day of execution, the king, his chief ministers, the Archbishop of Canter- bury, and others come into the room. Then the headsman is found to be missing. Heralds are ordered to call for some one who will take his place. We see a great concourse of people listening to the heralds. A tall man, with a mask, volunteers. He is led to the place of execution, and as Catherine draws near he pri- vately lifts his mask and she catches a glimpse of his features. They are those of the man she had doomed to die in the vaults — her right- ful husband, the Duke of Norfolk. The scene showing Hampton Court and Wind- sor Castle, especially the grounds and gardens of the latter, have been carefully chosen. So has that showing the country mansion, where Catherine and Norfolk spent their happy days of early married life. The acting throughout is virile and the characters of Henry VIII, Norfolk and Catherine are well sustained. Catherine is extremely well impersonated, and the lady who appears in the role had evidently studied care- fully the life and temperament of the ill-fated queen. "Catherine Howard" is a full length reel. The date of release has been set for Feb. 8. Coming— "The Irish Honeymoon" THE FILM INDEX. IF YOU CAREFULLY EXAMINE ALL MOVING PICTURE MACHINES YOU WILL BUY THE 191 I MODEL Pat. Dec. 1, 1903 YOU WILL SEE ITS SUPERIORITY As a Projecting Machine the Edengraph merits the closest scrutiny. Managers and Operators who are familiar with it are its best friends. Write for a catalogue to EDENCRAPH MANUFACTURING CO. george kleine, Pre.. | 35 W. 3rd STREET, NEW YORK, N. Y. 52 State Street, Chicago, III. General Film Co. All Offices Record of Weekly Licensed Film Releases (Week of Jan. 14 to Jan. 21, 1911) Exchange No. Title His Trust Will It Ever Come to This?. . . . Easy Coin Marguerite's Birthday Saved by Her Prayers Buddy the Little Guardian With Interest to Date His Master's Son The Sealed Letter A Water Contest Three Men and a Maid Uncle's Birthday Gift Her Chum's Brother Trailed by an Indian Sea Birds in Their Haunts.... By the King's Order His Trust Fulfilled A Brother's Redemption Changing Cooks An Englishman's Honor Mike the Miser Robbie and the Redskins Modern Light Battery in Action The Tables are Turned The Girl In the Film The Border Ranger , The Kleptomaniac's Repentance The Marked Dollar Cast Up by the Deep , Maker Biograph Lubin Lubin Pathe Pathe Selig Edison Essanay Gaumont Gaumont Vitagraph Edison Kalem Pathe Pathe Urban Biograph Lubin Melies Selig Edison Kalem Kalem Pathe Vitagraph Essanay Gaumont Pathe Vitagraph Class Drama Comedy Comedy Com.-Dra Drama Drama Drama Drama Drama Educ. Comedy Comedy Com.-Dra Ind. Dra Educ. Drama Drama Drama Comedy Drama Drama Drama Military Comedy Comedy Drama Drama Drama Drama Length Feet 996 715 250 659 33i 1000 1000 1000 837 168 1000 995 980 495 462 965 999 1 000 980 1000 990 850 95 981 963 985 991 968 1001 Date Released 1-16-11 1 - 1 6- 1 1 1-16-n 1-16-11 1-16-1 1 1-16-1 1 1-17-1 1 1 - 1 7- 1 1 1-17-1 1 1-17-1 1 1-17-1 1 1-18-11 1-18-11 1-18-11 1-18-n 1-18-11 1-19-1 1 1-19-11 1 - 1 9- 1 1 1-19-1 1 1-20-11 1 -20- 1 1 1 -20- 1 1 1-20- 1 1 1 -20- 1 1 1-2 1 - 1 I I-2I-I I I-2I-II I-2I-II Replying to the many inquiries, The Film Index wishes to make the fact plain that the above table is a permanent feature and will appear every week, giving all the licensed releases for the week, with the current song slide releases on the back of the sheet. This page may be cut out and placed in a permanent file. 3° THE F LM INDEX The Slides the au- dience look and wait for are made by De Witt C. Wheeler, i„c 120 West 31st St. New York City The Slides that Bring Applause Scott & Van Altena's 59 Pearl Street, New York City SONG SLIDE RELEASES Synopsis of Productions by the Leading Song Slide Manufacturers RECENT RELEASES. De AVitt C. Wheeler. •SPRINGTIME BRINGS ROSES AND YOU." — Words and music by Kendis & Paley; published by Kendis & Paley, New York. This song has made a tre- mendous hit and is being sung with success through- out the country. Wheeler has given us a set of illustrations that are top-notchers in the slide maker's art. Beautiful lawns and rose gardens, artists posed in gorgeous colonial costume, and colored with a richness characteristic of this firm. 'YOU'RE THE SWEETEST GIRL IN ALL THIS WORLD TO ME." — Words and music by Murchison and Hodge; published by Delmar Music Co., Mon- treal. A novelty set of slides of exceptional beauty. Two clever and handsome artists are used to excel- lent advantage in a number of original feature slides by Wheeler. The posing is good, the scen- ery charming and the. feature effects new and dis- tinctive. Scott & Van Altena. •LETTY LANE."— Words by Jack Mahoney; music by Theodore Morse; published by Theodore Morse Music Co., New York. A new song with novelty lyrics and a snappy air that becomes at once pop- ular. A set of novelty slides illustrates this set in real Scott & Van Altena fashion — full of original ideas, of high artistic quality, and colored superbly. 'ROSA RIGOLETTO."— Words by Ed. Madden; music by Gus Edwards; published by Gus Edwards Co., New York. A catchy Italian song modeled after one of the beautiful melodies from Verdi's opera, "Rigo- letto." The illustrations picture sunny Italy in truly sunny style — pleasing colors, with poses full of life and action. A set every one will admire and a song all will go away humming. 'SINCE I FELL IN LOVE WITH MARY."— Words and music by Wm. Cahill; published by Ted Snyder, New York. An Irish song with slides as fresh and green as the Emerald Isle itself. In this set are Irish models, Irish settings and Irish novelties from start to finish. As usual, beautiful coloring, good photography, and typically Scott & Van Altena throughout. Alfred L. Simpson. THERE'S A DIXIE GIRL THAT'S LONGING FOR A YANKEE DOODLE BOY."— Words by Robert F. Ro- den; music by Geo. W. Meyer; published by F. B. Haviland Publishing Co. This is a very beautiful ballad, and as the title implies, is the story of the love of a Southern girl for her Yankee sweetheart. of pictures to illustrate this clever ntrast. between the city and country icted in a series of scenes showing the farm, boyhood days and attend- lking altogether an applause winner. Levi Company, Inc. 'YOU NEEDN'T GO TO COLLEGE, IF YOU'VE BEEN TO COLLEGE INN."— Words by Edgar Selden; mu- sic by Herbert Ingraham, writers of the big song hit, "All that I Ask is Love." The versatile Mr. Selden in this song tells about a real Rah! Rah! college, and the number is a decided success. The slides were made from Mr. Selden's own scenario and contain some very original ideas. The pho- tography and coloring are excellent, making the best set ever turned out by the Levi Co. 'THAT'S EVERLOVIN' LOVE."— Words and music by Elizabeth Brice and Chas. King; published by Sha- piro. This is a real description of love with a fine melody and the song is going to be an immense success. The slides contain a dozen novelties well executed, making the set first class in every par- ticular. Excelsior Slide Co. 'SPRINGTIME BRINGS ROSES AND YOU."— Words and music by Kendis & Paley; published by Kendis & Paley, New York. This song Is already popular and will make a hit in any picture theatre. Beauti- fully colored, well posed slides illustrate it and con- tain some winning novelties. I'M GOING BACK TO THE LAND OF SPAGHETTI." —Lyrics by J. Irving Young; music by Harold J. Norman; published by Head Music Pub. Co., New York. An Italian song of lively nature, with illus- trations in typical "wop" costume and sur RECENT RELEASES. DeWitt C. Wheeler. MOONLIGHT DEAR."— By Murchison & Hodge; pub- lished by the Delmar Music Co. WE'VE KEPT THE GOLDEN RULE."— Words by Ben Deely; music by Percy Wenrich; published by Jerome H. Remick & Co. IF YOUR HEART KNEW A HEART LIKE MINE."— Words by Jack Mahoney; music by Theodore Morse; published by Theodore Morse Music Co. I GET LONESOME FOR YOU."— Words by Howard King; music by Raymond White; published by Kon- insky Music Co., Troy, N. Y. BE MY SWEETHEART."— Published by Jerome H. Remick & Co., New York. I'M A MARRIED MAN."— Words by Ballard Macdon- ald; music by Harry Carroll; published by Jos. W. Stern & Co. I'LL BE' RIGHT HERE IN THE SAME OLD PLACE." —Words and music by Billy Kent; published by Shapiro. DOUGHERTY." — Words by William Jerome; music by Jean Schwartz; published by Jerome H. Remick, New York. Scott iV- Van Altena. NIGHTINGALE."— Words by Jack Drislane; music by Geo. W. Meyer; published by F. B. Haviland Pub. Co., New York. LET THOSE SLEIGH BELLS BE OUR WEDDING CHIMES."— Words by Will J. Harris; music by Harry I. Robinson; published by Will Rossiter. Chi- lli. ;\v in Lov< by Leo Friedman; published by Harold Rossiter Music Co., Chicago, 111. IF I WERE THE KING OF THE WORLD."— Words by Herbert De Pierce; music by Bert F. Grant; pub- lished by Ziegfeld Music Pub. Co., New York. I DON'T BELIEVE YOU."— Words by Wm. Dillon; music by Harry Von Tilzer; published by Harry Von Tilzer Pub. Co., New York. LOVIE JOE."— Words by Will Marion Cook; music by Joe Jordon; published by Harry Von Tilzer Music Pub. Co., New York. DREAMS, JUST DREAMS."— By Irving Berlin & Ted Snyder; published by Ted Snyder Co., New York. WHEN YOU'RE IN WRONG WITH THE RIGHT GIRL."— Lyric by Gus Kahn ; music by Grace Le Boy; published by the Kedzie Music Co., Chicago. Alfred L. Simpson. "TIPPERARY WHIRL."— Words by Jack Drislane; music by Geo. W. Meyer; published by F. B. Hav- iland Pub. Co., New York. "SKIPPER, SUSIE GREENE."— By Don Ramsay; pub- lished by Walter Jacobs, Boston, Mass. "COLUMBIA, THE GEM OF THE OCEAN." "DON'T WAKE ME UP, I AM DREAMING."— By Her- bert Ingraham; published by Shapiro. "PLAY THAT BARBER SHOP CHORD."— Words by William Tracey; music by Lewis F. Muir; published by J. Fred Helf Publishing Co. "IN THE GLOAMING."— By Meta Orred and Annie F. Harrison— the well-known old-time ballad with up- to-date slides. "THE STAR-SPANGLED BANNER."— The national anthem. "THEN YOU'LL REMEMBER ME."— By H. Engel- mann. (From the "Bohemian Girl.") "THAT'S THE FELLOW I WANT TO GET."— Words by Alfred Bryan; music by Geo. W. Meyer; pub- lished by the House of Haviland. Levi Company, Inc. "DONT WAKE ME UP, I'M DREAMING." — Words by Beth Slater Whitson; music by Herbert Ingraham; published by Shapiro. "STEAMBOAT BILL." — Words by Ren Shields; music by Leighton Bros.; published by F. A. Mills. "DIXIE FOR ME."— Words and music by Catherine Hamilton Slater. "IN GOOD TIME TOWN." — Words and music by Dave Reed, the writer of so many big hits. This song is published by Shapiro. Both lyrics and melody are good and so are the slides. Good looking models, clever posing and beautiful pictures. "THAT'S GOING SOME FOR YOU."— Words by Al. Bryan; music by Fred Fisher; published by Shapiro. "I'M LOOKING FOR A DEAR OLD LADY."— Words by Edgar Selden; music by Tom Kelly. "CRISOT COLOMBO."— Words by Thomas J. Gray and music bv Fred Fisher. "TURN THOSE EYES AWAY."— Words and music by Billy Brent; published by Shapiro. Excelsior Slide Co. "FATHER. DEAR FATHER, COME HOME WITH ME NOW."— Words by Joe McCarthy; music by Harry De Costa; published by Head Music Pub. Co., New York. "EVERY CORNER OF THE WORLD HOLDS YOU."— Words by Arthur J. Lamb; music by Felix Brandon; published by the music house of Laemmle. "LUCKY BOY." — Words and music by Kendis and Paley; published by Kendis & Paley, New York. "HAS ANYBODY GOT A KISS TO SPARE."— Words by Gus Kahn; music by Grace Le Boy; published by Will Rossiter, Chicago. "SWEET ANNA LIZE."— Words by Bartley Costello; music by Henry I. Marshall; published by Ted Snyder. "DER DEUTSCHE RAG."— Words by Sam M. Lewis; music by B. O. Bennet; published by the music house of Laemmle. "ALL OVER TOWN."— Words by Al. Thahern; music by Percy Wenrich; published by F. A. Mills, New York. "THAT LOVIN' LAZY RAG."— By Billy Gaston and Edgar Selden; published by Shapiro. ENLARGING SCENIC PHOTOPLAY THEATRE. The work of enlarging the Scenic photoplay theatre, Main street, Winsted, Conn., has al- ready commenced. New iron girders are re- placing the old wooden ones, and the roof will be raised twelve feet. The seating capacity will be enlarged to 600. It is estimated that the improvements will cost $1,500. Coming— "The Irish Honeymoon" THE FILM INDEX 3 * LEVI SLIDES MAKE GOOD Read what the Chicago Song Slide Exchange, the largest individual buyers of song slides in the world, say about our products. « - g> § 1 he Chicago Song Slide Exchange /^~c\ of I I I u . I r .. I . ,1 fz\ union icjuire in, III.. Jar., peclitlona. were you bwi of poor color Inn the wKet. "in l^nalV o havo boen eupplylng uo 1 It'ln nee41e«n for ua to lrler.t lo »ay that. toV-j-. The successful singer always insists upon LEVI'S releases every week from his Ex- change. We are the Exclusive Illustrators of All the Big Song Hits 24 UNION SQUARE LEVI COMPANY, Inc. NEW YORK Competition cannot touch the pnees of the Excelsior Slides We are now selling a new lot of song slides, originally worth $5.00 per set and up, for only $1.75 per set. It would pay you to drop us a postal to get our lists, and inci- dentally get on our mailing list, and we will keep you in touch with the latest hits in the song slide world. Our latest releases SPRINGTIME BRINGS ROSES AND YOU I'M GOING BACK TO THE LAND OF SPAGHETTI EXCELSIOR SLIDE CO. 138 E. 14 St., NEW YORK CITY TURNER &DAHNKEN One.) 38 Eddy St., San Francisco, Cal. Largest Exchange on the Pacific Coast Pacific Coast Agents for the Pathe Machine HARBACHS BARGAIN * Power s Cameragraph No. 5 for $115. Edison Kinetosrope. $4o. Edison Model B. new $175 Oj.tisrai.il No. 4 tor $45. $-.'15 Mono- graph, new $165 Motion Picture Machine, $35. Many other Machines, etc., at reduced prices. Pathe's Passion Play, fine set, low. Get Sup. 33 of many Bargains in Ma- chines. Accessories, etc. Motion Picture Machines wanted. HAK BACH & CO., 809 Filbert Street, Philadelphia, Pa. STIKWIK CEMENT FOR ALL KINDS OF FILM! STICKS IMMEDIATELY! DOES NOT EVAPORATE! Send for Sample Bottle Free W. U. C, 227 E. 1 50th St., New York SLIDES Do you need them ? We want new customers. Mention this paper, and we will mail you 5 Announcement slides for Sl.CO. Send for catalog if you haven't one. Plain advertising slides. 50c. each. NIAGARA SLIDE CO., Lockport.N. y. PATHE'S WEEKLY Australasian Bulletin of Cinematography PUBLISHEO WEEKLY The only Journal in Australasia dealing solely with the Moving Picture Industry Posted to any address in the world for 13/ -a year. All Communications to PATHE'S WEEKLY, 50 Queen Street, Melbourne, Vic Get SIMPSON'S SLIDES for the latest hit There's a Dixie Girl Who's Longing for a Yankee Doodle Boy A Great Song Cleverly Illustrated A. L. SIMPSON, Inc., 113 W. 132d St., N. Y. ST. LOUIS CALCIUM LI6HTC0, Established 187 Oxygen and Hydrogen Gas fa-nished In tanks for Stereopticon and Moving Picture Machines All orders to any part of the United States filled promptly. 16 Elm St.. ST. LOUIS. Mo.. U. S. A. The Bioscope The Leading Journal of the Moving Picture Business in Europe. Has the largest cir- culation and is the best Adver- tising Medium, bar none. SUBSCRIPTION. $2.00 A YEAR. SAMPLE COPY MAILED FREE 31, 33, and 35 Litchfield Street, LONDON, W. C, ENCLAND A SUPPLY FOR THE DEMAND. New York, Jan. 11, 1911. Editor THE FILM INDEX, Xew York City. Dear Sir: — In last week's issue you published a let- ter from Burnell & Post, Mgrs. Olympic Theatre, Top- penish, Wash., in which they suggest that it would be a great help to exhibitors and mean a great many more dimes in the box office if posters were a little more self explanatory. As jr.actical exhibitors, we have provided for this contingency by having a series of square snipes made up, measuring 6x6 inches, which can be used very effectively in combination with posters. These snipes read as follows: "A Comedy Full of Laughs," "A Great Western Drama," "A Story of Great Heart In- terest," and many others. They are sold in quantities of 100 or more at a price so insignificant that they are within the reach of every exhibitor, large and small. We invite communications and are glad to furnish samples and prices to any of our brother exhibitors. Very truly yours. THE EXHIBITORS ADVERTISING & SPECIALTY CO., (Signed) Arthur D. Jacobs, President, XEW CORPORATIONS. Beacon Vaudeville Company, New York City. — Formed to operate and manage theatrical enterprises, theatrical, moving picture and vaudeville forms of entertainments. Directors: Joel S. Engle, Florence Engle, Rosalind Henschel, 2 West 120th street, New York. Thurstone Moving Picture Machine Company. James- town, N. Y.— To manufacture and deal in sound pro- jecting machines, moving picture machines and films. Directors: Charles A. Johnson, 501 Crescent street; Andrew Venman, 70-") Buffalo street; John H. Venman, 692 Buffalo street, Jamestown, N. Y. Carlfried Amusement Co., New York City.— To put on picture shows, etc. Capital, $2,500. Incorpora- tors: Nathan Friedman, Long Island City; Abraham Carlos and Isaac Dobroczynski. DREAMLAND THEATRE, PEEKSKILL. N. Y. Messrs. Cuff & Anderson, who have two photoplay theatres in Paterson, N. J., will open their new Dreamland theatre in Peekskill, N. Y., Saturday, Jan. 14. They purchased their full equipment from J. H. Hallberg, "The Economizer Man," the same including a new model Motiograph M. P. machine with extra mechanism, a standard "Hallberg Economizer," and .'50<» opera chairs. These progressive young, men have for a long time been very successful in their business enterprises at Paterson. N. J., and deservedly so, as they have spared no expense to give their patrons the best in the market. At their "Royal" theatre in Paterson, a Hall- ber Direct Current Economizer has been in operation for some time on the 220-volt circuit, saving them $12 or $13 per week in electric bills. Cuff & Ander- son have the best wishes of their many friends for continued success and prosperity. F. R. Greenleaf of Los Angeles, Cal., is preparing plans for a one-story brick motion picture theatre to be erected at Moneta avenue and Thirty-sixth street for J. W. Comfort. The foundation. 45x100 feet in size, will be of concrete, and the building will have an ornamental staff and plaster front. The seating capacity will be about 600. 3* THE FILM INDEX THE BIO ARC SCREEN is the greatest convenience ever devised for the operator. It enables him to see at all times exactly what is going on in the arc without "squinting" through a peep-hole or straining his eyes: You must see it to appreciate it. During the past two months we have sold hundreds of "BIO" Arc Screens on the "money-back-if- you-want-it" plan— and not a single call for the money. What better evidence could we give that every operator who sees it thinks it worth the money ? Send us a dollar today on suspicion. Charles L. Kiewert Co. Largest Importers of Flame Arc Lamps and Carbons in America 39 Cortlandt Street, New York, N. Y. 114 Huron Street, Milwaukee, Wis. 1 95 Fremont Street, San Francisco, Cal. 1 5th and Pine Streets, St. Louis, Mo. 58 Plymouth Court, Chicago, 111. 309 Carson Street, Pittsburg, Pa. Last 4 Weeks' Productions of Licensed Film Makers— Jan. 21 BIOGRAPH CO. Date. Subject. Class. Feet. length. Dec. Jan. 29 2 The Two Paths Drama 311 992 Jan. 5 998 Jan. 9 The Italian Barber Comedy 993 Jan. 12 .Comedy-Drama 392 Jan. 12 605 Jan. it; His Trust Drama 906 Jan. 19 His Trust Fulfilled Drama 999 EDISON CO. Jan. 4 Sleep, Gentle Sleep Comedy 990 Jan. 6 The Fire Department of New York City, Descriptive 400 Jan. e 600 Jan. 10 The Test of Friendship Drama 1.000 Jan. The Home of the Seal . . . . Educational 300 Jan. 11 The Gardner's Ladder Comedy 700 Jan. 13 The Link That Held 960 Jan. 17 .Comedy-Drama l.fKiii Jan. 18 Uncle's Birthday Gift Comedy mi.-, Jan. 20 990 ESSANAY CO. Dec. 31 A Gambler of the West . . . 1,000 Jan. The Redeemed Criminal ... 1,000 Jan. 7 The Count and the Cowboys, Western Comedy 1.000 Jan. 10 The Sophomore's Romane. . .Comedy-Drama 1.000 Jan. 14 The Girl of the West Western Drama 1.000 Jan. 17 His Master's Son Drama 1,00(1 Jan. 21 985 GAUMONT. Jan. 7 945 Jan. 10 A Child's Plea Drama 758 Jan. 10 The Hills of Corsica Travelogue 243 Jan. 14 958 Jan. 17 The Sealed Letter 837 Date. Subject. Class. Feet. length. Jan. 17 A Water Contest Educational 168 Jan. 21 The Kleptomaniac's Repentance. ...Drama 965 KALEM CO. Jan. 4 975 Jan. 6 The Runaway Engine ... 955 Jan. 11 For Love of an Enemy... 995 Jan 13 The Heart of an Indian Mother, Indian Drama 1,000 Jan. 18 Her Chum's Brother 0X0 J a n. 20 Robbie and the Redskins. sr.o Jan. 20 Modern Light Battery in Action. . .Military 95 LUBIN MFG. CO. Jan. Art and the Legacy .Comedy Drama 950 Jan. 5 390 Jan. 5 600 Jan. .Drama ) Jan. Comedy j 980 Jan. 9 Tag Day at Silver Gulch. 935 Jan. 12 The Widow's Choice Comedy 950 Jan. 16 Will It Ever Come to Thi , .Comedy 715 Jan. 16 250 Jan. 19 A Brother's Redemption.. 1,000 MELEES. Dec. 22 980 9S0 Dec. 'J! > In the Tall Grass Country Jan. 12 The Owner of the "L. L." Ranch ...Drama 980 Jan. 19 Comedy 980 PATHE FRERES. Dec. 31 1,000 Jan. 2 The Misplaced Petticoat . . 790 Jan. 2 497 Jan. 4 The Cowboy's Innocence . 994 Jan. 6 997 Jan. 7 781 Jan. 7 The Funeral of Count Tolstoi.. . . .Topical 220 Jan. 8 676 Date. Subject. Class. Feet. length. Jan. 9 In the Land of Monkeys and Snakes, Colored Scenic 276 Jan. 11 The Twin Cinderellas Comedy 705 Jan. 11 Dusty Rhodes Takes a Flight Comedy 249 Jan. 13 Max Is Almost Married Comedy 572 Jan. 13 So Near but Not Quite Comedy 420 Jan. 14 The aBttle at Redwood Drama 1,000 Jan. 16 Marguerite's Birthday Comedy-Drama 659 Jan. 16 Saved by Her Prayers Drama 331 Jan. 18 Trailed by an Indian Drama 495 Jan. 18 Sea Birds and Their Haunts. . .Educational 462 Jan. 20 The Tables are Turned Comedy 981 Jan. 21 The Marked Dollar Drama 968 SELIG POLYSCOPE CO. Dec. 26 Drama 990 Dec. 29 Jan. The Argonauts Drama 1,000 Jan. Jan. 9 Jan. 12 The Rival Dramatist Berlesque 1,000 Ja n 16 Buddy, The Little Guardian... Drama 1,000 Jan. 19 An Englishman's Honor Drama 1,000 URBAN-ECLIPSE. Dec. 28 Coaching in Devonshire, England. Travelogue 348 Jan. 4 A Lock of Hair Drama 978 Jan. 11 Washed Ashore Drama 670 Jan. 11 Woodcarving in Brienz Educational 320 Jan. 18 By the King's Order Drama 991 VTTAGRAPH CO. Dec. 30 Crazy Apples Comedy 988 Dec. 31 Where the Wind Blows Drama 987 Jan. 3 All Is Fair In Love and War Comedy 973 Jan. 6 The Misses Finch and Their Nephew Billy, Comedy 979 Jan. 7 The Old Water Jar Drama 0S4 Jan. 10 Doctor Cupid Comedy 987 Jan. 13 Water Lillies Drama 991 Jan. 14 Coward or Hero Drama 975 Jan. 17 Three Men and a Maid Comedy 1,000 Jan. 20 The Girl in the Film Comedy 963 Jan. 21 Cast Up by the Deep Drama 1,001 The Leading Motion Picture Producer of €iie World JANUARY 19 s E I G An Englishman's Honor A Drama of Intense Human Nature, With a Story Carrying Over Two Continents and Resulting in the Reuniting of Two Faithful Hearts GET ON OUR MAILING UST Length about iooo feet Code Word, ENGLISH ^ The Curse of the Red Man THE BEST INDIAN PICTURE OF THE SEASON USE SEEIG POSTERS A Robust Patient An Exhilarating Comedy anent with the Times. The Patient, instead of Reducing Avordupois according to the Wishes of his Doctors, becomes More Robust Length about iooo feet Code Word, ROBUST JANUARY 23 S E L I G Motion Picture Operators This is another proof of what I have told you about the "Hallberg Economizer," "Electra Carbons" and other "Hallberg" Specialties High Ground Arcade, 1470 Myrtle Ave., Mr. J H. HALLBERG, Brooklyn, Dec. 12, 1910. 36 East 23d St., N. Y. City. Dear Sir:— You will be interested in the following test of "Electra" Pink Label Carbons in my Theatre : Edison Machine. Size of Picture, 9x12 feet. Distance projected, 52 feet. Alternating Current, 110 V., 60 cycles. Am using ' Hallberg Economizer," connected for medium strength of light, delivering 45 to 50 amperes at the arc with 30 ampere line fuses. Using No. 6 asbestos wire. I used 5-8 x 6 inch Soft Cored "Electra" Pink Label Carbons, both upper and lower, and with one trim ran off 1 1 reels in exactly three hours time, and the current consumption, as observed on the Watt Hour meter, was 5,500 or 5 1-2 K. W. At the end of the run there remained 11-2 inch in upper carbon holder and 2 inches in lower. I have used the "Electra" Pink Label Soft Cored Carbons and the "Hallberg Economizer" for the past year and produce the best white light obtainable. Also, since using the "Hallberg Terminals" in the lamp house, I have had no trouble with hot wires or burnt out lamp leads. Yours for success, HENRY JOESTEN, Prop. & Mgr. Patentee and Maker of the " Hallberg Economizers " for all circuits and other specialties for M. P. Theatres SPECIAL AGENT FOR "Electra" Pink Label M. P. Carbons Excello Flame Arc Carbons The Flickerless Motiograph and All Other Makes of Motion Picture Machines Always in Stock Hallberg 4000 C. P. Flaming Arc Lamps. Terminal Connectors— Lugs Lenses— Con- densers-Film Cement-Flake Graphite Colored Announcement Slides-Under- writers' Slide Carriers-Abestos Cable Rheostats - Screens- Rewinders Buzz, Ceiling and Exhaust Fans. Repair Parts for all makes M. IP. Machines. M. P. Oil. Opera Chairs. TicketlChoppers. Spot Lights. Motors of all kinds. Fire Extinguishers. Model "B" Calcium Cas Outfits. Oxone— Ether-Limes— Burners. Stereopticons of all kinds. HALLliF.Ki; TERMINALS Everything for the Complete Equipment of Moving Picture Theatres J. H. HALLBERG 36 EAST 23d ST., NEW YORK CITY 36 PAGES SINGLE COPIES TEN CENTS $2.00 PER YEAR "TONY, THE GREASER" A Thrilling Story of Mexican' Life 4. NEW YORK, JANUARY 28, 1911 Whole No. 249 Released Thursday, January 26 Length, about 1,000 feet Strong heart appeal in this story, depicting the affection of a father for his child. A musician marries a rich girl, who is then disinherited by her father. Later she dies, leaving a child. The musician becomes partly paralyzed. Unable to provide for his little daughter, he 6ends her to her wealthy grandfather. After many years she meets her father by chance. He is old and poor. But he is repaid for years of sacrifice when his daughter wins him a home with herself and her grandfather. Well staged and acted. Released Monday, January 30 Length, about 1000 feet Ml A delightful love comedy which teaches that genuine rich uncles cannot be made to order. Byron Jones tried to "palm off" a false one on his sweetheart, thinking the prospect of a large legacy would influence her in his favor. But the "rich uncle," after spending all Byron's money, made out his "will" by mistake leaving his "property" half to Byron and half to a rival of his. Then the girl married his rival. The joke certainly did hit back at Byron. Served him right, too, for trying to deceive the girl. This is one you can't afford to miss. LUBIN MANUFACTURING CO. BRANCH OFFICES CHICAGO: 22 Fifth Ave. MODEL NEW STUDIOS: 20th STREET and INDIANA AVENUE, PHILADELPHIA, PA. bSrlSI": 35 Fhedrich s*t7.W" "LASSOING WILD ANIMALS IN AFRICA" Daring Exploits of the Famous Buffalo Jones and His Cowboys On Veldt and In Jungle. Many Thrilling Incidents Shown In Motion EVERYBODY has heard of Buffalo Jones, now famous the world over for his ability to capture wild and dangerous animals with a lasso. Colonel Jones began his unique exploits in the wilds of the Great West several years ago and many stories have been written about the way he caught the American lion, or puma, and other dangerous beasts. After having caught alive with a lasso every wild animal in this country, Colonel Jones decided to go to Africa, where the real wild ones are and see what he could do with regular lions, rhinos and such. After due preparation, not forgetting a good Jones had 9,000 feet of negative, varying in quality, but mostly good. This was turned over to Pathe Freres' Bound Brook factory and fin- ally trimmed down to 2,000 feet of corking scenes. The pictures are of fine photographic quality from start to finish, and most of the work is done close up to the camera, so that every move- ment can be seen. Beginning with the start of the expedition from Nairobi the pictures take us for miles across the veldt and jungles to the game country, The big ox carts, loaded with impedimentia, are shown crossing a "drift," or an ugly wart hog. There is a lively chase, but his hogship is soon tangled hopelessly in the lariats, thrown and tied. The next victim of the plainsman's skill is the hartebeast of which they make easy work. An eland comes next, and here one of the cow ponies adds to the fun by giving an exhibition of bucking. He got fright- ened at the eland, which was new to him, and declined to stand while his rider was tying up the beast. When the ropers got after a giraffe there was some tall riding. Those big ungainly creatures can go some when they get started, and this one A LINE ON A GIRAFFE. \G UP A BI<; RHINO. motion picture camera and competent operator, Buffalo Jones and his two Western cowboys, accompanied by a retinue of black boys, set out from Nairobi, British East Africa, for the game country. Their equipment included several of the best cow ponies that ever bucked under a saddle and plenty of good rope. The magazines have told the story over and over again and shown a hundred "still" pictures of the extra- ordinary feats of Buffalo Jones and his cow- boys in throwing and "hog-tying" almost every kind of wild animal they met up with, but it re- mained for the motion picture camera to tell the story as it should be told; and that brings us to the subject of this story. When Buffalo Jones returned to America he sought to dispose of his motion picture views to the best advantage. This meant an arrangement with licensed manufacturers, and the deal was eventually closed with those interests. Colonel LIONESS, HOG-TIED AND MUZZLED. small stream; the camp of the expedition en- route and fording streams form interesting views. Arriving at the scene of action Colonel Jones and his cowboys get busy. The first victim is led his pursuers a merry chase before he was finally roped and tied. Probably one of the most sensational scenes centered about the capture of a particularly ug- ly rhinoceros. It was one of the two-horned va- riety, and one of the horns is particularly long and dangerous. After several charges, the rope- throwers got him right, and he was eventually thrown. The capture of the rhino ca'led for a big celebration in the camp that night among the natives. Succeeding scenes show the capture of a ze- bra, a cerval cat, a cheetah, which is a sort of leopard, and finally a full grown lioness. This latter exploit was attended with great danger, and much of the preliminary action was lost to the camera for the reason that the camera man had concluded that distance, under the circum- stances, would lend much enchantment to the (Continued on page 31.) 2 THE FILM INDEX Film Index Published by THE FILMS PUBLISHING CO. (Incorporated) No. 1 Madison Avenue, New York City Rooms 6007-6008 Tel. Gramercy 5538 JAMES L. HOFF, Managing Editor CHICAGO OFFICE: 611 Ashland Block 'Phone, Central 1605 JAMES S. McQUADE, Representative SUBSCRIPTION RATES— One year. $2.00; six months, $1.00; three months' trial. 51 h\: single copies, 10c. Post- age prepaid to all countries in Postal Union. FOREIGN SUBS0RIPTIONS-$2.50 per annum. All subscriptions payable in advance. INFORMATION FOR ADVERTISERS ADVERTISING RATES Whole Page SfiO.OO Half " 30.00 One-Third" 20.00 Quarter " 15.00 One inch, single column 1.40 Discounts on Time Contracts— 5 per cent, on three months; lOpercent. on six months; 20 per cent, on one year CLASSIFIED ADVERTISING - " For Sa'e," "Help Wanted," etey 3c. per word; minimum, $1.00 one time. "Situations Wanted." not to exceed 4 lines. 25c. one time. Cash must accompany all orders forclassifle.l advertising. SPECIAL NOTICE Copy and instructions for advertising must reach the publication office not later than Wednesday, to insure insertion the same week. REMITTANCES should be made by express or postal order, check, or registered letter. Cash sent otherwise is at the risK of the sender. JANUARY 28, 1911. CASUAL COMMENT SOME more African pictures are announced. This time it is scenes of the unique and daring exploits of Buffalo Jones and two American cowboys who capture lions and rhinos by roping them as they would a Texas steer. The films showing how they did it, in exhibition form, are 2,000 feet in length. We had the pleasure of viewing this film the other day and found it of thrilling interest throughout. When the Roosevelt pictures came out near- ly a year ago it was complained of them that they gave too little of Roosevelt in action. What was wanted was the mighty hunter throttling lions and throwing elephants in the air. Those pictures were taken under great difficulties, not having the full approval of the Colonel himself. In the case of the Buffalo Jones pictures, the camera was a part of the expedition and every effort was made to give the camera man the best possible view of the proceedings. Nine thousand feet of negative was exposed. This has been carefully pared down to 2,000 feet, so you may believe that there is not a dull moment. The wide publicity that has been given the exploits of Buffalo Jones should awaken great interest in these pictures, and if they are prop- erly advertised, exhibitors should profit by their exhibition. The pictures are being marketed by Pathe Freres in behalf of the licensed manufacturers who have secured the exhibition rights for America, and will be released by all licensed exchanges on Sunday, February 12. * * * PENNSYLVANIA exhibitors have started a movement to secure a modification of the State law regulating motion picture the- atres. The law in question is peculiarly un- just and equally unnecessary. That safeguards are needed for all places in which people con- gregate in large numbers is not to be ques- tioned, but the requirements should be within reason. The terms of the Pennsylvania law are unreasonable and should be modified. Just how this shall be accomplished is a matter for careful discussion. But whether the law is to be amended or substituted by a more equitable measure, the proprietors of motion picture theatres in Pennsylvania must get to- gether and act in unison in the matter. Mr. George W. Bennethum of Reading, Pa., is endeavoring to get some action by the ex- hibitors. The Film Index urges that his efforts be given prompt and hearty support. * * * DURING the past few years a great deal of misinformation has been published on sub- jects relating to motion pictures. Espe- cially is this true of the technical side of the subject. Persons with a minimum of knowl- edge regarding the principles of science involv- ed in picture projection have presumed to in- struct others. Thus, we have "handbooks" and trouble departments in trade papers, written upon guess work and by rule o' thumb. The Film Index has made it a rule to pay scant at- tention to the sort of nonsense printed by these so-called experts, but now and then errors of such glaring nature appear as to compel notice. Recently the manner of setting carbons to ob- tain the best light was discussed in the Mov- ing Picture World, and the statements were at so great variance with the facts that our contributing editor, Mr. J. H. Hallberg, agreed that a correction should be made when we brought the matter to his attention. In another column we print the discussion of the subject as it appeared in the M. P. World, with Mr. Hallberg's explanation, illustrated, following. Mr. Hallberg is an acknowledged authority in the electrical world upon the subject of "Arc Light" ?nd carbons, so that his theory may be accepted as the correct one without hesitation. WE present this week from the pen of Mr. Epes Winthrop Sargent, an interesting article upon the "Technique of the Scen- ario." This, we believe, is the first time that anything so comprehensive has ever appeared in print on the subject of scenario writing. We commend it to aur readers, especially those who are endeavoring to write picture plays. APPRECIATE LOBBY BULLETINS Editor The Film Index: Dear Sir: — The agreement of the manufactur- ers to issue a uniform bulletin will be greatly ap- preciated by all exhibitors. The general pub- lic likes to read a short synopsis of the sub- jects posted in the lobby. A picture at the end of the reel of the performer who took the leading part would be enjoyed by motion pic- ture "fans," as these artists are becoming great favorites. We run licensed pictures with illustrated songs by South Dakota's nightingale, Ernest Lower, Yankton's boy soprano. We make the motion picture the chief attraction always. No cheap vaudeville, no change of price, no prize package. The house of good motion pictures — first, last and always motion pictures. Just what the people want. Yours truly, E. M. LOWER. Yankton, S. Dak. A BI0GRAPH SERMON Editor The Film Index: Dear Sir: — The Biograph's, "The Two Paths" is a masterly sermon that should do more to show some girls the best way than all the spoken sermons and all the magazine and news- paper articles on this subject of "the easy way." The moral is so obvious and so strongly pre- sented that all girls with a wayward tendency who view this picture show see their mistake and mend their ways. More sermons of this character should be pre- sented, and in the future we might have theatres on Sundays, presenting motion picture sermons with appropriate music, together with a religious song or two by a good singer and I venture to say that a Sunday afternoon or evening spent in viewing pictures like "The Two Paths," to- gether with a Pathe or a Vitagraph Biblical subject presented with appropriate music, would hit more people harder and do more real good than a dozen sermons. I think it must be admitted that people's minds are greatly affected by the things that they see on the screens, and the effect of the picture named above could not but have an ele- vating and very desirable effect. The Biograph is recommended, and I hope 1 see more pictures of this character in the fu- ture, and the motion picture will become a greater influence in people's lives and especially so among young pople. Yours truly, CHARLES R. WILHELM. Chicago, 111. WANT NEW LAW IN PENNSYLVANIA A movement is on foot among the exhibitors of the State of Pennsylvania to secure an amend- ment to the present law regulating motion pic- ture theatres in that state. The following is a copy of a letter addressed to the Motion Picture Patents Company soliciting the assistance of that company in the fight: Dear Sirs: We wish to call your urgent attention to the the- atre law No. 233 P. L., 1909, now in force in Penn- sylvania. This law can be complied with by the smaller theatres with the exception of the three four- foot aisle clause, as most of the photoplay houses are but fifteen to thirty feet in width. The legislature of Pennsylvania now being In session, immediate ac- tion should be taken. We would suggest that you take it up with each individual exhibitor in this State asking them to write to or to see if possible the representatives to the legislature from their dis- tricts looking toward a plan to modify that part of the law which it is impossible for the smaller sized theatres to comply with. This law as it now stands states that theatres must have three four-foot aisles and as this is a proposition which is impossible for the small theatres to comply with, we feel it is un- just and should be modified, so as to leave the aisle question open to the discretion of the factory inspec- tor in all cases where the width is not sufficient to permit of three four-foot aisles. We wish you would make a strong appeal to the Penna. exhibitors by mail and through the Trade Journals and Film Exchanges asking them to take immediate action while the legislature is in session. We are now taking up the matter with our repre- sentative, Mr. Geo. W. Sassaman, of the Berks dis- trict and will have him frame a bill and present it before the legislature at the earliest date. We trust that you will give this matter immediate attention, as this is not only for the interest of the exhibitors alone, but for all concerned. Awaiting an early reply, I remain, Yours very truly, Geo. W. Bennethum, For Reading, Pa., Exhibitors. THIS IS SO GOOD Sullivan, Indiana, January 13th, 1911. Kalem Company. Gentlemen: — I wish to compliment the Kalem Com- pany on their greatest of all releases entitled, "The Lad from Old Ireland." To- say that this picture was appreciated in my theatre, is only expressing it mildly. Every one of the one thousand people who saw it here Saturday, January 7, I am sure will never forget it. We use all effects possible in pictures and I lecture them and talk them over as much as possible. I took particular notice of my audience and, out of three and one-half years' experience in moving picture business, I can honestly say that never have I had a picture to show such an effect on an audience as did this one. From the instant the film started, after remarking that the Kalem Company was the first to produce a film taken on two continents, you could have heard a pin drop almost. So interested were they in the pic- tures, It seemed they had all been suddenly trans- formed into one immovable mass of humanity as I looked out over them, saving occasionally where a handkerchief would be lifted to wipe away a tear. Every patron that could get near me after the show shook my hand and complimented me for giving them such a good picture. Best of all. one old Irishman, at the close of the picture yelled out loud, "An Irish heart is always true." In giving you this praise. I must not leave Miss Gene Gauntier out. also "Terry O'Connor." I regard Miss Gauntier as one of the best emotional actresses I have ever seen — she is grand. My patrons know her well, that is, in your pictures, and it is getting so that they stop me on the street and ask if Miss Gaun- tier is going to play tonight. If so, they will come. That shows what Sullivan people think of Kalem pic- tures, and I am sure they all have the kindest wishes for the success of the Kalem Company, who are en- deavoring to always show them something good and entertaining. FORREST WM. CAMPBELL, Mgr. THE FILM INDEX 3 MORE MISINFORMATION DISCLOSED "Man Who is Bigger than Edison" is Busy Starting More Trouble While perusing a very recent issue of the M. P. World to note what latest folly the "starting trouble man" was indulging in, a peculiar story on carbon setting attracted our attention. First we noted that, while "San Antonio" asked the question, "Nashville" got the answer. This stamped the matter as a "fake," and induced us to follow it further. Accordingly we referred it to our electrical expert, Mr. J. H. Hallberg, elic- iting a reply. To make the subject clear to our readers, many of whom may not have seen the "trouble man's" yarn in the M. P. W., we print his story in its entirety with the illustration, and follow it with the correct explanation of the subject by Mr. Hallberg: (From the M. P. World.) CARBON SETTING. — San Antonio. Tex., writes: "I am one of the operators who feels that he does not know by any manner of means all there is to know about projection. I have realized this more than ever since reading the Trouble Department, but I am using every endeavor to remedy my deficiency through study. One thing that I would like to have your opinion on is this: Two different authorities, or, at least, supposed to be authorities, advise that carbons be set central and straight up and down for alternating current. Now Mr. Richardson, this does not sound to me like com- mon sense, and I would like very much to have your opinion." You are right, Nashville, in supposing that the in- structions to set carbon central and straight up and down is incorrect. I believe I know the authorities to whom you refer, and it has been a matter of surprise to me that they have made such recommendation. As a matter of fact, to get at the meat of this particular nut, it is a universally conceded fact that the best light available for projection does not come from the arc itself, but from the incandescent crater or craters of the carbons formed by the volatilization of the car- bon through enormous heat. Now7, if the carbons be set central, very little of the crater light can. of course, be made available for projection, even by set- ting the carbons at the customary D. C. angle. If. however, the carbons be set central, and also be set straight up and down, then the light from the top crater is shown directly downward, and the light from the lower crater directly upward, the only available light being that of the arc itself. This is a proposi- tion that is absolutely beyond dispute. It cannot be successfully contradicted or controverted. It is a proposition analogous to the fact that one plus one makes two. When A C began to be used for projection purposes, operators endeavored to use both craters by angling the two carbons ahead, setting the lamp itself, usually, straight up and down. This did not work at all well in practice, since it was impossible to maintain the craters on the front ends of the carbons. The next scheme which came into favor was the setting of the lower carbon straight up and down and the angling forward of the top carbon. This proved to be some- what of an improvement, but still it was difficult to handle the light since the crater would move around and could not be maintained in one position. Of late years the better operators have, almost to a man, adopted the plan of setting their carbons exactly alike for both A. C. and D. C, using a heavier amperage to make up for the diminished size of the one crater available under this plan. Not so great a candle power is secured thus as by angling the carbons somewhat forward, but the advantage lies in the fact that the crater can be maintained in one position and the light held almost as steady as one can hold D C. projection light. Those who have my Handbook will find this matter fully discussed, explained and illustrated on pages 8l>, S7, 88, 81), 90 and 91. To set this matter forth as clearly and fully as I could wish would con- sume three or four pages of the paper and that, of course, is out of the question at this time. The ap- pended sketch, in which A-A represents light rays from lower, B-B rays from upper crater and C light from arc available for projection, may make the mat- ter more plain. Matter Correctly Explained by Mr. Hallberg. To the Editor of The Film Index. Dear Sir: — Your letter of Jan. 16th relating to the setting of carbons for alternating current projecting arc lamps has been received and carefully noted. I presume you refer to the article in the M. P. World headed "Carbon Setting" sent in by "San Antonio, Tex.," but to which the Editor makes reply with sketch addressing "Nashville" (sup- pose one location is as correct as the other). The late Lord Kelvin, one of the world's greatest scientists, said, in reference to educat- ors, at a reception given in his and Lady Kel- vin's honor at Columbia University, to which I had the pleasure of an invitation: "He who does Fig 1 not understand himself cannot be expected to make others understand." This simple but forc- ibly truthful statement was greatly impressed upon my mind and has made me mighty cauti- ous in selecting for discussion only those sub- jects with which I am thoroughly familiar. I don't pretend to the honor of being the equal much less the superior of Thomas Al- va Edison, America's greatest inventor and elec- trician, but I do feel that my experience during the past fifteen years as expert on the electric arc, arc lamps and arc lighting qualifies me to make a reply which can he depended upon as be- ing correct. The matter of the correct setting of the car- bons for projector arc lamps depends upon sev- eral factors which I could easily explain here- with, hut which will be made the subject of one of my "Electrical Talks" at an early date. How- ever, for the present I will state for the benefit of those who are interested that the editor of the article and sketch referred to in the M. P. W. evidently does not thoroughly understand the subject he attempts to give advice upon. He has overlooked the most important element in the Arc Light combination of a projector and that is the Condensing Lenses. To one who has not mastered the details of arc projection, it would seem that if an arc lamp be trimmed with carbons in perfect verti- cal alignment, the craters, when operating on alternating current, would be flat and at right angles to the vertical line (-barring side draughts) as illustrated in Fig. 1, which is a correct representation of the light distribution from such an Open Arc Lamp. The projector lamp is, however, provided with a condensing lense, the purpose of which is to gather the light rays from the arc, as shown in Fig. 2. You will please take note that the arc no longer stays in the center of the carbon points; it is pushed towards the condensing lenses by the slight draught of air created when the condensor pulls the light rays and con- sequent heat towards itself. The arrows Fig. 2 indicate the direction of the air circulation. The carbon points are no longer flat or at right an- gles to the center line of the carbon. They are open or slanting towards the condensors. This valuable discovery, which I made several years ago, is not applicable to its fullest extent for projector arc lamps unless the arc is under the control of specially designed and constructed controlling devices, such for instance as the Hall- berg Economizer. Fig. 3 illustrates correctly the vertical carbon setting and perfect crater formation and light distribution from an arc controlled by the Hall- berg Economizer. I am surprised that the editor referred to should not have made himselt more familiar with these matters before attempting to criti- cize. It will be well for him and others inter- ested to keep an eye on the Electrical Talks now appearing in The Film Index. The information I intend to give cannot be had from any "Hand Book" now in existence, but I expect to publish Fig. 3 my "Electrical Talks" and otner valuable data in book form for the benefit of those who "do not know it all." If I can be of further service, do not hesitate to call on me, as I am willing to do all I can to put the hard working operator on the right track. Respectfully yours, J. H. HALLBERG. NEW PATHE TRAVELER. Mr. C. F. Hurst, formerly with the Imperial Film Exchange, New York, has joined the field forces of Pathe Freres and will travel exten- sively, demonstrating and selling the Pathe pro- jecting machine. Mr. Hurst is familiar with the picture business in its several branches an:l has a wide acquaintance among exhibitors. With the reputation for excellence borne by the Pathe machine Mr. Hurst ought to command the at- tention of picture theatre men wherever he goes. 4 THE Film Index is in receipt of advance consular reports on the subject of motion pictures in Russia and South America that will be read with no little interest by pic- turemen in America. Information as to the character of pictures most favored and the uses to which they are put, customs duties and prices will be found in the reports which follow: RUSSIA. (From Consul General John H. Snodgrass, Moscow.) So popular are cinematograph shows in Rus- sia that the most insignificant towns and villages even in remote districts, are well provided with these amusements, and new electrical theatres are being opened daily in the provinces. In Moscow alone there are about 80 cinemato- graph theatres and approximately the same num- ber in St. Petersburg. Formerly 200 theatres were in existence, but during the past year the police authorities closed many places on account of complaints by building inspectors and for various other reasons. These theatres were started in all kinds of rooms and buildings wherever it was possible to secure a lease. The theatres are now well distributed throughout Moscow, while before the thinning- out process an entire street would be lined with them. It is understood that on the Nevsky Prospect, St. Petersburg, there are 13, on the Grand Prospect 8, and on Garden street 6. It is estimated that there are 1,200 electric the- atres in the Russian Empire, and that the num- ber of visitors aggregated last year 108,000,- 000. At an average admission of 20 cents, $21,- fiOO.OOO was taken in. The admission charges range from 8 to 67 cents, and many of the theatres are frequented by as many as 1,000 persons a night. In the better places a full orchestra in the music, rooms and foyer delight the audiences during intermission, while usually a piano and violin accompaniment entertain while the performance is being given. In cheaper places mandolin and guitar clubs from the university, violin soloists, and auto pianos and orchestrals are employed to amuse the crowds which flow into the theatres from 4 o'clock in the afternoon up to midnight. On Sundays and holidays the crowds are so great that additional police offi- cers are often required to keep the immense number of people moving and to prevent pos- sible accidents. During the cholera plague the cinematograph shows have been influential factors in educat- ing the people how to prevent spreading the disease. Every night during the performances it is suggested by large letters on the curtain that unboiled water should not be drunk, and a menu in which there is no danger of invit- ing the plague is given. In other ways the people are warned to be careful, especially as to the water, and thus these amusement places educate those who would perhaps be less thoughtful. Cinematographs are also being more and more used for educational and de- monstrative purposes in schools and at lectures. For hygienic reasons the theatres are fitted with appliances that eliminate the foul air and substitute the fresh outside air. Fans are pro- vided in summer, so that even small rooms are kept comfortable. The pictures shown are furnished chiefly by French and Italian firms, all of whom have branch offices here and carry large stocks. The number of American, English, and German scenes shown here is insignificant. Though it would appear that French and Italian film com- panies are controlling the Russian market, American manufacturers could secure a profit- able share of the trade if they would cater to Russian tastes. Pictures representing Ameri- can scenery and sporting events, such as base- ball and football, would appeal to Russians. Any event in which a large crowd of people is shown is popular. In order that American firms may do a suc- cessful business, it is absolutely necessary to open branch offices in the principal cities and THE FILM INDEX 1 I 1 to carry in stock a large and well-assorted sup- ply of American pictures of unique and enter- taining subjects. Some foreign concerns carry 3,000 different films in stock, which are either sold outright or rented. Of American films, those of the Edison, Vita- graph, and American film companies are met with. The films are sold at 2 cents per meter (39.37 inches), and are rented under the fol- lowing conditions: One program of pictures, comprising a total length of 1,000 meters, $10.30 to $128.75 per week; two programs a week, $15.45 to $154.50. The most popular films average 500 to 660 feet; the shortest about 2 00, and the longest 1,800 feet. The average requirements of the respective lengths of films have been furnished by a local institution, as follows: 15 of 60 to 100 meters, 28 of 101 to 150, 31 of 151 to 200, 19 of 200 to 250, 13 of 250 to 300, 5 of 300 to 400, and 1 of 420 or more. The Russians are particularly interested in tragedy and drama, and such scenes as "Faust," "Troubadour," "The Siege of Saragossa," and similar ones, requiring films of 600 meters, are quite popular. Nature scenes, which, however, usually are short, are also in demand, espe- cially those picturing wild and savage life. Six companies are engaged taking Russian pictures, the majority of which betray historical periods in the nation's life. Horse races, village scenes, and pictures of the interior of the country are frequently seen. The foreign pictures are chiefly imported al- ready printed on the film, while Russian pic- tures are printed here on imported films about 85 per cent, of the latter being the production of the American Kodak Company. It is said that while five years ago only one firm made cinematograph pictures, there are now over 60 actively in this business. The machinery required, dynamo-electric and oil engines, are chiefly of Russian, German, and Swedish origin. The imports of cinemato- graph apparatus into Russia for the first eight months of 1910 aggregated $138,020, compared with $95,275 for the same period in 1909. In Moscow, the Cine-Phono, a semi-monthly journal devoted exclusively to the cinemato- graph trade, is published and appears to be meeting with considerable success. The duty on machinery is 9 rubles per pood ($4.64 per 36.2 pounds); on films, 70 kopeks per funt (36 cents per 14.4 ounces). (A list of dealers in cinematograph apparatus and films in Russia may be obtained from the Bureau of Manufactures.) URUGUAY. (From Vice-Consul F. Landon Goding, Montevideo.) The motion picture theatres in Montevideo number 20, and are considered one of the prin- cipal amusements. The films used are of Eu- ropean manufacture, although a few American views have been shown and have met with favor. These latter are usually scenic views, such as Niagara Falls, while the European in- clude scenery, parades, industries, and dramatic views. The exciting dramatic views appeal to one class, while the views that tend to educate appeal to another; the comic views appeal to all. As the American films already shown have compared very favorably with those of Eu- ropean views, it would be of general commer- cial value to the United States to introduce more views showing the larger cities, the work- ing of large factories, steel mills, etc., scenes of amusement parks, summer resorts, naval and army reviews and sham battles, college ath- letics, fire scenes in the large cities, and farm, irrigation and stock-show scenes. Comic views should be included as well, as the people here are great lovers of comedy. There is no better means of acquainting peo- ple with the habits, customs and industries of a foreign country than by the use of the motion picture, and that fact is proved in South Ameri- can countries when one visits a biograph the- atre and observes how familiar the public is with scenes in Europe. On the other hand, when an American view is shown, although an interest is manifested, the audience plainly shows that it is entirely foreign to them. Even the illustrated magazines in the reading room of this office attract attention to city and in- dustrial scenes in the United States and bring forth many comments on the "Great Republic of the North." The largest importer of motion picture sup- plies in Montevideo imports practically all the films used here, and has some 500 rented throughout Brazil. He is also arranging for an agency in Buenos Aires and later in Chile, so as to be able to send the films throughout South America. Were American motion picture companies to introduce their films here, show- ing the above-mentioned places, it would not only result in a good business for them, but would benefit the interests in general of the United States in South America. The customs duties on motion picture films totals about 40 per cent, on a valuation of $3.62 per 2.2 pounds. Films entered to be shown and then sent out of the country do not escape the customs duties. All descriptive matter shown on the films, as well as the name and the direc- tions to the operator, should be written in Spanish. The motion picture machines now in use are of French make and give satisfaction for the first two or three months, when the light gives much trouble to the operator. A German firm made an attempt to introduce its machines and the agent succeeded in making arrangements to change all the machines then in use for the German machine, but as the company would not alter its machine from direct to alternat- ing current to meet the conditions here it was forced to abandon the project. As the importer in Montevideo practically controls the importation of machines and films in this city and intends to establish agencies throughout South America, he would be in a position to suggest the necessary changes to meet the requirements throughout South America. The machines sent to Montevideo should be equipped with a 220-volt alternating- current light and so constructed as not to re- quire the use of extra fittings, such as resistance coils, etc. There is an opportunity for American mo- tion picture supply companies to introduce their films and to replace the machines now in use, provided they will send a good machine to be tried and then make the necessary changes to meet the requirements in the different coun- tries. In advertising their films, samples should be sent with as clear description of the picture written in Spanish as possible. The importer mentioned intends to go to Eu- rope in a few months, but if he could make as good or better arrangements with an American firm he will visit the United States also. COLOMBIA. (From Vice-Consul General Charles H. Small, Bogota.) In Bogota, with a population estimated at 80,- 000, there are no theatres devoted exclusively to the exhibition of motion pictures. In one place similar to the average motion picture house of the United States, cinematograph ex- hibitions are given three nights a week through- out the year. Similar entertainments are given occasionally in a regularly equipped theatre. For some months past motion pictures have been the principal feature at the leading park here. These exhibitions last two to two and one-half hours and the prices of admission range from 10 to 40 cents gold. The attend- ance is very good. There are no picture machines of Ameri- can manufacture in use here, the four cine- matographs in the city being of European make. The great majority of the films are bought outright from French and Italian houses. It is said that an amusement company has recently been organized to produce nightly ex- hibitions of motion pictures at the principal park in Bogota. "The Irish Honeymoon" For St. Patrick s Week Motion Pictures In Foreign Countries Comprehensive Consular Reports on Conditions of Trade in Russia and South America THE FILM INDEX 5 "ONLY A SISTER" A Drama of Love and Devotion Produced by G. Melies LOVE, as is ordinarily spoken of and prac- ticed, is not real love, but mere physical attraction — fascination, bewitchment. Real love is divine the scriptures tell us, and is best exemplified in the love of a sister for her brother. It is instinctive, without effort — curs- ed by neither jealousy nor envy, but blessed with unselfishness and nobleness. This phase of human nature has been truely depicted in a drama of Texan life soon to be released by G. Melies, entitled "Only a Sister." In a humble Texas home lived Molly and John with their father, the editor of a South- ern newspaper. Molly, whose ambition was to havo a college education, had just succeeded in completing the sum of $500 necessary for that purpose, and which she had earned by selling her needle work. She was happily awaiting the opening of the university, believ- ing the dream of her life about to be realized, when certain events in her brother's life chang- ed her career completely. John, a skilled mechanic, was, like many young men without responsibility, dissatisfied with his lot. His mind dwelt constantly on the idea that the world owed him a better living, and he was so preoccupied during business hours that he neglected his work and was dis- missed. Then he became reckless; took to drink and finally to gambling, associating with the gamblers and inebriates of the village. John's father, it happened at that time, pub- lished in his newspaper an article denouncing gamblers and recommending to the authorities means by which the curse could be eliminated from their village. This piece of news was in effect a slap in the face to those with whom the editors own son was then associating — pro- fessional gamblers whose riotous living was sup- ported by money won from the unsophisticated. They formed a plot to entangle the editor's son and thus force the old man to terms. Wnile the boy was intoxicated . they enticed him into a game of dice, and after winning all he had induced him to sign a check upon a bank in which he had no deposit. But this hap- up and recalled with horror that he had committed a crime, and attempted suicide. Molly, the ever-devoted sister, had noted John's peculiar look and followed him, inter- posing just in time to save his life. The plucky girl, after hearing John's unfortunate story, in- stantly hastened to the bank and deposited her hard-earned money, sacrificing a college educa- tion to save a brother's honor. Her affection was not ill-spent. The experi- ,J5 woke John up to his own baseness and aroused in iiim better ambitions. With Molly's aid he regained his old position and resolved to redeem the past and make a man of himself. COWBOYS AND INDIANS Make Sensational Picture of "The Lost Ribbon," by Kalem WORKING together in the Kalem picture entitled "The Lost Ribbon," the cowboys and the Indians connected with the Kalem Western stock company have succeeded in producing a quite sensational subject. The story centers about a cattleman's pretty daugh- ter, Jennie, and her lover and a bit of rib- bon. Jennie and her lover divide a bit of rib- bon the girl has been wearing, but afterward Jennie drops her bit and it is picked up by an- other cowboy, who is the rejected lover. A little later the rejected lover twits the other Now, Jennie has been left alone at the ranch house with her little brother; her father and mother having gone to attend a sick relative at some distance. A band of marauding Snake Indians approach the ranch house and, seeing no one about, determine to raid it. Jennie and her brother take refuge in the garret when they discover the approach of the Indians. Jen- nie helping the brother into a big iron ket- tle which hangs from the roof and gets into a big chest herself. The Indians break in and ransack the house, SCENE FROM KALEM SUBJECT "THE LOST RIBBON. about the girl and the bit of ribbon, showing that he also has a piece of it. This almost precipitates a fight, but the boss of the cowboys stops the hostilities with the suggestion that the matter be put up to Jennie for her decision, and so the outfit rides away to find her. but fail to find anyone. They are about to depart when the cowboys arrive. A lively scrimage ensues, in which the Indians are driven off and the girl and her brother rescued un- harmed. Of course, there is a' show down in order on account of that ribbon and the "hated rival" 'fesses up at once and shakes hands with the lover. The picture is also interesting for the glimpses of California scenery. The route of the bunch of cowboys, on their way to the ranch house to straighten out the question of the ribbon, is over hill and down dale. It's a rugged trail: now you see them silhouetted against the sky- line and again they whirl around the corner of a butte and disappear in a cloud of dust. They are all good riders and the scene forms one of the best in the picture. The Sheriff's Sister. The Kalem Southern stock company have pro- duced a picture entitled the Sheriff's Sister, soon to be released, that is especially worthy of mention because of the unusually good work of Miss Gene Gauntier in the name part. Those who have admired the portrayal of emotional parts by Miss Gauntier will find new delight in this picture. ^ENE FROM MELIES' St ECT "ONLY A SISTER. MONTY SAILS AWAY. On Wednesday morning, Jan. 18, Mr. and Mrs. E. H. Montagu sailed for London on the SS. Lusitania. Monty spent the two days pre- ceding his departure calling upon and saying good-bye to his New York friends. AT LIBERTY. Best known picture team of talkers in America. Address all letters, THOMAS J. O'NEILL. 5610 Fourth Ave., Brooklyn, N. Y. 6 THE FILM INDEX TECHNIQUE OF THE SCENARIO By EPES WINTHROP SARGENT (Chicot) WRITING scenarios for Photoplays has be- come a recognized branch of literature, and now ma>ny names familiar to mag- azine readers are to be found on manuscripts where, a few years ago, those same authors would have scorned the suggestion that they enter this branch of writing, then left to the beginner; the struggler who had not even be- come a hack. Scenarios are unique in that at present the literary lion and the beginner, who splits his in- finitives, stand an equal chance of acceptance, since the literary quality that comes only with practice does not count with an editor who knows his business and can see the story that lurks in a jungle of misspelled words and cramped chirography. But with the increasing popularity of the scenario as a means of in- come, editors grow more particular and, with a wider range of choice, they naturally select the more workmanlike product. With ideas of equal merit they prefer the properly written scenario. Exactly what constitutes the properly writ- ten scenario depends to some extent upon the company. Some ask what others do not de- mand, but a form of scenario that will meet about all requirements is here offered for the guidance of the writers. First of all comes the synopsis, and here, alone, the literary skill of the writer aids. This is your introduction to the editor; it is your advertisement. It is taken for granted that you have a plot, but you want to assure the editor that the plot is worth reading. In a few words as possible tell him what you have to offer. Don't make him wade through several pages of scenes, give him the story on a page, a half page or even a quarter. Take enough space to give your story and "play up" the strong points, but when you've said all you need to say, stop. He" doesn't want the trimmings. All he wants is to know if the story is worth reading. Start it something like this: THE BEST OF ALL. A moving picture scenario in 2 4 scenes requiring 5 exterior and 7 in- terior settings. SYNOPSIS. B'eth Brewster, a country girl, has run away to go upon the stage. Through a lucky chance she is permit- ted to replace the prima donna of the musical comedy with which she has found a place in the chorus. Overnight Beth becomes a Broadway favorite and the widespread publication of her pic- ture in the Sunday papers brings her success to the notice of those at home. Her father refuses to write her, but her loving mother takes the "egg money" and goes to the city in search of her dear one. She arrives on the afternoon of the day on which Beth is called upon to make a choice between virtue and professional advancement. The manager's automobile is waiting at the stage door. So. also, is the mother, who has asked advice of a friendly policeman. Beth. in her dressing room, asks in vain for ain an- swer to the pleading letter she has written her parents. None has come and in a spirit of recklessness Beth de- cides to accept the proffer of the man- ager. Emerging from the stage door, the manager and the mother both spring forward. In vain the manager pleads that he can make her a star. Beth decides that the Mother Love is Best of All and the last scene shows her back home with her old sweetheart trying on the ring while her happy parents look on approvingly. In ad- dition to the strong scene at the stage door there are powerful moments in the dressing room, attractive glimpses of stage life and homely pathcs in the farm scenes. There's the whole thing in a nutshell. You have your title,, which is short and comprehen- sive (the example is rather trite). The editor knows the number of settings as well as the scenes, and you have called attention to the strong scenes in the last few lines. He knows what the story is and now he can read the ac- tion understandingly. Perhaps there are some points in the scenario that are .not wholly clear, but the synopsis make it plain and the addi- tion cf a few words clears the point up for the director. If you wish you can can get on to the sce- nario at once, but it is better to give your cast of characters. A good form used by the writer looks like this: CAST. Beth Brewster .... Country girl, but not a Sis Hopkins type. Young and good looking. She should gain in elegance of manner as the play pro- gresses, but should not become loud or suggest that she is living a fast life. Mrs. B'rewster. ... Lovable old wom- an, motherly and tender. Not a comedy character. John Brewster. . . .The father. Stern and upright, but human. Isaac Einstein. . . .Flashy theatrical manager — in scenes 18-20-22. Policeman. ... In scene 21. Call boy.... Fresh kid about seven- teen. In scene 17-19. Of course, there are more characters, but the sample will suffice. The leading characters are sketched in a line or two. Where players appear only in one or two scenes mention the scenes by number that the director may know whom he can "double," should the cast be a long one and the company short handed. As an example, the Policeman and the Manager might be played by the same man, or the call boy and the policeman could be "doubled." Another handy idea is a "scene plot" that will give the director a list of scenes needed and the number of times each is. employed. If more than one scene is to be played in the same set- ting he will appreciate an index. A good form follows: ' SCENE PLOT. Bedroom in farmhouse — 1-3. Exterior of farmhouse — 2-4. Theatrical agency — 5. Bare stage of theatre — 6-11. The complete list gives a full plot of all scenes, of course, but you have the idea. All of this may seem like very hard work but, in reality, it is easy. Keep a slip of paper beside you as you write. When you use a new character enter the name on the slip. Win n you write in a new scene enter that. When you return to a scene already entered, mark the number of the second after the number of your first. As a precaution check the numbers from the scenes you have written before making out your list. Make certain that the number of scenes agree and that the numbers - are as- signed the proper settings. Don't tell all about the setting. Mention essentials but leave the rest to the director. Some authors offer a complete description of each setting ?ven to planting trees in land- scapes and picking out the wall paper for the inter iors. If you must have something, ask for it. If not, leave the matter to the director. It is all right to say: "Farmyard. Well curb in foreground" if you want to throw someone or something down the well, but don't write "Farmyard, old fashioned well sweep on right with old oaken bucket. Farm house on left side piazza. Barns in rear with cows, chickens, etc. Cat sitting in the sun. Dick enters from house, kisses mother good-bye. Exits." Any farm- yard will do for that and the director is going to take the first farmyard he comes to whether it has a "well sweep" or a "chain pump." The cast and scene plot are not required by most manufacturers, and the chances are that these will be altered because it is seldom that a script comes in that is entirely practical in its layout of scenes, but it does help, and if the scenario is worth doing at all it is worth doing well. With your story established you are ready to write your scenario. A photoplay is a story tol 1 in action and it should be written in ac- tion. R. S. Dowst, in The Editor, limits the number of words for a script to 600, as will be seen in a reprint of the article in The Film In- dex dated January 21st. Mr. Dowst is a fiction writer and is accustomed to defining length in the number of words, but he employs the wrong measurement. A scenario should run from eighteen to thirty scenes according to the length of the action of those scenes, and irre- spective of the number of words. Here actions speak louder than words. A scene running a full minute may require only a dozen words. A fifteen second scene may take fifty words to de- scribe. If you write your story in action, and as tersely as possible, you need not count your words. Payment is made according to whether the script is for a full length reel of about eighteen minutes, or a half reel of eight to ten, and in accordance with the merit of the story. It is important that the action should follow easily and in sequence and that jumping a player from one scene to another should be avoided. If you end a scene with the heroine crying her pretty eyes out on the sofa because she has had a quarrel with her sweetheart, don't show her the sixteenth of a second later walking down the street. Either "break" it with a scene showing the angry lover leaving the house or cover it up with a sub-title or leader. The scene closes on the weeping girl and words are flashed on the screen that tell it is the next day. Charlie makes his apology. Some firms object to the caption that tells the lapse of time, but in some instances it is necessary. In any event the sub-title has served as a drop curtain and it does not look as though Maude had fallen out of her chair into the street. There are times when it is better to write that "Maude exits weeping" instead of letting her stay and cry it out right there. The tableau picture is prettier, but the use of captions should be confined to matters which cannot be explained in action such as "Maude refuses to marry Jack because she promised her dead mother never to marry." You can see her re* fuse Jack, but even if you saw her at her moth- er's death bed making a promise you could not tell from the picture what she had promised. On the other hand, if the refusal is due to her love for Charlie and you show the fortunate THE FILM INDEX 7 "LASSOING WILD ANIMALS In Africa by the FAMOUS BUFFALO JONES AND WESTERN COWBOYS A Unique and Sensational Picture, Showing the Capture of Lions, Giraffes, Rhinoceroses, Cheetahs, Zebras and other Wild and Dangerous Animals of the African Jungle, without the use of Deadly Weapons NOTHING USED BUT THE LASSO Rights to Exhibit this Picture Have Been Acquired by the Licensed Manufacturers. The Pictures are Made and Marketed by Pathe Freres LENGTH, 2,000 FEET RELEASED SUNDAY, FEB. 12, 1911 Place Your Order At Once With Any Licensed Exchange THIS IS A GREAT FEATURE. DON'T MISS IT I Charles and Maude in close embrace, you don't I have to write a letter to the audience to tell ij them about it. They know. ' Writing in action" merely means writing of I the action and leaving out the dissection of I moods and mental processes. If you were writ- I ing a story you might say: "Heavy hearted I with grief over the death of his wife, a blow \ from which he never recovered, Richard Mars- I ton slowly ascended the steps of the little home R in which they two had been so happy. It was :(the first time he had entered the cottage that had y been the shrine of their love since he had heard I the cruel clods sounding their hollow knell upon I the rough pine box that contained all that was I mortal of the woman who was more to him than I life." You would need something like that to I get Richard up to the keyhole. In a picture I you would have shown the same door with the I happy pair leaving it. That establishes the fact I that they live there. You show her death and I his grief. You can't show in pantomime that I he is coming back to their former home for the first time. You use a caption for that, say: "RICHARD'S FIRST VISIT TO THE OLD HOME SINCE ELLEN'S DEATH." 13 — Front door as in No. 2. Richard comes up street slowly — shows great sorrow — ascends steps — unlocks door turns to camera and sighs — enters. The "13" indicates that this is the thirteenth scene, the "No. 2" that it is played in the same setting as that used for Scene 2. You indicate that he is still stricken with grief and, just as he is about to enter, you turn him toward the camera so the audience can see his face. The rest of the detail the director and the player can work out better than you can because they know the "lay of the land." You might pic- ture a stoop with a high newel post and want Richard to grasp that to steady his tottering steps. The director might find it more conve- nient to use a door with only a couple of steps in front. It's not essential to the story that it be a high stoop, and if 'you go so fully into de- tails you waste time and typewriter ribbon and make a lot of needless trouble. Sometimes it is easier to gfve your informa- tion by means of a letter written or read. Sup- pose you see the heroine come into her room with a handkerchief to her eyes. She sits at a desk and writes a letter. She tells her sweet- heart that her father wants to marry her to a business associate, as it will interest his capital in the father's schemes. You have seen in ear- lier pictures that the father does not approve of one suitor and urges the suit of the other, but you don't know exactly why. You evade an ex- planatory caption by writing the scene thus: Miriam's room — she enters weeping — sits at desk — looks at photo of Sam — writes: Darling Sam: Papa will not let me marry you be- cause he wants me to marry Mr. Brown so that Brown will invest his money in papa's business. We must plan to elope. Lovingly, Miriam. Miriam seals letter — addresses it and rings for maid, who takes letter and exits. Miriam with a last look at photo follows. Now the audience knows as much about it as you do and they are prepared to regard under- standing^ what follows. But keep your letters SHORT. People go to picture shows to see pic- tures, .not to read a hundred feet of leader to every thousand feet of film. The best stories are those so clearly told that you do not need anything in the way of written or printed ex- planation. If you have to do something, and can do it naturally, the letter is the better if you can make it as brief as the caption. But use whichever fits best when you have to use some- thing. Taking the story first suggested, the first few scenes would look something like what follows, the title being used again to identify it. BEST OF ALL. ( 1 ) Bedroom in farmhouse — Beth reading dramatic paper — starts — cuts out advertisement — reads. Wanted — Chorus girls for large pro- duction; $1S weekly. Jasbo agency, 1402 Broadway, New York. Beth pins ad on pincushion — starts to recite with dramatic gesture — hears call — runs to window — speaks off — ex- its through door. (2) Exterior of farmhouse — Hiram waiting — greets Beth, who enters from house — she speaks excitedly begins to act — Hiram laughs — Beth indignant — Hiram argues — Beth gives back ring — runs into house — Hiram about to fol- low— checks himself — looks at ring — places it in pocket — shrugs shoulders — exits through yard. (3) Beth's room same as No. 1. Beth enters — still angry — looks at ad- vertisement (flash for identification) tosses head — turns to pack satchel. LEADER STUNG BY RIDICULE BETH RUNS AWAY TO THE CITY TO PROVE SHE CAN BECOME AN ACTRESS. (4) Same as No. 3. Night — Beth enters picture from house — carries bag looks tearfully toward house — half turns to go back — thinks of Hiram's ridicule — exits through yard. (5) Theatrical agency — crowd of (Continued on Page 28.) THE FILM INDEX CHICAGO LETTER FRANK L. Hough, Jr., Western salesman for the Edison machine, model 13, writes me from Duluth, where he has just finished a successful visit, that the good ladies of that city are up in arms against picture shows, vaudeville acts and dramatic productions. That is, they are waging a crusade against any ob- jectionable picture, act, or performance. Now all this would be quite in order, pro- vided that sane methods were employed -to as- certain just what is, and what is not, objec- tionable to good morals. This women's league of Duluth has agitated so persistently and to such purpose that a special ordinance was drafted for the regulation of shows and ex- hibitions in that city, a lengthy discussion of the sections of the proposed ordinance having been made recently before the committee on ordi- nances and resolutions. In addition to the members of the committee, there were present theatrical men, members of the women's league and clergymen. Chief objection was made to the section which provides that the filing of an affidavit, signed by any two persons, stating in genera! terms that a show violates the provisions of the ordi- nance, shall be sufficient evidence that the man- agement has knowledge of the character of the of the show, should it violate the requirements of the ordinance. Anyone can see at a glance that the passage of this section would lay the picture exhibitor, vaudeville manager and opera house manager at the mercy of every crank of both sexes, who might combine in twos to do God a service. Any two such persons might declare a film subject, an act of vaudeville, or an entire legiti- r.iate production, objectionable, and on refusal of the managers to take them off, they are liable to arrest and punishment. Certainly no higher court of law would sustain the section. One of the managers present stated that he would rather have the captain of police order him to keep his house dark on a certain night rather than be arrested and dragged into court. He requested at least two weeks in which to ascertain the methods of censorship adopted by other cities, and an adjournment was taken by the committee until Jan. 23. McQuade seen better pictures than he throws on the screen and his operating booths are models of perfection," writes Mr. Hough. Mr. Furniss placed an order for two Edison Model B's, with external shutter. The Star, on West Superior and 21st streets, and owned by Mr. Nelson, is a beautiful house, Mr. Hough writes. Mr. Nelson is another fine example of the intelligent and successful ex- hibitor. Great care is taken of the musical end of picture exhibitions in Duluth, Minneapolis, and St. Paul. The Isis, Lucia and Southern, in Minneapolis, are all picture theatres of high merit. The Southern is a $75,000 house and runs vaude- ville and feature pictures. Mr. Hough states that the outlook in the northern section, where he has been working f^r several months, is exceptionally encourag- ing, and that licensed exhibitors are alive to the fact that it is up to them to present in ihe most attractive manner possible the films furnished them. "The few 'independent' houses seem to be dy- ing a 'natural death of starvation'," concludes Mr. Hough. THE ORCHARD THEATRE, CHICAGO. Sam Levine, Manager. During the proceedings, some one in tne council chambers shouted that indecent pic- tures were being shown at some of the picture houses of Duluth. When this man was chal- lenged to name them, he had to acknowledge that he had not attended any such shows for several weeks, but that he had been told that such was the case. Such an individual as this would be a nice creature, when combined with another of his own type, to have the power to determine what a manager should do, or not do! The theatrical men took the general stand that they favor any move which will prevent indecent or immoral shows or pictures, but that they did not want to be put at the mercy of irresponsible persons. They wanted only a fair chance and desired to have at least an equal opportunity to defend themselves, should they ever be brought into court. They also main- tained that they had heard absolutely no com- plaint of immoral shows or pictures in Duluth. What puzzles me most in connection with this whole matter is how these good ladies of Duluth could find any reason for censoring li- censed pictures. Every reel turned out is sub- jected to such rigorous censorship in New York by the National Board of Censors, and in Chi- cago by the Chicago board, that it is impossible for any film to retain an objectionable scene. I think if licensed exhibitors in Duluth, or in any other city where such agitations are made, would acquaint their home papers with the facts and get them in turn to acquaint their read- ers with the strict nature of the censorship to which all licensed films are subjected before re- lease, there would be little room left for local finical reformers. Mr. Hough writes me that Thomas Furniss, owner of the Odeum and Lyric in Duluth, is a splendid type of the up-to-date picture exhibi- tor; also that his strict attention to detail in both houses and his enthusiasm in the picture business furnish a rare treat. "I have never The Orchard theatre, at 663 North avenue, managed and owned by Sam Levine, has been running for over a year. Since it was opened nothing but straight pictures have been allow- ed within its doors, Manager Levine being a strong supporter of and believer in the licensed product. The Orchard is a beautiful theatre, with a seating capacity of 800. It cost, all told, lot and building and appointments, $50,000. It was specially built for a picture house and has hand- some interior decorations and an attractive front. Mr. Levine is at present engaged in the build- ing of two more high class picture houses, both in Chicago, in fine residence districts. Each of the new picture temples will cost about $75,- 000, that figure including the price paid for the ground space in each case. Motion pictures will be honored by furnishing the sole enter- tainment. I am thoroughly confident that Mr. Levine will prove the profitableness of showing motion pictures exclusively, and I shall take pleasure, from time to time, in reporting his success. Mr. Levine is a public spirited man, and was second among the number of licensed exhibi- tors to turn in a full day's receipts at his Or- chard theatre, in aid of the widows and or- phans of firemen who recently lost their lives. The amount donated was $125. The Spoor branch of the General Film Co. is at present furnishing the Orchard with a high quality service. Films as Crime Preventives. Another use to which motion pictures are destined to be put is that of serving as crime preventives. Not that they will perform the part of police officers, but rather that of teach- ers and advisers. Films that showed the operation of the Ber- tillon system of identification were displayed at the Chicago Opera House, this city, at a private exhibition one day last week. The pic- tures showing how prisoners are measured were prepared by George M. Porteous, who in 1889 established this method of identification in the United States. Chicago was the first city to adopt the Bertillon system, and up to ten years ago the headquarters of the National Bureau of Identification were here. With the completion of the new city hall the National Bureau, which now is in Washington, D. C, will.be re-established with Mr. Porteous at its head. The decision to show the "Rogue's Gallery Scene," as it is called by the police, was made by Mr. Porteous after consulting police opinion and criminologists. Alphone Bertillon, inven- tor of the system, indorsed the plan when vis- ited in Paris last summer. While this method of making human descrip- tions is well known throughout the world, the actual performance has been seen by compara- tively few, apart from police and prison officials and those subjected to it. Through the mo- tion picture the general public soon will be- come familiar with its intricacies. The films will be exhibited in large cities with the hope that they will be witnessed by youthful lawbreakers who will profit by the sight and mend their ways. The pictures were watched by an interested audience of policemen, detectives and others. Every detail in the system of measurements was brought out. "Much has been said about the bad effect upon chiWren some of the motion pictures have," said Mr. Porteous. "I hope these films will counteract such influence. These pictures, I believe, may be the agents of keeping thou- ( Continued on Page 25.) THE FILM INDEX 9 "THE SIN UNPARDONABLE" A North Woods Drama, by Essanay JAS. S. McQUADE REMARKABLE for the realism of its stage settings and for the preservation through- out of the atmosphere in which the story is laid, "The Sin Unpardonable," a feature film by Essanay that will be released Jan. 24, can- not fail to commend itself to picture lovers. The Eastern stock company has again proved its claim to the hearty appreciation of all who delight in forceful and true to life acting, and Producer McCrae Webster has once more de- monstrated the scenic wonders that can be wrought indoors, even which such a seemingly impossible feat as reproducing a great forest in the Canadian logging regions has to be ac- complished. One could safely bet dollars to doughnuts that not one out of ten who view this picture would think otherwise than that the Essanay Company had been in the wilds of the Canadian forest region when the scenes were enacted. with a splash of something that would have shown black in the pictures. Then we should have had a little more realism and given no chance to the captious to find fault. Again, in the closing scene, the maudlin sentiment ex- pressed when the false friend takes the hand of the woman whom he had insulte:!, and that of the husband and friend whom he had be- trayed, and joins them, one cannot help hav- ing a strong revu'sion of feeling. One feels that our friend, Jim Scott, the hardy young logger, husband and father, lacks in manhood to permit it. One would rather, naturally, expect another killing. Furthermore, the in- cident antagonizes the title of the film. The Story of the Film. Young Jim Scott, his wife, Martha, and two children are living happily in their humble log cabin, in a logging region in the North Can- by the deathgrip of Jim and is left for dead. The horror of his crime comes home to Jim with fearful force, and he flees from the scene and arrives home stricken with remorse, fession is that he must make his get-away at His wife's first thought on hearing his con- once. While she is engaged in packing a few- necessaries in a carpet bag, both wife and hus- band hear a knock at the door. The door opens and there stands the figure of Joe Taylor, or his ghost. Affrighted and horrified Jim walks slow- ly towards the apparition, and by touch knows that he is indeed confronting flesh and b'ood. Joe has returned to ask forgiveness. Hus- band and wife grant him his request and he goes out into the great wilds of the forest. USED MOTION PICTURES TO SHOW DAN- GERS. Dr. C. O. Probst, secretary of the Ohio state board of health, as the operator of a motion picture entertainment, was a feature of the state agriculture convention held in Columbus last week. It was given in the auditorium of the Chamber of Commerce building, where all the sessions of the convention were held. This feature of the convention was for in- struction as well as entertainment, and was in THE UNTRUE FRIEND. FORGIVEN. SCENES FROM ESSANAY DRAMA "THE SIN UNPARDONABLE. There is such a depth and expansiveness to these forest glimpses, with such wealth of de- tail— horses dragging logs, loggers carrying them and cutting down giant trees, a real primi- tive log cabin, with both interior and exterior views of the most convincing type, etc. — that even the most experienced woodsman might be deceived and take for Nature's own handiwork. The careful eye will observe that everything in the log cabin, in the shape of furniture, has been fashioned on the spot, just the same as the logs that form the walls. Not a trace of the civilized article can be found, unless one considers knives, forks, plates, etc. And the men, and the one woman in the story, faith- fully reflect in their coarse garb the simple life of those who dwell in the vast forest solitudes. I was struck by the close attention paid to the accurate reproduction of the manners and customs of the men and women who live in such regions. At table, in the log cabin, for instance, where the master of the house is en- tertaining a friend at dinner, he does not help him to meat in the usual fashion. He passes him the platter, on which the entire meat for the meal is placed, and lets him help himself, after which it is returned by the guest to the host. There are two weak spots in this film, from my point of view, which reveals fine photo- graphy throughout. One of these is in the struggle between the husband and his false friend, where life and death are involved. Neither man has a mark on his face at the close of the fierce grapple, not even the false friend who has been left for dead. It would have been easy during the scuffling and roll- ing for each to have daubed the other's face adian woods. One day Jim meets Joe Taylor, an o'd time friend, unexpectedly in the forest. The latter is also engaged in getting out logs in a camp near by. Jim invites Joe to dinner. On arriving at the cabin and as introduc- tions are in order, we can see from the pic- tures that .Tee and Martha have been acquainted in the past, that they may have been sweet- hearts. We can see also that Jim, the hus- band, is ignorant of any former meeting be- tween his wife and his friend. Jim goes out to get a pail of water, and we see Joe attempting to kiss his wife during his absence. Joe is repulsed, but not conquered. Next morning, after Jim has left for work, we catch sight of Joe asking Martha for a drink of water as he is passing the cabin. She goes in to fill the dipper, and Joe watches her with libidinous eye as she does so. On her return and after Joe has drained the water, he seizes her, and after great resistance succeeds in kissing her. Martha's pure soul revolts at the indignity and later on, in the evening, when her husband's kiss has recalled the insult of the morning, she reveals to him the cause of the tear traces which he has de- tected on her cheeks. Jim, despite his wife's entreaties, seizes an axe and rushes off to avenge himself on his false friend. Dawn is almost breaking when he discovers the object of his search. As soon as Joe Taylor catches sight of the intruder he knows that his offense has been exposed and seizing a rifle he aims to kill. Jim throws the barrel up with his axe handle and the bullet goes sky- ward. Then he flings the axe away from him, and both men engage in a to-the-death battle with Nature's own weapons. Joe is strangled line with Dr. Probst's work for the prevention of tuberculosis. It was directed against the general communication of diseases through the handling of milk. He secured for the occasion the Edison film which showed many of the dangerous things that happen to milk where its couise from the cow to the consumer is not carefully supervised by some sanitary tribunal. The machine and at- tendant were secured for this occasion from a local motion picture house. McGURTY cV MURPHY BUILDING NEW HOUSE. Hugh McGurty and Martin Murphy, of Bra- zil, Ind., who purchased the fixtures of Fast & Son, as well as the lease on the building, are now converting the building into a first-class photoplay theatre. The house, when completed, will be a model little picture palace, and will contain all the conveniences of the large city theatres. The lobby will be especially attractive. It is expected that the house will be opened in about two weeks. "The Irish Honeymoon For St. Patrick's Week 10 THE FILM INDEX Playing the Pictures By Clyde Martin MACON, GA. TO HAVE A NEW PHOTOPLAY HOUSE N the Index for January 14, under the head- T ing of Letters to the Editor, there was 1 printed a letter from Mr. Guy H. Phillips, a piano player and leader of a four-piece orches- tra in the little town of New London, Conn. It seems that Mr. Phillips does not agree with me when I say "no orchestra can play the pictures properly." It is human nature to stick up for your own line of work, but we must admit that if the larger picture houses over the country are taking out the orchestra and putting in piano and drums, and if- you will study the conditions in the most of the houses that have made the change, you will find it was not done to cut ex- penses, but to improve the show. There are a few picture houses that still employ orchestras, but in most cases you will find it is more for a "bally-noo" than actual picture work. To quote a few lines from the letter in ques- tion, Mr. Phillips says: I am pianist and leader of an orchestra in the New Orpheum Theatre, located at New London, Conn. There are four of us in the bunch, violin, cornet, piano, drums, and if any one will produce any four men that will make more music or follow pictures better than we do — well, they have got to show me. "I have been in the theatrical business 23 years, and have men around me in the pit that have had nearly that amount of experience, so naturally feel that we are all there. "The piano and drums are all right, but that pian- ist does not live that can raise or lower the emotions of an audience as can a good violinist. Take, for in- stance, "Pharoah, or Israel in Egypt." bv Gaumont. How many pianists would have the following pieces of music up their sleeve ready to drop it out at mo- ment's notice: Beethoven's "Moonlight Sonata." Gou- nod's "There Is a Green Hill Far Away," "The Pil- grim's Chorus," by Wagner. All of these were used by us in connection with this picture. Then again, how many picture house pianists will you find that are capable of playing this class of music? You will find a great many of them start a picture with one tune and finish with it, no matter what changes take place in the action of the picture. Now, if it were possible for him to visit our town of 19,000 people here in old Connecticut and hear the bunch in the Orpheum, I think he would reverse his decision in regards to the motion picture house or- chestra. Our music does not stop from the time a picture goes on the screen until it is finished, and my men are so thoroughly conversant with my ways that I can stop them on the dot, and go into an entirely different movement of tune without the loss of a sin- gle measure. They are acquainted by memory with all the standard music, as we make a specialty of memorizing the music that we play. Now, I hope what I have said in the first Dart of my letter will not cause any hard feeling with my worthy Brother Pianist, as it was written in the spirit of self-defense as it were, and also of the men that 1 have working with me. Now, to begin with, Mr. Phillips, you say, "the pianist does not live that can raise or lower the emotions of an audience as can a good violinist." I disagree with you, I believe the definition of a good pianist, or a good violinist, means a letter perfect musician. But a real picture musician means something more than this, he must cre- ate, he must have a sympathetic touch and must master expression, then you no longer have a "good" musician, he becomes a genius. If you have such a person in your orchestra you should consider yourself fortunate, for they are few and far between. Then you ask, "how many pianists would have such classic selections as Beethoven's 'Moonlight Sonata,' Gounod's 'There Is a Green Hill Far Away,' or Wagner's 'Pilgrim's Chorus' up their sleeve ready to drop it at a moment's notice?" May I ask you "how man orchestras can do the same?" Nov.*, Mr. Phillips, in regard to your letter causing any hard feeling, I assure you, on the contrary, it has given me great pleasure to hear of such a bunch of musicians. If, as you say, your orchestra "plays the picture" and you do not stop playing from the time the picture starts until the finish, and they play all standard music by memory, you should never write any letters in the "spirit of self-defense," you don't have to, you are in a class of your own with no possible means of anyone taking the honor from you. Pardon the liberty I take, Mr. Phillips, but let me suggest that you look to larger fields, for a town of 19,000 is entirely too small to keep genius hidden from the world. C. M. W. B., of Memphis, Tenn., asks: "If you have a picture where either classic or popular music is appropriate, which do you use?" Answer. — I have found, Mr. "B," that in play- ing dramatic pictures, nine out of ten can be accompanied by either classic or popular music, and as a rule I use the latter. I believe you will find that the average picture audience will ap- preciate popular music during the showing of :i picture, more than they do classic music, al- though you will find that the location of your theatre and its surroundings have a great deal to do with it. If your house is catering to the working class of people, I would advise you to give them very little classic music, you can get as much expression out of such pieces as "The Garden of Roses" or anything in that line of popular music and the audience will know what you are playing. The name of the selection you are using in some certain scene has a great deal to do towards arousing the interest of your au- dience, but it must be something that they are familiar with, so they can get the drift. Would like to hear from you again. N. B. H., of Kansas City, Mo., asks: "Can you. tell me of anyone that can use a picture play- er?" Answer. — In last week's article, Mr. "H.." I answered a similar question. I am not running a booking agency. If you are a picture player there is no excuse for your being idle. I have a great many interesting letters and suggestions on file that will eventually be used in my column and I know that some of them will prove a help to the musicians and readers of the Index. There is nothing like working in harmony, if you see some good point that can be worked up in any of the tate releases, just drop me a line and I assure you it will be ap- preciated. ANOTHER BIG HOUSE FOR LOS ANGELES. Negotiations have just been closed with R. W. Woodley, of Los Angeles, Cal., the former pro- prietor of the Optic photoplay theatre on South Broadway, for another first class house, to be erected at No. r>33 South Main street. The house will have a seating capacity of about 900. It is reported that the rental consideration will be $40,000. J. B. Melton Will Build New Theatre on Cherry Street in the Near Future— Will Be Called "The Palace" According to the Macon Telegraph, Macon, Ga., is going to have another first-class photo- play theatre. The proposed new house will be built, owned and managed by J. B. Melton, who is said to be one of the best known photoplay promoters in the South. The following is taken from The Macon Telegraph: Learning of the probability of a new picture thea- tre, a representative of The Telegraph sought J. B. Melton, the well-known shadow show manager, in re- gard to the facts. Mr. Melton talked verv optimis- tically about the project. "Do you really intend to establish another picture theater?" interrogated The Telegraph man. "Yes, sir, most positively I do," replied Mr. Melton, "and it is going to be one of the most elaborate in the country in point of fixtures and equipment. Only the most approved and entertaining features will be shown at this place, and the specialties presented will be the best that money and experience can procure." "Where will vou locate the contemplated show place?" "Next to McClure's novelity store, G20 Cherry St., and it will bear the name of 'The Palace.' and will carry out in furnishings the fullness of the meaning. No expense will be spared in making The Palace the most attractive in the country, and to this end the most skilled architects have been employed to pre- sent plans, which will be put into execution by the best mechanics. This enterprise is backed by men who can furnish ample capital — half a million, if nec- essary. The Palace will have a seating capacity of 50O. The front of the theatre will be a dream of art, and will cost alone something like $4,000. "I spent sometime in Chicago, Cincinnati and other large cities looking over many of the largest picture shows of the North and East, getting ideas and plans, which will aid me in making The Palace eoual to the best and second to none." "Will you have the sole management of The Pal- ace?" was asked of Mr. Melton. "Most assuredly," he replied with added emphasis. "Every detail, great or small, will be under my per- sonal direction. I think you and the Macon public will agree that I gave to the patrons of picture shows one of the cleanest, most wholesome shows, with par excellent features, at the old Palace, Macon people were ever favored with, and I am going to exceed even that in the new Palace — even surpass, if possible, the most sanguine expectations, and gratify the most fas- tidiously exacting critic. "The Palace, you can rest assured, will be a pride and an ornament to Macon, presenting at all times clean, refined and educational features. "You can also say that in addition to all the feat- ures named there ample lavatories and rest rooms will be provided for the ladies and children— a departure possessed by no other picture show in this part of the country." Mr. Melton is one of the best known picture pro- moters in the South, whose successful career is well known to the Macon public, and who wish him every measure of success. WILL WATCH TRUANT YOUTHS. Motion picture theatre managers of Tacoma Wash., met Friday afternoon, Jan. 6, to form an organization. One object will be an agree- ment to do away with banners, signs and posters advertising pictures showing crime and immor- ality. Another will be to co-operate with the probation officer in watching truant youths. Among those who will be in the organiza- tion will be Managers Hoyt and Cohen, of the Scenic; Fitzhenry, of the Palace, Lyric and Ma- jestic; MoXeish, of the Coast and Bijou; Davis, of the Shell; Reiber, of the Arcade; Burdelson, of the Vaudette, and Neis, of the Circuit. Work on the new photoplay theatre on Main street, Passaic, N. J., is being rushed. The house was to have been completed by the first of January. William G. Cummins has purchased from Elmer E. De Gray the Grand photoplay theatre at Chicopee Falls, Mass. "The Irish Honeymoon' For St. Patrick's Week THE FILM I NDEX ii ELECTRICAL TALKS On Electricity in Its Relation to the Motion Picture Theatre By J. H. Hallberg Written Expressly for The Film Index. Copyright i> II. llMllhcl Ml RJgh R< vcd. SUMMARY OF ELECTRICAL TALK NO. 21.— Flam- ing arc lamps are, as a general rule, the cheapest and most efficient illuminating medium for the exterior of motion picture theatres. Electric signs can be used to advantage in some cases, but are generally too expensive and are, in most instances, unnecessary. Incandescent decorative lamps in front of a theatre are attractive, but too expensive to install and oper- ate, and are not generally necessary. Simple and artistic electric fixtures preferably few in number, make good form of illumination for the lobby of a motion picture theatre. "ELECTRICAL TALK" No. 22 The Selection of Electric Fixtures and Lamps for Motion Picture Theatres (Continued). Having considered the exterior and lobby lighting of motion picture theatres in our last "Electrical Talk," we will now discuss the in- terior lighting. The motion picture theatre is essentially a dark place, which outside of a limited amount of illumination requires very seldom any great amount of light. It is, of course, understood that where vaudeville (which should have no place in a first-class motion picture theatre) is used, it may be necessary to provide a considerable amount of general illumination, but under nor- mal conditions a motion picture theatre confined to the exhibition of pictures, and illustrated songs, needs only a fair amount of gen- eral illumination in order to enable the proper discharge of the audience at the end of the per- formance. It is well to provide sufficient subdued illu- mination during the entire time the theatre is open to enable anyone to find a seat while the picture is on the screen. When pictures were first put in theatres, it was thought necessary to have the house absolutely dark excepting for a few exit lights, but the tendency of to-day is to have the house partly lighted all the time. This necessity for illumination during the time the picture is shown, calls for proper, and in some instances skillful application of lamps, in order not to interfere with the picture, and at the same time give a fair amount of general il- lumination. Many proprietors have made the mistake of equipping their theatre with rows of incandes- cent lamps in the ceiling of the auditorium, and in some instances, I have observed the entire frame for the screen outlined with incandescent lamps. These installations are not only expen- sive to install and to operate, but they are in most instances unsightly, unless very carefully ar- ranged on specially constructed and ornamental ceilings. There can be nothing more offensive to the eye than to have the picture disappear from the screen and then have the screen il- luminated by incandescent lamps placed on the frame. This arrangement gives a brilliant dis- play of light which is disagreeable and besides it causes the pupil of the eye to contract, so that when the picture is put on again, it takes the eye quite sometime to adjust itself to the sud- den darkness and to the much milder light on the screen when the picture is put on. It is only natural that this method takes away from the effect of the picture at least for some time, after it is put on and should, therefore, be avoided as much as possible. The general illumination of the auditorium can, of course, be had in many different ways. Fixtures and lamps costing from a few dollars each to $100 each, may be put in at the option of the owner, but why should a great amount of money be expended for the purpose of ceiling lighting when it is not required in a first-class motion picture theatre at any time excepting during the short space of time the theatre is being filled or at the end of the performance in the evening when the audience passes out. Great expense for the general illumination of a motion picture theatre is in most cases not warranted. I now call your attention to Figure 43 in "Elec- trical Talk" No. 19, where you will find a num- ber of electric outlets designated as follows: E are exit lamps, which in the cheaper the- atre may be ordinary incandescent lamps of 2 or 4 candlepower, colored red. In the more expensive theatres special signs may be pro- vided over each exit consisting of a metal box Fig. 47 Fig. 48 RIGHT LEFT Fie. 49 FiS- 50 Fig. 51 Fig. 52 Fig. 53 Fig. 54 having the words "Exit" in letters 4 to 6 inches high, with the outline of a hand pointing to the location of the Exit, if necessary, as illustrated in the accompanying Figures 49 and 50. S. are brackets which may be of any suitable design, for instance, like Figure 47, which is about the simplest and cheapest type available for the purpose. More elaborate fixtures can be put in if necessary. Figure 47 with 25 watt Tungsten lamp will answer for all general pur- poses, and it is well to have the side lights of the combination gas and electric type so that in case of failure of the electric current, the gas burners can be lighted in a few moments. T. are the ceiling outlets. Fixtures for these can be of a design similar to Figures 45 and 46 illustrated in "Electrical Talk" 21, consisting of an ordinary pendant or celling fixture in the socket of which may be supported a large Tung- sten lamp varying in size from 60 to 250 watts, as may be required. These fixtures can be equipped with the ordinary glass shade or a more ornamental dome shade can be put on, making the installation simple, but at the same time substantial, efficient and attractive. For the piano a suitable fixture with 4 can- dle-power lamp is sufficient and a design some- thing similar to Figure 48 standing on top of the Upright Piano, having its shade adjusted to throw the light on the sheet music, is very desir- able. No make-shift should be allowed for a piano lamp, because it is important that as lit- tle light as possible be reflected or within the vision of the audience. The subdued illumination during the time the picture is on the screen can be secured from special brackets or fixtures provided with very deep cone shades or other suitable reflectors, which will allow the light to be thrown in any direction desired, but under no circumstances must this light be directed against the screen, nor against the audience. I illustrate herewith a few different types as follows: Figure 51, which may be a simple pendant fixture with a socket having a 25 watt Tungsten lamp provided with a very deep cone shade. This fixture will throw the light down- ward and the depth of the cone shade as well as its narrow angle will practically conceal the lamp. Figure 52 is similar to Figure 51, but in this case the cone shade is reversed, and of wider angle allowing the light to be reflected against the ceiling, which gives a very nesirable general illumination while the picture is being exhibited. Figure 53 is a side bracket, which may be in- stalled in place of bracket S on Figure 43 "Talk" No. 19 or these brackets may be installed in ad- dition to the regular side bracket fixtures used for general illumination. Figure 54 gives a side view of bracket Fig- ure 53 and illustrates how the light may be re- flected against the wall giving a soft and dif- fused illumination. The 25-watt Tungsten lamps used in Figures 51, 52, 53 and 54 may be colored to suit the ideas of the manager. I have found lamps col- ored green or amber give the best results. SUMMARY. Unless the ceiling of a theatre is of ornamen- tal and artistic design it is not good practice to install groups or rows of incandescent lamps for general illumination of a theatre. Simple pend- ant fixtures with large Tungsten lamps with a suitable reflector or shade are preferable and proper. Do not put incandescent lamps on the frame of the motion picture screen. Use a piano lamp of proper design to confine the rays of the light to the sheet music. If possible use combination gas and electric fixtures for the side lights. Install a limited number of lamps for general illumination while the picture is being exhibited, but take care that the light rays from the lamps are confined to given directions and the illumi- nation from these must never strike the screen nor be within direct vision of the audience. In our next "Electrical Talk" we will discuss the "electric arc." "THELMA" A Coining Selig Feature 12 PICTURE SHOWS SALOONS' RIVAL So Understands Mrs. W. E. Bramhall, of St. Paul's, "The Know Your City Club" -Would Do Away With Dance Halls The dance hall evil, as it exists in St. Paul, Minn., the penny parlor shows, and the photo- play theatres, were discussed recently by The Know Your City club, which met at the Y. W. C. A. rooms, East 6th st. Mrs. W. E. Bramhall, who with several other clubwomen made personal visits to the photo- play shows in St. Paul opened the discussion with a paper on "Amusement Halls." "The dance hall," said Mrs. Bramhall, "is a serious menace to our moral and social life. We hear a great deal about winerooms, but the dance hall feeds the wineroom. If the dance halls could be closed then the winerooms would be frequented only by abandoned women, amd would not be a temptation to young girls. Mrs. Bramhall told of her visit with other clubwomen to the photoplay theatres, and of a conference with the manager, who books the pictures for these several theatres. The club- women learned that the motion pictures are often travelogues, both instructive and enter- taining, and that the theatres in wh'ch the pic- tures are shown were tastefully fitted up and generally attractive. "The picture show. I am told," said Mrs. Bramhall, "is the saloon's great- est rival; young men who formerly went to the saloon for recreation now find amusement in these picture shows. "I understand, however, that tney are adding vaudeville numbers to the entertainment, and unless these are carefully censured they are likely to become harmful. In St. Paul the only censorship of these theatres lies with the po- lice, and I know that Chief O'Connor is care- ful, and that he has closed some of the offensive pictures. But police censorship is not always adequate, and in some cities it is supplemented by censorship of a purity association. If such an association was composed of broad-minded people it might help in keeping such entertain- ments in check." Mrs. Bramhall said she believed that the establishment of amusement halls in each of the city wards, where young people may dance and have other wholesome amusements without too Puritanical restriction, would go a long way toward curing the dance-hall evil. She also said that St. Paul never had but one penny parlor, and that went out of busi- ness several months ago. Miss Emma Larson, the playground associa- tion's clerk, gave an interesting address with map illustrations on the St. Paul playgrounds. DETROIT EXHIBITORS HOLD BANQUET. About fifty members of the Detroit Moving Picture Exhibitors Association attended the first annual banquet of the association, which was held in the Burns hotel on the night of Jan- uary 5th. After several addresses, pertaining to the work of the association and what had been accomplished during the year, the follow- ing officers were elected: Thomas Lynch, presi- dent, and Thomas Soot, booking agent. From the reports made, the organization has accomplished many good features during the past year, and have given the theatre going public many advantages. The work is highly appreciated and it is hoped that it will continue to win favor by all those interested in the organization. THE FILM INDEX i □ I MIDNIGHT, without darkness, without stars! Midnight, and the unwearied sun stood, yet visible in the heavens, like a victorious king throned on a dais of royal purple bor- dered with gold. The sky above him — his can- opy— gleamed with a cold, yet lustrious blue, while across it slowly flitted a few wandering clouds of palest amber, deepening as they sailed along to a tawny orange. A broad stream of light falling, as it were, from the centre of the magnificent orb, shot lengthwise across the Altenfjord, turning its waters to a mass of quivering and shifting color that alternated SCENE FROM SELIG'S "THELMA." from bronze to copper; from copper to silver and azure. The surrounding hills glowed with a warm, deep violet tint, flecked here and there with touches of bright red, as though fairies were lighting tiny bonfires on their summits. Away in the distance a huge mass of rock stood out to view, its rugged lines transfigured into ethereal loveliness by a misty veil of tender rose pink— a hue curiously suggestive of some other and smaller sun that might have just set. Absolute silence prevailed. Not even the cry of a sea-mew or kittiwake broke the almost deathlike stillness — no breath of wind stirred a ripple on the glassy water. The whole scene might well have been the fantastic dream of MOTION PICTURES AIMING HIGH Biograph Stars Are Also Well Received by California People From the manner in which the Biograph company players were received by the Califor- nians, gives evidence that photoplay actors are the real thing with the people of the Pacific Coast. The following is am article from the Los Angeles Times: D. W. Griffith and R. H. Hammer, managing of- ficials of the American Biograph Company, arrived at the Alexandria Jan. 3 from New York. They brought with them sixty actors, who will remain three or four months. These are only principals for the roles of the motion picture drama. All of the minor parts will be taken by local talent. Among other actors who came are Wilifred Lucas, leading man for two seasons in "The Chorus Lady;" Grace Henderson, for a number of years one of the principal supports of Maud Adams; Vernon Clarger, heavy man with Robert Edeson, and Stephani Long- fellow, niece of the great American poet, who has been leading lady in several New York productions, among them "Graustark." According to the officials, the Biograph people will put on a number of Shakespearean plays; dramatize several of Browning's poems, and also play romantic dramas of high class while here this season. "We are here because it is the best place in the world to be at this season of the year," was stated. "Our productions will be of the very highest possible order, since we have discovered that people who pa- tronize the motion picture shows want something of the ideal, of the poetical; something with bright outdoor life where every flower and every tree stands for the best in art. "The reason they want these things lies in the in- herent love of nature in every man. The reason why motion pictures are so successful lies in the fact that they produce things of this sort; they get away from the piffle found in some theatres and produced by low-brow managers who are backing stars for the some imaginative painter, whose ambition soar- ed beyond the limits of human skill. Yet, it was only one of those million wonderful effects of sky and sea which are common in Norway, especially on the Altenfjord, where, though be- yond the Arctic circle, the climate in summer is that of another Italy, and the landscape a liv- ing poem fairer than the visions of Endymion. So starts the enchanting story of "Thelma." In their ship "Eulalia," Sir Philip Errington and George Lorimer, two inseparable friends, came upon the beautiful scene described above, and by chance met Thelma, the beautiful Norse maiden. The meeting was fata1 — Errington had no rest until he had traced her to her home among the caves. A very interesting scene is the discovery of the cave — the meet- ing of Sigurd, a misshapen dwarf who guard- ed Thelma with jealous eye — the meeting with Olaf Guldar — the father, a quaint, strong char- acter, who worshipped his daughter above all else. Then the wooing, winning and marriage of Thelma to Errington. Errington brings his bride to his beautiful English home and introduces her to society with great pride. She soon becomes a great favorite. Lady Winsleigh, who had at one time hoped to become the bride of Errington, looks upon the new favorite with the hatred of a jilted woman. She lays her web so fine that Thelma is convinced Errington does not love her any more and in order to be out of the way of his happiness she returns to her home in the north, only to find that her father had passed away, and was buried in the sea, with his ship, the "Valkyrie." Great is the dismay of Errington on finding that his wife had returned to her father and he at once starts in pursuit of her. The loss of her father and husband was too much sorrow for Thelma and when Errington comes to her, he finds her dangerously ill. However, on learn- ing jthat her husband had been faithful through all and that she had only been the victim of a scheming woman, Thelma again considers life worth while and they are once more very happy. money there is in the star, regardless of the quality of the play. "It is because of the remarkable success of the motion picture theatres; the fact that they are taking away a great deal of the clientele of the theatres of the old type, that the New York managers have taken up the fight against them. "As for the motion pictures themselves, there is nothing that can stop them in the better manner (if their production — in the higher plane of their sub- jects. As an example, there can be nothing more artistic as well as realistic than the magnificent homes to be found in and around Los Angeles and Pasadena; the wonderful gardens and orchards which have been shown throughout the world in the motion pictures, and in their way have materially assisted to advertise Southern California." SHORTVILLE, N. Y., TO HAVIO PICTURE SHOW. A. E. Pulver of Shortville. N. Y., is convert- ing his annex store, formerly used as a sales- room, into a cozy little motion picture theatre. It will be the only amusement place in the vil- lage, located on the ground floor. A stage has been erected, opera chairs are being in- stalled and no expense is being spared to make the place safe, comfortable and up-to-date in every particular. It will have a seating ca- pacity of nearly 300. The theatre will be man- aged by an out of town party, and will soon be open for business. "The Irish Honeymoon' For St. Patrick's Week THE FILM INDEX 13 BIO CARBONS Let us show you how to get better results jN nine theatres out of ten, better results may be obtained without increased cost simply by a careful selec tion of Carbons. It is a well known fact among Electrical Engineers that a different size of Carbon should be used for every different current, and a different grade for each voltage, if the best results are to be obtained. A NEW HOUSE FOR JACKSONVILLE, FLA. Florida Metropolis to Have Model Photoplay Theatre — Sanitation a Feature. Work began Jan. 2 upon the remodeling of the buildin gat the northeast corner of Main and Forsyth streets, Jacksonville, Fla., a part of which is to be converted into the hand- somest photoplay theatre in the entire South. The theatre will have a frontage of forty-two feet and a depth of sixty-six feet. It will also contain a front lobby fifteen by forty-two feet, which will be enclosed with four polished mar- ble columns. The front itself will be white marble wainscoating and walls covered with or- namental plaster work, decorated in bronze colors with a peacock gold effect and high lights in gold. The lobby will have a very elaborate ceiling known as caisson, which will consist of a num- ber of deep panels. The proposed lighting arrangements are very unique and the illumi- nation will be exceedingly brilliant, with scores of Tungsten lights, which will be invisible from the street but which will be focused in such a manner as to attain a high degree of bril- liancy. The lobby will also contain beautiful plate glass mirrors which will reflect the light in such a manner as to further enhance the illumina- tion. Three latticed windows will open into the interior from Forsyth street, arranged in such a manner that the entire windows may be open- ed. There will also be three exits in the rear one opening on Forsyth street and the other two opening into the alley in the rear. These together with the two entrances in the front will provide ample means of egress in case of accident. Besides there will be six large open- ings for ventilation. The sides of the interior will be decorated with long, narrmow, plate glass mirrors, eight on each side, which will have a most pleasing effect. The plans were prepared by J. H. W. Haw- kins, the well-known architect of this city, who has given especial care to sanitation, which will be made a feature. The floor under the seats, will be covered with linoleum, in order that they may be easily scrubbed while the aisles will be carpeted with the very best grade of carpets of a dark green hue. The color effect of the interior will be forest green and white. The wood work of the chairs will be tinted with forest green and the metal work will be white silver bronze. The chairs which are a very expensive kind, will be of a special sanitary design, the metal work being entirely free of crevices in which dust and dirt might collect. The picture surface, or screen, will be sur- rounded by handsome ornamental moulding and this will be surrounded by a plush drapery of forest green, bordered with white silver gimp, the draperies being caught up with white silk rope and tassels. Another matter which has been given great care is that of temperature and ample fans will be provided, which will keep the theatre delight- fully cool in the summer. Nine wall fans will be installed as well as two twenty-four-inch ex- haust fans and six ceiling fans. The picture surface or screen will be made as near perfect as possible and will be plas- tered with hard, white cement and painted aind finished in white enamel. The ceiling will be seventeen and one-half feet in height. The seating capacity will be 3 54 and the ma- jority of the chairs will be nineteen and twenty inches wide. The plans show an exceedingly handsome de- sign, which is entirely original with Mr. Haw- kins and is in conformity with theatrical archi- tecture. Messrs. Chambers and Kontos of Montgomery, Ala., and John T. Alsop of this city are behind the project, having recently acquired a lease of the property. The first named are leading business men of the Alabama city, while Mr. Alsop is a rising young real estate dealer of this city, who is too well known to need comment. The large store in the building, recently oc- cupied by the Dixie Parlors, will be converted into a handsome cafe, the details of which will be published later. X-RAY PHOTOPLAY THEATRE MOVES. The X-Ray theatre, owned by Meyer & Os- terman, who have been operating a motion picture show on West Broadway, Lincoln, 111., have closed a lease for the Bates room, on Broadway, near Kickapoo street, formerly oc- cupied by the Racket store. Work has already commenced on repairs, which will be rushed so the new occupants of the room can take pos- session about Jan. 20. A new steel ceiling will be placed, the room repapered and painted, the floor raised and a new entrance built, so the room will be up to date and equal to any in the city. With the moving of the X-Ray closer to the square the owners anticipate a large increase of business. Carl Hilfocker, operator at the motion picture theatre in Mt. Carmet, Pa., will take charge of a house in Shamokin, Pa., some time in January. In moving picture work the range of voltage at the arc is from 26 to 55, and the range of current is from 15 amperes to 65 amperes. Before the introduction of the BIO Carbon, practically only one size and grade was used. C o n s e q u e n t ly only those exhibitors who happened to have the particular condi- tions suited to this size and grade were getting perfect results. The rest — a big ma- jority— were simply getting results that seemed satisfac- tory, because they never had the opportunity to see any- thing better. Thousands of exhibitors have availed themselves of our services and are now getting better results than they had ever believed possible. Send us the stubs of the carbons you are now burning and we will make a complete report on their suitability for your purposes and send samples of proper carbons free of charge. Charles L. Kiewert Co. 39 Cortlandt Street NEW YORK LARGEST IMPORTERS OF FLAMING ARC LAMPS AND CARBONS IN AMERICA 4 THE FILM INDEX MANUFACTURERS' BULLETINS Advance Descriptions of Licensed Subjects CALENDAR OF THE WEEK'S LICENSED RELEASES MONDAY, JAN. 23, 1911—4 REELS BIOGRAPH — Fate's Turning, drama, 998. LUBIN — Father Makes Himself Useful, com- edy, 975. PA THE — How Max Went Around the World, comedy, 633. Gasoline for a Tonic, comedy, 361. SELIG — A Robust Patient, comedy, 1000. TUESDAY, JAN. 24, 1911—4 REELS EDISON — An Eventful Evening, drama, 1000. ESSANAY — A Sin Unpardonable, drama, 998. GAUMONT (Kleine) — Twilight of a Soldier's Life, drama, 945. VITAGRAPH — It Did Look Suspicious, com.- dra, 617. The Fireman's Parade, educational, 383. WEDNESDAY, JAN. 25, 1911—4 REELS EDISON — The Lover and the Count, comedy, 995. KALEM — The Secret of the Still, drama, 950. PATHE — Saved by Telegraphy, drama, 720. Whiffel's New Sleeves, comedy, 282. URBAN (Kleine) — The Sailor's Return, drama, 689. Scenes in Jersey, travelog, 296. THURSDAY, JAN. 26, 1911—4 REELS BIOGRAPH — The Poor Sick Men, comedy, 998. LUBIN — Father Love, drama, 1000. MELIES — How Mary Met the Cowpunchers, Western drama, 980. SELIG — The Spy, war drama, 1000. FRIDAY, JAN. 27,1911-4 REELS EDISON — The Black Bordered Letter, drama, 1000. KALEM — Puritans and Indians, drama, 970. PATHE — II Trovatore, drama, 964. VITAGRAPH — Girl of the Mountains, drama, 999. SATURDAY, JAN. 28, 1911—4 REELS ESSANAY — The Two Reformations, drama, 996. GAUMONT (Kleine) — The Baby Fortune Hunt- ers, drama, 682. Gorges of the Bourne, France, travelog, 293. PATHE — Father Against His Will, comedy, 720. Betty Rolls Along, comedy, 280. VITAGRAPH — Davy Jones in the South Seas, comedy, 995. KALEM CO. "THE SECRET OF THE STILL,."— In this charac- teristic story of the South we are taken to the heart of the pine forests where the chief industry is the gathering of the pitch from the pine trees and its distillation into turpentine. Throughout the pic- tures the various stages of the industry are shown. The story centres around a young Southern girl who has two lovers, both employed in the turpentine camp. Of course she loves but one and the discarded suitor attempts to discredit his rival by having a negro to open the main vent and allow the turpentine to go to waste. His deed is worse than he anticipated, however, for the turpentine takes fire and the still is partially destroyed. As was intended, the finger of suspicion points to the girl's accepted lover and it would doubtless have gone hard with him had not the negro met with an accident and confessed as he was about to die. So the real culprit is run down and punished and the lover of the girl is freef of suspi- cion and wins his bride. "PURITANS AND INDIANS."— Much romance cen- ters about the early days of the Puritans in New England and in this production the Kalem actors have given a very accurate representation of Puritan life, all details of costume and environment being his- torically correct. Janice Studwell, a pretty Puritan maid, is beloved by Ralph Allyn. Ralph's suit is favored until by chance one day Janice's father catches Ralph indulg- ing in a forbidden game of dice. Ralph is commanded to cease his attentions to the girl and is openly de- nounced in meeting on the Lord's day, and driven from the place of worship. He wanders disconso- lately into the forest and almost bumps upon a band of marauding Pequots. In the meanwhile Janice has taken a restless child out of the meeting to a nearby spring. The Indians are upon her and Ralph saves her at the risk of his life. They then flee to the church, where there is a spirited defense against the Indian attack. The Pe- quots are finally repulsed and when it is all over. Ralph's sin is forgiven and he receives the hand of the fair Janice as a reward for his gallantry. BIOGRAPH CO. "FATE'S TURNING."— There is always a chance given to the most indifferent to correct any error of discretion youth might make, and the heroine of this Biograph subject seemed to be guided by an irre- sistible impulse along the road to justice. John Law- son, Jr., owing to his father's illness, has borne the burden of business, and unaccustomed to the absolute responsibility, suffers a nervous breakdown. His fa- ther, now well enough to look after affairs, suggests he take the rest cure at a summer resort. This he decides to do, and bidding adieu to his fiancee he departs, arriving at the summer hotel the same day. In the dining hall he is attended by a pretty waitress, to whom he takes a great fancy. Several days elaps- ing, we find him deeply smitten with the girl to the neglect of his fiancee, to whom he fails to write Escorting the girl to her home, they become be- trothed, he presenting her with an engagement ring, promising to marry her immediately. This, of course, is a most dangerous step, and after a week or two, John is called hurriedly to his home, as his father's health has taken a bad turn, his life being despaired of. So urgent is the message that he does not have time to see the girl before his departure. His father dies and he in the excitement of the occasion has almost forgotten the little waitress, when a letter of appeal comes from her. John now taking his father's place in society and business, reasons that an alliance with the waitress is out of the question, and writes to her to that effect. This letter is a crushing blow and she goes to the boy's home to plead with him that he may be made to realize the disastrous result of his determination. She arrives at a time when there is a "doll party" in progress, and comes face to face with John's fiancee who meets her with scorn. She receives very little better treatment from John him- self, and so goes back to her furnished room to suffer alone for the trust she had placed in him. Sometime later she learns that he is to be married, and making one last effort, takes up her baby and rushes to the home, entering just as the marriage is about to take place. Her pitiable condition wins for her the sym- pathy of all present and a feeling of scorn is directed towards John, especially from his fiancee, who leaves at once with her mother. John, of course, has always loved the girl, and it was false pride that prevented his marrying her. Now this has dissipated in the realization of his duty, so the minister who was to perform the ceremony as originally planned, marries John and the poor unfortunate girl. "THE POOR SICK MEN."— Don't attempt to fool your wife, for you are sure to pay the penalty, even though wifey may not be aware of your self-inflicted suffering. This was the sad experience of the father and son-in-law our story has to do with. Mrs. Wilson secures seats for the theatre, as does also her daugh- ter Pearl, each expecting their respective hubbies to accompany them thereto. The men, however, have other fish to fry, both having a weakness, each un- known to the other, for the green baize covered table, a quiet game of draw, so when they learn of the plan of their wives, they at once scheme to avoid what would now be an ordeal. The subterfuge is illness. Mr. Wilson pretends to suffer rheumatism of the foot, while son-in-law has a violent headache. Of course, neither of the men know why the other is so anxious to avoid going to the theatre with the ladies. Steeped with abject sympathy, they consent to go unescorted. Now the men are up against another problem, that is, how to avoid each other. Wilson is the first to make the get away and makes hurried tracks for the club room, where he is deeply engrossed in the game when son-in-law arrives. Consternation besets both at this meeting and when Wilson exclaims, "what are you doing here?" son-in-law answers, "I came after you." Well, the truth of the situation prevails, and they make the best of it by becoming partners in the little indiscretion, both taking hands. They have hardly started in when there is a cry of alarm occa- sioned by the butting-in of the police and the ma- jority of the players are "pinched." Wilson and his son-in-law elude the cops by getting out on the fire escape, not, however, without losing their coats and hats, which they left in their hurried decamping. Coming back to the room they find the entrance still guarded, so a disguise is their only hope, so they must resort to desperate means. Climbing up the fire es- cape, the son-in-law enters a room above and pilfers a small boy's suit, which when donned makes him look like a ten-year-old. Father managers to get a policeman's coat, belt and hat from a flat kitchen where Biddy is entertaining her copper sweetheart. This way they manage to get by the guards, but their trouble has only just begun, for the father is taken for a real cop and placed to guard a street corner and the son-in-law, mistaken for a "mamma's pet," is set upon by a gang of hoodlums. However, they manage to get home just ahead of their wives, who are exces- sive in their sympathy for the poor sick men who had to remain at home and suffer from their illness, while they enjoyed an evening at the theatre. You may imagine that the episode proved a lasting lesson. G. MELIES. "HOW MARY MET THE COW-PUNCHERS."— Mary is from Boston and she doesn't just take to the cow- punchers as she would to the "rah-rah boys" of the Hub. Bill, who is a fellow of no small caliber, is looked upon by his companions as a sort of leader, feels a little miffed, but acknowledges she is the real goods and has some occasion to feel proud of herself, at the same time he won't stand for her snubs. The punchers await developments and make up their minds that what can't be cured must be endured. The captain, a classy chap from a neighboring ranch, puts in his appearance and asks Mary to go riding with him. She agrees and they start on a wild ride across country. Some distance from habitation they are attacked by Indians. The captain and Mary stand them off for a long time. The captain takes Mary's skirt, hat and coat, makes a dummy of them, fastens it on her horse's back, and starts the ainmal on a run. The trick works and the Indians start in pur- suit. The captain goes for help, but the cow-punch- ers, led by Bill, see the Indians, get after them and soon capture the band. They recover Mary's clothing and go in search of her. They find her behind a hill and, after a little communicating back and forth, she gets her skirt and comes over to the punchers with outstretched hands, and thanks them with apologies for her cold- ness to them. She warmly and admiringly looks into Bill's honest face and tells him he is her hero and a man after her own heart. VITAGRAPH CO. "IT DID LOOK SUSPICIOUS."— Circumstances did look suspicious; this is the explanation: Mrs. Ding- ley's diamond ring is too large for her finger and she asks her husband to have it fixed. He takes it and lays it beside his plate on the breakfast table until he finishes his meal, the maid brings in the morning mail and after looking at his letters Mr. Dingley suddenly realizes that the hour is late, puts on his hat and coat, hastily picks up the ring, puts it in his coat pocket, and hurriedly leaves the house. On his way to business he pulls his handkerchief from his pocket and drops the ring. A few minutes afterwards the milkman who serves the Dingleys happens by on his rounds, finds the ring, shows it to the ashman and goes back to Dingley's house and gives the ring to the maid, with whom he THE FILM INDEX + ME LIES RELEASES * Jan. 26, 191 I HOW MARY MET THE COWPUCNHERS Length About 980 Feet We have Posters. Write to Exhibitors Adv't Co., 105 Feb. 2, 1911 ONLY A SISTER The story of a woman who, by her self sacrifice ami noble nature, makes a man of her brother, ami every "son of a sea cook" has to take off his hat to the little girl on tho Texan ranch. Length About 980 Feet 14th St., New York City, if your Exchange doss lit supply you. G. MELIES, 204 East 38th Street, New York City WESTERN REPRESENTATIVE, JOHN B. ROOK, 100 RANDOLPH STREET, CHICAGO, ELL. is very much in love. The maid, delighted with the gift, shows it to the cook. Mr. Dingley towards evening happens to think of his wife's ring; discovers his loss, hurries home, and tells his wife he left it on the table at breakfast. The police are notified, a detective comes to the house with the policeman of the post, who, by the way, is crushed on the pretty maid. All the ser- vants are summoned into the dining room and ques- tioned. The cook tells of the ring the maid showed her; at once the ring is identified and the maid with the rest of the servants are taken to court. The milkman is arrested, he tells the judge that he found the ring, and the ashman saw him pick it up. The ashman is brought in, he corroborates the milkman and the mystery is solved. The judge lectures Mr. Dingley on forgetfulness and carelessness, gives Mrs. Dingley her ring, dismisses the case and honorably discharges the accused maid and milkman, who leave the courtroom arm in arm, smiling and happy. "THE FIREMAN'S PARADE."— The annual parade of the volunteer firemen of Nassau county held at Freeport, Long Island, giving an exhibition of what has and can be done by the men at the hose. The regulars haven't got a great deal on the volunteers when it comes to coupling, scaling, vaulting and climbing the ladders, even with the buckets they are right on the job and keep the stream a-playing all the time; they can cope with and put down and out the most stubborn flame that ever started a blaze. In the parade itself, seldom if ever has a finer ap- pearing body of men lined up for the inspection and approval of the public. The volunteer fire laddies of today have reason to be proud of themselves and so have those who depend upon their tactics. "THE GIRL OF THE MOUNTAINS."— Harold Bran- don, a young broker, seeks rest and recuperation in the mountains. He is welcomed into the home of David Lewellyn, whose daughter Gwymeth, takes upon herself the office of nurse and companion to the in- valid. He is attracted by the athletic beauty and wholesome nature of the girl and it is not long before they grow very fond of each other. She accompanies him in his strolls and whenever his strength fails she is at his side to administer to him. He grows stronger every day and at the end of three or four months he returns home, physically a strong man, morally a weak one. He promises to write Gwymeth, but the fact is he is engaged to a girl in the city and soon forgets the girl of the mountains and all his fair promises. Six months later Harold marries the society girl. A friend of his wife's extends an invitation to her and Harold to spend part of their moneymoon at her moun- tain home. Harold has never told his wife about Gwymeth. They visit the mountain home of their friend, located in the same region as the Lewellyns. Harold and his wife, taking a long ramble through the mountains are overtaken by a storm and lose their way. Night fast approaching, he goes in search for help. Unexpectedly he finds himself again in the home of Gwymeth, to whom he appeals for assistance and begs her to save his wife. Notwithstanding her indignation, Gwymeth goes out and brings his wife safely to her home and shelters them for the night. On the following day she directs them to their friends' home and scornfully rejects all recognition of her kindness, reflecting upon the perfidy and weak- ness of man's moral cowardice. "DAVY JONES IN THE SOUTH SEAS."— Davy Jones is again on the run, a victim to a weakness for the fairer sex. This time he is a cast-away on the shores of Borneo, where he is captured by the natives whom he wins over with the aid of his magnifying glass and soon finds himself "King of the Cannibal Island." He enjoys his honors immensely and joins in their sports of tree climbing, war dances, and other cere- monies with which he is hailed as chief. He gets up against it, however, when he makes love to a dusky damsel and is told he must marry her. He already has been married once too often and refuses to take chances with another. Again he is on his way a few yards in advance of the pursuing wild men of Borneo. He beats it to the sea shore where he hails a passing vessel, making a very narrow escape amid the flying spears and arrows of his followers. EDISON MFG. CO. "AN EVENTFUL EVENING."— Adapted from Rich- ard Harding Davis' one-act play entitled "Miss Civili- zation," this is an interesting subject dealing with modern, up-to-date womanhood and picturing a type of girl that stands far above the sit-by-the-flre-in- fear lady of our ancient civilization, where the slight- est noise up stairs or down sent little Miss Ancient shuddering into the corner, waiting with fear and trembling for something to happen. But Mr. Davis has here given us a modern womanly woman with heroism in her veins and direction in her methods. It is no easy matter for a girl to deliberately face three hardened burglars of the worst type and to calmly contrive to hold them in the house until their captors arrive. Nor does she use the method of "at the pistol point" to do it, but depends upon her help- lessness and womanly ways to hold them in the room until help arrives. But back of all this there is a stronger motive still which helps her in her bravery. It is the thought of saving the life of her mother, who is very ill up stairs and whom the doctor orders must not be disturbed in any manner. So when "Miss Civilization," the title that Mr. Davis has bestowed upon this young lady, discovers that the burglars are about to enter the house, she steals downstairs to the telephone and 'phones to the station agent of the Railroad of which her father is President, and orders out a special engine and wrecking crew to come to her aid. Then she succeeds in a very effective and feminine manner in detaining the burglars in the room down- stairs without disturbing the mother in the least. This scene is both dramatic and natural and holds the audience spellbound, as it is intermingled from time to time with views of the engine and the wrecking crew tearing down the track at sixty miles an hour. At last three long blasts from the steam engine give her warning that the house is surrounded by men. In the next instant she is in the arms of her father, while the dumbfounded burglars are confronted by a crowd of blue coats and the dirt begrimed men of the roundhouse. She has done her heroic work well with- out disturbing the mother, who has been kept in ig- norance of it all and who is sleeping peacefully. The light effects in this picture are worthy of spe- cial mention and add a great charm to this interesting THE FILM INDEX Trade Mark BIOGRAPH FILMS RELEASED JANUARY 23. 1911. FATE'S TURNING The Disaster of a False Step Averted Youth may be accountable for the sorrow occasioned by the indiscretion she ject. A young man on a visit to a summer resort meets a pretty waitress. Imp comes engaged to her. Later, his father dies and the boy having to take his father that an alliance with the waitress is impossible. He is about to marry a lady of when the poor unfortunate girl with her baby appears and the young man make marrying her instead of the heiress, for he finds that is not only his duty, but he really loves the little girl. Approximate length, 998 feet. in this sub- rely he be- ace, reasons own sphere FATE'S TURNING RELEASED JANUARY 26, 1911. THE POOR SICK MEN THEIR DISASTROUS SCHEME TO FOOL THE WOMEN FOLKS Not wishing to attend the theatre with their wives, father and son-in-law pretend to be ill. The scheme works and the both go to the club for a little game. The club is raided and they have the most eventful time of their lives in getting home. Son-in-law eludes the police in a suit of boy's clothes, which he pilfers, while father secures a policeman's suit, both being procured surreptitiously from an upper floor of the building. Thus garbed they run up against such a bunch of trouble that they will never attempt such a scheme again. Approximate length. 991 feet. THE POOR SICK MEN. RELEASE DAYS OF BIOGRAPH SUBJECTS, MONDAY and THURSDAY. Get on our Mail List for Descriptive Circular. BIOGRAPH COMPANY, I I East 14th Street, New York City Licensees of the MOTION PICTURE PATENTS CO, drama of suburban life and the heroism of woman- kind. "THE LOVER AND THE COUNT."— An extremely persistent young American, who is passionately in love, in attempting to pay court to his sweetheart, is placed in many distressing circumstances by her very ambitious and domineering old mother. The young lady's father, a very resigned and submissive old gen- tleman, is in sympathy with the young American, but because of the mother's decided preference for the suggestion that may be construed as detrimental to the Count's courtship. The lover and his sweetheart make many attempts to see each other, but each time they are detected and their plans are thwarted. The maid, because of her persistence in assisting th young lady and her lover, is discharged. The mother then advertises for an- other maid, and the lover seeing the advertisement in the paper, costumes himself as such. Then, with his chum ensconced in a newly acquired wicker trunk he makes his way to his sweetheart's home, where he is given the desired position of maid. Losing no time in executing his plans, he discloses his identity to his sweetheart, who immediately- ex- presses her approbation. She is put in the wicker trunk and the lover, simulating drunkenness, creates a disturbance which causes his dismissal. As soon as the lover and the trunk containing his sweetheart are in the hall the chum, who has secreted himself behind the screen, locks the family in the room. The lover and his sweetheart repair to the floor below, where they meet the minister whom the Count had caused to be present for his own marriage, and realizing that they need go no further, they are mar- ried on the spot. The Count, the mother and the father appear on the scene just as the marriage ceremony is completed; the Count and the mother are so cha- grined and crestfallen that they leave the room in disgust; the father remains behind rejoicing over the lovers' triumph. The story is brimful of life and the acting is deli- ciously funny. "THE BLACK BORDERED LETTER."— There is al- ways a certain undeniable interest taken in anything that pertains to those hunters of the law, the detec- tives. There seems to be some fascination about them that holds the attention of young and old. The Edison Company presents the moving picture world with an interesting and fascinating detective story in their latest picture entitled "The Black Bordered Letter." We are introduced in the opening scene to Miss Mabel Renshaw just prior to her leaving for a visit to her aunt. Here we are also shown her fiance, and at once become interested when we discover that he is deeply in love with her sister Alice. This fact does not seem to greatly disturb Miss Renshaw and she proceeds on her visit to her aunt. This is the last we see of Miss Mabel Renshaw, who is an heiress and into whose possession upon her marriage day will fall a considerable amount of wealth. As in all detective stories, we are next confronted with the announcement that Miss Renshaw has sud- denly disappeared. No trace can be found of her elespite the fact that she is being searched for on at least two continents. She left her home and from that moment has presumably dropped off the earth, as far as any trace of her whereabouts can be ascer- tained. Of course, the family is greatly upset and as a last resort they go to the famout detective, Griffith Grafton. But before calling upon him they receive a letter from the missing girl, the border of which is draped in black, the mourning paper being used on account of her father's death, which left her the great heiress. Calling upon Mr. Grafton, the mother and Mabel's sister, Alice, lay the case before him, showing him the black bordered letter, which contains the mere statement that she has found the man whom she loves and is happy and that they should not search for her. Not content with this, they place the case in Mr. Grafton's hands. It is with a keen eye and his knowledge of the world in general that he at once detects a peculiar odor about the paper. Unknown to either of the ladies, he discovers upon the inside page of the letter invisible writing which is brought to view by the extreme heat of the fire. The contents of this letter discloses the fact that the missing heiress, Miss Renshaw. is in great trouble, even to the extent of being in fear of death; and in it she pleads pathetically for help. THE FILM INDEX VITAGHAPH. LIFE PORTRAYALS" GIRL OF THE MOUNTAINS FRIDAY, JANUARY 27th She is confiding and trusting ; he is in search of health among the mountains. He trifles with her affections, returns to the city, soon forgets her and marries another. The day of retribution comes to him when he least expects it in a way that makes him realize the baseness of his meanness and the smallness of his nature. This is some picture with a strong moral. TUESDAY, JANUARY 24th FT' "It Did: Look Suspicious" It only looked that way and he had two innocent persons arrested on his own conclusions and then discovers it was all his own fault. The suspected persons are honorably discharged and he gets a severe reprimand from the Judge. "The Firemen's Parade" This makes a double run on the same date. The fire fighters are a fine body of men and do some fine work in their exhibition of the way they do things. There's a whole lot of good stuff in this picture that is worth seeing. SATURDAY, JANUARY 28th " Davy Jones in the South Seas" Davy has done some funny things, but nothing as funny as this. He is captured by the wild men of Borneo, captivated by a dusky maiden and only escapes from another matri- monial entanglement by getting away on the run amid fly- ing javelins, arrows and spears. If you want a comedy, and a whole lot more for your money, get this release. Next Week "JEAN RESCUES," A Seashore Drama, Tuesday, January 31st "SOCIETY AND THE MAN," A Drama, Friday, February 3d "A QUEEN FOR A DAY," A Comedy, Saturday, February 4th THE VITAGRAPH COMPANY OF AMERICA NEW YORK, 116 Nassau Street CHICAGO, 109 Randolph Street LONDON, 25 Cecil Court PARIS, 15 Rue Samte-CecUe i8 THE FILM INDEX Wit POWER'S CAMERAGRAPH No. 6 The Perfect Motion Picture Machine is in demand all over the world. Its price puis it within reach ol all. Why buy any other? Read whi Australian Agents, The Greater J. D. Willie ent Co., Ltd. say: "THE NICHOLAS POWER CO., 115-117 Nassau Street, New York, U. S. A. GENTLEMEN : Your letter of November 4th received, together with the advertisement enclosed, and I certainly must congratulate you upon the way you advertise your ma- chines. You can rest assured we will do the same thing with your Agency and I am sure you will find our firm a live wire. I might add that we have already taken orders for fifteen Powers Cameragraphs on the strength of the two machines we are now using at the Colonial Theatre, and we could have sold at least a dozen more if we had had the machines in our possession. In addition to the fifty (50) machines Mr. Morgan ordered when he was in New York, I wish you would please send us at once the following order : 48 Powers mechanisms to be shipped as follows: 24 Powers mechanisms to be shipped to our Sydney office, address as above. 12 Powers mechanisms to be shipped to our Melbourne (Vic.) office, Suttons Building. 12 Powers mechanisms to be shipped to our Brisbane (Qns.) office, Courier Buildings. We are now building a new theatre in Melbourne which will cost us for the ground and building $160,000. We intend to make a special feature of the operating room and will spend at least $1,000 in the operating room alone ; we intend to install two Powers Camera- graphs, and will make a big feature of them. I must certainly say that our pictures have improved wonder- fully since we have started using your machines. We have several advertising features which we will intro- duce there and the Powers Cameragraphs will come In for their share. It is our intention to make this one of the finest moving picture shows in the world. Hoping that you will give our orders your personal attention, and trusting that we may always be able to do a big business with your firm, we remain, Yours truly, THE GREATER J. D. WILLIAMS AMUSEMENT CO. Limited, (Signed) J. D. Williams, Managing Director. Dated: Sydney, Aus., Dec. 19th, 1910. WRITE TODAY FOR CATALOGUE E DESCRIBING IT. 115-117 Nassau St. NEW YORK, N. Y. For thirteen year* the Leading Manufacturers of Moving Picture Machines NICHOLAS POWER COMPANY MANUFACTURERS' BULLETINS. (Continued from page 16.) The detective keeps this to himself and proceeds upon his investigation with the usual method of these mysterious men of the law. He soon discovers the secret marriage of Miss Alice Renshaw to Mr. Scott, the fiance of the missing girl, and forces her to con- fess to it. This adds new light to the case, as from all appearances it looks as though Mr. Scott had de- liberately taken means to do away with his wife's sister. Not convinced of this, Mr. Grafton finally discovers another and a stronger motive for her dis- appearance, and he at once proceeds to put his theory into practice. We are next introduced to a sanitarium where we are shown Griffith Grafton, who only a few hours be- fore was a strong, healthy man, but is now a weak, miserable man filled with various ills and making application at the sanitarium with the assistance of a medical friend. We are not kept long in ignorance of the fact that this sanitarium is not only a hospital for various diseases, but is also a private asylum in which people are confined by force. Nor does it take us long to discover the motive for Grafton's ap- plicaton in this sanitarium, for he soon finds the miss- ing heiress there, held against her will. The method in which he succeeds in liberating her from this institution is worthy of the keen methods of this famous detective. Her escape is thrillingly shown, and we are next introduced to a family con- ference in which the mystery is cleared up and the hands of the guilty party bound with manacles, this person being no other than Dr. Clark, the respected trustee of the estate, who, to cover up his defalcation of the fund, had caused Miss Renshaw to be placed under restraint in his private sanitarium. The story is of absorbing interest and holds the spectators' attention from start to finish. Its pho- tographic quality is well sustained and the acting throughout is of the high standard expected from the Edison company. ESSANAY MFG. CO. "A SIN UNPARDONABLE."— This is indisputably the strongest dramatic photoplay which has been released by the Essanay company in several months. The story is simple in plot, but so tremendous in its depiction of primitive love and hate that no words The Canac the i d in the north woods, in one of the !S, the land of the lumber-jack and Young Jim Scott, a big strapping al of the best of frontiersmen, is ind his wife, Martha, has increased two children, who have come to It is a rough habitation, theirs, forest-bound folk, there is nothing T! c opens in front of Jim's cabin with Mar- tha washing the children's clothes and these two lat- ter playing about and constantly getting in her way. In the meantime, Jim, on his way to his cabin, meets Joe Taylor, a long time friend, whom he invites home to supper. Joe eagerly accepts and the two, joined by the children, make their way home. At the cabin Jim, in homely fashion, tells Joe to make himself at home, while he goes for water at the spring. Joe has secretly and for a long time adored Martha, and now, finding himself alone with her, save for the two children, catches her hand and quickly murmurs his love for her. The woman draws back aghast, while Joe persists in his attentions to her, which are interrupted, luckily, by the return of Jim. Nothing is said by Martha, who with great effort hides her excitement and deep apprehension and finally Joe, with a significant look at his friend's wife, takes his hat and leaves. I'll, next morning, after Jim has left for work, Joe again comes to the cabin, with the pretense of ask- ing for a drink of water. Martha brings it and after Joe has drank he catches her in his arms and kisses her. The woman springs back crying with horror and retreats into the house, while Joe looks after her and then goes on his way. Evening comes, and with it Jim. Martha is in tears and finally confesses the insult she received from her husband's friend. The young woodsman listens to the story with rising rage and finally seizing his axe dashes out into the night to find Joe and to kill him. They meet in the forest at Joe's camp and a des- perate fight ensues, after which Jim leaves his for- mer friend stretched out, apparently lifeless. As he stoops over the prostrate man, Jim suddenly realizes what he has done, and in great fear hurries' home, confesses to Martha and bitterly curses himself for his madness. Martha, aware that Jim must escape, quietly packs a portmanteau, when there is a faint knock at the door, which swings slowly open upon the tattered, battered and brujsed apparition of Joe Taylor. To Jim it is a spectre that has come to taunt him, until Joe finds his voice and stumbling across the room sinks at Jim's feet, begging forgiveness. Martha nods her head to Jim, who tells Joe to arise and go his way. With a broken and a contrite heart the poor fellow sinks on his knees before Martha, then rising stumbles out of the house, leaving the two together. "THE TWO REFORMATIONS." — A lively and ex- citing photoplay of the Western plains, in which Fate and a winsome woman assist in the reformation of two Western bad men. In an Eastern city, Frank McLain, a mechanic, through the slackness of work in his business, is let out of his position and finds himself facing the ques- tion of how he will support Alice, his wife. It is a gloomy outlook for them both and after a week of job-hunting young McLain decides to leave the country and go West. Pawning every little valuable they own Frank is packed off, while Alice is left behind with what little money is left, to wait until her husband sends for her. The report of rich strikes of gold in Nevada looks good to the young fellow and a week later finds him in the hills, living the life of a hermit and grubbing for the valuable yellow dust. Luck is against him and when he receives a letter from Alice with the information that she is sick and out of money the poor miner's view of life is through decidedly blue glasses. It is at this crucial moment that something hap- pens to change, at least for a short time, his whole existence. Frank is in his shack, absently re-reading the tear-stained letter, when the door bursts open and a man, breathless, fear written in his face, stands in the doorway. "For God's sake," he cries, "will you hide me? The posse is on my trail!" Then, crossing to the table, he throws out a bag which clanks significantly of gold and promises all if the miner will stow him away until the men of the law have passed. Whether through sheer unmindfulness or for a feel- ing of comaraderie in finding another human driven as desperately as himself, Frank hides the man under a pile of bed-clothes and turns to greet the leader of the posse, who has entered. No, he has seen no man pass, he declares, and finally satisfies the sheriff that it is a waste of time to linger longer. After the sheriff and the others have gone "Bad" White, as he introduces himself, steps out, and lays the pile of gold in Frank's hand. The bad man likes the Easterner's pluck and finally makes the pro- posal that this latter join him. Frank sorely tempted, finally accepts and the two swear to be faithful to each other. A few days latter the little woman back East receives a letter and a money order with the glad news that Frank is doing "fairly well." Alice, homesick to see her husband, decides to go West, and desiring to surprise him, arrives in the Western town entirely unbeknownst to Frank, who with White is planning the hold-up of the very stage on which Alice is to go to her husband. White has gone to town to spy upon the passen- gers, when he meets Alice, with whom he talks and learns that she is Frank's wife. White, whose con- science has awakened, sees there is need to head off his ally and rides in desperate haste a roundabout way to the ambuscade, where he arrives in time to stop the young Easterner, as the stage, with Alice, sweeps up the trail. Later man and wife come together and the latter is introduced to Frank's friend, Bob White, a "pros- pector." "I'm going to stick by that title, too, Frank," says White later, when they are alone together. "I'm go- ing to lead a decent life from this moment on — if you are with me?" There is no need for words as Frank grabs White's hand, while the tears shine in the eyes of both. GAUMONT. (George Kletne.) "TWILIGHT OF A SOLDIER'S LIFE."— An old sol- dier, who lives at a veteran's home, receives a letter from his son to the effect that he has returned to his native country with his wife and children, and is coming to see his father at once. The visit is made, and the young man, seeing the poverty of his father, THE FILM INDEX G A U IV1 o IM KOSMIK Rl REMEMBER "KATHERINE HOWARD or the "The Twilight of a Soldier's Life" KEYS-tth°e-TOMBS" Release of Wed., Feb. 15, 1911 GAUMONT Tuesday Jan. 24,1911 About 945 feet CURRENT RELEASES are described at length on another page of this issue. GAUMONT Saturday Jan. 28, 1911 About 975 feet ECLIPSE Wednesday, January 25, 1911 About 985 feet POSTERS in four colors for each reel, 15 cents is the price. The Sailor's Return" A DRAMA About 689 feet "The Baby Fortune Hunters" A Novelty Drama about 682 feet "The Gorges °l Bourne, France" A Colored Trav- elogue, about 293 feet "Scenes in Jersey of the British Isles" TRAVELOGUE About 296 feet GEORGE KLEINE, CHICAGO, ILLINOIS A IM ADVANCE DESCRIPTIONS will be mailed free to any ad- dress. prevails upon him to leave the home, and come to his home, but the daughter-in-law does not view this plan with approval, and the old fellow is subjected to all the slights that she can think of. He is made to take his meals in the kitchen owing to his table man- ners being rather crude. When his son finds out how- he is treated, he upbraids his wife, thus causing a breach between them. Seeing this, the father resolves to leave the house and writes a letter explaining why he has done this. But before he has been away long the woman sees the unjustness of her actions, and the film ends with the family united. "THE BABY FORTUNE HUNTERS."— It is morning —just before the father and mother go into the fields to dig and rake and hoe — when we first catch sight of the two tots. They are seated at a table in front of the farm house and their childish faces look full of plot and resolution. They have just hatched a great scheme and outlined a plan of action. The mother and father come out of the farm house and speak to the children affectionately before leav- ing for their toil. No sooner are the youngsters left alone than their dispositions are changed. They talk hurriedly between smiles, jump from their seats, and hastily enter the farm house. Articles of apparel and food for a jour- ney are packed into two tiny bundles and these are hidden away, all ready for use the following morning. Next we witness the entrance of the young people into the great world of freedom and action. The boy appears first and climbs through the window, after which he assists his little sister to the ground. The bundles are shouldered and the march into the un- known is begun. They continue their wanderings until a farm house is reached. The farmer is brought to the door by the boy's knocking and questions them. "We want work" is the response, and we see the farmer's lusty sides shake with laughter as he eyes the pigmy hired man and woman. But the boy is brave and will not be put off. He slaps the brawny muscles of his arm, to the great amusement of the good-natured farmer, and by his demeanor shows that he is boosting himself and sis- ter as thoroughly capable of "making good," either in field or barn. The farmer calls his wife to the scene and both enjoy the novelty of the incident so much that they laugh unrestrainedly and end it by engaging both children. Early the following morning, with all traces of their journey worn off by refreshing sleep, the children, the farmer and his wife, and a yoke of oxen attached to a plough are viewed in the barnyard. Everything is in readiness for the youngsters to show their worth as ploughboy and ox leader. The girl fastens her guide pole in its place in the harness, while the boy fastens a small bag containing refreshments to a handle of the plough. They proceed to the field, as the farmer and his wife watch them with surprised delight. Now, maybe you think that the youngster can't plow. Just watch him. True, he is small and light and the heavy implement, as it meets tenacious ob- stacles in the rich soil, sometimes lifts him from his feet and sways him from side to side; but he succeeds in keeping the ploughshare buried deep and turns fur- row after furrow with the skill of an expert. At the turnings at the ends of the field the children manage the team and plough with really wonderful clever- ness, the little chap especially, manipulating the heavy implement with an unusual display of strength. The heavy work, however, tells and the lad stops his team amid field, mops his brow, and helps his sister and himself to a draught of red wine (or water. Who knows?) He is a kind-hearted little fellow, too, as well as a manful one; for we see him pat the oxen during the rest, knowing that they also are weary. The parents of the runaways, in the meantime, have been scouring the country far and wide for them, and the gendarmes, or police, have been instructed to find them. And so, one day, while the youthful workers are threshing in the barnyard, they are taken in charge by two gendarmes and conducted home; not, however, before they have been well paid for their services by the farmer who employed them, and af- fectionately caressed by his good wife. The reunion with their parents forms the closing scene, and both children seem glad to be home again. Proudly the boy brings forth the bag containing the money earned by himself and sister, and as he counts the coins his father and mother as proudly look on. "GORGES OP THE BOURNE, FRANCE."— About two and a quarter miles beyond the town of Villard we enter the Gorges of the Bourne, a narrow rocky ravine of great beauty, through which the Bourne dashes. The road is sometimes high above the tor- rent, and in places is hewn out of the rock, in others supported on projecting galleries, and in others car- ried over bridges, through tunnels. ' We next take the direct route to Pont-en-Royans, descending the valley, passing a second gorge beyond. We now come to Pont de Goule-Noire, the second bridges in the Gorges of the Bourne, and from here are led to the Gorges of the Vernaison, which are fully as fine as those of the Bourne. The first gorge is known as the Grands Goulets, the second, farther on, as the Petits Goulets. URBAN-ECLIPSE. (George Kleine.) "THE SAILOR'S RETURN."— A strong dramatic story. An old farmer, ruined by misfortunes to his crops, is unable to meet the landlord's demands. The farmer's pretty daughter attracts the attention of the landlord, and he, having neither youth nor personal attractions to recommend him, ungallantly takes ad- vantage of the family misfortunes to further his suit. He offers to release the farmer from his obligations if the daughter will consent to marriage. The girl's lover' comes to her aid. By undertaking a voyage before the mast to Newfoundland, he is able to raise sufficient money to satisfy the landlord's demand, and stop the sale of the old man's property. The crafty landlord, however, tries fresh wiles to secure the girl. He conveys false news to her that her lover is lost at sea, and then, as the girl still looks on him with dis- favor, he resorts to violence. At this juncture the young man returns safe and sound; the wretched old man meets with his deserts, and the true lovers are united. A pretty and effective film. "SCENES IN JERSEY."— The charm of this island- half French and half English— is well preserved. Ap- propriately enough, the spectator arrives by steamer, and has first a general view from the Channel. After landing he finds much to interest him, the picturesque and the mediaeval being skilfully combined. St. Heliers, the docks, a well-built town. The fam- ous Jersey cattle, some prize-winners. A panorama of land and sea. Mount Orgeuil Castle, a curious contrast, modern houses nestle beneath the shade of a mediaeval ruin. Some general views, an artist at work, embarrassing interest. Corbiere lighthouse, a treacherous coast. LUBIN MFG. CO. "FATHER MAKES HIMSELF USEFUL."— Could a difficult little problem scare father? Not much. Keep your eye on him. Fritz Grenshaw was an ideal husband and very much in love with his young wife, Irene. But his disposition was such that he did not show many of those little attentions and caresses which women love. After awhile, Irene decided that she was a neglected wife. She wrote to her husband's father complaining of Fritz's neglect. His father thought over the prob- lem and then had a bright idea. He packed his grip and in due time arrived at the home of his son and daughter-in-law. There he told Irene of his scheme 20 THE FILM INDEX EDISON FILMS Tuesday, Jan. 31st THE TRY OUT A young- couple make their debut in vaudeville and a lamentable failure of it. From this however an interest in each other develops and finally a bright idea enables them to score a success. A pretty comedy with a touch of pathos here and there. Wednesday, Feb. 1st Bumptious As Romeo Presumptuous Bumptious in a benev- olent and sympathetic state of mind, with the assistance of his dramatic club, determines to demonstrate to the world the ideal manner of acting. A screamingly funny film from start to finish. Friday, Feb. 3rd SELLING OLD MASTER A rare and singular devotion of two old slaves to the memory of their master and their reward for rescuing an old family portrait of him from a saloon keeper. There is a pretty love story running through the film mak- ing altogether a very touching and appealing production. EDISON COMEDY DAY, WEDNESDAY. Release of Feb. 8th, "TWO VALENTINES.3 Send for circular of our Lobby Display Frames. EDISON MANUFACTURING CO. 73 LAKESIDE AVENUE, ORANGE, N. J. 90 WABASH AVENUE, CHICAGO, ILL. and she entered heartily into it. When Fritz came home he found his father very attentive to Irene. At first he took no notice of this, but father's attentions increased at an alarming rate. Finally Fritz remon- strated. Then he became angry, then suspicious and at last very jealous. He told father right there in pretty strong language what he thought of his actions. Things were getting pretty serious when father and Irene revealed the whole scheme with the result that Fritz and his wife "lived happily ever afterwards." There's a whole lot of fun in this film. "FATHER LOVE." — A beautiful drama picturing the strength of paternal affection. A young musician who had been hired to play the violin at a reception, saw and fell in love with Marion Hayes, the daughter of a millionaire. His love was returned and when her father tried to separate them, they decided to elope. About one year after their marriage, the mother died, leaving the father with a little girl-baby. Then the father became paralyzed. Though it cost him the keenest pang, he sent his child to her grandfather, preferring to tread the path of poverty alone. Six- teen years later the child, now a beautiful young girl, happened to be in a music store, when an old and decrepit man came in to sell some of his composi- tions. They were rejected and the old man was leav- ing the store when the girl stopped him, bought his compositions herself, and giving him her card, told him she would buy any that he might write in the future. The musician looked at the card, noticed the name, questioned the girl and found she was his own daughter. She was equally delighted to find the father she had never known and their delight was made "•3 complete when her grandfathe father into his home. gladly received her PATHE FRERES "IL TR0VAT0RE."— In the first scene we see the old Count di Luna in the act of bestowing a medal upon each of his sons, and in the next scene we wit- ness the gypsy woman Azucena steal into the garden and carry off Manrico, the younger son. The deed is committed by the gypsy as an act of revenge for the death of her mother, whom the Count some time pre- viously has had burned for witchcraft, and the boy is brought up by her as her own son. Years alter we find Manrico, the troubadour, enam- oured of Leonora, whom he woos with sweet music beneath her windows. Leonora has another suitor in the person of the young Count di Luna, successor to his father, but she favors Manrico, and, enraged at his rival's good fortune, the count provokes a duel. Manrico is wounded, not, however, by his rival's sword, but by the' poignard of Ferrando, the count's follower, who approaches him from behind and stabs him in the back. Thereafter, Leonora, having been deceived into the belief that Manrico is dead, decides to take the veil. The count learns of her intention, and conceives the bold project of carrying her off from the convent. He attempts to put it into execution, but Manrico is warned in time of his beloved's danger, and at once sets out to save her from the clutches of the count. The latter, defeated in his first project, then has Azucena seized and condemns her to be burned. A follower comes to tell Manrico of her danger just as he is on the point of being united to Leonora, and he at once sets out to rescue her. He himself, how- ever, is taken prisoner and thrown into the same cell with his mother, where they are both left to await their execution. In order to save the life of her lover and secure his liberty, promisf Leonora, after i 3 him her hand. lploring the count's mercy, She then secretly poisons THE FILM INDEX 21 The Leading Motion \ \\ Picture Producer of rue WorFcL A GOOD ONE FOR JAN. 26 THE, SPY A Romantic Military Episode of '63. Thrilling and Patriotic. A Page from the Memorable History of that Grand Old Man— GEN. LEE. GET ON OUR MAILING LIST Length, about iooo feet Code Word, SPY THE OUTBREAK USE SEI/IG POSTERS SOMETHING NEW FOR JAN. 30 THE LITTLE CIRCUS RIDER A Simple Drama of Real Life, Emanating In and Around a Rural Town, With Lure of the Big White Tops and City Life as the Basic Theme Length, about iooo feet Code Word, CIRCUS &Y^^J C°' EUROPEAN OFFICes VZ> \ u Ifcs^f fly LONDON ^ BERLIN gT PETERSBURG^ rHi \0. song sets, $1 ; odd slides, 5c. tore Theatres cheap; will buy same. .000 reels film, $1 per reel. Will buy, ilm, Passion Play. DAVIS, Watertown, Wis. TURNER &DAHNKEN One.) 38 Eddy Su, San Francisco, Cal. Largest Exchange on the Pacific Coast Pacific Coast Agents for the Pathe Machine STIKWIK CEMENT FOR ALL KINDS OF FILM! STICKS IMMEDIATELY! DOES NOT EVAPORATE! Send for Sample Bottle Free W. U. C, 227 E. 150th St., New York Competition cannot touch the prices of the Excelsior Slides We are now selling a new lot of song slides, originally worth $5.00 per set and up, for only $1.75 per set. It would pay you to drop us a postal to get our lists, and inci- dentally get on our mailing list, and we will keep you in touch with the latest hits in the song slide world. Our latest releases THE SAME OLD MAPLE TREE SQUAW COLLEEN EXCELSIOR SLIDE CO. 13B E. 14 St., NEW YORK CITY SIMPSONS SONG SLIDE RELEASES THIS WEEK IT'S TIME TO CLOSE YOUR DROWSY EYES AND SLEEP A great song published bv Haviland A. L SIMPSON, Inc. 113 w 1 32d St., n y. PATH E'S WEEKLY Australasian Bulletin of Cinematography PUBLISHED WEEKLY The only Journal In Australasia dealing solely with the Moving Picture Industry. Posted to any address in the world for 13/ -a year. All Communications to PATHE'S WEEKLY, 50 Qusen Street, Melbourne, Vic STOCKTAKING SALE NEW SONGS and NEW SLIDES. $3.00 PER SET, MUSIC I Oc. PER COPY EXTRA AS LONC AS THEY LAST. BABY MINE STELLA DEAR SUPPOSE WE DO ROSY CHEEKS WILL YOU LOVE ME WHEN THE HONEYMOON IS OVER DEAR OLD TENNESSEE MARY DONAHUE WHEN THE OLD OAKEN BUCKET WAS NEW SMILING EYES JESSAMINE AS THE TRAIN ROLLED BY VALLEY FLOWER. BYE-BYE, SWEETHEART CAN'T YOU SEE THE RAINBOW IN THE SKY I WONDER IF YOU LOVE ME LEVI CO., Inc., 24 Union Square, New York 100 Sensational Air Stunt Slides INTERNATIONAL AVIATION MEET SAN FRANCISCO, JAN , 1911 Showing clearly the daring and successful stunts of the aviators The world is interested in aviation— show this set to your patrons — 20 aviation slides, $7.00, any number over at 30c. 2 Photo- graphic enlargements for lobby display FREE. A set of 12 slides of the Human Song Bird of the Universe, Tetrazini — singing to 60,000 people in the streets of San Francisco, Xmas eve, 1910, and her Red Cross work, beautifully colored, $4.50. DUHEM & HARTER SLIDE CO. 650 OAK STREET - - - SAN FRANCISCO, CAL. ii SILVERLICHT ALUMINUM MOTION PICTURE CURTAIN EXTRAORDINARY FEATURES are Permanent Brilliancy— Economy— JTlax ibility-Non-