Griffith Gives the
Plot Scant Courtesy
By Virginia Tracy
Somebody reminded us that since
Gritftth had been taking ten reel pict
ures he was said to use thirty or forty
reels upon each of them and to spend
all the rest of his time trying to cut
down to ten?what was left of him now,
then, in five? "Ho^- docs he go, real
ly, on a programme?" Wc rcplied
with haughtiness that hc went at least
his own way. "Hc that is rcady may
ridc with me, and hc who can may
Thc most wilful and origi^al of all
produccrs, it does truly seem to us
that in machine-made and imitativc
days, days with one hand feveTishly
clutching the public pulsc and the
other chained by the censor to such
enlightenments as not mentioning an
illegitimate child unless born in an
cient times, to havo prcserved intact
that originality and will is cnough even
for him; just the assurance that he
will always use what material inter?
ests him in whatever way it interests
him to use it. Yet there remains the
bitter truth that pictures sometimes
have to have in them thlngs which do
not interest him, as he might not be
interested in floors, and yet his house
would hc rather curious than comfort
able without them. He does not mind
putting in the floors if he has time, but
in a programme picture hc is so little
apt to have time.
In "A Romance of Happy Valley,"
where his own material swarms upon
him with such richness?his own mate?
rial of side-lighted, incidental, acci
dental treatment?as to embarrass his
story, hc does not hesitate in his
choice. It is the story he flings ovcr
board like dead cargo. Sink or swim,
Hurvivc or perish, he is for the moods,
thc temperuments, thc adjustments of
persons and ploces. Places, We should
ay. aro quite as much to him as per?
sons, and hc will not huve bo much as
the hecls of there trodden upon by on
irrclcvoncy which, of course, hc knows
only, don't bother him!? he must
stuff in somewhere; that Irrelevancy of
? plot. Look at .tohn Logun's side
yard in Happy Valley, How little. it
roKomblei* the pretty lawn of tho ma
chine-mado picture! It looks so
itrnk'tfly and him such v/orn patehoi ln
it! The boredom of a thoutand Sun?
day aftornoonn hangH around that yard
an.! tho atepa leiiding into it; yeari or
deferred hope, of dolng witliout every
thing you really want, and yet of being
on the whole fairly comfortablo, have
worn the edges of those dispirltod
steps. The tollgate keepcrs starving
for gossip, the struggles of the heroino
with her new dress, the bullying tem
pers of tho older gencration, ground
hectoring and hopeless by hard Avork,
thc excitement of the community as to
whether the minister can bring "young
loiiu" to thc mourners' bcntfii.---the.ic
p.rc thc things their produccr is after,
and if any cssential of the plot asks
for the space where the poor little
heroino is scarcd of a burglar under
her bed, so much the worae for tho
plot, and if it comes to a Btruggle be
tween the story and the observance of
that homely heroism which breathes
from the face of a plowed field, or of
that strange veil which Sunday drops
over a landscape, then throw out the
story. How many would wc how gladly
heip throw out! But, alas, this seems
such a good story!
For, do you supnosethat when young
John backslidcs from thc mourners'
bench bo far as to run away from
Happy Valley, you are once more
asked to pity tho rash youth ruined by
the wickednes8 of the great city and
crawling back in defeat and ruin to
ihe innocent rural sweetness he has
defied? You do not know your Griffith.
It is the udventurer in tho city whose
life, free vo follow its own instinctive
course, is too full and eager to waste
itself; it is the innocent country
father, plodding in the unbroken mo
notony of those deferred hopes, who
comes to spiritual and worldly ruin.
But why develop your hero so ten
New York Boys
Boys you know
SEE THEM IN
'Th* Mntl-.n Ple?lr?,
_*a r-i,M,.,| Ul,,r tffa of va)f)p
SEE THEM r?'"* f? ?"'
*nJh?-r*_p?ther ?-..- Prleml*?
Th* Htivr ?f-"Tb? iUmnt
"The Fh-e Flinger?"
STARTINC TO DAY
tlerly and humorously and wisely and
then, when, he Icaves the place you are
interested in, drop him down a hole
and forget all about him? Lingering
amid the beloved vexationa of his
Happy Valley, Griffith thenceforth re
members about young John only that,
eventually, he must come back with
money. "Well?quickest way for lots
of money? Invent something. Some
thing not too grandiose in tone for
picture of Happy Valley? Mechanical
swimming frog?good enough!" Young
John is gone seven years, and in this
time he is never shown to us doing
anything whatever but kneeling over a
tub, impassionedly testing his frog.
Once he comea home and thrusts him?
self by force under his producer's eye
hc is picked up again and treated ten
derly, as no saint, but a quite justi
fiably cocky youth, bursting with con
ceit and ripe to dazzle. All the same,
we have had a chili and are to feel a
We have no quarrel with the circum
stances by which the father seeks to
steal tHe wallet which he does not
know is his aon's, nor because, in the
struggle in the dark, the father strikes
the son a mortal blow. So far breath
taking truth and misery! But the
trashy and senseless contrivance by
which thc son is saved puts out our
lire at a splash, nor can we, on a
hearth where our confidence has been
so warm, forgive the icy insult. After
so much truth the most bromidic of
contrivances would have been better
than a false one; it is as if somebody
had reminded Griffith and he had re
pliod, "Punch? Oh, yes, so they do
want one! Hit 'em with this."
Is it coincidence that "The Greatest
Thing in Life" broaks in two in mtich
the same way as does "A Romance of
Happy Valley"? Tho break, iiulced, is
not so plain, nor is it this time thut
the story la left to go wild, but thnt it
turns into u different story from that
with which we startcd out, ao that
prcacntly we find ourselves wltncssing
an admirable, conventional picture of
war heroism instead of tho unconyen
tionnl, the incomparablo picture of war
adjustmciit which tho premiseB prom
l?od. We do not meati to alight the
line accnoa of huttle- or of smokcl
nor tho bitckborie they gain from the
utrong litck of wcak nbuso with which
thcif titloe march them 011. Tho Ger?
mans are callod Germnns, nothlngolso;
thero ia not a rape nor t i atroclty, nor
even n villain, and tho effect Ir cxtraor
dlnary?tho Germans come on and
sweep over and doBtroy the little town
quite, we might say, quietly, like sorne
great machine calmly grinding as it
goes the humanity in its path. And
j the soul risos against it in a colder
I hatred than against a million devils.
j Surely no need to name thc title's
"greatest thing." But we begin with a
young aristocrat so ill at case with
life as to be practically disassociated
from it whom enforced association with
low private soldiers smashes into the
common mud, only that fr'>m the com
mond mud it may remodel a perfectly
functioning hurr.an being, glad of the
drink which a nejjro soldier offers from
his water bottle, glad to console that
negro?dying of wounds and fever in
the sholl hole where they hido and
acreaming deliriously for his mother
?with the kiss which thc negro thiuks
it ia his mother gives him. So we
know that thc lovc Griffith refer's to in
his title is the love of human kind.and
when he pretenda to us that all he re
fers to is the love of lovers, we know
he has simply deserted in action on the
field of battle.
Not intentionally, we suppose. His
is a most comprehensive mind, and
desiring, probably, to weave in more
kinds of love than one, he has made
his heroine a little girl looking for the
Perfect Lovcr. And the minute he
bejrins to think about her the story of
democratizing an aristocrat goes
straight out of his head and he de
votes himself to her story; so that
between the hero as aristocrat and
the humanitarian in the shell hole wc
have absolutcly only one singlo scene
of development. Is that why, even
to its creator, the shell hole seems a
little sudden and he feels callcd upon
| to explain such a movement bv inter
1 rupting it with fade-ins of the negro
dreaming in his mother, as if there
were dangcr we might think the hero
only kissed him out of carelessness?
This is the rcverse sido of that orig?
inal will for which wo thanked heaven
in the beginning, and not less now at
the end. If The Tribune didn't have
a programme of its own on which it
will insist upon others than ourselves
appearing, we could gladly discourse
for a few columna about the heroine's
love eearch; we do not know how it
could have been done with a lovelier
juster, funnter senae of adolescenl
girlhood; and although we think tht
demoeratlc story of n deeper and i
proudcr kind than hers we should b<
glad to get either developed truly foi
Itself. Fully driven home either it
plenty for any programme picture, um
suprrflcinlly skipped over the two to
father are not enough. Yet who bu
Griffith Is tfylhg to do BUt'h thlflgi
Al nll 7 Who else aer? with bo ff??l
an #agef?iea? otir fjtJMf world, <?t Mfei
*?? k?Pfily about our strnjr, out ril
adVffitufM ab.ug (he* Itraiffiiiig hti
Nmv Film* at tlw Tttciitrfx
Paullna Frttilerlek, in ?h? ,-,,,?>,
verelon ot George Rroadhurat'a "Th.
Woman on tbe fnd?x," pliiyH (,t. t\?
Rialto thia week. The play w?? iidapt
?d for tho acracn by Willard Mack
who la found in the rftle of Hugr
Deelaaaa. Wyndham Btandlng and Her
Iltndricka are also lm the cast. Tht
picture waa directed by Hohart Hen
"An Eesay of tha HilU" ia the tltU
of tho Tlobort C. Bruco sconlc picture.
Tho Kialto Magazine offerB its weekly
array of news picturos clioscn from
curroiit ncwB reels. Tht comedy is ?"?
Hnrold Lloyd-Pathd, cntitled "Next
William S. ilait in "The Poppy Girl's
Husband," showing at the Rivoli this
week, has doffed his trademarked chaps
and Bombrero, but he is still a "hold,
bad man and a desperado."
The story was written by Jack Boyle
for tho Red Book. It was converted
into a Bcenario by ('. Gardner Sullivan.
When it came to thc making of thc
picture Mr. Hart himself took a hand
in the direction, in collaboration with
Lambcrl Hill; cr.
The c< mi tly
"Keilly's Wash Day." '!
torial of tho week has been amplilied
to cover the functions both of the
news reel and the scenic elements of
The Bolin Ballet appears on the pro?
gramme under the title of "Silhouette
Dancc." It was 'arranged by Adolf
Bolm, of the Metropolitan Opera House,
with a special musical score by Victor
1). AV. Griffith's latest achicvement,
"The Girl Who Stayed at Home," will
be the photodramatic feature at the
Strand Theatre, a story of thc Magda
Ien of the war, Robert Herron is the
boy, and Clarine Seymour portrays the
girl. Others in the cast are Curol
Dempster, Richard Barthclmass, George
Fawcett and Tully Marshall.
"Reilly's Wash Day" will also be
presented. The Strand Topical Re?
view, edited by Director I'lunkett, has
been compiled aa a special tribute to
the 27th Division. Other film features
will be "Topics of the Day" and scenic
and educatlonal studies.
Malcolm McEachern, the famous Aus
tralian basso, will render faVorite
Seotch songs. Ralph ii. Brigham and
Herbert Sissen will alternate in ren
dering an organ solo. Tbe Symphony
Orehestra, under the direction of Carl
Edouanle, will play the "fjarice of the
Hours," from "Lfl GiacSonda,'* by Pon
At tho Broadway iluperl Juiian will
be seen lfl "The I . | ,. . ,? : ?? jjf,
will he SUpportetl by .Inn.? N'ovak. Tbe
story, which ran in "Tbe Saturday I ? ??
"ifif I'"'*." Is b ? U'illiam ,1. Neldlg
The exirn added utl.tiori will b?
"Tbe Bjtploil I of O'ttyitn'fl" T.velil, .
Mth," M elflfrflBtOgPaplHe fieeontil ,,,
'hrofielofiiai trjui ni ?? uf Ui< ? ? .. ? .
t.f the 87th Divi' I..,,
Th** hi(/ Bttfaetlon at Leew'i New
York Tli'miK. and llpof th.inilnu
W?nk Will lie Dnlnihy D?|i.,i, |n "(,.,,'
travaganea" on Monday He ite Bai
HhUAU in "JleiutH Aileej," ,,,, Tm,v
d?y; Hryiiiit Wirlibu. n |n " | b- I'ooi
Hoob" on Wediie^lny; Georga Walsh
(ft "Nevcr Nliy QuJt" ou Thiirsilay;
1'riscillii Deun in "Tbe ;,ilk |,m,.,|
Uurglar" and Franklin Farnum ln "Go
Get 'K'm, GarririKor," on Friday; June
Klvidgo in "Tho Lovo Defendcr" on Sat?
urday, and Violu Daria in "The Paril*
lan TigrctiB" on Sunday.
Shadowa on the Screen !'
Briggs Pictures, Inc, announces that
the company has completed thc first
three one-recl comedies. The pictures
are made from the cartoons of Briggs,
appcaring in Thc Xew York Tribune,
and are said to be entirely different
from any other film comedy ever prc
The first picture is titled "The Days
of Real Sport," with n sub-title of
"Xew Folks in Town." The second is
called "When a Feller Needs a Priend"
and thc third is "Skinny Is Surprised."
The films are being cut atul titled, and
the company will announce their re
leasing plans within a fortnight.
I' rank .ii;. i. ?, brother of Aliee, and :
Flo Lewis will be scen al thc Colonial
Theatre during Ihc week ol' March 21
in a one-act comedy with songs and i '
dances. The dialogue was writtcn by
Miss Joyce, who spcnds her "vaca- I '
tions" between pictures doine; things ; '
like that. * '?
Kenneth Webb, Paramount director,
used to be a musical comedy author.
Several of the musical plays that he
wrote with his brother, Roy, were pre
sented for runs on Broadway and now
the fever has come back again, so the
two Wcbbs are devoting their spare
moments to a new production whicn
they hope to have ready for an early
Lawrence Windom, who directed
Taylor llolmes in "It's a Bear," now is
engaged in assembling the supporting
cast for this comedian's next picture,
the working title of'which is "Upside
Down." This is a screen adaptation of
George Agnew Chamberlain's story,
publishcd in "Harper's Magazine,"
"Lovely Reason." The scenario is
being written and revised by Clara
Barengor, who recently finished tiie
scenario of "Coma Out of the Kitchen"
for Mary Pickford. Miss Barenger is
collaborating with Wallace Clifton,
Norma Talmadge in "The Probation
Wife" will be shown nll the coniinrr
week in the Loew Theatres in greater
The Famous 1'layers-Lns.ky Corpora?
tion hfta Belected its cast for the screen
adaptatlofl of "Secfel Service," the
William GlUette play. The players are
Shirley Mason, Theodore Roberls, Tom
'orman, Casson Ferguson, Irving Cunv
lings, Kdytho Chapman, Robcrl Cain
ilUinn Leighton and Guy Olivcr. Hugr,
"ord will Btage tho lilm,
Samuel I.. Rothapfel announcei thal
.'ork on the i: Lhapfcl Unit Pro
;rammc i , <? .. ? ? ;,. . :.? tht
lacon-Becker m i imi dj, con
eived by Mr. Rothapfel and Bcenario
zed by George V. Hobart, has beei
pmplcted. Hclen Weir, who was will
)avid Warfield in "The Music Mas
er"; Yvonne Shcldon, of Ziegfeld Fol
ies' faine; Templar Saxe, Waltcr Mc
2wen, Alex. Herbcrt and Eugene Ackei
,rc seen in prominent rolc -.
It is planned to rch aso Cl arl ? Ray't
icw baseball picture, "The Uu her,'
1 m hc ? . ' ?? ik i i \la; . > it wil
ppear just w hen ball Vvi ;
; beginning to tantu thc ncrves oi
tmerica. In this story llaj is a "bush'
sague pitcher. This new tale of tht
ianiond was writteti by Earl Snell and
/as put into continuity by Julien .lo
ephson. It was directed by Jcrry
torm, under the supervision ol
'homu8 11. Ince.
World Pictures announces thc rc
ease in May of a five-reel feature, wi.tr.
Jarreth Hughes, Violet Palmer an<
?aul Everton. The vehicle fmployet
0 exploit these artists is callei
Ginger." Paul Everton was success
ully starr-ed by the late Henry B
larris in "Thc Lion and the Mouse,'
The Third Degree" and other playi
hat were big money getters for thii
nanager. He was also starred ir
'harles Kline's play, "The Gamblcrs.'
larreth Hughes belongs to thc younge;
dement of actors who have made the
itrical history in thc past five years
/iolet Palmer has been connected witl
i number of lilm suceesses as well ai
days on the Icgitimate stage.
Where and when authors get ideai
or their stories is tflways the myster;
)f the writing game. Some confess fr
retting them out^of a bottlc, other
iteal them and still other authors ai
William Pnrker, nuthor of Jesse E
Hampton's "\\ hat Et ery Womai
'-Van* i," releai < d by i' I bitors Mutua
ind foaturing Grace Darmond, con
fesgea he obtained the idea for thi
itorjr from the advertising seCtions o
I'he Xew Vork Simdav Tribune, fiol dif
Hcult to get Ihe nuswer.
I io.iiim II. I,i|. Ill llin , I |'. if
PAULINE FREDERICK WILLIAM S. HART
A BRUCE BCENIC
PRIZMA & PICTOWAL
\Sllhouetle Dance arrangtd by ././.,/
RlALTO HRrurCTDA i/.'"/"' "/ "'?' Metropolitan Open
ff?#? Riofm/fid .f .v,,i /.???,,?? ,????,????? Mlerbert,
"La Femme el la Pantin"
Screen Play for Priscilla Dean
ln nnnouneing the purchase ot a
story entitled "La Femme et La Pan
tin," aa a future vehicle for Priscilla
Dean, tho Unlveraa] scenario depart?
nient, erroneously announced that the
screen version was to bo an adapta
tion of the I'nnioiii French play by
I'iene Louys. The lilm Mlory will not
hc nii ntlapliil lon ol' ihe play, I'tH will
bo put. Into aconarlo form, adaptad
from thc novel direct,
It it* expected that "La Fritimi! et
La J'aiitin," under the tentativo titlo
of "Tho Woman and the Puppet," will
be produced following the completion
of a Bayard Veiller story, which will
si'tvo as Miss Dean's next vehicle.
Fair banks to Make Film
For Fifth Liberty Loan
Douglas Fairbanka has assembled an
all-star movie cast to play the allegori
cal characters in his propaganda film
for the fifth Victory loan. Douglas
plays Dcmocracy clad in thc same
costume that hc wore in the third
Liberty loan film, "Swat the Kaiser,'
and in the last frovernmont bond drive
"Sic 'eni, Sam ! "
Heading the supporting east is
Frank Campeau, in tiie part of Dis
sension; Sarah Mason as National Lib
it:;.'. Charjes Stcvcns as Propagan?
da, Bull Montann as Prusslanism
Spike Robinson as Brutc Ignorance, and
Citizen by William A. Wellman, the
American ace, who has seven German
'planes to his credit.
By Harriette UnrJerhill
Even before we met Allan Dwan we
were sure we should like him, first
because he had a sense of humor and
second because he wrote to us from
the coast more than a year ago, when
we were fresh from the kennels, in
a manner of speaking, and asked our
advice on two separate occasions.
It makes one feel so important to
be consulted, especially when you know
that you don't know anything much.
When we first began to see pictures
we were not greatly concerned with
who made them. If the story was
good and we liked the star that was
as far as our interest went, and then
one day we talked to Maurice Tour
neur and he said, "When anything
goes wrong cherchez le directeur."
So we started to notice and wc soon
became acquainted with the best sell
i ers of Cecil De Mille and Thomas Ince
; and Herbeit Brenon and Marshall Nei
I lan and we came to visualize these
j directors as we watched their work on
j the screen.
If a man is known by the books he
reads how much better is he "known
by the pictures which he directs.
Therefore we know that Allan Dwan
had a sense of honor and we never
ceased to remember "Bound in Mo
rocco," in which the heroine, rescued
from the harem, wore a Liberty Loan
button and with tears in her eyes
gasped out "Is the subway finished
yet?" Of course to bring that up to
date the title should be changed to
"Is the escalator at Park Place fin?
But to return to Mr. Dwan. as who
would not, when we heard that he had
come East and that we were going to
meet him at a luncheon we were quite
sure that we could pick him out with?
out any guidc. We expected him to
bc tall and blonde. something like
Ilenry Warner, only with curly linir
for we'll leave it to any one if Allan
Dwan doesn't sound like that.
And there he was dark and looking
almost like Douglus Fnirbankit! But
he had a sense of humor, thnt mar
velous gift of the Crcntor, which aloni
makes it posniblr for ineti to HVa nnd
use the telephone nnd the surface can
nnd th* subways day after day.
Mr. Dwan is a peculiar person, atn!
wi cun't think of any adjactive to d*'
?enl.e him. As soon an lu- apptara h.
tuketi tho n inn und nobody ha? tc
bother about anything at all nfter that
He aweeps everything beforo him likt
a simoon, only his forces are not sc
scattered and neither are they inter
Always on tlie lookout for easy copy
we said: "We want to do a story abou'
directors, Mr. Dwan, and wc want yoi
to write it for us. .Something aboul
'Home Lives of Great Directors,' or, per?
haps, 'Love Letters of Dead Directors
?no, that wouldn't do, for you wouli
never come undar that classiiication?
perhaps 'Memories of a Director' wouk
"All right," agreed Mr. Dwan. "I'l
dictate it just as though you had writ
ten it. Here, take this down: 'Om
day last week, when I was walkinj
down Fifth Avenue, I met Allan Dwan
"Hello, kid," said I. "Oomc in and hav<
a drink." So, while wo stood with ou;
feet on tho rail, thinking sadly of ;
date not sy far distant'"?
"But," we interrunted, "you forge'
you are supposed to be tnlking to ?
lady! However arroneous the supposi
"Well, then, write it yourself?saj
In Which Allan Dwan
Telts AllAhout Supervision
anything you like?use your own diu
cretion!" f J
"You are an optimistic soul, aren'
you?" we began and just then ftfc
man Kerry and Matt Moore joined u
and Mr. Dwan had an idea.
"Go over to the Rialto with rtie to
morrow morning and see my pictut.
'Forbidden Fires,' which is to be 8h0^
there, and 1*11 give you a story about
. supervision." Putting on a picture lt
i 10 o'clock in the morning is cruel aJ
inhuman, but when we got to the th
atre we found that Mr. Dwan and Hun
Riesenfeld and the whole orcheitr,
had been there all night working w
It was a marvellous picture and
thrilling orchestration even at 10;|(i
But not a word did we learn of aupV
vision, for you can't talk when yotj
are watching a picture like "Forbiddm
Fires." Louise Glaum and Matt Moore
played in it, but Mr. Dwan supen^ed
Never have we seen such degert
scenes, such lighting and auch photoc
raphy! Some of the ecenes were taken
from the back of the tent with tht
figures in the play silhouetted agsintt
the sky and the desert atretching for
miles behind them.
"Who are all these people fn front
of us?" we whispered once during tht
"Prospective purchasers," Mr. Dw?t
whispered back, "representing, I shoult
say, at least $300,000,00(1."
It seems a lot of money, but, thm
no doubt the picture is worth It.
But we never did get our etory on
Also, w? forgot to say that AUm
Dwan has not always been a director
He u?.ed to have something to do wjt>
electricity, until, one day somcthliif
somehow, ehocked him and he nev?>i
has been able to go nenr eleetricit)
since, because he is ehargod. P?rh*B!
that is what makes him so attraetiv*
but, at any rate, right nfter that hi
wrotc a scenario and had it aerenUi
and then he wrote another one and hn
that aoetptad, und then he wrot* a lo
more nnd had thrni all acoepted, am
one day the dirtttor fell II] and th?
told Mr, Dwan h? h*?l io dlreet hi
Aud ho did, and ha* been deing i
ever hhue, We are t|uite mn? tha
Mr. Dwan could do anything that w?
auggea'ted to him, und corao te thlnl
of it, we wonder why he doeaot takt
a day off from the Btudio and ittth
this L. of N. controversy once for ill
Strand to Celebrate
Its Fifth Annivenar)
During the week of April 2(1 tii
Strand Theatre will celebrate ita fift
\ anniversary, on which occasion thepul
lic will have an opportunity to witnei
the most eigantic ?how ever offered i
ja motion picture theatre. Manager J<
seph L. Plunkett has already con
menced the arrangement of an elabt
rate programme which, he promise
will be the talk of the town, if not i
the United StateF, for during tl
Strand's anniversary week the FiratNi
tional Exhibitors will have their annoi
convention in Now York, and every ci
hibitor will, of course, witncs? t1!
One of the features will be a specii
screen presentation which is now beir
lilmcd under the direction of Mr.Plm
.-\v.:v ' ? $.1
A National Institution, Broadway and 47th Street
Direction Joseph L. Plunkett
The Girl Who
Aa AKTCGAFT Picture
Telling the Vital Story of Today
The tale has been told of the heroes of France'e
Now D. W. Griffith, with his genius. tells the
story of thc heroines of the trenches that extend
from New York to San Franciaco?the endleas
trtnchea lined with wonien'e souls,
It's not the story of the soldier who marcbet* M
parade dewn th? avrmie,
U la tli? big drama ef the giti who atatida eti th?
curb, waitlng?fetafiiiluB rsgarly th? ift?#s ei the
man Ii.me men, <.?.... i?it.fcj (or one faea, tht face &l
the man who mutn Utntf whst hapnened while hf
waa ?w<iy, who muat hcer of her hatt)** and judga.
I? will make milUona think, It wiU make milUona
Paramonnt-Mack Sennctt Comedy
Strand Topical Review
Vocal Solo. . . Malcolm McEachern, Baaso
Bray Cartoon, "Out of the Inkwell"
STRAND SYMPHONY ORCHESTRA
Carl Edouarde, Conductor
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