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The Evening standard. [volume] (Ogden City, Utah) 1910-1913, April 26, 1913, Image 2

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Persistent link: https://chroniclingamerica.loc.gov/lccn/sn85058397/1913-04-26/ed-1/seq-2/

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I A Drama of the
Western Frontier
In "The Cheyenne Massacre''
Soldiers, Pioneers and
Redskins Again
Wage War
Love and Romance Play Their
Parts in This New Kalera
Perhaps no more striking portraval
ff the spirit of daring and fortitude
which settled our western frontier has
ever heen placed before the public than
the Kalem ompany's moMon picture
production, "The Cheyenne Massacre."
I 'iW' mW
I halrni
! To rise above the ravages of marauding
I Indians and establish a home for pos
terity; to thwart the saagc trickery and
bring order out of chaos, were the prob
I lems which confronted the hardy pio
neers who penetrated the and plains
From certain historical data the
Kalem Company has developed a pow
erful drama m two parts Scores of
genuine Indians t who now don vvar
bonnets and pamt for hire) were se
cured for this special feature, and sev
eral companies of the state militia took
part. The story in brief is as follows:
At the frontier post. Fort P.rvson,
Robert Lili.-, an intrepid young lieuten
ant, Wins the hand of the commander's
daughter and the admiration of his
companions through his many deeds of
daring He befriends Mountain Dew.
an Indian maid when the is annoyed
by a thoughtless officer and gains her
Swift Bear, an Indian chief, visits the
post and openly defies General Foster's
authority. The general endeaors to
pacify the red man and sends him on
his way Determined to incite an out
break. Swift Dear returns to his ramp
and sends two vicious braves to demand
food of a settler. John Simmon the
settler, rctuses the request, knuwmg
that the Indians are not in need The
chief flics ivjto a passion when his bravc
rcturn and. sweeping down upon the
cabin, he burns it to the ground. Sim
mons' son Bob, the sole survivor, makes
his way to the post and gives the alarm
At daybreak General Foster and his
troops set forth to quell the outbreak,
but they fall into an ambuscade and suf
fer a great los? Knowing that he can
not cope with the Indians, the general
returns to Fort Bryson and endeavor'
to communicate with a neighboring pom
by telegraph, but the crafty savages have
cut the wires.
Lieutenant Ellis volunteers to dis
cover the Indians' numbers and secure
reinforcements from Fort Craig As
he approaches the camp he overpowers
an Indian brave and takes his blanket
Mountain Dew bids Fills to return when
she peneirates his disguise, but before
he can c-cape the Indians fall upon him.
The lieutenant places his revolver at
the girl's temple and. with the threat
that he will shoot at the first sign of
treachery, he mounts his horse and
da-lies away.
Swift Bear loses no time in gathering
his forces and making an attack on the
weakened post The little band of de
fenders is about to be annihilated when
Ellis, at the head of the Fort Craig
forces, arrive and saves the day.
I i
Scenes Enacted in Hospital Clinics With Surgeons and
Patients As Actors, Reproduced on Filims
To the general public the words
Motion Picture" are synonymous with
"pleasure," 'amusement." "recreation'
The motion picture undoubtedly does
mean this, but it also means very much
tng ones his whole attention must be
centred on hi? patient and he has neither
thought nor words for the students.
The motion picture removes all these
hampering restrictions
The camera scue; every minute detail
of the operation performed by the sur
geon with an ey.-u-t faithfulness beyond
the power of the human eye. When the
Rim is placed within the motion picture
machine and the operation is re-enacted
on the screen the enlargement of the
picture permit1 it to he presented to the
vision of the students with a clearness
ind disiinctnc-s they could never hope
to i lurun during the performance of the
actual operation.
Further than this the reel can be un
rolled rapidy or slowly as the pro
fessor may desire, or ma be brought to
a stop altogether while he dwells at
length upon some important point in the
handling of the case under consideration
It is obvious that the motion picture
clinic must thus possess many advan
tages for the student sUpCrjor lo those
of the real clinic itself The least that
may be said for it is that it is a valuable
and important aid to him in his efforts
to gain mastery of his profession.
That those advantages are fully ac
knowledged by the medical profession is
proven by the steadily increasing intro
duction of the motion picture into the
hospitals and medical colleges of this
country and Europe.
Aside from the value of the motion
picture as an important aid in the in
struction of the student is the use to
more and almost daily the extent of the
more serious interests it includes are
sensibly enlarged.
There is one phase of the motion pic
ture that is known at best to the gen
eral public by hearsay only, and it is one
that is very far removed from associa
tion with ideas of pleasure or amuse
ment Th:s is its use in connection with
medical and surgical diagnosis and
Everyone knew? that the most impor
tant feature of the medical student's
training in his profession especially in
its surgical branch comes from obser
vation of actual operations in the clinics
of the hospitals accompanied, of course,
by explanations from the surgeon per
forming the operation. Naturally the
operating surgeon must give his chief
attention to his patient. Such instruc
tion as the students receive from obser
vation or instruction must neccssaril bi
incidental merely to the operation itself
Consequently also it must of necessity
be imperfect.
The skilled surgeon's delicate instru
ments move quick! in his deft hands.
His explanations as to what he is doing
and wh) he i- doing it, one can easilv
understand, must lack something of the
detail and clarity he might bestow upon
them if he were standing on a platform
with j lifcles? manikin .- the subject of
his discourse. In the most critical cases
and consequently the most interest-
1 IV
which it is being put both for the diag
nosis of disease and for purposes of
With the aid of the Roentgen ra the
camera now shows the actual workings
of the several organs in the human body
the heart, the brain, the stomach, the
kidneys and others and where the
movement of any one of those organs
departs in any degree from its natural,
normal functions this is shown to the
eyes of the practitioner. In no other
way can he obtain such clear, exact,
minute knowledge of the real condition
of a diseased organ and the diagnosis is
thus based on certainty not guesswork.
As one instance of the value of the
motion picture in conjunction with the
Roentgen ray may be cited the studies
of the processes of digestion recently
mad'j with living men and women as
subjects of observation Those proc
esses, taking hours for their completion,
were relied ed through the camera lens
on the film and it was then possible to
reproduce them on the screen within a
5pac of time to be measured in minutes.
hat had heretofore been known of di
gestion was based mainlv on deduction
Now, thanks to the motion picture, this
knowledge can be made the result of
visual observation
I his subject is one that has appealed
very strongly to Sicgmund Lubin, head
of the- gigantic film producing organ-ration
of Philadelphia.
Mr Lubin's attention was first directed
to it by tin produi lion of a film showing
the- microbes in milk This suggested
to him an idea and as a result, he wrote
to -everal prominent Philadelphia phy
sicians and asked them to co-operate
with him in making pictures that would
aid them in establishing higher hygienic
-tandards for the public
Now the Lubin Studios are thrown
open to the medical profession every
Sunday for the production arid exhibi
tion of pictures of patients from the
Philadelphia hospitals suffering from
every variety of disease or undergoing
all manner of operations.
The spectator- at these exhibitions
are Composed exclusively of medical
men, patients, nurses and the motion pic
ture operator
Could any of the general amusement
seeking public whose ideas of the mo
tion picture are limited to scenes of
laughter producing comcdv or thrilling
melodrama Rain ntrance to one of those
Sunday afternoon exhibitions they
would have emotions of a different char
acter awakened on seeing some of the
gruesome sights there depicted.
A director and his camera man of the
Powers Company had a curious experi
ence during the taking of a recent pic
ture An automobile figures in the ac
tion, and when the film was developed it
was noted that both the director and
the camera man were reflected perfectly
in the windguard of the auto, and the
scene had to be retaken.
Gleanings From
Photoplay Studios
Actors and Actresses of the
Screen Supply Food for
Gossip of Their
Comedian Eddie Lyons Sees
No Fun in Committing
Suicide to Order
Gertrude Robinson, recently with the
Reliance Company, :s now playing leads
with the Victor.
Chatles W. Travis, who ic taking the
heavies and strong character parts in
Rex pictures, is a well known legitimate
actor He has been in the profession
for more than thirty years, fie plavcd
ifl the first Bison production, and since
then has taken heavies and characters
with the icm and Republican Mr.
v v (y
Travis has been with the Rex Companj
for seven months and is a screen favor
ite Charles Bartlctt, of the "101 Bison"
Company, is recovering from the ctfects
of being shot in the eye. lie is still
busy "shooting" Indians at the old stand.
Talking about coivhojs, did you ever
see a cowboy cry ' The other day, dur
ing the taking of a pathetic scene in a
frontier production, one of the cowboys
was found weeping silently. He was
somewhat annoyed at being found out,
but freely admitted that he loved to go
to "pathetic motion picture shows and
dramas" and that he always wept when!
he saw women or children oppressed or!
injured. This cowboy is a particularly
manly fellow, loo. and one of the finest
"bulldozer.' in the country.
Frank M Kcllcy. who is acting in
Powers pictures, is one of the best
; known caricaturists in the countrv. He
has been associated with, several large
newspapers. He has also done a good
deal of writing and is very well known
on the vaudeville s(aKe He promises to
be a favorite on the -crtcn
Recently in the takmp pi a cene in
a Nestor comedy. Eddie I VOnS, the pop
ular screen corhedian was supposed to
contemplate suicide He in-- down and
places hi, head on the car tracks. Eddie
acknowledged to nervousness, and the
rest of the company enjoyed his uneasi
ness. "It's all right for vou fellows stand
ing on the sidewalk " he said "but sup
posing the car came a little too iar
' Don't worry." came the response,
you won't derail it " . .
Two ladies passed and one of them
cried out in horror, but was somewhat
relieved when her attention was called
to the camera ,
"They ought not to be allowed to
frighten people so" she said.
Eddie made the jump of h lite when
i In- word came, and jut in lime to keep
his little place on this earth.
Manv of the biggest stars and semi
Mars of the legitimate stage have tried
out in motion pictures productions and
have failed utterly vet a large percent
age of the leading photOplayetS entered
the profession after vears teaming in
musical comedy, stock or the drama.
Motion Pictures Tell Unflattering Tales, But Prove Efficient
in Teaching How to Acquire Grace and Beauty
When Burns penned the lines:
"Oh. wad some power the giftic gic us
To see ourselves as others sec us"
he little dreamt that such a power
would be created in a later dav . that
there would be born the Motion Picture
to permit us to "sec ourselves as others
sec us."
It might be argued that a mirror gives
us power to "sec ourselves as others see
us." It docs not. No man nor woman
j cither can see in the mirrored reflection
the self that others see. Nor does the
stationary posr b( fore the -amera result
in a photograph that --hows us that real
self "as others sec us." A
In the motion picture is found for the
first time an effective medium of self
An American woman who, though
still young, has lived for many years in
Europe and has gained recognition both
in Paris and London as a teacher of
dancing and detortment. has returned to
New York and has there established a
school of physical culture with the mo
tion picture as its most important ad
junct. In this school are already cn
rollcei many of the coming debutantes of
what is known there as "Society'' and
also members of that "Society" who
have sonic time since parsed the debu
tante age and stage
hile the head of this school applies
to it the name of ' physical culture." she
distinctly disclaims any pretense either
to restoration or preservation of health
except as such results may incidentally
follow her course of instruction.
'.race'" she- exclaimed in rcplv to a
ipicstion as to the purpose of her school.
"That is what I am trvmg to drill into
mj pupils to drill s0 thoroughly that it I
will become instinctive and manifest it
self in every movement."
"But the motion picture part of it?
she was asked, "What about that5"
Well," was her replv, "in that 1 havei
i-'Und the solution of the difficulty I
have struggled against for years. My
first difficulty, the difficult that per
sisted, tlrat it was almost impossible to
overcome, was to convince the girl or
the woman that she was not already
graceful in her every movement She
would stand before a mirror and admire
herself. She would look at her photo
graph and find herself beautiful and
sraceful. She came to me to learn to be
graceful, and she believed she had noth
ing to learn she was already graceful
On the tip of my tongue would be the
question 'If you are alrcadv perfect
wh) do you come to me?' But I would
bite my tongue and that question would
not be asked.
"H I did ask it the answer would be
perhaps not put into words, but in her
mind all the same Yes. I am graceful.
corm' to you to make me more SO.'
"But now " and the instructress
aughed. not loudly but verv merrilv to
lur-elf chuckled could T say? "But
now," she continued, I say nothing, I
simply put them on my platform. 1 tell
them to enter a room. Thev do so. I
tell thcra to walk They walk. I tell
them to sit down, to stand up again.
And all the time my motion picture
Re i
camera is at work and every movement
is caught upon the film. And after
"Well, I simply let them sec thern
selves upon the screen After that I
can begin to teach them something, and
they know they have something to learn
"But when they do see themselves,
what then " " I asked
"Yes, wdiat then I" said Madame of
the Motion Picture Physical Culture
School in a very reflective manner.
"What then' Ah' that is the whole
secret of my success. They see them
selves. They see themeslves awkward,
ungraceful, ugly Yes, ugly ". She re
peated in most animated fasbion. "Any
one, I care not how handsome her face,
how perfect her figure, must be ugly
who walks, who stands, who ? its awk
wardly, ungracefullv nd that is
what they see themselves awkward
ungraceful, ugly, and they cannot be
lieve it
"But I shrug my shoulders and I
tell them the camera cannot lie ; there
is their true selves as everyone who has
eves must sec them. Then I give the
word and on the screen come other
women women who know how to walk,
to stand, to sit and mv pupils well,
thev see the difference After that I can
begin to teach them."
But. as this teacher of grace explained,
this was not all Continuously were ber
motion picture emploved to lead her
pupils toward realistic embodiment of
the true spirit of beauty of poe and
motion. Thev walked they sat, the
danced, they fenced, they went through
their cahsthenic exercises with the eye
of the camera upon every movement.
And those movements were reproduce.
upon the screen with truthful, unflatter
ing, remorseless exactitude And always
alternated the contrasting figures of
women who walked and sat and moved
in accordance with Nature's laws of
beauty and grace.
as it to he wondered at that such
lessons were effective2 That thev pro
duced in tne seekers after grace of
movement eager desire to rid themselves
of the gauchenc that had marred their
every movement?
And when, as the course progresses,
the pupils begin to sec the great
improvement that is being wrought, they
feel well rewarded for the labors' they
have been forced to undergo and in
creasing desire to attain a higher degree
of gracefulness of poise and movement.
Kor the first time thev acquire just
appreciation of the grace and beauty the
vvomen of Greece possessed in classic
days and her sculptors so successfully
portrayed in their stature
"I have said," resumed the instruc
tress, that I make no claim to give or
preserve health through the exercises
of my course except as such result mav
incidentally follow But vet it is mar'
cclous what beneficial results are so pro
duccd lo breathe, to walk, to move in
accordance with the laws of grace that
Nature intended should govern all men
and women seem to nccessarilv brincr
health and vigor also. I see it in cverv
instance where the pupil follows mv
course faithfully and conscientiously
and the pupih delightedly recognize this
added benefit.
Latest Releases
Of the Film Makers
Pictures Traffic and Comic
Produced for Patrons
of the Screens
What Comes of Advertising
for a Husband A Sparatan
Father In His
Own Trap
Aunt Kate advertises that she is de
sirous of marrying - group of club
men read the advertisement. The spin
ster's niece visits her aunt. The sweet
heart of the niece sends the spmner his
photograph and. for the lark of it. goes
to visit the spinster The choice of the
girl's parents is a young clergyman and
he is told to go to the aunt's to see the
girl The aunt hopes to win the Apollo,
but the comedy ends as it only could
end, by the girl winning her lover and
the old maid winning the clergyman. In
the cast arc Estcllc Kirb as the aunt.
Violet Homer as the nie:e. Edward
Boring as the lover and Budd Ro;s a
the minister.
Because his son fails to show any
signs of making a man of himself the
youth's father arranges to have the boy
shanghaied aboard a ship and forced to
work for a year But the process does
not work out as he expects and instead
of the son being drugged, as planned,
the father is drugged and s carried off.
Meantime the son elopes with his sweet
heart and goes away on an extended
honeymoon. Twelve months later he is
shown as a proud father, his father re
turns, notes the change in the son, real
izes that his own hard work has re
juvenated him, and so all are content
1 here is heart interest in this photo
drama and the play is capably acted
The man goes to the city and writes his
sweetheart a love letter which he put- in
a coat pocket and forgets to post. Time
passes and she marries another After
thirty years he finds the letter when
going through an old trunk, and then
calls on the woman, since a widow, an
explains They become engaged
"Steam." the new Kinemacolor fea
ture film in three reels, which pictures
the development of steam power fr'1"1
the tea-kettle to the modern 100-tOlj
locomotive, together with the lives and
love-stories of the inventors, Jani.s W "
and George Stephenson is a character
istic Kinemacolor photoplav, combttlinfi
education as well as entertainment. Hu
man interest is supplied by the early
struggles of the great inventors, who-c
biographies have been carefully follow
in picturing the principal incidents ot
their careers. Although not contem
poraries, the record of their achieve
ments has been welded into a contin
uous storv, which sustains the interest
to the dramatic climax, when a modr"
locomotive is pictured running at
speed across the screen.

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