4
TIIE SUNDAY OREGOXIAX, PORTLAND, JANUARY 1, 1922
SINGING IN AMERICA PROVES PATH OF ROSES
FOR OPERATIC STAR WITH REMARKABLE VOICE
Tetrazzini Tells of Wild Adventure That Brought Her From Mexico to United States and of Wonderful
Career Since Debut in San Francisco, Forerunner of Scores of Ovations.
LUISA TETRAZZINI.
All Rlrhts Reserved by Vnlted Feature
Byndicatu. Reproduction Prohibited.)
ONE OF THE wildest adventures
In my whole career marked my
entrance Into the United States,
country where I have since sung so
long and so happily. Before that, after
singing In Italy, I had already trav
eled far and. as It were, "on a path of
roses. In Russia I had suns In opera
four seasons, and with the famous
Italian artists Maslni and Battestlni
while there I had learned the Russian
language, and for my singing In
Tschaikowsky's opera "Eugen Onegin'
my name 1n bronze was placed on that
composer's monument at Moscow,
had sungr at Rio do Janeiro and else
where in Brazil; 1 had sung at Buenos
Aires and throughout the Argentine.
Everywhere glorious things had come
for me. for everywhere my singing
. had swept audiences into a flame of
I enthusiasm that I welcomed with
Joyous heart.
Indeed my very debut at Florence,
my native city, in Meyerbeer's "Afrl
cana," and when I was but 16 years
old, was a romance. I happened to be
among those present to witness a re
hearsal of that opera which was never
held, the prima donna having fallen
III. In the enthusiasm of youth, I vol
unteered to . tho conductor - that I
would be his prima donna. I had never
ung in opera, but I knew the prima
donna part of lues and I felt within
m a thn nnwor in fin it Yin the Rtaere.
All told I had no more than nine
months of vocal lessons in my life. But
I came of a musical family: from
babyhood I had -lived and breathed
' music. The opera I had learned as
other babies learn the alphabet. And
so I felt that fine morning, when I
offered my youthful services to the
surprised conductor, that I was doing
the most natural of things. His sur
prise ceased, however, after, on his re
quest, I sang to him, and I made my
debut In "Africana as result. That
debut night meant tho beginning of
my path of roses, roses blossoming
In the enthusiasm and love of my
audiences all over this big world of
ours, and for which I am so su
premely, devoutly thankful.
Another country I sang in, too, be
fore I reached these United States,
and that was Mexico. It was a per
formance of "Lucia" and at the City
. of Mexico, which sent me here and
Into the adventure to which I have al
luded, for on that "Lucia" afternoon
the famous manager, William H.
Leahy of San Francisco, heard me
sing. It was all very curious, or, per
haps, I should call it fate, and glo
rious fate at that.
Mr. Leahy had been ordered by his
San Francisco doctor to take an ab
solute rest. To get It he went to the
far-off City of Mexico. Arriving at
the station there his friend, Giergio
Polacco, the noted conductor, met and
welcomed him.
"We must hurry," said Mr. Polacco,
"for I, have a "Lucia' matinee at 2
o'clock. '
At this the professional spirit of
Mr. Leahy awakened and he also went
to the theater. After the first act he
came to my dressing room, fired with
enthusiasm; all the doctor's orders
quite forgotten, and only one supreme
Idea In his mind. I must go back with
him at once to San Francisco, and
make my debut there In opera at the
Tlvoll theater, of which he was man
ager. To have agreed to that would have
meant to leave my colleagues helpless,
for they could not have successfully
continued their season In Mexico City
their standing in a far-off land.
Though In my heart I longed to go
to that great country of which I had
heard so much, with deep regret I
told him of my decision to remain
with those who needed me, and that
this was final.
Little did I know then of that
splendid American spirit of which Mr.
Leahy is to me the very embodiment.
"I will take you and all your
friends," he answered promptly.
"Do you mean the whole company?"
I risked, astounded.
"Exactly," was his calm reply.
When I get my breath again, we
talked over details which were very
soon arranged.
,
Then came the great adventure. Mr.
Leahy had returned ahead to San
Francisco to blaze a trail for us. The
company and I set out alone to fol
low him. It was In the early summer
of 1905. 'And Just at that Important
moment, the Colorado river burst
Us banks In the midst of terrific
rainstorms, flooding a vast stretch of
country. One valley section became
not merely a lake, but the Salton sea,
as It was called, while mile after
mile the water surged and eddied.
Already we had started, and our route
carried us straight into that Salton
sea.
We had gone along: slowly for some
time In the awful downpour, when we
earns to a series of what looked like
broad lakes; presently we steamed
Into surging, splashing waters. A
great sweep of country in the dis
tance looked like a coast line; about
us on every hand was the mass of
waters, muddy, cruel, full of floating
debris dashing up against the cars,
as the engine dragged us ahead slower
and more slowly still. Presently the
waters began to creep up the car
steps as we got in deeper. Soon they
were seeping in snake-like streams
down the car aisle to where we sat
terrified. The train moved forward
cautiously, but always the waters kept
on coming in more quickly, mounting
higher and higher until we had to
get up on the seats as ttie current
streamed past us. Soon the engine
stopped stock still. The waters had
put Its fires out, and we were stalled,
helpless.
But Providence had given us a
friond, and a resourceful one. Though
we did not know or even think of it,
along tho telegraph wires within very
sight of our frightened eyes eager
messages of rnqulry were speeding
from Mr. Leahy, who, in far-away San
Francisco was seeking to locate us
and bring us to safety. The hours
seemed long ones, perched on those
seats with muddy waters creeping
higher about us, while outside It
dashed along for miles and miles Into
the distance. Then came long,
piercing whistles. A high, giant en
gine, whose fires the waters of Sal
ton sea could not reach, had been sent
by Mr. Leahy to our rescue.
All told my arrival in the United
States was contrary to any prima
donna traditions. Wagner surrounded
his operatic heroines with fire; I
came into this country through en
girdling waters. As complete reversal
Instead of making my debut in New
York, I made It on the shores of the
Pacific, in the city of the Golden
Gate. And what an exciting day It
was! Never shall I forget it. Owing
to many vexatious delays, our trains
did not reach San Francisco until 12,
noon, on June 9, 1905. That night I
was to make my first appearance
there as Gilda in Verdi's "Rigoletto."
The opera costumes of the entire com
pany did not arrive with us. many of
the chorus did not even have their
stage shoes. Additional members of
chorus and orchestra had been re
cruiter locally. Consequently opera
costumes for many had to be routed
out of the Tivoll theater storage by
Mr. Leahy, and rehearsals held fev
erishly by Mr. Polacco up to 20 min
utes to 8 o'clock that night. This I
heard later, for I bad been hurried
PS
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at once to a hotel to rest up for the
performance.
Many glorious debuts in many lands
are treasured In my memory, but
never shall I cease to hold very dear
In my heart my debut in the United
States. That night after my aria of
CaroNome,"ending with Its long, high
trills, the scene was stupendous. Vo
ciferously demanded by the great au
dience, I came back on the stage to
find people rushing madly toward me.
women tearing off their corsage bou
quets to throw them to me and men
heering until the air throbbed and
tingled. In that moment all my so
recent trials were forgotten, all my
agonies of fear that I might not
arrive in time to sing. But one
thought filled my mind I had been
gloriously welcomed by the American
people, who had taken me to their
great hearts.
And what splendid experiences I
have lived through here since, and
everywhere, singing many times clear
across this vast land to New York
and back again to San Francisco;
singing from the great cities of the
far north to the great cities of the
far south, with always the same lov
ing welcome and appreciation from
audiences that have made my path
way bloom with roses. New York, has
given me glorious nights in opera at
SPECIALIZING OF MOTION
PICTURE THEATERS FORECAST
Movement Slaking Houses Similar to Vaudeville, Drama, Musical Com
edy, etc. Noted by Cecil M. Hepworth.
THE beginning of a movement to
ward the specializing of motion
picture- theaters in the same
manner that legit'mate houses spe
cialize in drama, vaudeville, musical
comedy and other forms of spoken
entertainment is the most encourag
ing sign for the future of the indus
try noted by Cecil H. Hepwoth, the
leading producer of England, on a
tour of this country which he has Just
completed. He passed considerable
time in stud'os on the west coast
prior to a stay In New York studying
distribution methods. Some of his
impressions he summarized in an ad
dress before the Associated Motion
Picture Advertisers in New York re
cently a follows:
"The most encouraging signs I
noted on my trip is the fact that In
Los Angeles a theater has been es
tablished with a definite policy of
showing but one style of picture," he
Baid. "It Is quite some time ago that
I came to the conclusion that the com
ing of the day when motion picture
theaters would assume definitely es
tablished strata in relation to the
kind of entertainment they offered
was inevitable.
"That is the result that every other
art has reached in Its development.
Motion pictures have grown so rap
Idly that we have quite lost sight of
the necessity of orderly progress if
success Is to be attained. In seeking
a guide it would seem but right that
the progress of other established arts
should be accepted. Music offers an
inspiration. Jazz as well as the most
beautiful of the accepted classical
pieces has Its place in the musical
world. However, each particular kind
of music is offered in its own temple.
Music lovers know where to find the
kind they like. Lovers of Jazz, for in
stance, can go into a cabaret with a
surety that they will not be disap
pointed. "The trouble is that we producers
and dispensers of motion picture en
tertainment have gotten Into the fal
lacy of regarding the entire world as
a potential audience. .Your beloved
martyred president well illustrated
the fallacy of being able to do any
thing concerning an entire people in
regard to fooling them. We are not
attempting to fool them; our efforts
are to please them, and I think a
paraphrase of Lincoln's famous say
ing points out- the truth. You can
please all the people some of the time,
and you can please some of the people
all the time, but you can't please all
the people all of the time.
"That is why I am so enthusiastlo
about this one theater in Los Angeles.
The management has accepted the
dictum that he can't please all the
people all of the time, but that he can
please some of the -people all of the
time. Therefore he has started on the
policy of letting the people who en
Joy the kind of entertainment he is to
offer know that they can always find
it at his house. It is a definite step
toward the establishment of a per
manent clientele.
"As soon as the majority of the
aters adopt such a policy the better
ment of pictures is bound to come.
The producer or director who has the
talent to produce a certain kind of
picture will be able to da, his best.
He won't have to compromise In the
effort to please those people who
don't like his particular kind of pro
duction, for be will know that his
5
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the Manhattan; Chicago has given me
nights as glorious at the Auditorium;
so have Boston and Philadelphia at
their opera-houses; so have all the
important cities of the country, where
my return again and again in every
concert everywhere has brought me a
welcome that has gone straight to my
heart. This was well worth almost
swimming here to get; It was well
worth more besides, for to have lived
so into the affections of a great peo
ple would make far greater hardships
in reaching them seem trivial.
Meanwhile I have also sung In otfier
countries between my seasons here.
In Brazil, in England, In France, in
Italy. In London at Covent Garden
in 1907 I was received as the suc
cessor of Adellna Patti, not only by
the public, but by the diva herself,
who 9am e at once after the perform
ance to my dressing room to say so,
and who wrote me a treasured letter
repeating all she had said, such a
letter as only one who Is supremely
great and supremely, generous cobld
write. At her London hotel the fol
lowing Sunday she had me sing to her
again from "Travlata," telling mt
once more that she wanted to hear its
dear music sung as she herself had
once sung it.
In that same London so eager were
audience' wants the very stuff that he
best knows how to do. The makers
of pictures comparable to Beethov
en's sonatas will be relieved of the
necessity of injecting jazz. The
change must come to the industry
through the exhibitors, for they are
the ones that must decide upon their
policies. ' The theaters in the larger
cities will specialize in but one style
of production. Thpse in the smaller
cities will establish definite days of
the week for a certain kind of pro
duction. "Such a condition will show a
marked imprevement In every branch
of the industry. Distributing organ
izations will be relieved of the neces
sity of selling the world on each pro
duction. Advertising men will no
longer have to carry every appeal in
every page he prepares, and the pub
licity man won't have to Inject a
strain of logic into slap-stick comedy.
"Motion picture patronage will im
measurably Increase. So many people
whom I have asked as to the kind of
pictures they are making use a very
expressive gesture in answering.
With a motion of the hand they Indi
cate that they are, catering to a class
whose head stops at their eyebrows.
They have been successful at it. In
fact so successful that there are a
great many people- who have been
alienated from pictures. These can be
brought back and they are of a class
.that is well worth winning back."
Biblical and Other Moral
Subjects to Be Filmed.
Christian Pictures for Christian
Purposes Made by Christian Peo
ple with ChrlMtlan Money, Slogan
of ew Company, r
ADOPTING for Its slogan: "Chris
tian motion pictures for Chris
tian purposes, made by Christian peo
ple with Christian money," Church
Films, Inc., has lately been organized
In California, with a capitalization of
$1,000,000, an objective of $10,000,000,
and though the company has been in
existence but 60 days, it is a going
concern. '
The corporation intends to make
films from biblical and other moral
or religious subject matter and to dis
tribute them among churches, schools,
missionary fields and In the Y. M. C. A.
The organization methods of Church
Films, Inc., are unique in the com
mercial world. It refuses to sell Its
stock to or to employ anyone who Is
not a member of one of the Protestant
evangelical denominations, pointing
out in Its ad-vance literature that all
smaller schemes of the same nature
have failed in the past because a too
great diversity of opinion was al
lowed to creep In and promote dis
sension. s
The closing thrill of Larry Semon's
latest comedy, "The Sawmill," is ex
citing enough to make most of the so
called stunts in the average serial
look tame. The comedian and his
l-ady love escape from the clutches of
a murderous gang of ruffians by
climbing a gigantic redwood tree.
The pursuers proceed to chop down
the tree and Larry lassoes a nearby
tower. A the tree crashes to the
earth he and the girl swing- out like
they to hear me that people waited
In line at the opera-house for 12
hours. Some grew faint from fatigue,
and Mr. Higgins. director of the
Covent Garden opera, generously pro
vlded for their comfort by sending
out sandwiches and hat coffee. As I
have driven up to the stage entrance
early In the evening to dress for tne
performance I have seen those throngs
there waiting for me; their greeting
cheers still linger In my ears, and I
bless them -in remembrance. Roses,
roses, always roses! . And humbly I
thank my Heavenly Father.
In all the years succeeding, every
where It was a triumph of roses, and
m, of thn most beautiful of them all
was the Christmas eve of liu in can
Francisco. .1 sang tnat mgnt in m
-I n an mlriionCA that' Df O D 1
told me numbered between two and
three hundred thousand. '
The night Itself was calm and
balmy; a new moon "hung over ttu
Twin peaks, ana near 11 bwuiib
evening star. The Intersection o
streets where a stage had been erect
- A hafnr, Ihn Itta. f O U II t 1 H ITl&d O I
great open space. There people were
... . I . 1 J n .met
crowded snouiaer to buuuiuci ,u
phalanx for, perhaps, three-quarten
Two numbers I sang, first the waits
trnm "Romeo and outlet, ana. wiutv.
tHunriArmia rheerlnf followed It
and after that came "Home. Sweet
Home. wnne I sang me iiuiii
was so great that friends who were on
a high building five blocks from the
improvised stage tola me mm iuej
had heard my notes in silvery clear
ness. This is among the most precious
of my memories, and I always asso
clted those two numbers with that
balmy Christmas eve and cheering
thousands. In memory of the event,
the dear people of San Francisco have
attached to the Lotta fountain a tab
let bearing my portrait In relief.
When the great war burst upon the
world In 1914 I determined to devote
oil mil- fimA fn sineing for the benefit
of the Red Cross, paying all my own
expenses, that me euwro v
; u . .iifferin? humanity of
the peoples of all lands. It seemed the
least I couia ao to snuw mj hf"
,i ,v, iv. that thev had given
me: the least that I could do to prove
my thankfulness to wa ior m.ius
Ki.srf m with a singing voice that
endeared me to my listeners.
nr., !... nnn-rt for the Red Cross,
and when the war ended, was in Paris.
During it I autograpnea mj
. i W..A .ali hv auction
grapnn, 11 1 1 i. .
then and there to aid the fund; some
brought 2500 francs, ana t
name so many times that my hand
ached. But my sole regret was that I
could not write with two hands at
once. The receipts irom u cuutci
were half a million francs. As it took
place during the peace conference, It
really seemed as If half the world s
celebrities were there, among them
:i... TTtji Marshill Foch. Gen-
rrVSlUCJll . " uauu, ......
eral Pershing- and the queen of Rou-
mania. x
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Just one closing. word about some
thing that made roses bloom in my
path the other day. It came in my
.nrwr in Boston. After tne pro
gramme ended my audience cheered
and cheered. Then. I spoke and told
them that maybe I was leaving them
forever and would never iorget mem.
"Don't go yet, Tetrazzini, iney
called back.
"I shall never forget you," l said,
'and If you keep on calling me back
shall come!"
Even after that they kept on cheer
ing all the time that I was changing
my dress to go to a train which I
was obliged to reach. Finally I came
out to bow and bow. When my motor
car drove off It was at a snail's pace;
thousands blocked Its way to wish me
Godspeed.
This Is but one glorious experience
of thousands of glorious experiences
that your dear land has given me. I
call them my American Beauty rosea.
human pendulum. Then comes the
big surprise when one of their
enemies cuts the rope. Larry has de
cided that the next trip he makes
through the air will be in an air
plane or something really safe.
. . .
An Interesting Canadian village
called "Pontiac," was erected at the
Lasky Hollywood studio for exterior
scenes In "The Lane That Had No
Turning," Agnes Ayres' first starring
picture for Paramount, an original
etory by Sir Gilbert Parker.
One of the particularly colorful
buildings shown In the village is an
old-fashioned manor house 200 years
old, built along the lines of French
Canadian architecture.
"But," says Miss Ayres, "this Is the
first French-Canadian story I've ever
seen without a mounted policeman
In it."
Theodore Kosloff has a remarkable
character role and Manlon Hamilton
appears in a leading role. Much work
was done on location at the Lasky
ranch, where a typical "country wed
ding was presented.
On another occasion it looked as If
King George and Queen Mary were
enjoying tea in Buckingham palace
Their movie doubles held Informal
reception all one afternoon.
Why the Japanese censors eliminate
kissing scenes from American films
was explained by T. Kikuchi. coun
cilor of the department of education
of Japan, who recently observed the
making of motion pictures here. He
said:
"The Japanese don't kiss, and there
fore they don't want to see it on the
screen. We don't regard It as Im
moral; it Just Isn't a custom with us.
Besides, the Japanese are taught to
restrain all exhibitions of emotion in
public."
Mr. Kikuchi and his countrymen
are enthusiastic about American pic-4
tures. Every studio knows that more
"fan" letters are received from' Japan
than from any other foreign country.
The recent report that Pola Negri,
the celebrated Polish actress, is soon
to come to America to make pictures
lends Interest to the fact that the
first picture she has ever made In an
American setting will shortly be re
leased by Paramount.
This Is "The Last Payment," pro
duced by UFA. The story Is prin
cipally set on a South -American
cattle ranch and In gay cabaret life
comparable In Its way to that of
Paris.
The sharp contrast between the
noted actress and the outdoor setting
is relieved considerably, however, by
the fact that, owing to the Spanish
Influence, South American households
are discovered to be-more sumptu
ously furnished than the average
ranch home in the United States.
Against an alternate background
of native life and metropolitan amuse
ment palaces, the story of a woman
who set father against son Is un
raveled in a series of dramatic
scenes said to equal the actress best
work In "Passion," her first great hit
In America. She Is supported by an
excellent cast.
Straight Alrnrrr Demanded.
Pittsburg Chronicle Telegraph.
Doctor (questioning an insurance
applicant). And now tell me what do
you do for a living?
Applicant I make money, sir.
Doctor Yes, I know you make
money, but how do you make the
money? '
Applicant (somewhat peeved). I
make money, sir.
Doctor (exasperated) Now,' listen
here. I know quite well you make
money, but confound you, tell how
you make the money.
Applicant I work, in a mint.
TOYS FUP.NITUP.E.
HAND CRAFT PROJECTS
WAS THERE ever anyone who did
not like horses? If there was,
he must have been a peculiar
person. This week we'll learn how to
make a horse for our wooden menag
erie. ,
Lay out the pattern for the horse
on either cardboard or heavy paper,
or on the wood Itself. Make a number
of half-inch squares on the wood,
and draw the figures through these
squares. If you have made the pat
tern on paper Instead of directly on
the wood trace the pattern on the
wood. Then saw. Patterns for each of
the parts are shown in the diagram.
HpT a
Cur Our -J--J i
"TWO ORPHANS" IS DECLARED
SPLENDID FILM PRODUCTION
D. W. Griffith Said to Have Outdone Magnificence of Other Shows
in Staging of French Revolution Movie.
THE plans of D. W. (Jriffith are
now mature with respect to his
French Revolutionary epic, "The
Two Orphans, and Mr. Griffith has
perfected the work so that its world
premieres in six leading cities will
represent the fines' achievement of
his genius, it Is said. He has been ten
months In making and completing the
picture, which is being staged with
II the elaborateness for which the
Grifith productions are noted, it Is re
ported. A corps of six dif,ertors have
been prtparing the music. Stage ef
3 h
PRICKS
EVES.. BOe and 70e
MATS., 3Ac. SOe and 75c
CHILDREN (ANY TIME). SOe
Tlirse prices include the tax
'" VrftSfXTr J Today for f J f f I
jsA M,,fff4 Your Enjoyment f Kp-
fir' In His First Big Super;- START THE f
1 J i J " Dreadnought Comedy Feature NEW YEAR
Jf tf Without Any Limitations on nrr;iTii I
''g$T J Laughter Gobs of Joy for OFF WITH
Four Merry Reels A LAUGH!
7rj . ?SSL fift A A ROAR! t '
; J S ( T? I A SCREAM!
": ill ! C4.V 'and ,
La
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1 1 : USEFUL. AP.nt.LU I
Craft-
Tool-
Toy Horse.
Ar To Suit
. Tmti. Tt ffc
With ft h scew.
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Be sure that the horse's legs, when
the parts are assembled, will be the
same distance from the floor. In other
words, locate the holes for the screws
by which the legs will be fastened to
the body, in the same place on each
leg. You can readily see what would
happen If one hole is made higher
or lower than the other. Use washers
between all movable parts and the
body and the screw heads, except in
the case of the horse's tall and ears.
Use round-head screws for the- legs
and ears, but for the tail, which fits
Into a groove that must be made in
the back nd of the Horse's body, use a
long, thin, flat-head screw. -
fects and big orchestras will be used
at each of the openings, all of which
will be this month in Boston, New
York, PhiLadeuphia, Cleveland, Pitts
burg and Chicago.
This wprk arose from Mr. Griffith's
desire to tell the story of "The Two
Orphans" stage play in motion picture
language. He has done this thing in
respect to "Way Down East," the Yan
kee classic, and saw the possibilities
of "The Two Orphans," a Franco
American classic with a record of 46
years' popularity here and abroad. .
In laying the foundation of the
work Mr. Griffith was struck by its
TOM SANTSGHI
IN HIS LATEST NORTH WOODS DRAMA
"THE HEART OF DOREAN"
NEWS
JOflVr
JOHN
liAMRICK
HOUSEHOLD AHC.HANICS
When you make the horse's cart
be sure that the grooves In It are
placed so that the animal's feet fit
snugly into them. As the spread of
the horse's legs varies with the thick
ness of the wood you use, I have given
no dimensions for the grooves.
Make the wheels exactly round.
Cut them out of wooTl with a coping
saw, first. Then file them with a wood
file, and sandpaper.
Being familiar .with horses you
know what colors are suitable. The
easiest colors to get, however, are
either white or black. Let the wagon
be red.
(Copyright, inal. Asaociatcd Edltora.)
closeness in time and place to the
French Revolution and by the proph
ecy of that terrible debacle which Is
given in one of the stage play's scenes.
He decided it would be perfectly prac
ticable to move forward the story a
twelvemonth into the actual revolu
tionary turmoil and to give it an epic
character significant of the hopes and
fears of humanity.
On the former Flagler estate, now
the Griffith property at Mamaroneck,
N. Y., cast constructions were made,
larger than anything heretofore seen
in the east and fairly comparable to
those he erected in Los Angeles for
"Intolerance." Old Paris sprang Into
being the complete pre-revolutlonary
city. The halls, gardens and fetes of
the ancient nobility were also repro
duced, as well as the well-known
scenes of the play, including the or
phans' home in Normandy, the court
yard where they arrived In Paris, the
beggars' cellar, the, church of Notre
Dame, lodgings of Henriette, etc
Many thousands of extras supple
mented the labors of veteran actors
0
cLr r-n fT-i
f " 1 n
WEEKLY AND NOVELTIES
AT
ANU WASH.
an leaders in representing the strup
gle 'twixt anarchy and order In u
streets and squares of Paris.
Court Is II u lit.
Late in autumn the grandiose cour
of Versailles was built. King an'
queen, ministers of state, lords anJ
ladles, participated in colorful, varit
ana picturesque ceremonial, mo i:kc
of which has never been witnessed !ft
this country, it is said, and it is exj
tremcly doubtful whether the ain-lenl
regime has ever been so splendid.
reproduced by pageant in France Itself
since those historic days.
A cast consisting of Lillian snj
Dorothy Glsh In the title roles, Jos. pj
Schildkrant, Monte Blue, Sidney liLr
bert, Frank I'uglla, Morgan Wallac
Sheldon Lewis, Crelghton Hale, 1. unite
La Verne and others huve lnlur
faithfully the greater part of thrsu
months to enact tho personages o tiys
time. J
'
Harry Carey's next feature is to t
a celluloid version of a well-ktioufi
novel by Owen Wlster. the story hj
lng a sequel to "Tho Vlrgininn." My.
Carey Is entlclpattng a "locationjj
visit to San Francisco for exteriors, t
...
When Douglas Fairbanks and Mary
rickford left California for forcUJ
shores, they left a very sad little fel
low In the person of Jackie C'oopan.
The starlet never mlsed a day tp
chat and pl-ay with Doug or to lt on
Mary's kneo while she read him vu.
dcrful stories about the bear or (
Santa Claua. '
For awhile Jackie was content ff
play with l'atsy, the little girl nextt
door and every Saturday morning ba
prayed with Sammle Washington, thi
son of the colored washerwon-.aiv
But neither Patsy nor Sammie knev
a thing about studio life and Jackie
grew more lonesome than ever. V
Now, however, things are different
Jackie has two brand-new playmate.
Girls, too. They Just arrived In Holl
wood from New York and they re
going to remain there for a Ionic
time. Their names are Norma anU
Constance Talmadge and they are
making their picture plays in tusN
same studio that Jackie works in.
. . 4
Another Instance of a star support
ing a star Is found In the case (Jf
Conway Tearle, who Is playing the
male lead to Norma Talmadge In lir
current production, "The Duclien3 (t
Langeis." v
1
Maude George has gone east to
join others of tho cast of "FoolHi
Wives" at the premier of Unlversil'a
million-dollar picture In January.
"Foolish Wives" has been more th3i
a year and a half In the making.
. .
Jimmy Aubrey's new comedy is
called "The Messenger." Tho plrjt
hinges around the experiences of i
messenger who Is sent to a plotting
gang for a mysterious explosive, ol
JUnmy, unwittingly, 1 tho messenger.
"The Messenger" will follow "Th.n
Applicant," the most recent Aubr
comedy, . 1
... .
Norma Talmadge after a IriT
months' rest la to begin work on
new picture. "The Duchess do
Langeals." Her forthcoming releai
has been rennmed "Love's Rede nip'
tion," formerliy entitled "Regenera--tlon
Isle." It was directed by Albcsr
Parker.
... g
Seena Owen, soon to he seen in
"Back Pay" says her only rocrri
about the picture is that sho was nrl
permitted to retain the $22,000 clilry
chllla wrap which she wore during
tho filmlner.
BLUE
MOUSE
SYMPHONIC
ORCHESTRA
Leo Bryant
Conductor
UTII