12031915 10

[across all columns]
GREENVILLE DAILY PIEDMONT, TUESDAY, DECEMBER 7, 1915. THREE

[column1]

[photo of performers in "Every Woman", spans cols. 1-4]
The Magic Mirror scene in Henry W. Savage's production of "Every Woman" Grand Opera House Thurs-
day, December 9th.

[column 1]

[article spans cols. 1-2]

[image of Mary Pickford]
DAILY
TALKS
By
Mary Pickford
Copyright 1915, by The McClure Newspaper [blurry]
Moving Pictures

A great many people think moving
[pic]tures have slipped in and stolen
[cut off]s people from the theaters. But on
[th]e stage there is that charm of the
[vo]ice and the clever of romantic lines
[on]e cannot have on the screen. Mov-
[in]g pictures will not harm the stage
[an]y more than the spoken drama has
[in]terfered with grand opera. It is
[si]mply a new form of amusement and
[wi]thin reach of the pocketbooks of
[ne]arly every one.

Then pictures are educational. I
[ha]ve always noticed that [blurry] pictures
[pr]ove absorbing to people living in
[th]e Middle West, while the cowboy
[st]ories of Arizona and California are
[m]ore poular in the East. Foreign
[pi]ctures give us an insight into the
[li]fe abroad and the Orient is brought
[v]ery close to us.

People do not realize how hard we
[w]ork to get some of the effects seen
[u]pon the screen. Sometimes we re-
hearse hours for just one scene, and
[o]ften it takes days before we are
[s]ure it is right for the camera to re-
[g]ister. Then it is only a few feet of
[fi]lm and takes but a few mintues to
[r]un it off.

We are never satisfied with our
work and as we watch ourselves upon
the screen we always pick flaws in
our acting. We see ourselves making
[li]ttle awkward gestures or using our
[e]yes too much, and that is the way
to learn to overcome our faults. The
[gi]rl who sees no error in her acting
is the one who will never advance. The
[b]est artists are never satisfied with
[t]hemselves; they are their most se-
[v]ere critics.

The moving pictures cre-
[a]ted quite a sensation when they were
[fi]rst exhibited. But they were so im-
[pe]rfect we did not take them very
[s]eriously.

I was so eager to see and hear them
when they first came out that I was
greatly disappointed. The first exhi-
bition was that of drama. It was
[all] quite clear, though unnatural, un-
[ti]l the villian stabbed the hero. Then
[s]omething must have gone wrong with
the machinery. The hero tottered,
[cl]utched at his wound, dropped to the
[fl]oor and died. There was no sound
[c]oming from the machine until quite
a few minutes after Then came a
voice, the voice of the man who
committed the murder. He was his-
[s]ing: "Now shall I stab you! Now
shall I kill you!"

The audience burst into laughter
and the applause was because they
had been amused by the failure in-
stead of the success of the machine.
It had made a comedy out of a trag-
edy, and though a comedy is to laugh
—still it was a fatal error. So the
skeptical people refused to take it
seriously.

Mistakes often happen in the
spoken drama; never never in the
moving pictures, for the director
would deduce it as soon as it was run
in the dark room and we would have
to retake the scene.

So far the people haven't felt the
need of the voice with the pictures.
They are most restful without it, and
several friends who go to making
pictures several times a week say
they find their imaginations are precon-
ceived in watching the plot unfold. It
become a fascinating game, too, try-
ing to foretell when you are watching
the scene just what the following one
will be. And it is good mental exer-
cize, too. It keeps you going.

The newspapers waged a great bat-
tle upon us when they exposed us
several years ago. Deaf mutes who
could read the lips claimed we were
saying untender things to each other
during love scenes; that the leading
men often swore, and from the
mouths of the actresses came "toads
instead of pearls." It was a great
shock to us, although an amusing
one.

We asked them to prove it to us
[cut off]

[article continues on column 2]

loving couple there was a world of
tendernesss. What the lips were say-
ing our imagination supplied until
they were translated to us by one
who could read the lips. To our as-
tonishment the heronine said as she
looked with tenderness into the eyes
of the hero, "You clumsy galoot, you
stepped on my foot just now."

Then there [blurry] of "I
didn't!" "You did!" "I didn't!" "You
did!" "Very well, I won't finish the
scene." "You don't suppose any one
would care, do you?"

Their eyes were saying, "I love you,
I adore you" But there lips "That's
right—pull my face around so you
and get me away from the camera."
"You don't say. Where did you get
the idea you were the only one the
audience wanted to see?" "Thank
goodness, I am not as conceited as
you"—and the picture faded out as
these two with their faces wreathed
with ecstatic smiles, embraced in a
passionate kiss."

They are very strict with us now-
adays. No such amusing mistaken
[blurry] now.
----------o----------
Answers to Correspondents.

Charles M. Wheeling, W. Va.: Al-
most any reputable moving picture
company or agency will send you a
form for writing scenarios. They
have them for the purpose of helping
and encouraging writers. Those who have
scenarios returned sometimes
think the manuscript readers do not
want to hear from beginners. I am
sure they are mistaken. There is
always a demand for new writer
with fresh ideas and a virile, con-
vincing plot.
----------o----------
"Inquisite Maid," Nashville, Tenn.,
wants to know if I ever give any or-
ders to my directors and do I stand in
awe of them." I cannot help but
laugh at this because I am afraid
that I haven't the courage to give or-
ders to any one. I do not like them
myself. But there are no directors
who do not willingly listen to a sug-
gestion, and if the suggestion be a
good one, it is always gladly received.
Directors are not fire-breathing dra-
[geons?], so why be afraid of them?
----------o----------
"I see you are putting on 'Madame
Butterfly' " writes a little girl from
Sacramento, Cal. "Will you use a real,
live baby, and will you have a little
Japanese baby or an American baby
painted up?" We always use a real,
live baby; in this case we had a
Japanese mother and an American
father, so he was very true to charac-
ter. Even if we used an American
baby, we would never have painted
the poor little thing. The process
would probably have scare him into
tears. The are prettiest when smil-
ing.

[signature] Mary Pickford
____________________________
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____________________________
Photographs

Have one these special Por-
traits in nice oval frame to send
home for Christmas.
[cut off]

[column 3]

[headline spans cols. 3-4]
AT THE THEATRES

At the Grand
"EVERYWOMAN"

Of "Everywoman" which is to ap-
pear at the Grand Thursday night,
the following is taken from the Rich-
mond Virginian:

"Not in the history of the drama
has there been conceived a more
impressive or pathetic tragedy than
the untimely end of Walter Browne,
the brilliant author of the modern
morality play, "Everywoman." We
are told that on the very day of its
first performance, almost within hear-
ing of that welcome sound to a dra-
matist's ear, the resounding applause
of an appreciative public, his spirit
winged its flight and he never knew
the fate of the craft on his marvel-
ous mind, on which the untiring ef-
forts of months, even years, had been
bestowed. For the third time in four
seasons this spectacular thought pro-
voking, sumptiously staged play was
presented to a splendid audience that
listened with breathless attention to
its every line, fraught with truth and
poetic beauty and giving ample testi-
mony that, though the flesh be mor-
tal, the spirit and soul of the hap-
less dramatist, as embodied in his
eloquent marriage to mankind, will re-
main ever verdant through the pass-
ing of the years. The story of this beau-
tiful allegory, this modern woman's
"Pilgrim's Progress" is so familiar
that a recapitulation would be out of
place. How, with her companions,
Youth, Beauty and Modesty, she acts
out from her home in search of Love,
offspring of Truth. Warned, guided
and attended throughout the pilgri-
mage by Nobody and heeding only
Flattery, she is confronted by Passion
and Wealth in neither of whom Love
reside. Deserted in her quest in turn
by Modesty, Beauty and Youth, she
finally, on the brink of utter despair,
recognizes and embraces Truth,
whom she first scorned, and, return-
ing to her own fireside, finds Love
keeping the embers aglow and wait-
ing with exhaustless patience her
homecoming, [signalized?] also by the
return of Modesty.

In the important role of the cen-
tral figure of the story, Miss Edna
Porter, whom here two seasons ago
combines with a striking beauty of
age, grace of form and dignity of
carriage, a voice [rarely?] musically
in its shading and expression, and
her surpassingly intelligent reading
of the poetry of her lines is an ac-
complishment that excites constant
admiration. In the extensive cast re-
quired, probably next to her in point
of achievement should be mentioned
the majority impressiveness of George
Sydenham as Nobody. Truth as play-
ed by Florence Gerald, and Love by
Harry Vernon were also masterful
impersonations. Only the limitations
of space prevent us from a specific
reference to each of the other mem-
bers of the very large and very com-
petent company. The staging of such
a play admits of and requires a lavish
hand. The name of Henry W. Sav-
age, who still controls the production,
is a sufficient guarantee of its ex-
cellence in this direction, [symphony-
mous?], as it is, with satisfaction re-
gardless of expense. Ten stage pic-
tures were beautiful and the large
number of [supes?] handled with com-
mendable care by a trained stage
manager. But "the play, the play,
the thing" with which the [conscience?]
and the wonder of the audience is
caught. Yet for some reason last
night's audience, whether awed by re-
spect or failure of appreciation, the
applause that seemed to us so justly
earned. And if you have not yet
availed yourself of the privilege of
witnessing this remarkable spectacle
then by all means, do not let today's
opportunity pass of including the in-
dispensable part of your acquaintance
with all that is uplifting and en-
nobling in the dramatic art.

Seats now on sale. Phone 541.

----------o----------
NEIL O'BRIEN
At the Grand, December 13.

The attraction at the Grand Opera
House on Monday, December 13th,
will be Neil O'Brien and his
great American minstrels, an organ-
ization which had its birth over two
years ago and which has since been
unusually successful. No greater
stage favorite exists with minstrel
lovers everywhere than Neil O'Brien,
who has been coming here for years
and now at the head of his own or-
ganization he will receive undoubtedly
a double welcome. His company
is spoken of in highest terms and
contains mostly new people since he
last appeared here. The entertain-
[cut off]

[article continues on column 4, top section]

all new this season. Among Mr.
O'Brien's principal comedians are Ed-
die Moss, Eddie Maizer, [Lasses?]
White, Pete Detzel, Major Novak,
George P. Podaxel, David Morris,
James Borandi, Leslie Berry, Jona-
than [Haw?], Winfield Williams, Don
Ponset, Al Palmer and many others
of minstrel fame.

At The Casino
MOVING PICTURES

FIVE ACT B. U. F. TOMORROW.

To the Casino tomorrow comes
Henrietta Crosman in her latest movie
play entitled "The Supreme Test," a
five-act Broadway Universal feature.
Miss Crosman will be remembered
as having played at the Grand twice.
When you see a B. U. F. advertised
you can always rest assured that it is
great.

Miss Violet Logan, a wealthy wi-
dow, is interested in improving the
conditions of the poor. Madge, the
sister of James Semple, a woman
hater, is the only one among her so-
ciety friends who evidences sympa-
thy for her work. Though Semple dis-
likes all women Madge compels him
to join her and Mrs. Logan in a visit
to the slums. It is while on this visit
that Violet meets Molly Phelan and
her sweetheart, Maurice. Molly has
been attacked by toughs. Violet suc-
ceeds in rescuing her. This is the be-
ginning of an attachment between
Molly and Violet. Shortly after Violet
gives a reception at which she invites
among others Bridget and her chil-
dren and Molly and Maurice. Society
is shocked at the innovation. Molly,
full of mischief, succeeds during the
evening in locking Violet and Sem-
ple together in the guest room. This
incident gives Semple an opportunity
for observing Violet as she really is
and there develops within him a faint

[article continues on Column 5, top section]

attraction for her. Madge tells Vio-
let the story how her brother came to
dislike women. He was married once
and had a baby girl. Then his wife
eloped with the child, only to be killed
a short time later in a railroad acci-
dent. They never knew what became
of the child.

Violet has been so busy in her ef-
forts with the poor that she has
failed to keep tab on the handling of
her money by her lawyer, Holmes,
in carrying on his wildest [illegible]
[illegible] has misappropriated Violet's
money only to commit suicide when
he faced the inevitable. Violet sud-
denly finds herself penniless. Violet
goes to live with Molly. Semple
makes the discovery that he has come
into the money which the widow lost
and is an innocent party to her mis-
fortune. He turns the securities into
cash and arranges to put them in
trust for Violet. Violet learns that
Molly is not Bridget Phelan's child
and inquires the names of the peo-
ple of the railroad who were wrecked.
By this means she discovers that the
child whom the old man found was
the daughter of Semple's wife who
eloped.

Madge then makes the discovery
that her brother is the one who
brought ruin upon her friend, Violet.
She visits Violet and tells her that
Semple was the one who ruined her.
This is overheard by Molly and Mau-
rice and the latter decides to go to
his house and threaten him. On the
night that Maurice visits Semple, the
victim is alone in the house and is
reading the trust papers made out in
Violet's name, when he hears someone
breaking into the house. Maurice ap-
pears and threatens Semple, who gets
excited and, overpowering him tel-
ephones for the police. Molly informs
Violet of Maurice's plan to make Sem-
ple confess his guilt. Fearing trouble,
the two start for Semple's house, and
arrive there just as Semple has
phoned for the police. Failing to dis-
suade him from his purpose, Violet
upbraids him, and finally tells him
that Molly is his daughter. Maurice
has discovered the papers beneath
the book. He [gives?] them to Violet,
who is astonished to learn that Semple
has been thinking of her to the ex-
tent of putting her money in trust
for her. Madge arrives simultane-
ously with the police, who, after an

[article continues on column 6, top section]

observing glance around the room, d[e-]
clare that a minister rather than [an]
officer is needed. Violet is about [to]
leave, taking Molly with her, when
Semple, summoning up all his ner[ve]
proposes to the widow and is [ac-]
cepted.

At The Majestic
TABLOID AND MOVING PICTURES

PROGRAM WELL PRESENTED

William Dewolfe and company [of]
filmmakers opened the week's entert[ain-]
ment by presenting last night at t[he]
Majestic "Issia's Busy Day" whi[ch]
was greatly enjoyed by a large [au-]
dience. All new comedy was in[tro-]
duced in this bill by his clever co[me-]
dians and new songs novelties [were]
offered by the bunch of pretty cho[rus]
girlies. The special scenery alo[ng]
with the new costumes used in [the]
bill were pretty. This bill was p[re-]
sented for laughing purposes [??]
and it came up to expectatio[ns.]
There was nothing but good cl[ean]
comedy introduced. The song n[um-]
bers used last night were all pre[tty.]
The same program presented yest[er-]
day will be used today. So if y[ou]
really want to laught see this bill. [It]
is really worth it.
-------------------------o-------------------------
[return to column 4, bottom section]

[advertisement for Oliver typewriter, spans columns 4-6]

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[cut off]

[column 6, second article]

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