1915-12-03 Greenville Piedmont



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Needs Review

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Last edit 3 months ago by Harpwench
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Needs Review

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[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 Thursday, December 9th.

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[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 rehearse 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 exhibition 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 instead of the success of the machine. It had made a comedy out of a tragedy, 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 preconceived in watching the plot unfold. It become a fascinating game, too, trying to foretell when you are watching the scene just what the following one will be. And it is good mental exercize, too. It keeps you going.

The newspapers waged a great battle 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]

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loving couple there was a world of tendernesss. What the lips were saying our imagination supplied until they were translated to us by one who could read the lips. To our astonishment 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 nowadays. No such amusing mistaken [blurry] now. ----------o---------- Answers to Correspondents.

Charles M. Wheeling, W. Va.: Almost 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, convincing plot. ----------o---------- "Inquisite Maid," Nashville, Tenn., wants to know if I ever give any orders 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 orders to any one. I do not like them myself. But there are no directors who do not willingly listen to a suggestion, 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 character. 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 smiling.

[signature] Mary Pickford ____________________________ [advertisement for Williams' Kidney and Liver Pills]


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Sold by Bruce & Doster Drug Co. ____________________________ Photographs

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

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

At the Grand "EVERYWOMAN"

Of "Everywoman" which is to appear at the Grand Thursday night, the following is taken from the Richmond 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 hearing of that welcome sound to a dramatist'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 marvelous mind, on which the untiring efforts of months, even years, had been bestowed. For the third time in four seasons this spectacular thought provoking, 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 testimony that, though the flesh be mortal, the spirit and soul of the hapless dramatist, as embodied in his eloquent marriage to mankind, will remain ever verdant through the passing of the years. The story of this beautiful 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 pilgrimage 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, returning to her own fireside, finds Love keeping the embers aglow and waiting with exhaustless patience her homecoming, [signalized?] also by the return of Modesty.

In the important role of the central 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 accomplishment that excites constant admiration. In the extensive cast required, probably next to her in point of achievement should be mentioned the majority impressiveness of George Sydenham as Nobody. Truth as played 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 members of the very large and very competent company. The staging of such a play admits of and requires a lavish hand. The name of Henry W. Savage, who still controls the production, is a sufficient guarantee of its excellence in this direction, [symphonymous?], as it is, with satisfaction regardless of expense. Ten stage pictures were beautiful and the large number of [supes?] handled with commendable 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 respect 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 indispensable part of your acquaintance with all that is uplifting and ennobling 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 organization 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 organization 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]

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



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 widow, is interested in improving the conditions of the poor. Madge, the sister of James Semple, a woman hater, is the only one among her society friends who evidences sympathy for her work. Though Semple dislikes 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 succeeds in rescuing her. This is the beginning of an attachment between Molly and Violet. Shortly after Violet gives a reception at which she invites among others Bridget and her children and Molly and Maurice. Society is shocked at the innovation. Molly, full of mischief, succeeds during the evening in locking Violet and Semple 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

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attraction for her. Madge tells Violet 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 accident. They never knew what became of the child.

Violet has been so busy in her efforts 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 suddenly 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 misfortune. 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 people 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 Maurice 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 appears and threatens Semple, who gets excited and, overpowering him telephones for the police. Molly informs Violet of Maurice's plan to make Semple 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 dissuade 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 extent of putting her money in trust for her. Madge arrives simultaneously with the police, who, after an

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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.



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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[column 6, second article]

[advertisement for Ely's Cream]

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Last edit 3 months ago by Harpwench
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