Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1915-07-03
Is THE MOVIE MAN
APUBLIC SERVANT?
The Photoplay Theatre AS An
Unconscious S choolro ON,
Comparable to the Play
houses of Europe-Gossip of
the Trade.
By the photopIay Edltor

Il Is wholly and solely bazaar wher
goods. wares and merchandise are sold.
Such discussions, no doubt. are Of grea
benefit to ell concerned There arr
"high-brow" and "iow brow" opinions. al
carefully thought and logically argued
They bring to mind. however, the status
OF the theatre In general in European
countries.
on the Continent the theatre Is Viewed
4 as quasi-publio institution, and in many
places as public institutions, where the
public is not only entertained and amused,
but instructed. Like the press, the
theatre Is considered the "molder of
public opinion" Playwrights write and
actors show the good and evil OF the
times in which they live. and Inject new
thoughts that tend for the betterment of
social and political institutions. Many
cities of Europe have municipal theatres
supported by the local government. Often
plays OF merit have been barred because
Of sedluous or radical teachings. II was
only after long and hard-fought battle
between authorities and the "high-brow"
element that the doors of the theatres
we're thrown open to plays Of merit ire
speotlve OF the teachings. One thing is
to be borne In mind, and that Is. the
municipal theatres of Europe are not run
for proht-losses do not mean the clos
AAAA "a NnNhAEtHs III lAtoEa Aho AhNNNAV 80
no more a loss than a schoolhouse.
In this country the theatre is an out
Rnd-out business institution. A theatre
is open as long as It shows profits. This
makes II imperative for the exhibitor to
give such shows as will make his house
pay. III the patrons demand blood and
thunder" the exhibitor must supply the
demand, and the reverse holds true.
Does this mean that exhibitors are cor
rect In saying that they are not In busi-
ness to educate the public? The fact re-
mains that the photoplay theatre, as well
as the playhouse, is classroom-that
they are educators The public may make
certain demands, and for time the ex-
hibitor. due to economic reasons, may
give what Is asked for; but he Is in duty
bound to gradually depart from the low
brow" and inject the ''high-brow," to
raise the tone of his performances and
the tastes of his patrons Even In blood
and thunder there is the finer and cruder
pictures; those with a moral and the
Junk" without even the punch"
The exhibitor is in duty bound to do
this for his own salvation, even II he does
not consider himself the "schoolmaster.
The pulpit the press. and the schoolroom
scrutinize the class OF pictures shown,
and speak about them in no subdued
tones. The exhibitor cannot stand still.
He must progress with the growing gem !
erations. His position is that of a quasi |
public servant and he must assume that |
responsibility. II censorship is to be abol-
ished, let the exhibitor put good taste
ahead of profits, without injury to him
self. and take the place that a Snowman
must occupy in the community
The Pennsylvania Exhibitors League is
not so very ancient an institutions; for the
films themselves are young. as amuse-
ments go. But its energy is nothing II
not equal to the task OF organizing an
annual outing OF the calibre of any that
the summer is likely to see.
July 1s is the date. The tri9min s. viii
be decidedly the proper SORT Among
them may be mentioned that rival OF the
photoplay in youth as well entertain
ment the tango There will be a hand
some cup ready for the couple that prove
themselves the best at that sublimated
form of hop-slSp-and-a-ju jump called I
modern dancing
Two playful monkeys were the cause OF 6
considerable disturbance among the j
emale members of the Vltagraph Com I
'any during the final scene of Heights I
Il Hazard" an original story of romance. (
under the direction of Captain Z
Harry Lambart. 1t was the first visit OF
he slmians to the Flatbush Studios, and
\
hahn and started on tour OF inspection A
hat resulted In scamper OF the timid I
mes that resembled a riot. Some 20 OF Y
he men strove to capture them, but they A
leverly eluded their pursuers until they 7
ad investigated every part OF the sew u
raj studios. Their curiosity satisfied, Il
ley calmly returned to their parted %
nalns and waited for their keeper to once q
lore place them under restriction d
In presenting Maud Allan in a diver n
ssement OF dance and drama through the
iduetlve love story OF the Far East, THE :
ug Makers Daughter" at the Stanley
heatre on Monday. Tuesday and We'd
ssday OF next week. Bosworth Inc has
'parted from all known channels in NOV
& pictures and. penetrating into a here n
fore forbidden realm OF modern art has III
proved one of its most distinguished II
Id certainly one OF its most charming II
-nres. Maud Allan and her famous II
cen curtain with the golden olive tree
we already become in her short meteoric III
reer, traditions Of the recital stage II
10 beauty of her dances adapted from II
e master works OF Beethoven, Chopin, II
leg pebussy and the chernlavslkys Is II
mitted the world over.
Maud Allan's principal support in "Ths II
ig Makers Daughter is Forrest II
anley, for several seasons the lead in II
Iyer Moroscos Burbank Theatre Stock II
mpany In Los Angeles. In addition 10 II
aud Allan and Forrest Stanley the cast
iludes Howard Davies. long associated II
n Wilson Barrett IN England and with II
9 A.ieolers; Herbert Standing, as well II
ne an acquisition as the theatre OF this H
nntry ever gained from London; Jane II
IrWell, In one Of her distinguished so II
~ women roles: pretty Mary Ruby II
q Laura Woods Gushing and young II
arlington Gibbs. II
fhe Clue" a perturbation Of the dream II
the same name By Margaret BurnbulI. III
which Blanche Sweet Is featured. Is II
nounced for Thursday, Friday and II
lurday. Miss Sweet Is well known Tor II
! work Ia THE Warrens of Virginia" II
he Captive" and more recently Stolen II
ods." II
am Bernard. whose engagement by the II
nous Players Film Company was re- II
'ty announced, has begun work before III
camera. This viii be the comedians II
q experiences IN motion pictures ana II
rn care was taken IA the Selection of a II
per vehicle for the noted fln-mzker. II
he title OF the subject which will serve II
an Introduction for Bernard 70 screen II
rons IS Poor schmaltz-Sam Bernard II
Hptch Ia most Of his stage sue II
see sam Bernard has been known as II
'maiiz. ana it was aecordingly selected III
tne baplismal name or the leading II
f4ctar Ia the original phctoDlav II
sh has oeeA written Tor the Ocaaalon II
MS ae1ut 81 the silent drama The III
HAS naqu - designed that il VIII con- III
.rIHHffa HfIIaaI taaaI4s III