Evening times-Republican. [volume] (Marshalltown, Iowa) 1890-1923, 1920-07-17
Farnum in Great Drama


announcement is made by William
Fox that William F'arnum will soon
be seen in the film version of "If
Were King" Justin Huntley Nc
yCarthy's great novel ana stage sue
cess. In this big special production
F'arnum is said to surpass his bril-
liant work as Jean Vatican in Hugos
immortal Les Miserables,' appear
ing in the role of Francois Villon.
After viewing the film in London Mr..
Mccarthy, the author, said:
THE tale has been retod vividly
and brilliantly in the terms of the
new art. The characterization is eN-
Cellent, the setting remarkable for
| it's beauty, and the handling of the
great crowds toward the close a
marvel of effect. But the triumph OF
| the film was William Farnum's i'm
PRESERVATION of the part of Francois
Villon. Humor. poetry, rascality, GAL
lantry. valor passion and tragedy
played in their turn upon Barnum's
| face so eloquent in it wordless action
| that could almost believe l was
| hearing William Farnum's voice"
Mr. Farnum is supported by n cast
| of marked distinction in this big spe-
cial. 1t includes Betty Ross Clarke,
| as leading woman; Fritz Lieber, well
| known on the speaking stage for his
| fine work in Shakesperean roles, Wal
ter Law, Henry Carvill. Claude Pay
ton, V. V. Clogg, Harold Clairmont
and Renita Johnston.
| 4. y. ..
Substitute for "cut Back"
In the handling Of his new Para
mount picture, The Right to Love-
Director George Fitzmaurlce sug-
gests an interesting solution Of the
problem OF the so-called "cut-back,''
and, incidentally, a coiorful method
of covering up rather sordid past.
In dealing with events supposed TO
have transpired before the main
action of the story. scenarists have
| used the cut back for lack Of a
| better way to introduce plot elements
essential to the comprehension of the
play. This has always been consider
ed awkward and unsatisfactory by the
| leading screen dramatists because It
usually retards the main action and
hampers the smooth flow OF the mar
| tative.
Mr.. Fitzmaurice. working In close
cooperation with his wife, Ouida
Bergere, who wrote the scenario for
| The Right to Love-" decided to intro
duce the story of what had gone before
/ In q new and altogether unique form
The exact nature of this device Mr..
Fitzmaurice refuses to disclose until
the. picture is released. Those who
| have seen it at the Famous Players
Lasky Fifty sixth street studio. in
New York, prophesy that it will be
as great an innovation as was that
revolutionary device the closeup"
The result OF this innovation is a
picture of charm and originality
which has never been SURPASSED, it
is said, and producers and students
of the form and structure of the mo-
ton picture are awaiting the first
kshowing with interest.
The episode of the heroile's past
life lends force and dignity to the
story as a whole, for it is tod simply
and beautifully. The settings are OF
/ the impressionistic schools, and fot
! delicacy of conception and execution
excel anything hitherto attempted
according to those who have witness
ed the trial showings.
i. !. !.
Gallopins Dominoes.
When Edgar Lewis, the producer
was working on his new Pslthe spe-
cial sherry" he overheard the fol-
lowing conversation between two ne
groes who were employed at the
studio:
"Ah done heard" one said, dat dey
done found Columbus bones"
'Lawd!" exclaimed the other, "Ah
never knew dat he was gamblin
man."