AT THE
a A
^Douglas TairtarUs Jr. in
Stephen Steps Out ’’ at
the STRANO
SAitJey lACason.
in “South Sea Love
AT THE WORLD
CAtsfes Jones and (liutk. C/iffot-J.
in "Hell's Hole'! at tmf
MOOM /
x ____________
tyasUtt. Tit-num. ano '?e<f<fv Shau)
in The Graiu"at tMi'e/^pi^gsj
John Gi/bet-b and QesSit
Co-Je in * Sr. Elmo ' at
THE SVJ/'J <
: -t<. -.
f-ie ty+eJost and
Johnny \\)a1keir in 'Red
Lights at the MUS£
(Blanche SuJeel ,«'Anna
Christie "at the RiAuTO
Plots of Photoplays
Vary With Trend of Times
Styles of Dramas and Comics Change From Time to Time—
Slapstick Exists in Drama as 'Well as the Funnies and
Has Its Place—Mixture of the Two Seemes to Be
the Theme Motif iu Features Today.
There* cycles and cycles In the
photoplay business. There'e melo
drama, the daddy of all plays,
whether spoken or cinema. Then
there’s all the ramifications and the
intricacies of all the plots of all the
scenario artists who twist and bend
and twine around to give a new
angle to an old situation.
Realism, In Its entirety has been
eschewed by most motion picture
scenarists. Everything has had to be
’’doped’’ for a happy ending and an
endearing closeup. Today the Rialto
theater Is offering stark realism in
"Anna Christie," tho kind that in
"The woman of Paris" by Charlie
Chaplin has astounded critics and
public alike and made the name of
Chaplin, a director's name In place
of the cognomen of a comedy star.*
Sex, costume, mush, wild outdoors
action, crook melodrama, all have
had their day or their season in the
movies. Comedies hit the same cycle
in a lesser degree. Charlie Chaplin,
Buster Keaton and Ham Hamilton alt
have the control of the slapstick
down to the finest point of finesse.
Lloyd is a nervous thriller expert.
Matrimonial household comedies such
as the Sidney Drews’ have the field
at the Christie lot.
Now a new world Is returning to
the comedy field 1 na mixture of
action, slapstick, unexpected turns In
such plot as there is, and all sorts of
"gags" that are sure of a laugh. It's
t conglomeration of the realistic*,
that have proven safe in the past.
Drama as exemplified on the
screen has been the prescurson of the
comedy rage. Certain sorts of
dramas have been good for a certain
number of gasps and ah—ah—'a
from an audience—hence, they were
thrillers, and could command dough
at the box office. Others were built
around a main cabaret or wild orgy
scene anfl could be milled as spectacu
lar—being sure of a certain per
centage of admission’s. N’ow the days
seems to have come for a reasonable
amount of acting and a fair balance
of cast and scenery effects—all to
balance a well developed plot with a
blackground to accompany same.
Blanche Sweet as
“Anna * at Rialto
Thomas H. Ince la reported to have
paid the sum of $100,000 for the
screen rights to the Eugene O’Nlell
stage drama "Anna Christie,” which
won the Pulitzer prize last year. Out
of It he has produced a new sort of
screen drama insofar that the big
punch of the picture is all based on
Its realism to life—and the sordid
side of life at that. It holds the Rial
to screen this week.
Blanche Sweet has the role of Anna
and besides her there is only one
other woman in the east, that being
■Marthy,” played by Eugenie Besser
er.
By using only two women In this
story. In contrast to a background of
surging masculine life, Ince has pre
sented one of the most remarkable
studies—and a woman of the uncon
ventional type. Sailors, draymen,
street vendors, wharf front "rats,"
shuffling Chinamen, coal-blackened
stokers form the picturesque mosaic
of masculine life, against which the
dramatic story of "Anna” is unfold
ed. It Is due to go down In screen
history as the most unconventional
and moat unusual and powerful pic
ture of the year.
Three principal characters are In
volved In this drama of a girl who
fights all her life for life Itself
against masculine oppression. "Men
-they’re all alike—and, Oawd, how 1
bate them all," is the cry of "Anna,”
who has been the victim, first of her
father's unwillingness to assume pa
lental responsibility and look after
hia daughter's welfare; next of the
brutality of four cousins of the
northwest; then of men. inen, until
she comes to hale them with a deadly
loathing. When finally a great love
comes to her anil she Is forced to
tell her father and her sweetheart
the story of her past life—fine of the
most powerful situations ever worked
out op the screen is presented.
William Russell and Ceorge Mnr
lon hate the two male leads.
TODAY ONLY
GEORGE
ARLISS
"MAN
WHO
fLAYED
GOD”
M
O
N
“THE
SPOILERS"
W*dna*d»y-Thtiriday
“RED LIGHTS”
Continuous Sunday From 1:00 P. M.
Others Days—6:45 and 0:4ft
—
Strong Cast Plays
in “St. Elmo" at Sun
Klvaling those of the most Impor
tant productions of the season, the
oast selected for "FK. Klmo," Augusta
J. Kvatis' famous novel, which opens
at the 8un today, is one of the strong
est and best balanced that could be
obtained.
The title role of the famous story
is portrayed by John Gilbert, whoso
excellent work in "Monte Cristo”
and in "Shame" has won for hint the
praise of motion picture critics the
country over.
Barbara I,a Marr plays the part of
Agnes Hunt, the faithless swe< t
heart of SI. Klmo. Miss La Marr es
tablished an unequivocal popularity
with her masterful performance in
such productions as "Trifling Wom
en," "The Hero," "Prisoner of Zen
da" and "Rich Men’s Wives.”
Kettsle Love, the star of a vast ar
ray of photoplays, has been cast in!
the feminine lead and promises one
of the best, character delineations of
her varied career. As Edna Earle,
Miss Love is again the sympathetic, I
appealing* bit of femininity that has
been the foundation of her success on
the screen and spoken stage.
To Walter Baxter has been as
signed the heavy role.
Nigel de Brullier and Lydia Knott,
veterans of the celluloid, also are
mentioned in the cast.
| If arid Screen Piny
jin **South Sett Love"
Shirley Mason in “South Sea Love”
at the World theater, a fascinating
story of adventure in the Fiji Islands.
Miss Mason portrays the role of a
high-spirited girl, half French and
half Spanish who falls in love with a
mysterious strange*. This part Is giv
en a realistic portrayal by J. Frank
fllendon.
Indifferent to tlie girl s charm*, the
stranger, an Englishman, is the spe
cial object of the young lady’s at
tention.
A terrific storm at sea results in
the death of the gill's father, \yho be
fore passing away, makes her prom
ise that she will wed the stranger.
Before the wedding takes place,
how’ever, the girl finds out that the
Englishman, is already married
Heartbroken the srir 1 runs away and
at Suva, the main port of the Fiji
Islands and where the derelicts of
the world find their way. she secures
employment as a dancer in a notor
ious dive.
On receipt of a mysterious cable
gram the Englishman follows the girl
only to find that the half-hreed
Frenchman who owns the dive is
seeking the downfall of the dancing
girl. What happens from then on
keeps one on the qui vive and there
Is plenty of action. ,
Charles (Buck) Jon PH |
in Thriller at Moon
Charles Jones is coming to town
again in a new romantic thriller,
"Hell’s Hole," offered on the Moon
screen this week. Racing with
breathless speed to a novel and ex
citing finish, Jones carries a role that
affords him liberal opportunities for
displaying the daring which Is char
acteristic of his work.
Supporting the star are Ruth Clif
ford. leading lady; Maurice B. Flynn, •
heavy; Kathleen Key, Hardy Kirk
land. ami F^ugene Pallette. Emmett
J. Flynn adapted the story, which is
an original by George Scarborough.
Muse Program.
Sunday—George Arliss in "The Man
Who Flayed God."
Monday and Tuesday—Rex Beach's
"The Spoilers," and round one of
"Flighting Blood.”
Wednesday and Thursday—Marie
Frevost and Ray Griffith in "Red
Lights.”
Friday and Saturday—Jack Hnxie
in "Men In the Raw."
JOHN
GILBERT
brings to life on
the screen-that
great character
St. Elmo
thinking all women,
false, - becoming
the servant of the s
devil-dragging down
the vary creatures
who had changed
him from a lovable
happy-go- lucky
chap to a man of
iron and. hate..
1/
\ STARTING NEXT SUNDAY
MARSHALL NEILAtt
Prruenit Kit Story
j , THE ETERNAL THREE”
\ ' RAYMOND GRIFFITH—CLAIRE WINDSOR—BESSIE LOVE N
'///////JJ/ttmt I fnm tm, ...
The Story of a Girl 'Who Had the Courage
to Bare Her Past to the Man She Loved
Today
All Week
Shows Start
11-1-3-5-7-9
Feature 30 Min. Later
The Greatest American Drama in Years
WINNER OF THE 1922 PULITZER PRIZE
A Perfectly Cast Picture
Blanche Sweet
William Russell
George Marion
Eugenie Besserer
Chester Conklin
F rant the shabby, lifeless,
white-cheeked, carmine-lipped
girl of the past to the lovely
girl swept clean by a powerful
love ami the salt-laden air of
the sea.
'A story that plays the gamut
of human emotions, that han
dles without gloves, life's most
elemental passions, most fun
damental hues.
4s a film production it has
reached dramatic height s
hitherto unattained and sets a
new g(xd for picture makers.
Will Rogers
in a new laugh idea
UNCENSORED
MOVIES
Imagine Rogers thinking
himself Wm. S. Hart, Tom
Mix, Rodolph Valentino and
a lot of others. You’ll laugh
’til your sides ache.
IT’S A SCREAM
&__
CHIEF
BLUE CLOUD
and his
INDIAN
SYNCOPATORS
in native costume, but
playing modern music.
Introducing
Princess Blue Cloud
Vaudeville’s Only
Indian Jazz Singer
THE RIALTO SYMPHONY ORCHESTRA
21 Artists— Direction Harry Brader —Artists 21
Playing a Rare Musical Program and the Overture "I! Guarnay”—Easily the Musical Treat of Omaha
