in a Magnificently Mounted Romantic Drama









Univer-ral T p e c { CI 1/ AttKabti'on

In Her Newe/f Special Ailraciion^

A REAL and intimate view of a life of which your audiences know only one side. Not alone a picture of the glamour of the footlights, but one that gives you the real inside a close-up of the fiery jeal- ousy, the sly intrigues, the human side of all that goes to make up life on the stage, not forgetting the tired business man who suddenly spies a pretty new face among the dainty sprites who dance and sing.

A PICTURE in which Mary MacLaren's charming youth, innocence and beauty stand out in delightful relief against a background of very understandable pas- sions— the hard-to-forget drama of a young girl whose finer instincts made her finally rebel against her carefully calcu- lated plans for success at another's ex- pense. See it show it they'll like it. It's a bit of real life.



and .


h OBfhe sCurrent"

"tome tonie Lassie

PEOPLE like certain screen stars for certain things, and they like MARY MAC LAREN for a rare quality which instantly wins sympathy, no matter in what predicament she is placed. Now add fine intelli- gence and beauty and you'll know why every one of the four pictures shown here has proved a hit. If you have missed one, see it today at your nearest Universal Ex- change—you'll be doing your- self and your patrons a good turn.





''The best picture I ever made."


^^Rare AppeaP^


Movinfil Picture World

(<T^HE subject is one that will never be for- ^ gotten by anyone who has seen it. The story written by Mr. Kyne is worthy of a place with the western classics of Bret Harte and the director (Jack Ford) has caught in splen- did style the wonderful atmosphere and pro- found pathos of the original. It is a tale filled with sublime moments.*

"The prison scenes are well done with great realism. A large cast of men appear as the convicts and the escape is accomplished in a way that is at once exciting and convincing."

''Star very Pleasing''


Motion Picture Journal

4(TTERE is a picture which you can tell your jLM. people is good, and be safe in making the promise. It is an adaptation of "The Three Godfathers/' and the director has caught the author's idea and made a very worth-while presentation."

"The story secures attention from the start. The first big thrill comes when the star, an escaping convict, jumps his horse from a bridge into the water. A great deal of the action takes place in the Mojave desert, and in this sequence a stirring and realistic sandstorm is pictured."

ICarl Laemmle

In hi's latest Univeps/il


FROM Peter B.Kyne's



Direcfed by xJAGKroDD

Special Attraction.





"You'll like it.'


"Carey has put over one of his best."


"One of Carey's very best. So pow- erful it touches every heart-string."


"Very fine production. Will please admirers of the star especially."


"Harry Carey's best in many a moon."


"If it's a Carey, it*s a hit



all directed by Jack Ford

''The Outcasts of Poker Flat''

A MARVELOUS picture of the golden days of the "Forty-niners" with the finest photography that the screen has ever produced. Absorbingly dramatic, superbly directed.

Riders of Ven ^eance ' ' ''The Ace of the Saddle''

An away-from-the-usual Western with human Harry Carey never so human. An action drama rich with strong heart appeal the kind that gives you happy thoughts to take home.

"A Gunfightin Gentleman'

A drama full of suspense and also rousing action but with a mighty good measure of that comedy that fans hunger for in Carey pictures and which Harry Carey gives them to full satisfaction.

Here's a bit of real, rollicking, rapid-fire western life with as many chuckles as thrills and Harry Carey doing a lot of that good acting which puts him absolutely in a class by him- self.

"77?^ Rider of ihe Law

Action, mysteiy, love, excellent photography and splendid direction make this a superfine Western, with Harry Carey the best thing in it. See it show it and make a whole raft of new friends for yourself.

The Moving Picture Weekly



Paul Gulick, Editor. Tarkington Baker, Bus. Mgr.

(Copyright, 1920, Universal Film Mfg. Co. All Rights Reserved.)

Vol. 10.

FEBRUARY 21, 1920.

No. 1.


THE Jewel Drive was such a huge success in every way that it was decided to have one for Special Attrac- tions. So this week you may expect to be told by the Universal salesman just why you should show the stars who appear in the Universal Special Attraction features. You see we are taking you right into our confidence. The cards are all on the table and the Universal has never made a practice of keeping cards up its sleeve. We proved the efficacy of concentration in our Jewel Drive. If it was good for Jewels, it should be good for Special Attractions.

Last week we promised a solution of the S. R. 0. 12 teasers that appeared in various places in "The Moving Picture Weekly." The initials mean joy to every showman and to those who do not pretend to be showmen it is al- most needless to say that the initials mean "Standing Room Only." We have chosen that name for the new series of twelve special attractions. The Big 12 and The Big Money 12 have already become household words and indicators of excellence throughout the country. We see no reason why these two weeks should not see a won- derful profit to all exhibitors who can arrange to book the features which comprise these two series. ^ The S. R. O. 12 are even better and for your informa- tion, the names of the features and the stars in them are announced:



by Henry H. Knibbs Directed by Lynn Reynolds FRANK MAYO in


Adopted from the stage play "THE PRIMROSE PATH," by Bayard Veiller Directed by Christy Cabanne



by J. Grubb Alexander Directed by Philip Rosen



Directed by Harry Franklin FRANK MAYO in


by Elizabeth Jordan Directed by Jack Ford



by John Frederick Directed by Lynn Reynold



by Cliflford Howard Directed by William C. Dowlan



by Clara Louise Burnham Directed by Rollin Sturgeon



Directed by Lynn Reynolds



by Edgar Franklin





by Gwendolyn Lewis Directed by Rollin Sturgeon

THE province of the Moving Picture Weekly is to be as helpful as possible to the exhibitor of moving pictures. We welcome suggestions as to the best manner in which we can be most helpful. An exhibitor made a suggestion recently which we intend to adopt because it is in line with our mission of helpfulness. An exhibitor asked for in- formation in regard to engaging an orchestra for his new theatre. He was a new exhibitor and he naturally wanted to run Universal pictures. He wanted to know how large an orchestra to use in his house and what instruments it should consist of. This is a question which is usually one to be decided by local conditions, but we satisfied him so well that he suggested we make the offer to any ex- hibitor to help him out in the many problems that con- front all exhibitors no matter how much experience they may have had.

So we have decided to do just that. We have asked the music authorities who are putting out our excellent music cue sheets to be responsible for the information which we give in answer to inquiries and when such information is of such a general nature as to be useful to any number of exhibitors or musical directors or piano players we will publish it in the columns of the Weekly.

QUR cue sheets are printed in the press sheets that we publish with every feature that we release. They have given Universal satisfaction. It is impossible in the limited space allowed to give anything but the cues, how- ever. There might be profitably written a story about each photoplay and its musical significance.

Public Notice To

A^o. 25^ Straight from the Shoulder Talk, by Carl Laemmle, President, Universal Film Manufacturing Company

HEREAFTER when you try to induce artists under contract with the Universal to break their contracts, I shall call you by name. I shall dangle you up before the eyes of the exhib- itors of the world and show that these dishonest practices of yours are the direct cause of the frightful increase in the cost of mak- ing pictures.

Some of you are now trying to get-Mr. Erich von Stroheim because his picture, "Blind Husbands," proves that he is the greatest discovery in years in the matter of directors; and because you have heard that his second picture, "The Devil's Passkey," is even a greater triumph. Unfortunately for you, von Stroheim comes of good old stock and your money and your wiles cannot tempt him from the path of honor.

When Mr. von Stroheim was untried and unknown as a director, why didn't you gamble on him, as the Universal did ? Why didn't you have vision enough to see that he had the makings of a great director? Failing to do this, why do you now hang over him like vultures seeking to grab him by hook or crook, with the accent on the crook ?

Have you no sense of decency or honor? Don't you know that any profit you might make by causing another man to violate his written word of honor is polluted profit, tainted money which is unfit to spend on your wives and your children ? Don't you know that star-stealing or even attempted star-stealing is a specie of pimping which is loathsome in the eyes of civilized men and women ?

I serve notice on you here and now that Erich von Stroheim is under contract with the Universal for years to come. And so is Pris- cilla Dean, whose great production soon to be released will make your smirking mouths water with desire to smash her contract. And so is Harry Carey. And so are Eddie Lyons, Lee Moran, Marie Wal- camp, Eddie Polo, Edith Roberts, Frank Mayo, Tod Browning, Rol- lin Sturgeon, Jack Ford, Allen Holubar, Dorothy Phillips and Robert Andersen.

Do you imagine that by hiding behind "agents" and fake cor- porations you can still violate all principle and all honor and con- tinue to get away with it unharmed?

rooked Producers:

Do you imagine that because the Universal has been long suffer- ing in the past and has never considered any star worth fighting for when that star developed a sense of dishonor, that we will continue to let you pick our pockets hereafter ?

Let this sink into your consciousness: The Universal has engaged counsel at both coasts to prosecute to the fullest limit of the law any one of you who hereafter befouls the moving picture busi- ness by trying to continue your rotten dealings of the past. We intend to exercise our rights at any cost and without a let-up. We will not confine ourselves to enforcing contracts with individuals, but we will punish, as much as the law permits, any crooked agent or corporation who tries to induce any artist to jump a contract with us.

You, and the exhibitors who support you, are directly to blame for the present frightful costs of making pictures. Drunk with easy money, you have tried to use the power of that money to corrupt or dissatisfy artist after artist who had none but honorable intentions and the best of good faith until you came along with your almost irresistible bribes.

You are not going to get away with it any longer. I am going to turn the spotlight on your activities every time those activities are crooked. I am going to frizzle you on the grill of redhot public opinion. I am going to use the one weapon that you are afraid of —The Truth!

This is my final warning. I will not write you any more polite private letters asking you to let our artists alone. As fast as I get the goods on you I will address you publicly and fight the matter out before the eyes of the exhibitors as well as before the courts.

I have tried working with you in National Associations and have found they are not worth a tinker's dam. I have tried every way I can think of to induce you to play the game with the cards on the table. But you don't know how. You used marked cards and you deal from the bottom of the deck !

Crooks of the world, which one of you will be first to take



The Promise an


Nearly two years ago on April 13th, 1918, to be specific Universal announced the forthcoming production of a series of remarkable photoplays to be known as "UNIVERSAL SPE- CIAL ATTRACTIONS."

CWe said at that time that we would give the exhibitors of the country the very finest pictures that could be made. We said this because we knew that we had the plays, the players, the directors, the stages, the knowledge, the experience and the money.

What we promised was that these Universal Special Attractions should be consistently good that they would maintain a higher average than any other productions ever put on the market.

True to the persistent policy of Universal in producing plays of the highest standard at a price at which you, the Exhibitor, can make a profit we put our real money in these Universal Special Attractions into the Story, the Direction, the Staging the hundred-and-one things that go to make a picture beautiful as a whole and by sticking to this policy we purposed to give you a series of productions that would yield you more as a series than any other pictures had ever done before.

That was the idea the plan behind Universal Special Attractions. Now let us see how it has worked out and what the future holds. Read the record on the other page.



d The Fulfillment

^fT If you have consistently played Universal Special Attractions I during these two years of wonderful accomplishment you know, without our telling you, that we have made more than good in every detail of the promise made you back in 1918.

You have seen the stars of this series furnish two of the screen's ^1 greatest sensations Dorothy Phillip and Priscilla Dean now

known to every exhibitor as box-office attractions of the first magnitude.

You have seen Universal Special Attractions precede the public demand with precisely the kind of stories that the times demanded and you have seen the Photography, the Direction, the Staging of these stories defined to a point which left nothing to be desired.

CYou have watched the rise of Mary MlteLaren, Harry Carey, Monroe Salisbury, Fritzi Brunette, Kenneth Harlan, Edith Rob- erts, Frank Mayo, Fi-ancelia Billington, James J. Corbett and others too numerous to mention.

You who have made a bigger net out of these consistently-best pictures known as Universal Special Attractions than out of any other productions ever offered you be assured from the records of the past that the future holds even greater profits for you in dollars and in patron satisfaction.


T'S one great, big relief," says an Exhibitor, "to see a real man play a real man's part at last. Tm sick and tired of 'chocolate eclairs' for male leads I want red blood yes but I also want a man who can act."

T HAPS MAYO. Six feet of real man, but also a splendidly fin- ished actor bom of stage family, trained and experienced in the art as very few are trained and experi- enced, yet able and willing to take a punch in order to put one over. See him handle his canoe and fight the "gang" in 'THE BRUTE BREAKER' and you'll see one side of him watch his sentiment in "LASCA" with Edith Roberto and you'll have the other. Better show your audiences both- for Frank MAYO is here to stay.



Publicity for "The Forged Bride"

THE HERALD Thomas Jefferson in "The Forged Bride"

jpEGGY would have been supreme- ly happy had it not been for her father. He was in the penitentiary. 3ill Butters was the cleverest man -with the forger's pen in police his- ^»ry.

Peggy tended a soft-drink stand in a beach resort. Among her college-boy patrons was Dick Van Courtland. Dick's estate was managed by Judge •Clark Farrell. Dick married Peggy and took her to his palatial home. There as a house-guest was Clara Ramerez, a vampire. Clara coveted Dick for his money and tried to un- dermine Peggy.

As she stepped into the room to ;greet the family she saw Judge Far- rell. It was he who had leaned down from his judicial bench to sentence "Peggy's father to the grim old prison •that brooded on the hill behind Dick's mansion.

What did Peggy do?

She did what one girl in a million -would have done.

Go to the Theatre to-

night and see the solution of this strange problem that confronted the beautiful Peggy and the dashing Dick Van Courtland.

Mary MacLaren, the American Beauty of the Screen, is starring in this production which is called "The Forged Bride." She is supported by a cast of famous players including Barney Sherry as "Judge Farrell," Harold A. Miller, as "Dick Van Courtland," Thomas Jefferson as "Bill Butters" and the beautiful Dagmar Godowsky as "Clara Ramerez."

yHERE is scarcely a person in America who has ever attended a theatre who does not know the name of Joseph Jefferson. Although this beloved actor has been dead for a number of years, there are millions of theatregoers in this country who will recall his performance of "Rip Van Winkle" as the most wonderful stage presentation of a lifetime.

Thomas Jefferson, the son of the famous Joseph Jefferson, was brought up in the company of his distinguished father, and naturally fell heir to the great roles made renowned by the elder Jefferson. Jefferson, Jr., starred in such stage productions as "Rip Van Winkle," "Lend Me Five Shillings," "The Rivals" and other classics and made a niche for himself in the Hall of Fame of American players.

But like most all other fine ac- tors, Thomas Jefferson heard the call

Mary MacLaren in

^^HILE other celebrities of the screen are always careful to have their identities known when they travel, Mary MacLaren, the Universal star, is equally careful that she shall not be known as one of the screen's most popular Ivuninaries.

When she is away from Universal City, Mary MacLaren invariably uses her legal name, Miss Mary MacDon- ald. Even that does not save her from the throngs of admirers, how- ever, for her off-stage presence is quite as lovely as her screen appear- ance and she is frequently recognized. Then too, her real name is sometimes confused with that of her sister, Katherine MacDonald, also a screen player.

of the silent drama and became a con- vert to the screen. Several pro- ducers have been fortunate in secur- ing his services for character roles that required skillful delineation, and the most recent of these has been Universal, which was able to engage Thomas Jefferson for the part of Old Bill Butters, the notorious forger in "The Forged Bride," whose magic pen signs away his daughter's name and at the same time wins her an opportunity for happiness.

The role of the skillful penman is one of the most important parts in the Universal production, "The Forged Bride," starring Mary MacLaren,

which will be shown at the

Theatre next . It re- quires acting of the highest, for on the acting of this character depends the tremendous punch which brings the story to its climax. Naturally Thomas Jefferson may be depended upon to give the exquisite perform- ance of the role that it demands.

"The Forged Bride"

Mai-y MacLaren was bom in Pitts- burgh. After completing her educa- tion in Pittsburg, Miss MacLaren went to New York where she appeared at the Winter Garden for a season. She was seen by executives of the "Big U" who realized that she had screen possibilities and sent her to the world's film capital at Universal City.

Her screen successes include "The Model's Confession," "Bread," "Shoes," "The Weaker Vessel," "The Petal on the Current," "Rouge and Riches" and most lately "The Forged Bride."

"The Forged Bride" is considered to be one of the star's best Universal photodramas. It is to be shown on at the Theatre.


Frances Raymond, who plays the role of the society matron in "The Forged Bride," is in reality a well known member of California's fash- ionable set. Formerly a well known actress, she married a wealthy Cali- fomian a few years ago and left the

stage. Once in a great while, how- ever, she succumbs to the temptation to act again, and when Maiy Mac- Laren asked her to play the part in her photodrama, which is now being

shown at the Theatre, she


Satisfying the many inquii-ies that have been received concerning Dagmar

Godowsky, the beautiful girl who plays the heavy role in Mary MacLaren's photodrama, "The Forged Bride," now

on view at the Theatre,

we are informed that she is the daughter of the famous pianist, Leo- pold Godowsky, that she was bom in Russia and entered the films at the advice of her life-long friend, Mme. Nazimova. This is the second splen- did part she has played in a Universal production.



Service Page for "The Forged Bride"


SUBJECT— "The Forged Bride."

LENGTH— Five Reels.

STAR— Mary MacLaren.

PREVIOUS HITS— "The Unpainted Woman," "The Petal on the Cur- rent," "Bread," "Shoes," "The Model's Confession," "The Weaker Vessel," "The Pointing Finger."

DIRECTED BY— Douglas Gerrard.

STORY BY— J. G. Hawks.

SCENARIO BY— Hal Hoadley.

SUPPORTING CAST— Thomas Jeff- erson, Harold A. Miller, Barney Sherry, Dagmar Godowsky, and Frances Raymond,

LOCALE A beach resort, a subur- ban mansion, a penitentiai-y.

TIME— To-day.

THUMB-NAIL THEME— The story of a hard old convict who disavows his daughter so that she will be eligible, in the eyes of society, to marry the man she loves.


1 The increasing popularity of the star.

2 The fact that the story was writ- ten by J. G. Hawks who wrote most of the William S. Hart suc- cesses.

3 The all-star supporting cast in- cluding J. Barney Sherry, Thomas Jefferson, Dagmar Godowsky and Harold Miller.

4 The presence of Thomas Jefferson, son of the beloved Joseph Jeffer- son and the fact that the Universal player strongly resembles his dis- tinguished father.

5 The screen appearance of a new type of vampire; the beautiful Dagmar Godowsky, daughter of Godowsky, the famous pianist.

6 Graphic glimpses of prison life.

7— The rapidity of the action, cul- minating in one of the most dra- matic climaxes ever screened.

S A wholesome comedy-drama with a punch in every foot.


Bill Butters Thomas Jefferson

Peggy Mary MacLaren

Dick Van Courtland.-Harold A. Miller

Dick's Mother Frances Raymond

Clark Farrell J. Barney Sherry

Clara Ramerez Dagmar Godowsky


gILL BUTTERS, a skillful forger, kites a check, collects on it at the bank, goes hoe to his pretty daughter Peggy, and tells her he is "going straight." From the window Old Bill sees a detail of plainclothes men waiting in the street below. He tells Peggy to pack her things and leave the house. When the police come a moment later they cart him off to the old familiar jail. A week later the aristocratic Judge Clark Farrell frowns down from the bench and sen- tences Bill to the penitentiary.

"I hope," he says in passing sen- tence, "that when you leave the prison you will be able to use your great gift ^vith the pen to better purpose." To be near her father, Peggy tends a soft-

drink stand. Among the most per- sistent soft drinkers is Dick Van Courtland. Dick marries her after a whirlwind courtship.

Dick's home is composed of his mother a society dowager Judge Clark Farrell his guardian, and Clara Ramerez. When Dick takes his bride home there is a scene. The girl rec- ognizes Judge Farrell, and with fine courtesy the judge keeps her secret. Clara Ramerez, however, tries to un- dermine Peggy's standing with the family and visits Bill Butters at the penitentiary. Peggy writes to him that Judge Farrell likes her because she resembles his own daughter who was kidnaped as a baby.

Old Bill gets an idea. He will forge a letter which will make it appear that Peggy, his own beloved daughter, is really the daughter of Judge Far- rell. Escaping from the honor squad Old Bill enters the home of Judge Farrell, opens his wall-safe, alters a letter written years ago by the kid- naper of the baby and by his cunning pen disavows his own daughter and makes her the daughter of Farrell. The judge, while seeing through Bill's trick, is content and accepts Peggy as his daughter and wife of his ward.


Can a father disavow his dearly beloved daughter? See Mary Mac- Laren in her latest Universal Photoplay, "The Forged Bride."

Bill Butters, the famous forger, did his best work with the pen when he signed away his daughter's name. See Mary MacLaren in "The Forged Bride."

Barney Sherry, Dagmar Godowsky and Thomas Jefferson are just three of the famous players who support beautiful Mary MacLaren in "The Forged Bride."

Dagmar Godowsky, daughter of Leopold Godowsky, is the limit in vampires in Mary MacLaren's latest Universal Photodrama, "The Forged Bride."

The judge who sentenced her father to a living death in prison turned out to be the guardian of her husband's estate. See Mary MacLaren in "The Forged MBride."

A Los Angeles society matron with millions to bum appears in "The Forged Bride." Who is she? Mary MacLaren plays the starring role.


<^ A DRAMA of real value," says the Exhibitor's Trade Review. "A strong attraction set in an atmosphere at once unique and beautiful strong plot, clever acting and able direction."

A N abundance of plot and a strong role for Monroe Salisbury," says the Moving Picture World, "quite different from anything he has had recently, and equally pleasing in its own way."

HERE, then, is a strong special at- traction— a picture of won- drous sentiment and heart-appeal well cast, well portrayed, well worth while. See it. Play it. It cannot fail to please.

in a fasicinaf in^ romance of hi^h advenfure


Directed bq Douglas Oerrard

A T Universal City, where more pic ture stars have been made thai anywhere else in the world, stars hav to make themselves.

There is no printer's ink behin< EDITH ROBERTS. She has passe through the Universal School, and he beauty, her talent and her hard worl have made good. When you show he in the two Special Attractions note here you show a young actress o charm, intelligence and personality- who will, from now on, be one of th country's universally popular scree favorites.


A VERY human picture of a little shop-girl who thinks her old friends aren't good enough for her, and who breaks into society, only to get into complications which make her finer instincts rebel. Ably staged and directed by Christy Cabanne, "THE TRIFLERS" is distinctly a pic- ture for the whole family to see and take home with them as a delightful memory.

a \ POEM IN PICTURES" is the right term for this amazingly beautiful romance of the happy days of old along the Rio Grande, directed by Norman Dawn. And EDITH ROB- ERTS makes the fiery little Lasca an unforgetable figure, full of heart- appeal that will reach every man, woman or child in your audiences. In addition, the photography of this pic- ture is a marvel.



Service Page for "The Peddler of Lies"

"At a Glance

SUBJECT— "The Peddler of Lies."

LEN<dTH— Six Reels.

ST ASS— Prank Mayo and Ora Carew.

PREVIOUS HITS— (Mayo) "The Brute Breaker" and "Lasca." (Miss Carew) "Loot" and "Under Sus- picion."

DIRECTED BY— William C. Dowlan.

STORY BY— Henry C. Rowland in thexSaturday Evening Post.

SCENARIO BY— Philip Hum.

SUPPORTING CAST— Harold A. Miller, Truman Van Dyke, Bonnie Hill, James Barrow, Dagmar Go- dowsky, Flora HoUister, Ora Dev- ereaux, Ray Ripley and William Brown.

LOCALE A magnificent suburban estate.

TBUE— To-day.

THUMB-NAIL THEME— The story of a gang of international crooks and its arrest by a Secret Service agent who disguises himself as a peddler.

'Advertising Punches

1 ^The story appeared in the Satur-

day Evening Post.

2— The name of the author, the wide- ly known Henry C. Rowland.

S— The individual successes of Frank Mayo and Ora Carew, the stars.

4 The luxurious magnificence of the production in the scenes.

5 The presence in the strong sup- porting cast of Dagmaf Godowsky, daughter of Leopold Godowsky, the world-famous pianist.

6 The romantic character portrayed by Mayo; a type refreshingly diff- erent from the usual run of screen leads.

7 The fact that the royal family of Belgium was held up on the streets of Santa Barbara, Calif., while one scene of the photodrama was being filmed.

8 A close glimpse of the always mysterious workings of the United States Secret Service.

9 Beautiful photography, delightful bits of comedy and the dramatic punch of a master photodrama.


Clamp _ Frank Mayo

Diana Ora Carew

Leontine De Valiignac. Bonnie Hill

James Kirkland Harold A. Miller

William Kirkland

Truman Van Dyke Squire Kirkland ...._....'Jame8 Barrow

Patricia Dagmar Godowsky

Marquise D'Irancy Ora Devereaux

Gwendolyn Flora Holiister

Metcalf William Brown

Stephan De Valiignac Ray Ripley

The Kirkland Twins

Hugh and Henry Johnson

THE STORY. 'J'HE Kirkland family, consisting of the Squire, his daughter Diana, and his two sons, William and James, live in a fashionable summer colony where homes of wealth are a matter of course.

Newcomers at the colony are Step- han and Leontine De Valiignac, pre- sumably wealthy Parisians, and their ward, Patricia Melton, whose physical prowess and feline beauty have aroused the admiration of the younger set. The De Vallignacs have wormed themselves into the good graces of the Kirklands and the Metcalfs, a neighboring family.

The Kirkland household is annoyed one day to see an old army truck amble through their grounds driven by a jovial chap named Clamp, whose dress suggests something of a French army uniform with the cap of a Breton fisherman. Clamp is pic- turesque and his quaint manner of speech and his gallantry appeals to Diana, who sees in him a new type of nian.

The Marquise D'Irancy, a beautiful woman from Paris, is at the MetcsUf's as a guest. She numbers among her jewels the famous Sultana diamond of almost priceless value. She suddenly misses this jewel one evening at a reception in the Metcalf home. Wil- liam, Diana's brother, is suspected be- cause he had been with the Mar- quise that afternoon. She had suf- fered a fainting spell while they were together.

Diana suspects Clamp because she saw him prowling in the vicinity that afternoon. She resents Clamp's in- terest in professing to shield Wil- liam.

Clamp finally reveals that he is a Government sleuth. .Together Clamp and Diana lay a trap for the crooks, the De Vallignacs and their pretty ward, three international criminals.

After an exciting chase in the surf and later by motor-boat, automobile and motorcycle. Clamp rounds up the trio and turns them over to the police. Then whisks Diana away in his rattle-trap truck to the nearest parson.


He looks like a gypsy, loves like a gypsy and fights like a doughboy. See Frank Mayo in his Universal Photodrama, "The Peddler of Lies."

The Universal Photodrama, "The Peddler of Lies," was filmed from a Saturday Evening Post story by Henry C. Rowland.

Dagmar Godowsky, daughter of Leopold Godowsky, the famous pianist, supports Frank Mayo and Ora Carew in "The Peddler of Ues."

The Saturday Evening Post featured "The Peddler," by Henry C. Rowland. Universal has made it into a brilliant photoplay, Frank Mayo and Ora Carey starring.

Frank Mayo, star of "The Brute Breaker," and Ora Carew, star of "Loot," are playing together in their Universal success, "The Peddler of Lies."

Do you know to what extent government detectives go in the pursuit of international crooks? See "The Peddler of Lies."



Putting "The Peddler of Lies" Over

Exploitation Aids :

The suggestions on this page are presented with the idea of supplying the Ejdiibitor, with a few novel ideas in the exploitation of "The Peddler of Lies." Efficient exploitation is the surest way of catching the public's of arousing the public's curiosity and of drawing patrons into your theatre.

Newspaper Advertising Aids

One column scene cut and mats. Two column scene cut and mats. Three column scene cut and mats.

One column Ad. cut and mats. Two column Ad. cut and mats. Three column Ad. cut and mats.

Display Lines

One-sheet poster (two styles). Three-sheet poster (two styles). Six-sheet poster. One announcement slide. One set of eight gelatine lobby photos, 11x14 inches, in- cluding title card. One set of eight Black and White photos. 8x10 inches,

including title card. One gelatine display scene,

22x28 inches. One four-page rotogravured herald.

The Mysterious Peddler.

"The Peddler of Lies" is built around a strange peddler, in outland- ish garb, who drives a rickety truck filled with his wares. This peddler's outfit can be duplicated easily for ex- ploitation purposes.

An old motor-truck, the worse look- ing the better, hung with pots and pans and other junk, inside and out, and driven by a younjr fellow in britches, roll puttees, a loose jacket, a colored scarf and a toque-like hat, complete the picture.

The truck should bear a sign some- thing as follpws:

"Clamp," the Peddler of Lies.

It can be used for the distribution of heralds. The pans and other ob- jects used in filming the truck can be given away to theatre patrons.

Suggested Tie-Ups

The stirring climax in "The Peddler of Lies" is the struggle in the surf betwen Clamp, the Peddler, and Patricia Melton, a beautiful society crook. Dagmar Godowsky, who plays the role of Patricia, wears a shimmering black one-piece bathing suit in the scene. This suggests an attractive window display of the latest dare in bathing suits.

The plot of "The Peddler of Lies" revolves about the famous Sulta,na Diamond, a gem of priceless value and legendary lore. Its I-rotection against theft supplies the motif of the picture. Arrange for a display in a jeweler's window of the most bizarre gem or imita- tion gem that can be obtained. Station guards on the pavement out- side of the window.

Watch Out for the Gypsy Peddler

In exploiting "The Peddler of Lies" considerable attention can be attracted by basing your advertising around the mysterious ped- dler in the following fashion :

"Look out! Clamp, the mysterious gypsy peddler, is coming to town. Keep an eye on your children. Lock your doors. The fellow Clamp says he is a peddler. Some say he is a detective. Take no chances, however. The mystery surrounding him will not be solved until at the Theatre."

The Master Sleuth

"The Peddler of Lies" is a story of clever detective work in the rounding up of a band of high-class international crooks. Every policeman and detective will be interested in it. Arrange for a spe- cial showing for police officials and get their recommendation of the detective work in the fihn. Since there is a clever twist to the story almost at the end of the film which keeps the whereabouts of the Sultana a secret almost to the very last moment try showing the picture to the police and stopping short of the end. See if any detec- tive present can guess the truth of the whereabouts of the famous gem, before seeing the end of the picture.

Caul Laemmle


But True!

ROBBERY, Romance and Retribu- tion, exactly as you know it couldn't happen in a million years, yet exactly as it happened in Philadelphia a few short weeks ago. Talk about big money figures'. Imagine a day- light hold-up of the biggest jewelry store in the world by a band of mas- ter crooks, while traffic in every di- rection is demoralized, telephone sys- tem shattered, the police department paralyzed afraid to move. Love adventure thrills! Here's a drama that has everything. The swiftest narrative of romance and robbers you'll ever wish to see or book. Get it quick!





'Twixt Thrill

and Tickle

A BIG, handsome burglar, who robs himself to oblige a lady, a beautiful damsel with skads of new- found money, a finnicky, fainty maid- en aunt the kind who always looks under the bed for a man a riot of mistakes and mirth. That's "Under Suspicion." With this picture showing the thrills fairly trip over the chuck- les while your audience is revelling in one of the rarest comedy treats mo- tion pictures can offer. It's a comedy melodrama with a big "Oh!" in the "melo." You'll be mighty well pleased with yourself the day you book this five reels of real life.




•THE National Board of Review oJ Motion Pictures held its annual luncheon on Saturday, Januaiy 31, "at the Hotel McAlpin. This has become a notable event by reason, for one thing, of the prominent persons who address these luncheons. Those who spoke at this last gathering, consist- ing of approximately 150 members of the National Board and a few invited guests, weie Miss Mary Shaw, stage artist, and Miss Mary Gray Peck, lec- turer and club woman, both members of the National Board's Advisory Committee; William A. Brady, presi- dent of the National Association of the Motion Picture Industry; Major Ray- mond Pullman, secretary of the Amer- icanization committee appointed by Secretary of the Inte- rior Lane; Rupert Hughes, from the Authors' League, and George Middleton, playwright.

Miss Shaw won applause when she put in a plea for special performances for children, and indeed for special theatres for children. The old and middle-aged people, she thought, might shift for themselves, and if they some- times saw motion pictures they didn't care, for it was their own fault for not being more critical and making their desires known. "Wherever the "theatre has failed," she said, "it is because you have failed the theatre. You do not take the theatre seriously enough and ask it for what you want. The same applies to motion pictures. But young people and adolescents should be provided with special films."

This report of the annual meeting of the National Board of Review can be used to excellent advantage by every exhibitor who has a censorship problem.


was fairly under way, told in general terms of the aims ot