Aldine Theatre, Philadelphia, Pennsylvania - February 27, 1922
The Aldine Theatre has become a Philadelphia institution.
Its opening marked an epoch in the amusement life of the city and the impression made then has been heightened among the theatre-going public by the succession of splendid programs shown here.
PICKFORD! FAIRBANKS! ARLISS! NAZIMOVA! REX BEACH!
These are indeed name to conjure with. Managers in New York and elsewhere have vied with each other in booking the latest productions of these giants among their kind. And if one was fortunate enough to secure "The Three Musketeers," for instance, he had to be content to share the other good things among his rivals.
But in Philadelphia, a different condition exists. Thanks to the foresight of the Messrs. Fred D. and M.E. Felt, the Aldine Theatre will house exclusively for first run showing, all the productions of the United Artists Corporation. This organization is the releasing channel for Douglas Fairbanks, Mary Pickford, Charlie Chaplin George Arliss, Nazimova, Charles Ray, the Rex Beach productions and others.
Thus Aldine patrons are assured the best in pictures, and standards of excellence already established will be fully maintained in the future. The same care will be taken in selecting the bill to surround the feature and the same painstaking preparation of the musical setting sna accompanying concerts will be observed. In short, no stone will be left unturned to make the Aldine Theatre a temple devogted to the best interests of the amustment loving public.
Hotel Touraine, Boston
February 13th, 1922
It gives me the greatest pleasure to say a few words for publication in your weekly Program Magazine. The booklet is so tastefully arranged and so beautifully printed that I think that one could hardly destroy it
It seems to me that if the regular patrons of Felt's Aldine Theatre were to keep their programs for an entire year, makeing notations on the margin after each picture as they witness it, expressing their opinion as to the merits of th artists, that they would possess a very pleasant souvenir to look back upon as they become better acquainted with the rising or falling of moation picture actors or actresses that they have marked down for success or extinction.
Phone, Locust 7336
The Aldine Idea
WITH the removal of the first bit of wreckage from the historic Jayne mansion, so long a landmark in Philadelphia, to make way for the Aldine Theatre, came the beginning of the fruition of an idea long cherished by Fred D. and Maurice E. Felt, owners and directors of this theatre. To the causual passerby, the complete Aldine, with its arresting beauty, means the replacement of one landmark with another; to the Messrs. Felt, it marks a milestone in the establishment of a chain of Aldine Theatres throughout the United States.
When Mr. George Arliss, the distinguished actor, appeared at the initial showing of his screen versionof "Disraeli" at the Aldine at the New Year Midnight performance, he said he was deeply impressed by the quiet beauty of the theatre, its dignified simplicity, its lack of ostentation and its atmosphere of comfort. In voicing his opinion, the great artist unconsciously epitomized the ideals of the owners. Just as the editions of Aldus, the Venetian printer, have come down the centuries as masterpieces of book-making, so they aim to fashion a great system of amusement temples that will set a new standard.
To this end, at a time when the croakers were shouting that there were too many thetres, the Felt Brothers last Spring, with supreme confidence in the public's appreciation of genuine merit in entertainment, began to put into operation their ambitious program. Within this short space of time the following theatres, in addition to the Aldine, have either been built or acquired:
THE AMBASASADOR at Fifty-sixth and Baltimore Avenue.
These mark ony the first steps in the project that will carry the name Aldine, already significant in the centers were it has been established, throughout the United States.
For Your Photo Gallery
Coming to the Aldine in her latest starring vehicle, Mack Sennett's comedy success "Molly O"
HOW I BECAME A MOVIE STAR
By Mae Busch
Eddie Foy can be blamed for my motion picture career. I had been on the musical comedy stage for several years, playing with some of the well-known New York stars. Four years ago I was starred in a vaudeville act in which I played a madcap part. I was appearing in Los Angeles, at the Orpheum Theatre. Out at Keystone Studios was Eddie Foy, preparing to film a comedy feature.
As I had played with Mr. Foy in "Over the River," he came to the theatre to see me, accompanied by Mack Sennett. They saw my sketch and Mr. Sennett Immediately offered me a part in the Eddie Foy comedy and a year's contract with the Keystone company.
As soon as I could cancel my vaudeville bookings I returned to Los Angeles and began my screen career. I remained with Sennett for two years during which time I had an opportunity to support a number of noted stage stars, such as Weber and Fields, Sam Bernard and William Collier. The last year I was featured in all the Keystone comedies. At the end of two years, I met with an accident in making a dive from a forty-foot pier and was forced to retire for more than eighteen months.
While I was recuperating I made up my mind that I would never appear in comedies again. About that time Eric von Stroheim was selecting his cast for the Universal-Jewel picture, "The Devil's Passkey." I was picked for the role of the Spanish dancer.
Mr. von Stroheim in arranging his cast for the biggest picture ever made, "Foolish Wives," selected me to play the role of one of the masquerading Russian princesses who serve as his confererates. I believe "Foolish Wives" has proven my real opportunity and will seal my stamp of success in the screen drama.
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The most potent influence in the lives of human beings throughout the world is the motion picture. Through the magic of the films, benighted peoples are brought into intimite contact with the highest civilizations, and the Eskimo in his enveloping furs realizes that even black-skinned men and women in an African jungle react to the same suggestions and the same impulses that are his daily experiences. That same photoplay presented to your view today may, a year hence, be shown to Celestials in crowded China or in far-off India, and cause the Hindu to forget for an hour or more his drab or uncomfortable surroundings. The least important or least interesting picture is likely to fire the imagination of a dweller in a South Sea Island and so conversely, the finest of photoplays and the latest of news recdordings on the celluloid film, appeal with telling force to the more blessed of humanity, the citizen of the United States. There is no one who, in this day and generation, may not come under the influence of the cinema -- either directly, or vicariously, through a relative, a friend or an acquaintance, and so that influence for uplift is ever present.
Consider then the value of the motion picture. One is staggered when he lets his imagination take flight to conjure the possibilities of the camer for mankind's benefit. "Educational" films there are, but there is no film which does not teach something. Every picture that is thrown upon the screen makes an impression upon the receptive mind and the whole world lies within the vision of the onlooker. Not the telegraph, the telephone, the automobile, the locomotive, the steamship, the phonograph, or any other invention that may be considered, has had the civilizing influence of the motion picture. It is something that we should cherish and that should be regarded always as an influence for good. Its improvement -- and the cinema is bound to be improved -- will permit the reaching of new heights and by the same token will it more largely increase the educational influence of the earth's greatest civilizer. All honor to those who are devoting themselves whole-heartedly to the cause.
THE ALDINE THEATRE
FRED D. AND MAURICE E. FELT
BOX OFFICE Open From 10.45 A.M. to 10 P.M.
Prices, including war tax:
Evening prices prevail after 1 P.M.
Theatre Telephone, Spruce 4200
Ladies' and Gentlemen's rest rooms, foyer balcony, to
IN PRESENTING for your entertainment the first production in the history of the stage or the screen wich has cost over a million dollars, I take much pride in informing you that all the large building which you will see (excepting the ocean front scenes) were built at Universal City, California, especially for this picture. So were hundreds of yards of concrete sidewalks. In some cases, even the trees were made by the Universal Company's artisans. American architects fornished the interior decorators, artists and other American specials laid out and contraucted the vast settings. American costumers designed the gowns. And, with the exception of Eric von Stroheim, who wrote the story, directed the production and played the roleof villain, nearly all of the characters are American born.
We used over 320,000 feet of negative film, of which you will see but 10,000 feet -- less then three per cent. It wook almost a year to photograph the picture and six months to cut it.
I respectfully request your most earnest attention to every detail of this production, and will welcome a letter from you, whether or praise or of criticism.
CARL LAEMMLE, President
CARL LAEMMLE Presents
The Most Wonderful Picture in America
A Universal Super-Jewel Production -- The First Real Million Dollar Picture.
CAST OF CHARACTERS
Special score composed by Sigmund Romberg
CARL LAEMMLE Presents
By and with Von Stroheim
The most costly, gigantic, superb and artistic screen spectacle ever devised and presented either in America or anywhere else in the civilized world. Reproducing in all its glory, Monte Carlo, capital of the world of chance. "Where even saints are sinners."
The gay life of the city of pleasure -- the sun-drenched terrace and the sapphire sea -- Kings and crooks -- woman's vanity -- busy husbands -- idle, foolish wives -- enchanting night -- whispers -- sighs and kisses -- and all the world on a holiday.
>More thrills than were ever before concentrated in one gigantic and overwhelming picture.
WITH THE STARS
MABEL NORMAND SAYS MUSIC IS HER BEST DIRECTOR
IF YOU want to be a vamp -- or a wild woman -- or a baby doll -- or any of the other things you see in the movies -- you can. At least so says Mabel Normand, star in "Molly O."
All you have to do, according to Mabel, is practice to appropriate music.
"Music," she says, "will do anything to me. If I come to the studio feeling particularly upstage and patrician -- I suppose there is such a feeling as patrician? -- the sound of a little tough music will set my heart to jigging, my feet to wiggling, and my pulse to jumping. In a trice, I am lifted out of my ladylike langour into the person the music is talking about. The minuet-ty type of melody has just the opposite effect. Right away it slows me down, puts my best manners in place, and there I am -- a perfect lady."
Which is why, out of the album of what she calls her "mood music," Mabel chose "When Francis Dances With Me" to be played while she was producing "Molly O."
Molly -- well, Molly is the sort of a girl to whose name shocked relatives invariably -- and with good reason -- add the exclamation oh, oh!
As for Francis -- it is of his dancing prowess that the "goils" of Tenth Avenue and the Bowery sing in a melody that has won the shimmying of all New York.
So they played "Francis" for three months while Mabel made "Molly." I never tired of it once," says Mabel. "It was the best director I ever had."
Matilda V. Reinhardt
309 Liberty Building
Maude George and Eric Von Stroheim
The monocle and cigarette -- traditional marks of the polished villain -- are worn by von Stroheim with the grace of one to the monor born, and it his private menage he not only sports the most startling bathrobes and silk pajamas, but he caps the climax of artistic turpitude by sleeping under black bedclothes. This is absolutely the last work in symbolic villainy, and even the near-late M. Landru, the modern "Bluebeard," never achieved such a climatic touch to his felonius career.
CHARACTER IN PHOTOGRAPHS
Mabel Normand, Star in "Molly O," Makes Keen Study of Vast Collection She Has
THE hunt for types to portray certain characters in photoplays has developed some keen character readers in the motion picture world, but it is a safe bet that there is no one who is more able to judge character than Mabel Normand, star in "Molly O," to be presented at the Aldine Theatre at an early date. Her instinct in this direction is said by those around her to be little less than marvelous.
While wating in her dressing room to be called for work in a scene in "Molly O," Miss Normand was visited by a well-known psychologist who commented upon her large collection which hung on the walls of the room.
"Perhaps you think I keep these photographs mere from a desire to have a complete collection of my co-stars," ventured Miss Normand. "Of course, many of these photographs are here because the originals are my dear friends. But to me the photographs as a whole are open books on character and disposition. Nothing could be more interesting to me than the analysis of character they offer. Some day I am going to write a magazine article on this subject of character reading and types in motion pictures."
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DARING MISS DUPONT
Facing Flame and Flood Are as Nothing Compared to Her Courage in Cold-creaming Her Fair Face in Coram Publico
I THINK that Miss duPont is the bravest woman I ever saw in the movies," said a lady after seeing "Foolish Wives," the Universal screen sensation now playing at the Aldine.
"How come?" asked her husband as he hailed a street car. "Because she jumped out of the top balcony of the burning tower?"
"Of course that was brave," conceded the lady, as they found seats; "but there was a life net to land in, and, besides, she must have known that her figure silhouetted beautifully against the flames, or she would not have stayed up there so long when the firemen told her to jump."
"When the boat sank under her and she was carried out of the swamp by that Russian count -- who was a regular he-man if he was a rescal?" asked the husband."
"Well, of course, it required a lot fo courage to go out in a driving rainstorm with a real lace gown on, " replied the wife, "but she must have known just how beautifully it clung to her figure every time she got soused in water."
"Well, it sook some nerve to change to those ill-fitting rags in the old hag's hut," suggested the husband. "Perhaps you figure that a woman's courage is always dependent on her costume."
"Yes; but those golden-haired blonds always look their fetchingest in ginghams and flowered prints," answered the wife.
"Well, where do you figure that Miss duPont was so brave then? When she met the blackmailer or woke up and faced her jealous husband? insisted the hubby.
"No," said the wife sternly; "it was when she sat on the bed in her negligee and actually cold-creamed her face right before a whole theatre full of people! That was real bravery."
"Her name is duPont," laughs the husband, "so, of course, she knew how to 'face powder!' But I'll admit she was brave to show herself to an audience with her face covered with cold cream."
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"On Patrol," the Mack Sennett-Billy Bevan, two reel comedy now in preparation will be a typical Sennett effort. For some time past the two reelers have been shy the usual number of pretty girls, but, sh! they're back again, Roy Del Ruth, who directed "On Patrol," is using a bevy of the prettiest of Southern California's native daughters.
Phyllis Haver, beautiful comedienne of the Sennett Company is being feaured in the leading roles of all Turpin comedies.
Ben Turpin and Phyllis Haver have again applied the grease-paint and are working in earnest to finish "The Robin's Nest," the third Mack Sennett-Ben Turpin special to be seen at the Aldine in the near future.
Mme. Nazimove, having completed her latest screen sensation "Salome," will spend the entire summer in Europe, leaving here in March and not returning until autumn. While abroad she will make several scenes for "Regina," the Sudermann play, scheduled to serve her as her vehicle following "Salome."
Robert Edeson substituted for Rudolph Christians when the latter died during the making of "Foolish Wives." Edeson practiced three weeks, learning Christians' stride and another long period assuming the other's mannerisms. So well has he imitated Christians that is is hard to detect the change in the cast.
Forest Halsey, who adapted "The Ruling Passion" for the screen, is at work on another script for George Arliss.
Mae Busch has poise, good looks and backs it up with a keen intelligence and a knack of wearing wonderful clothes. years of experience on the legitimate stage makes screen acting quite easy for her.
Erich von Stroheim will remain in New York, for the time being at elast, for he is writing a novelized version of "Foolish Wives" for a prominent New York publisher.
DO YOU WANT FURS?
"IDEALIZE THE REAL" IS SCREEN MISSION SAYS MADGE BELLAMY
Young Ince Star Has Real Reason For Cinema Artistry
The great role of the motion picture is "not so much to realize the ideal, as to idealize the real," and it is the mission of the actress to universalize types, and not merely to interpret one particular part, in the opinion of beautiful Madge Bellamy, the newest motion picture star, who plays the deeply dramatic role of Nan in "Hail the Woman," Thomas H. Ince's emotional masterpiece, which comes to the Aldine Theatre at an early date.
In explanation of her contention, Miss Bellamy says: "In 'Hail the Woman,' I take the part of Nan, who suffers for her love, until death releases her. When I interpret poor Nan and her tragic fate, I do not allow myself to think 'I am this one girl, who lives this man, and suffers.' Instead of that, I think:
"'I am the expression of all the women in the world
who have suffered through their love.'
Miss Bellamy believes that the motion picture brings glory and glamor into millions of otherwise drab and humdrum lives, since it opens new worlds of beauty and throught. She says:
"Ond and young minds alinek need illusions and hopes, and that is what the reels stimulate. They bring back the dreams of childhood, and re-awaken the bit of romance that lies dormant in every human heart, even in the sordidest of surroundings. They make peoplelive in the imagination when life is too harsh."
Miss Bellamy went to the Ince studios from New York, where she played leading roles on the Metropolitan stage opposite William Gilette and other great actors.
Photos from Foolish Wives (1922)
Photos from Hail the Woman (1922)
More Information on the Aldine Theatre...
Last Modified April 28, 2011