Ina Claire Added to Lasky Stars (1915) 🇺🇸

The Jesse L. Lasky Feature Play Company has the honor of announcing the exclusive engagement of Ina Claire, who has signed a contract similar to that signed last week by Charlotte Walker and who will consequently soon make her photodramatic debut under Lasky management.

As in the case of Miss Walker, and other stars recently retained by the Lasky organization, Miss Claire’s arrangement is of such a nature that her photodramatic appearances, for a period of years to come, must be entirely under Lasky management.

Ina Claire, who determines to rank as one of the foremost favorites of her age on the American stage and also in London, was born in Washington, D. C., and educated there at the Holy Cross Academy. From early childhood, the stage fascinated her, and she finally made her vaudeville debut in songs and imitations. Her first regular engagement was with Richard Carle in Jumping Jupiter.

Miss Claire was first brought prominently to the attention of the New York public on the occasion of the opening of the Folies Bergere, of which Mr. Lasky was the creative genius. She was one of the leading entertainers, and the hit that she made there was responsible for engagement in the title role of The Quaker Girl, a success which literally meant fame and fortune for the young artist.

After the protracted success of The Quaker Girl, Miss Claire appeared for a time at the Winter Garden and then went to London, where she starred at the Adelphi Theater in The Girl from Utah. Last Spring she starred in London with Sam Bernard in The Belle of Bond Street, her vogue in the English metropolis becoming greater than ever.

Miss Claire’s most recent stellar engagement was in the title role of Lady Luxury at the Casino Theater.

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“The Lady and the Burglar”

A strong five-reel production presented by the U. S. Amusement Company, and featuring James J. Corbett.

Reviewed by Margaret I. MacDonald.

Needless to say, The Lady and the Burglar has a double interest, presenting not alone a good story, but also the ex-champion of the prize ring, James J. Corbett, as a picture actor of no mean ability. His well-known epithet of Gentleman Jim seems here to have an added significance, and his easy adaptability to the melodramatic situation is not the least of the pleasures of the picture.

The production, which is a Blaché Feature, directed by Herbert Blaché, is being released through the U. S. Amusement Company. It is an artistic, in fact an elaborate, production. Its interior sets are deep and beautiful, and have been arranged to give an impression of space. There is a smoothness of scene connection, and a logical development of the story with the exception of perhaps one instance, that aids materially in the realism of the picture.

In the classification of the production one hesitates to call it merely melodrama, for comedy-melodrama seems to suit the occasion better. Its situations are tense; but even so, there is real humor in the manner in which the gentleman burglar cleverly bridges a menacing gap by posing as a detective with the victim of the burglary falling in love with him while her jeweled necklace reposes in the culprit’s pocket.

The picture is, moreover, not without its big thrill, which occurs when the burglar in his flight crosses from one high roof to another by means of a rope swung over the open space. And it is not without its moment of pathos, which occurs at the meeting of the burglar and the ministerial suitor of the young woman, in her bedroom, where she has concealed the fascinating thief, and the recognition of the orphan brothers throws into bold relief the result of the influence of different environments.

At this point of the production appears the only noticeable discrepancy, namely, the entering of the young woman’s room by the minister. By natural development of the circumstances, the mother or father would have been the one to rush to the daughter’s room to ascertain her welfare, and therefore the situation as presented seems a little forced.

Claire Whitney plays opposite Corbett, and it may be said that this clever young actress has never been seen to better advantage. In fact, the picture has been played throughout with a remarkably clever cast; and the child actress, whose name we do not know, should not be forgotten for the perfectly natural manner in which she played her part.

It is not too much to say, in closing, that the production is an exceptionally fine one of its kind, blending as it does a variety of human interests, and presenting artistic work photographically as well as otherwise.

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Scene from The Lady and the Burglar (U. S. Amusement Co.)

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Dyreda Art Film Secures a New York Studio

The top floor at Nos. 3 to 7 West 61st street, New York, has been leased for ten years to the Dyreda Art Film Corporation, whose productions are handled through the World Film Corporation. The floor will be used as a motion picture studio. The premises are 75x200, extending through the block to 62d street.

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Another Wilcox Picture

Ella Wheeler Wilcox, the noted essayist and poetess of problems related to sex, soul and psychology, is collaborating with Ruth Helen Davis, known in literary circles for her translations of the Pierre Loti works into English, in writing a photoplay on the former’s famous poem, The Two Glasses.

The subject is to be handled in an allegorical manner, somewhat in the vein of such productions as Everyman and Experience. The title, The Two Glasses, refers to a tumbler bearing aqua pura and a long-stemmed crystal cup effervescing with the red fluid which a poet once described as typifying “the imprisoned laughter of the peasant girls of France.”

The Wilcox-Davis drink drama, with its pitting of bubbles and bibulousness against still water and sobriety, is to be ready for interpretation by the Humanology Company at an early date. On account of its symbolism, it will be more than ordinarily difficult to stage. The technical direction of the Humanology Company is much interested in the unconventionality of the theme and confident of producing a drama of peculiar strength and charm.

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“Mignon” a Success in Portland, Oregon

Beatriz Michelena in Mignon is a financial triumph and artistic success on the Pacific Coast. After being shown at the Columbia Theater, Portland, Ore., the manager sent the following wire to the Seattle branch of the World Film Corporation:

Just finished the Mignon Recital given under the auspices of the Oregon Chapter Guild of Organists and your picture Mignon made a big hit. Everybody was enthusiastic and know Michelena success assured. We had approximately one thousand representative people present, including the family of Mayor Albee and others of prominence. The leading musical clubs of our city were represented and all proclaimed Mignon a big success. Convey my congratulation to Mr. Selznick [Lewis J. Selznick] and the California Motion Picture Corporation and hope other suitable operas will be filmed.

Collection: Moving Picture World, February 1915