James L. Daly (1915) 🇺🇸
At the Lubin studios “Uncle” Jimmie Daly is as live a wire as they have there and he doesn’t look his sixty odd years the least bit, for “Uncle” Jimmie is one of those gifted persons who simply refuses to grow old. Over forty years ago he became an actor and since then he has played something like 1,200 parts in different productions. Thirty years ago he had a dramatic school in Philadelphia and today some of his old pupils have become famous in the theatrical world.
Only a few Lubinites refer to him as Mr. James L. Daly. Nearly everyone calls him “Uncle” Jimmie, and this young old man is today the equal of almost any man in the studio in rough riding, swimming and other stunts that require agility, strength and nerve. “If any of them can beat me in taking chances before a motion picture camera,” said he, laughingly, “they’ve got to cheat.”
Nearly all of “Uncle” Jimmie’s old associates in the dramatic world are dead. He received his first dramatic instruction from the late Dion Boucicault and the late E. L. Davenport. For a number of seasons he played with William E. Sheridan, who was one of his most intimate friends, and among same of the other well-known men he played with were Laurence Barrett, John McCullough, Joseph Jefferson, Roland Reed, Sol Smith Russell, Mrs. John Drew, John Sleeper Clarke, Annie Pixley, Lotta [Lotta Faust] and many others.
“Uncle” Jimmie says one of his happiest seasons was with Eugenie Blair, fifteen years ago, when he played Jeminy Triplet to Miss Blair’s Peg Woffington. Thirty years ago, when Youth was produced by the late John Sleeper Clarke, father of Wilfred Clarke, “Uncle” Jimmie played one of the leading roles with Charles Vanderhoff, the English actor. When Jarrett, Palmer and Slavin’s Uncle Tom’s Cabin was produced “Uncle” Jimmie played the character of Uncle Tom and he played it so many times that he lost the count. Incidentally he has played every male part in the production countless times.
Few men have had as varied an experience in the theatrical world as “Uncle” Jimmie. For some time he talked decidedly at the idea of becoming a photoplayer on the theory that all the old traditions would be shattered if he did, but finally yielded and now he thinks the moving picture play the greatest thing ever. “Uncle” Jimmie plays all sorts of character parts at Lubin’s, but he is never happier than when he gets an opportunity to straddle one of the Lubin [Siegmund Lubin] bronchos and “cut loose.”
Clara Lambert, who in private life is Mrs. James L. Daly, is also a Lubin photoplayer. They have been married for a great many years and have always played in the same productions. They agreed on the day they were married to do this and no manager of a production has engaged one without the other, at least not up to the present writing.
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The Revolutionist
Apex is releasing a stirring four-part melodrama of anarchists and royalty.
Reviewed by George Blaisdell.
The Apex Company is showing a stirring four-part melodrama of love and a throne, of royalty and of Anarchists. The Revolutionist is well staged and well played, and it is well photographed. There is an idealistic ending, one wherein a young king turns his throne over to his people and leaves his kingdom for England, where he may spend his days with his wife, a daughter of the people. The kingship was unexpected, there being at the time of the marriage two lives between the prince and the throne. Fate decreed or chance decided that it should be the hand of the wife’s brother who dealt the blow killing the king and the crown prince.
Ethel Bracewell has the role of Vera, who marries Andreas. Miss Barcewell enlists and holds the sympathy and displays strength in an emotional characterization. Prince Andreas is played by Henry Victor; his work is good. George Foley makes an impressive king. There is a good cast and a large one. Great care has been taken with the costuming.
There are strong scenes sprinkled through the story. One of these is where the prince, who has been concealing his identity, is asked by the father of Vera if he is willing to propose marriage. When the young man declines to answer he is ordered from the house, but he changes his mind and informs the clergyman if he will perform the ceremony it may be done immediately. Others are where Vera comes to the new king asking for the life of her brother, not knowing it is her husband to whom she is to appeal; or where the king goes to the cell of the brother, intending to pardon him, and is told by the dying man that his wife had never been other than faithful to him; or the closing, when the revolution has been declared, and the king elects to retire that he may have the wife of his heart rather than the one selected by his advisers.
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Scene from The Revolutionist (Apex).
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Looking for Jones.
Spokane, Wash., Jan. 12.
Editor Moving Picture World;
Dear Sir — About the first of December a man giving the name of J. E. Jones appeared in this city and called upon the various exhibitors making contracts to furnish slides which he made by a new process. The slides were very nice and he was successful, and sold the formula to several operators, exhibitors, etc. On December 28th he disappeared after having gotten various sums of money from different exhibitors on false statements, and leaving his hotel bill unpaid.
We would appreciate it if you will give this letter publicity, and ask all exhibitors to be on the watch for him, and if he appears to notify the writer by wire at our expense. Truly yours, Spokane Motion Picture Exhibitors’ League,
A. R. Patten, Secretary.
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A Fresh Éclair.
Emile Offeman, the genial general manager of the Éclair Film Company, Inc., became the proud father of a bouncing baby boy on New Year’s morning, at 7 o’clock. Mother and child are doing nicely and the young scion of the Éclair head already dominates the Offeman household with an iron hand.
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“How Uncle Sam Works.”
A nine reel picture story entitled “How Uncle Sam Works,” has been produced by Henry W. Savage, based upon Frederic J. Haskin’s book, The American Government. This subject has been shown in Washington for the past two weeks and has aroused considerable interest in the National Capital. At the conclusion of the Washington run this picture will be shown at some Broadway house.
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War Tax Closes Picture Houses.
The Universal Film & Supply Co. of Oklahoma City reports that several motion picture theatres in the southwest have closed in preference to paying the theatre war tax. The theatres in most instances are in hamlets of limited theatre-going populations. It is also reported that a few other theaters have been quarantined on account of an epidemic of diphtheria which has stricken several localities.
Collection: Moving Picture World, January 1915