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CINE 26 Ai,, Rue PARIS HUGUETTE 26 Numéro» CINÉ POUR TOUS ABONNEMENTS: Adresser Correspondance France Etranger et mandats-poste : Pierre Hk.frRY, directeur 52 numéro... 20 h. 22 fr. LA PROIE CINE 26 Ai,, Rue PARIS HUGUETTE 26 numéro».. 10 fr. 1 1 fr. POUR Traver«ière ( XII' ) scénario mélodramatique de G. Roudès DUFLOS DÉPÔT DE VENTE A PARIS PUBLICITÉ mis en scène par Marcel Dumont , Agence Parisienne' de Distribution S'adresser : Levai et Ventillard — 20. Rue du Croissant. 20 — TOUS 121 - 123. Rue Montmartre, 121 - 123 Carlo Constant Rémy Hélène Marthe Vinot Géo Bout-de-Zan, Jack Watson Rolla-Norman Felicia Germaine Fontane LES FILMS DE LA QUINZAINE Ctesse de Maguelonne . Juanita de Fraizia CŒUR DE MANNEQUIN (The day she paid) VIOLA DANA LA POCHARDE Film Universai Edition Eclipse Du 3 Juin au 9 Juin : dans La Lampe merveilleuse (Premier épisode) Yvonne Francelia Billington LOUISE HUFF L'EPINGLE ROUGE dans Le Cachet de cire tiré du roman populaire de Jules Mary Rogers Charles Clan scénario dramatique de P. Bierïaimé (Omnia, Pathé-Palace, Ciné-Pax, mise en scène d'il. Etiévant réalisé par E. E. Violet Paris-Ciné, Artistic, Palais-Ro- Film Ermolieff Edition Pathé Film Lucifer Edition Aubert chechouart, etc..) Georges Lamarche . ... .M. Norville WALLACE REID Tchang-Kéou . - . Tsin-Hou CHABLES RAY Forest Donatien Charlotte Lamarche . Jacqueline Forzane dans La Revanche du Destin dans Au Pays des loups Jéan Berthelin . Emilien Richaud Madeleine Wills .... Simone Vaudry (Gaumont-Théâtre). Paul Valmont Félix Ford Mathis . • Rieffler CONSTANCE TALMADGE Aubert-Palace, Electric, Palaist^Roche- OWEN MOORE Clotilde de Thiellay . Mme Kotchakidsé dans Les Bas de sole dans Jim de Piccadilly chouart, Voltaire, Paradis, etc.. Hubert de Thiellay . ... A. Volkoff GLADYS LESLIE CLARA VV1ETH. dans Ame ardente Urbain de Thiellay . ... Tarride fils dans l'Avalanche H.-B. WATHALL ETHEL BARRYMORE LILY-VERTU dans Le Vengeur LE MASQUE.ROUGE composé par M. Léonnec dans Le Cœur ne se vend pas JOE HAMMAN (Périls of Thunder mountain) et réalisé par Daniel Bompard dans Le Guardian (Premier épisode) Film Eclipse Edition Eclipse MONTAGU LOVE avec Antonio Moreno et Carol Hollo-way Lily-Vertu ...... Huguette Duflos dans L'As de pique LARRY SEMON Comtess; de Valmore Nu:nès o e dans Zigoto garçon de théâtre Georges Lecas ...... Jean Devalde Charles Meunier ...... Scluitz CHAB LIE CHAPLIN dans Chariot et le mannequin UN LOCATAIRE AHURISSANT Comédie Mack-Sennet Edition Gaumont LE SENS DE LA MORT (réédition d'une bouffonnerie lcurnée en Du 10 au 16 Juin : tiré du roman de Paul Bourget 1914 sous la direction de Mack-Sennett et réalisé par la Société russe P. Thomann pour la Compagnie Keystone). L'AHURISSANT CONCIERGE Edition Fox-Film LE ROMAN DE LA VALLEE HEUREUSE Comédie Sunshine Edition Fox Michel Ortègue André Nox Le singe JOE MARTIN (A romance of Happy Valley) Catherine Trévis Mme 0. dans Joë cambrioleur scénario de Mary Cas'telman réalisé par D. \V. Griffith Film Artcraft 1918 Edition Pathé Charles RAY 11 y u cetti' quinzaine quatre mélodra- John Legan Robert Harron mes de mérites divers : le Roman de la Vallée Heureuse, l'Epingle rouge, la Rose Jenny Timberlake Lillian Gish Messagère et la Proie. Le Père iogan .... George Fawcett Le Roman de la Vallée Heureuse est La mère Logan Kate Bruce une production déjà ancienne de D. VV. Le père Timberlake . George Nicholls Griffith, puisque tournée en 191S, elle est Le citadin Bertram Grassby bien antérieure au Lys Brisé et même au Pauvre Amour. Néanmoins, en dépit à ta Le garçon de café . Porter Strong fois de l'improbabilité excessive du scé- Jim Darkly Adolphe Lestina nario et du J'àge de ce film, le Roman de Tante Smiles Lydia Yeamans ta Vallée Heureuse reste une très agréable Le Pasteur Andrew Arbuckle production ; le détail y est remarquable Topsy Frances Sparks d'observation et de profondeur. Mais, très certainement, ce film eut beaucoup gagné Opérateur de prise de vues : C. \V. Bitzer. à être édité en Franee à son heure, c'est- \ Omnia-Pathé, Pathé-Palace, Palais des à-dire avant les deux excellents films de Photo Reutlinger Fêtes, Artistic, Palais, Rochechouart, Pa- Griffith qui Tout précédé sur nos écrans. LILY VERTU thê-Secrétan, etc. L'Epingle muge nous révèle un inter- prète remarquable d'intensité simple dans l'émotion, c'est Tsiri-Hou ; sa grande leurs de salles le projettent en première nes comédies sentimentales, Ljl y-Vertu et LA ROSE MESSAGERE scène, à la fin du film, est tout à fait re- semaine ; an reste nous sommes depuis Les Bas de soie ; ainsi que deux' agréables (Should a woman tell ?) laarquable. On pourra en outre remar- longtemps fixé sur le goût et la compé- apparitions de Wallace Reid (La' Revan- quer les intérieurs modernes de Dona- tence de la majorité de ces messieurs... che du Destin) et de Viola Dana (La lam- tiré d'un drame populaire par Finis Fox tien, le soin précis du réalisateur, E. E. pe merveilleuse). et réalisé par John E. Ince Violet, et la grâce, la jeunesse, la sincé- O Film Métro 1919 Edition Phocéa i ité — rares dans nos films - - de Simone On admirera une fois de plus le jeu Vaudry. d'un de nos meilleurs interprètes, André Cpté ciné-roman, on assistera au retour, Gloria Maxon Alice Lake La Rose Messagère est surtout remar- Nox, dans Le sens de la mort, qui, hélas, tant attendu par quantité d'admiratrices, Albert Tuley Jack Mulhall ne vaut guère mieux que Cosmopolis, N.e- d'Antonio Moreno à l'écran, dans un ciné- quablement découpée et réalisée ; à voir, roman très mouvementé. Paraîtra la Po- Maxon • Frank Currier en particulier, \n scène de tempête du mêsis et autres adaptations de Paul Rour- set. charde, qui relève de la même conception Morton Sagdwick Jack Gilbert début. retardataire du cinéma que la Proie ; ce La Proie est le plus médiocre des ijua- que l'on va revoir dans AUX PAYS DES LOUPS Palais des Fêtes, Royal-Wagram, Select. Lre. C'est pourquoi sans doute dix direc- qui est plus grave c'est que Iq, Pocharde a Cette quinzaine également deux bon- douze épisodes... CI NÊ CINÉ POUR TOUS POUR TOUS cès de sa carrière avec The birlh of a nèrent alors avec la Paramount-Artcraft; nation (la naissance d'une nation), Mack- la TYiangle Film C ne devait plus tarder Une J ate dans 1 Histoire Sennett, spécialiste de la bouffonnerie vi- à être dissoute. suelle qui venait de se signaler à nouveau avec Tillie's punctùred romance-(le roman du Cinéma Quelle fut l'organisation des producteurs de la Triangle, quels furent ceux de leurs films sur lesquels il y a lieu d'attirer plus particulièrement l'attention ? On -se rend tout de suite compte que, pour tourner un film par semaine pendant LA deux ans, il a fallu à In-e, à Griff:!h M à Mack-Sennett une organisation hors-ligne. PRODUCTION Les deux nremiers avaient six à sept trou- pes travai'lant simultanément à la réalisa- tion de scénarios composés par un nom- TRIANGLE bre égal de scénaristes. 19 15 LES SCENARISTES Cbez T"ce. les scénaristes furent .T. G. 1916 Hawks. Monte S. Kafteriohn. John Lvneh, Olga Prjntz'îm. julien .Tosephson et, à leur 19 17 tête, G. Gardner-Sui'ivan. Cb»7 Oriffifh. travaillaient alors T.ee Dnusrhprthv. Marv OTonnnr. Bprnard Mac Convi'ie. Cbester Wifhev. Roy Sumervillc;, REGINALD BARKER Tnd Browning et Anifa Loos, avec, à leur K'te, le nrînc'oaï lieutenant de D. W. Grif- Allan DWAN fith, Frank E. Woods. Christus, etc. Ensuite la production Trian- David W. GRIFFITH Tous 1er, scénarios tw'ils composèrent gle, dont nous allons parler en détail ; et comique de Chariot et de Lolotte) avec enfin, dernièrement, l'admirable série des étaient des scénarios originaux, non des LES PRODUCTEURS, INCE ET GRIFFITH vivantes visions suédoises qui s'intitulent ils ne s'obstinaient pas à faire pleurer Marie Dressler, Charles Chaplin et Mabel adaptations de romans ou de pièces de Terje Vigeïi, Les Proscrits, la Fille de la l'assistance, ou à larmoyer eux-mêmes ; Normand, et enfin Thomas H. Irice, dont théâtre, et étaient entièrement « décou- Mais, dans tout cela, devez-vous com- Tourbière, le Trésor d'Ame, la Voix des ils écoutaient simplement leur sincérité. le dernier grand film, The Wrath of the pés » tableau par tableau par leurs au- mencer à vous dire, que deviennent les Ancêtres et bientôt la Charrette Fantôme. Mais la sincérité ae parle qu'à ses heu- Gods (La ■ colère des Dieux) triomphait teurs. deux chefs, puisque voilà déjà les au- Très souvent, ici, nous avonj retrace la Ces trois grands « ensembles » visuels res. C'est ce qui fait que quand nous van- alors sur les écrans américains. Chez Ince, d'abord installé dn^s le San- teurs et les réalisateurs des films ? carrière d'interprètes universellement con- ont eu, avant tout peut-être, un grand mé- tons la production Triangle, nous ne por- ta-ïnez Canvon, puis à Culver Citv. où il nus et admirés, parfois même nous avons De la réunion de ces trois grands pro- Ince et Griffith, simplement, dirigeaient rite : celui de convertir à la cause de tons pas aux nues toute là production utilisa en 1916 pour la première fois l'é- leur production, supervisaient — pour dit quelques mots des principaux réalisa- l'écran quantité d'indifférents et même Triangle ; nous entendons seulement par ducteurs vint le nom de « Triangle ». clairage artificiel fourni par les lampes à teurs actuels. Pourquoi ne procéderions- employer un terme nouvellement créé — d'adversaires. En outre, par leur valeur là l'esprit, la tournure, le style particulier Tous trois amenaient avec eux des spécia- arc et les tubes à vapeur de mercure — et le travail de leurs multiples collabora- nous pas de même én ce qui concerne l'en- intrinsèque, ces trois grandes séries de de la production Triangle en général, es- listes du scénario, de la réalisation1, de non plus la lumière solaire à laquelle il semble d'une production particulièrement teurs ; et soyez bien persuadés qu'à ren- beaux films ont eu sur l'ensemble de la prit qu'on a trouvé pleinement dans quel- l'interprétation, du « montage ».
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