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(Continued from page 42)

little immigrant heroine and Bryant Washburn for the stalwart hero. They needed a mother, and they chose Rosa Rosanova. They didn't realize they were choosing her for the star, but they were.

Madame Rosanova, with all the wealth of her stage training, both in America and in Russia, endowed her small part with such pathos and feeling that the director enlarged her part, wrote in more scenes for her—in fact, gave her the picture. The love interest? Superbly handled, particularly by Helen Ferguson. Yet Mme. Rosanova overtopped everything.

{{c|He Stole His Chance

{{largeinitial|Y}}{{sc|ears}} ago Charles Ray was grieving his boy heart out over the fact that he couldn't get a chance to show his ability. He was an actor—he knew it. But, in tiny, unimportant roles, how could he prove it?

Fate finally smiled upon Ray. She gave him the role of the son in The Coward, in which Frank Keenan was the star. It was a story of the Civil War, revealing the suffering of a proud old man who sees his son lacking in courage. Keenan had the "fat part." Or he thought he did—until Charles Ray took it away from him by sheer force of fine acting. Ray was made overnight!

{{c|Other Famous Screen Thefts}}

{{largeinitial|T}}{{sc|here}} are at least two other famous cases of celluloid grand larceny. Remember how Theda Bara first flashed across the film horizon? It was in a small role with Nance O'Neill in The Kreutser Sonata. Miss O'Neill was the star—until the picture appeared. Miss Bara's hit led immediately to the vampire role in A Fool There Was.

The other famous instance centered about Florence Vidor. She appeared in a tiny role in A Tale of Two Cities with William Farnum. It was such a minor character that she wasn't even listed in the cast. But the audiences centered their interest upon "the girl in the tumbril" and she was lifted to instant fame.

Richard Barthelmess, too, ran away with a lot of pictures before Griffith noticed him and made him a star. Remember how he galloped away off with Marguerite Clark's series of Bab stories? And how Thomas Meighan slipped away with many a picture before he was advanced to stardom?

{{c|The Most Famous Case of Theft}}

{{largeinitial|R}}{{sc|ight}} here we should list the one supreme case of silversheet grand larceny. We refer to the immortal theft of The Kid from Charlie Chaplin. And the gay little bandit was no other than Jackie Coogan.

Chaplin realized that the comedy would make Jackie. He told everyone so in advance. But Chaplin is a great genius of the screen; fearless and unafraid of competition. Besides, Charlie had come to love little Jackie. So his generosity went at least half way into the making of a comedy classic. And, of course, it lifted Jackie to supreme popularity.

{{c|Rudie Was Notorious Bandit}}

{{large initial|I}}{{sc|t wasn't}} any unusual thing for Rodolph Valentino to steal a picture away from the star. It was his usual procedure. After his sensational success in The Four Horsemen and The Sheik, every feminine star on the Lasky lot would have given a week's salary to have Rudie for her leading man. But after they got him, and saw with tears how neatly he took the picture away from them, they would have given twice the sum to hear of his swift demise.

Dorothy Dalton was starred in Moran of the Lady Letty. I'm telling you that here, because otherwise you might never have known it. The canny exhibitors just sort of neglected to mention Dorothy Dalton's name in the billing, and blazoned Valentino's name in electric lights. Or if they had overdeveloped consciences, they announced,

{{c|RODOLPH VALENTINO in MORAN OF THE LADY LETTY with Dorothy Dalton.}}

{{c|Beware of Hackathorne}}

{{largeinitial|O}}{{sc|ne of}} the best little stealers of pictures these days is young George Hackathorne, who suggests the Bobbie Harron and the Henry B. Walthall of younger days. Hackathorne has been running away with a lot of fil-ems lately. Doubtless you have noticed his hits in Merry-Go-Round and Human Wreckage. He certainly ran away with the individual success of Mrs. Reid's propaganda production.

Another character player, Dial Patterson, stood out of one or two of Richard Barthelmess' pictures this year. Remember her bit in "The Seventh