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Show "THE EYES OF THEWORLD" One of the Greatest Triumphs of Moving Picture Production Everyone who saw the film production pro-duction of Rex Beach's virile book, "The Spoilers" remembers above everything else the "big fight." The tumultuous and realistic scene served serv-ed over all its other incidents, to raise "The Spoilers" to first rank in its day and make it a topic of general discussion. Motion picture history repeats itself it-self in Clune's elaborate multiple-reeL, multiple-reeL, production of "The Eyes of the World," a pictorial version of Harold Har-old Bell Wright's famous story, on P. '7s- -, f i f' $' I. HAROLD BELL WRIGHT-Author WRIGHT-Author of "The Eyes of the World" which the Clune studios have been working for six months, and which is scheduled to have its first showing show-ing here at "the Utah Theatre on (Continued on page three) "The Eyes of the World" (Continued from Page One) Monday, March 19. "The Eyes of the World" also has as its major thrill a "big fight." It is not, however, patterned after the one in ' "The Spoilers." Nor Is It dragged on for merely spectacular purposes. It is a highly essential part of Wright's story. Thousands of readers of the book will identify it from this simple statement. It is the fierce struggle of Rutltdge and King, rival suitors of the heroine, on the cliff which results re-sults in Rutlidge's tragic end. This scene was recently staged on the very crest of one of the San Bernardino mountain ranges near Skyland Heights. Lloyd J3rown, Clune's general manager of productions, produc-tions, searched for weeks to find the typography and general scenic setting sett-ing that were required. It needed great height of cliff together with great depth of canyon and a sweeping sweep-ing view of rugged mountain grandeur. gran-deur. The panorama must be as fine as the action that was to take place. Finally, just as despair was felt in discovering the right combination, the place was found. Here from the highest summit, range after range slopes downward to a valley which separates the highest peaks by fully twenty miles. In this valley, verdant ver-dant ranches, desert stretches, and threads of highway criss-cross this green and gray checkerboard, and the trails and fire-breaks zig-zag through the pine forests of different levels, all contribute to a wonder-ously wonder-ously beautiful view. Out into this "hollow of God's hand" to quote one of Mr. Wright's phrases jutted two giant crags whose bases are planted far down into the cavernous reaches of one ol California's deepest canyons. There is a sheer drop from the apt : of this rock formation of probablv 1200 feet. On this apex, which i3 triangular in shape, and not moro than eight feet across at its widest point was staged the fight to the death for the possession of the girl. Most thrills of this nature are momentary affairs. This one is a long, hand-to-hand struggle in which the participants were every moment in peril. Edward Pell and Jack Livingston Liv-ingston did this sustained Bcene at constant danger of their lives. The length of the struggle it is said, makes for prolonged suspense until Peil (Rutlidge) shot from ambush by the convict during the fight topples top-ples over the edge of the cliff. And Peil actually did, we are assured. as-sured. No dummies were used. All of which may persuade the reader that if he likes to have his blood currents accelerated he will not fail to see "the big fight" in "The Eyes of the World." Peil was seriously hurt in filming this scene, but subsequently recovered recover-ed without permanent harm to his rugged physique. |