Charles Trevor is a young chap just out of college, who is put to work on a daily newspaper and at once starts to lead a life of adventure and romance. A German spy and a maiden in distress... See full summary »

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Cast

Cast overview:
Carlyle Blackwell ...
Charles Trevor
Evelyn Greeley ...
Dorothy
Muriel Ostriche ...
Tootsie Brown
Alec B. Francis ...
Judge Hendricks Trevor
Frank Beamish ...
City Editor
Philip Van Loan ...
Tony Figlio
Lionel Belmore ...
Carl Hoffman
William Bailey ...
Hoffman's Servant
Bernard Nedell ...
Oscar (as Benny Nedell)
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Storyline

Charles Trevor is a young chap just out of college, who is put to work on a daily newspaper and at once starts to lead a life of adventure and romance. A German spy and a maiden in distress cross his path the first day and, before the end of the story, he has landed a big scoop for his paper, put the German in jail and married the girl. There are chases in automobiles, on motorcycles, on horseback and in motorboats, and the entire picture has the bustle and the atmosphere of a melodramatic serial. As the hero, Carlyle Blackwell is always consistent to the type of all-conquering young gentlemen drawn by the author, He plays the part as if he enjoys doing so and gives an unaccustomed glow of romance to the otherwise humdrum newspaper office, where he is employed. Written by Moving Picture World synopsis

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Drama

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24 April 1918 (USA)  »

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1.33 : 1
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The director is not where he belongs
15 November 2015 | by (Chicago) – See all my reviews

Keep things moving is the watchword in "Leap to Fame," a five-part World picture written by Raymond Schreck and directed by Carlyle Blackwell. The story is rather indefinite, but Carlyle Blackwell, who plays the leading part, keeps all the characters on the jump, including himself, and persons who have neither the time nor the inclination to analyze plots and motives will find entertainment in the photoplay. The experiment of permitting the principal actor in a picture to direct the production is a doubtful one, however. Certain points are bound to be overlooked when the director is not where he belongs, in a position to see just what is being done in every scene. - The Moving Picture World, May 4, 1918


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