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Page Thirty-six "The Digeil of the Motion Picture Industry" CAMERA! YEAR BOOK / The £>/gost of tha Motion Piciuni/ndusiry Volume II Number 9 Edited and printed on Sunday aft- ernoon of each week at 4513 Sunset Boulevard, in Los Angeles. California. Entered as second class matter, Au- gust 11, 1918, at the postofflce at Los Angeles, Cal., under act of March 3, 1889. Devoted to the News of the Motion Picture Industry E. M. ROBBINS Editor Raymond Cannon ...Business Mgr. Telephone Holly 1539 Price 5 Cents per copy, $1.50 per Year Sunday June 1 In this, the year book issue of CAMERA!, the first attempt to cata- logue the details that will some day go together to make up the printed history of the Motion Picture Indus- try as regards productions, much has been attempted and but a small fraction of what was desired has been accom- plished. This has been due, largely to the lack of existing recortts and to the difficulty of coming into contact with the proper number of people whose minds still hold fresh memories of the things that have been most im- portant in the development of the silent drama. It is with a feeling of part failure, yet with the knowledge that an honest effort has been made that the publish- ers of CAMERA- present this issue to the people of the industry. If this seems half apologetic, it should not be taken as too much so. because the publishers feel that while the work falls far short of the ideal, there lias still been accomplished a greater work than has ever before been attempted along similar lines, and with these facts in view, work has already started on the next Year Hook, which will be as much more complete than this as Is this issue more complete than any previously printed. It has been found, for instance, that the size in which this book has been published is not the most practical size for an edition of this character. This, however, was not known until too much labor had been expended to make the necessary changes. The next year's issue will reach the public in a form far more convenient and handy, much more economical in pub- lishing, and with a view to classifica- tion that could not be attempted in this issue. In the point of subject matter, next year's issue will attempt to cover its Held in a way similar to the "World Almanac,.' however confining all sub- ject matter to Motion Pictures, as re- gards production. Little has been done in this issue with regard to east- ern production, not because no at- tempt was made, but rather because the attempt was made too late Several weeks have passed since the date on which it was originally in- tended to publish this issue. During this time the mails have been awaited eagerly, but have not been freighted with the fruits of hope. Thus it has been found that in order to secure the data wanted, months are required where weeks were estimated and for that reason letters of inquiry ar already in the mail seeking infor- mation for the next issue. THE PRODUCTIONS OF THE YEAR Looked at from the standpoint of pure motion picture art, the year 1918 has but few things to recommend it historically. This is due, undoubtedly to the fact that the complete machin- ery of nearly every studio was turned over to the production of pictures with a distinct propaganda flavor. Not that this is to be decried. Rather does it forever still the slurring tongues, that harped jangling tunes of discord with regard to the real worth of the Motion Picture Industry. There has been, however, a decided tendency on the part of those pro- ducers making propaganda pictures, to place too much reliance on the wav- ing flag, and political sub-titles to allow any addition to the artistic achievements of the year. Early in 1918, in March to be exact, came "Hearts Of The World," among the first and easily the greatest of the propaganda pictures, largely because it was not recognized as such. In fact it was several weeks after its premier before it began to be termed a work of propaganda. Its smaller successors, "The Kaiser," "Lest We Forget," "My Four Years in Germany," "The Yellow Dog," "The Hun Within," and numer- ous others of a similar trend played a large part in the development of the American war spirit, and probably will never receive the credit justly due them. As dramatic achievements, few had much to recommend them to the reviewer, but in the point of tech- nique there was a distinct advance along new lines. For instance, a major assigned to Hollywood by the United States army, was heard to say that if a real battle could be staged with the exactness and precision of its motion picture mimic, the Germans would have been driven across the Rhine many months before the retreat actually took place. The photography of night battle scenes, the falling flares, the smoke and hurry and the crash of battle was almost an untried thing at the be- ginning of the year, and in this res- pect each added production gave something new in the matter of tech- nique. The use of the miniature, while by no means new, was devel- oped to such an extent that entire fleets, both air and water, became pos- sible of presentation on the screen, adding effectiveness which could have been obtained in no other way unless at the cost of millions. In the point of story value, little could be said of any of the propan- ganda pictures which depended almost solely on the speed and spectacular action of melodramatic action to bring the audience to a patriotic fever. Not more than three propa- ganda pictures seen by this depart- ment could be classed as having any real story value. In the matter of dramatic portrayal, an element almost new to tne screen was introduced, namely fear. Nearly every propaganda picture had as one of its leading situations the menace of the brutal German officer for the girl inside the German lines. The portray- al of fear had, up until this time, been attempted in very few instances. The signing of the armistice found many producers at the close or in the middle of productions that would un- doubtedly have been still better than anything they had accomplished up until this time, but with the signing of the armistice the American public, at least according to the exhibitors, suddenly lost its taste for pictures with a war flavor. Producers at that time working on propaganda pictures found themselves up against a problem of turning their pictures into something more appeal- ing, or facing a large financial loss. In all probability that may be taken as the reason why very few of the last war pictures carried the same degree of art value as their predeces- sors. It is safe to say that had the war continued for another year production of pictures of this type would have reached a level of art high above that which was really accomplished. In lines other than propaganda but few pictures deserve special mention. Probably the first of these is Maurice Tourneur's "The Blue Bird" which in the point of photographic beauty, wealth of ideal and strength of gen- eral appeal, might well be termed one of the finest offerings of the twelve- month period, if not the best. Among the more quiet pictures of the year which present themselves as bidding for place in the better drama of the screen may be mentioned "Viviette," directed by Walter Ed- wards. "The Whispering Chorus," a De Mille picture which caused consider- able adverse comment among actors, and especially among exhibitors, had many things about it to recommend it as one of the better offerings of the year. So also "Stella Maris" witli Mary Pickford, a Francis Marion story directed by Marshall Neilan. Of the five reel pictures which, while not causing much of a flurry of excitement at the time of its produc- tion, has already been billed for many return engagements and is slow- ly marking itself as one of the year's best efforts is "The Hope Chest" star- ring Dorothy Gish. Among the Westerns, "Believe Me, Xantippe," with Wallace Reid and Ann Little, under Donald's Crisp's di- recton, will come near to holding place as the best of its type. Lois Weber may be given credit for two screen stories that will bear return en- gagements, "For Husbands Only'' and "Borrowed Clothes," featuring Mildred Harris and Lew Cody, both of which are sex stories that may or may not offend the tender sensibilities of some censor boards, but which show a fine attention to detail and a true sense of character value seldom found in screen productions. In a class by itself which we are un- able to compare with any other might be mentioned J. Stuart Blackton's "Missing" a production in which direc- tion, characterization and photography combined with a fair story to make a production which should not be shelved for some time to come. In the more emotional work, Nazi- mova's "Revelation" directed by Geo. Baker, will probably head the list for the year. The last half reel of this picture marred it for art's sake and it is to be hoped that Metro will see fit to change this ending and keep the picture on the screen. Another pic- ture which has failed of much mention and which is due for considerable cri- ticism, yet presented many fine points was a five-reel Universal Production, "The Two-Soul Woman," in which Priscilla Dean was starred under Elmer Clifton's direction. ACTORS (?) By Richard Willis Expensive frocks don't make a leadin' lady; Just bein' tough won't make a vampire shady. Short skirts and curls can't make an ingenue; It ain't the dress or looks, it's what- you DO. A perfect thirty-six won't bring the^ boodle, Unless you've got gray matter in your noodle. A pretty face alone won't make a star; It ain't just what you WANT, it's what you ARE. » * * A leadin' man ain't made by a mous- tache, A "heavy" by a scowl or lookin' harsh. A suit of "soup an' fish" don't show good breedin' When how to wear 'em is what you are needin'. A pair of chaps a cowboy doesn't make, A gen-u-ine performer you can't fake. A handsome mug or clothes may be a factor, BUT, it's brain and work what makes a moving picture actor. GREETINGS From Richard Willis Here's luck a-plenty, Camera! 1 can't help liking you; You're a lusty little slammerer, but you can praise well too. Your news is bright and crisp, Sirs, your criticism terse is, You show rare pluck and daring by publishing my verses. So keep the good work going and to yourselves stay true, Because I want, dear Camera! to go on liking you.