Film Fun (July 1915)

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Pike follows them and asks the governor for the hand of his daughter in marriage. Then comes swift action, in which the fat princess and the slim princess become considerably mixed in the negotiations between the American and the governor, who cannot understand why any man could want a thin wife. The Slim Princess and her lover are finally sorted out and Popova re¬ leased from prison, only to fall on the neck of his former friend, the American, who had taught him the habits and usages of the American highball. It is a good type of quiet humor, and its first presentation brought snickers from even the blase newspaper men, who cannot generally see much to laugh at in anything. COPYRIGTH, E8SANAY POPOVA MAKES THE ACQUAINTANCE OF ALEXANDER PIKE AND AMERICAN HIGHBALLS Clean Up “Who is to blame for the need of censorship in the moving pictures?’’ said a Western manager, out in Kansas, where the censor board created a ripple of excitement by barring the photo play, “When We Were Twenty-one,” from Topeka. “I’ll tell you who is partly to blame, and that is the mana¬ ger himself. He seldom has time to look over the films him¬ self, and he trusts to the taste of the film producers. I used to be manager of a vaudeville house, and every Sunday morning at rehearsal I was right there, listening to every act and every joke. “We had a lot of women and children coming to our house for matinees, and I went through the apts with a fine-tooth comb and raked out anything that I would not want my own children to hear or see. The people on the bill used to guy me a lot, but I noticed that after a while they got so they never tried to put over anything rotten on our house. “It’s just the same with my films. Once a week I go over them myself — I do not take anybody’s say so. If I see a film that doesn’t look good to me — out she goes. A picture can draw without being on the verge of badness in any way. “The managers will wake up some day to the fact that good, wholesome, clean pictures suit everybody and bring them a bet¬ ter class of patronage. We don’t put on cheap films in our place, and we do not intend to. And when I say cheap, I mean old, scratched-up films that hurt the eyes, just as much as I mean cheap in the type of play and the actors. “I believe every manager of the right sort will welcome the same sort of censorship. Every once in a while I invite a bunch of club women down to see some of my new films and to give me their idea of them. I find them the best sort of censors, and I’m willing to take their advice. “And speaking of censors, did you know that, with one or two exceptions, the comedy films always get by the censors. Anything with a hearty laugh in it seems to do the censor as much good as the audiences. Comedy’s great stuff, see?” Gowns in the Films COPYRIGHT, ESSANAY POPOVA IS RELEASED FROM PRISON AND PARENTAL BLESSINGS BESTOWED ON THE AMERICAN AND THE SLIM PRINCESS “The clothes of the motion-picture actress are an important part of her work, ” says Miss Anna Nil Ison, who is a Kalem star that looks after her costumes as carefully as her acting. “I sat behind a woman in a picture show the other day, when I was watching one of my own films to see where I could improve my work, and saw her sketching a gown I wore in that scene. She was welcome to the sketch, although I had put in some hard work on it myself to get an original design. You know, I studied designing of clothes in Paris once, and I design all my own gowns. I could make them, too, if it came to a pinch. ‘ ‘ I was very much amused not long ago to receive an offer from one of the most exclusive gown shops in New York to come with them as a designer. I suppose they looked upon my career as a motionpicture actress as play to fill in my time. But I was glad to know that my designing was good enough to attract attention.”