Film year book : 1922-23 (1923)

have failed. The possibiHty of Roscoe Arbuckle returning to the screen furnished an opportunity for the officials and leaders of the M. P. T. O. of A. to vent their feelings towards the Hays organization in no uncertain terms, and the inability of these organizations to secure a standard form of contract, also demonstrated the existence of the wide gap which exists. No one with sane reasoning can figure why there should not be a better understanding between these pivotal branches of the industry. Indications, however, point to the continuance, if not a widening, of the existing breach. Unfortunate as this is, no one seems able to develop that degree of understanding which might change the situation. The politics of the exhibitor organization are largely responsible for this. But, in behalf of the exhibitor body, there is hardly a doubt but that they have grievances which should be satisfied. But the lack of confidence existing hardly warrants the belief that there will be a better understanding in 1923 than heretofore. PRODUCTION Production plans for the year are interesting. Probably nothing is of greater importance than the proposed working arrangement between Warner Brothers and David Belasco. If this works out as planned, and the master of the stage actively becomes interested in the screen production of his plays, a great step will have been made in bringing to the screen that artistry and charm which have always identified the Belasco successes on the stage. The ambitious program of the Warners is not a secondary phase of the outlook. Among the other "independent" producers whose plans are of importance are those of the Al Lichtman Corp., which secured an unusual start with the release of "Rich Men's Wives." The older companies present an interesting program. Famous Players will bank heavily on "The Covered Wagon" as one of their outstanding productions. At the moment there is no indication that the breach between Valentino and Famous will be straightened out. Valentino quickly became a tremendous box office asset following his appearance in "The Sheik." Associated First National will continue to bank on the Talmadge sisters as their outstanding bet. Chaplin goes to United Artists during 1923. Goldwyn, practically reorganized, will depend largely on "The Christian" and possibly "Ben Hur" in addition to the Marshall Neilan productions for the coming year. The United Artists, with Fairbanks, Pickford and Chaplin on the program, in addition to the Griffith output, and with the Allied Artists co-related, promises to prove an important factor again. There has been considerable criticism of the policy inaugurated by Fairbanks and Pickford, of only having one or two pictures a year, big though they may be, and costly. Exhibitors contend that they would be far more helpful to the industry as a whole if they appeared oftener. As an instance to prove their contention they cite the rapid growth of Harold Lloyd, who stepped out vigorously during 1922 and established a prominence as a comedian which promises to give Chaplin much difficulty to maintain his standing as the premier comedian of the screen. Lloyd developed into a comedian of feature length pictures and the first few of his productions quickly gave him a forward place. Much will be expected of him during 1923. In his behalf Pathe promises much. Probably no other organization in the business developed such headway during 1922 as Metro. Only the tremendous success of "The Four Horsemen" prevented this organization from disintegrating. The success of the Ibanez production not only gave Rex Ingram a foremost position as a producer-director, but incidentally set Metro along the path of "big" pictures. In this they proved remarkably successful. All the Ingram pictures proved very successful at the box office, the Mae Murray productions proved an unusual success — and an unexpected one — and what with these and their "specials" Metro forged forward and became recognized as one of the companies from