Moving Picture Age (Jan-Dec 1922)

with one hand a high-flung question mark and the other reposing majestically in that inevitable nest between the upper two coat buttons, awaiting a retort it does not expect will be forthcoming. Yes; it's a great indoor sport. Well, just what are the films coming to? Have we really any cause for worrying about the prophesied ruination of our citizenry through the demoralizing drama of the fiendish films? Let us add a thought, and trust that it will tilt the scales at least a trifle more than the average declamation on this topic. The American motion picture has run wild — the producer, the exhibitor, the general public, are all ready enough to assent to that premise. Like a small boy who has just escaped from confinement, the motion picture has smeared itself with mud, and has also had the temerity to pelt moral ideals with the same disagreeable and besmirching substance. And for a considerable period of time, due primarily to the general relaxing that followed the cessation of war, little attention was devoted to the depredations of the mischievous but increasingly wrongminded adolescent. But this freedom of the motion picture — a freedom that quickly became license — has terminated in so drastic a fashion as to evoke protests from the industry thus checked. The American public has finally voiced objection in no uncertain phrases, and the motion-picture interests suddenly find themselves under the control of legal restrictive measures. We grant that censorship is by no means an ideal process for the elimination of the unclean motion picture, and we believe that within a comparatively brief time such extreme action as censorship will not be necessary and will then be dispensed with. But a menace to public welfare — particularly one that can be arrayed as captivatingly and artistically as can the unclean motion picture — demands prompt and probably rough and unpleasant action ; and this action has found expression as censorship in many communities. The rapid progress of the Better Film Movement is sufficient index that the thinking American public is protesting only the unfit film, and is more than willing to indicate definitely for the exhibitor the pictures that it approves and will support by favorable publicity. When responsible representatives of the public volunteer to review the new •pictures and put their approval upon films that achieve reasonable standards of morality, who can say that the public is not constructive in its film criticism? More than that, who can say that the motion picture, tentatively restrained by censorship and given an upward-guiding hand, through the Better Film Movement, by' citizens who are seeking only the highest potentialities of the film, is about to accomplish the decay of our civilization? Rather, the diseased portions of the film industry are being operated upon and it is being given a chance to develop its unlimited potentialities in the furtherance of a stronger, more enjoyable, more permanently satisfying American civilisation. One of the soundest indications of health within the film industry comes to light in the announcement of certain recent productions. For instance, one well-known producer is bringing out a series of films portraying the stories on which famous paintings have been based — some of the paintings thus dealt with being Sir Edward BurneJones' "The Beggar Maid," Joseph Israels' "The Bashful Suitor," Leonardo da Vinci's "Mona Lisa," and Rembrandt's "The Young Painter." This series, sponsored as it is by a distinguished group of artists and art critics, marks a most unusual step in the search for higher, worthier material to put before the American public. Again, we find "The Bonnie Briar Bush," a theatrical drama that pleased the most upright of film critics, and — significant fact — a film that received prolonged applause when shown before the average theatrical optience ! In the third place, consider a series of films at present under production. This series has visualized the original incidents upon which were based well-known selections from twelve different operas, and each visualization has been so perfectly synchronized to the selection itself that the music is literally interpreted line for line upon the screen. The value of this series has been further enhanced by securing famous ballet artists and other specialists to interpret the action on the film. Do not these instances show that a number of producers and others in the motion-picture industry are working in the right direction, and that with the better-film co-operation of the public this great industry may be just as positive a factor for right living as many have declared it to be for evil? IN THE MAIN church article this month the writer, Rev. K. E. Wall, brings forth a statement that many pastors will heartily endorse, and that others, we hope, will ponder before they cast it out of mind. When we meet a fact coming down the road the only thing to do is to face it, not try to dodge it. Many churches and ministers are working in a groove, and yet are wondering why they get no results. The only difference between a groove and a grave is the depth. Rev. Wall two years ago was facing a situation that is included in the experience of practically every clergyman — the crisis of the Sunday-evening service. He faced the issue, with the result that after analyzing the case he installed projection equipment — and now numbers his Sunday night attendance in hundreds instead of dozens. The lesson involved applies not alone to the Sunday-night exercises, but to any religious service that shows a lack of significance for the parishioners. The pastor has no right to conduct his church affairs in an inefficient, happenstantial fashion that would not be tolerated in any going business. There are times when an organization finds it incumbent to say to itself, "Where are we going?" although often the more fitting query is, "Are we going anywhere?" The clergyman who is willing to conduct such an analysis of his own business, and will, when the difficulty is found, "face it, not try to dodge it," is the clergyman who is carrying out his duties in the highest manner. We believe that for such problems as that solved by Rev. Wall the answer is motion pictures ; but, whatever the answer, we advocate that the pastor watch his objective and not only know where he is going, but be positive that he is going. MOVING PICTURE AGE takes pleasure in announcing the opening of its own projection room, to be in operation March 1, 1922, at the publication's office, 418 South Market Street, Chicago. This new branch of the magazine's service to subscribers and advertisers has several phases. First, it means an opportunity for the subscriber who rents films in Chicago to screen his material before renting it; or, if he lives away from Chicago, and no matter whether or not he deals with a Chicago exchange, he is at liberty to have his exchange man send certain films on to the Editor, who will gladly review the films in the next issue of the magazine. The same privilege is extended to any exchange that on its own initiative wishes to have certain pictures reviewed in Moving Picture Age, and to any owner of industrial films who believes they are good material for non-theatrical exhibitions and would like the Editor to review them briefly. In any of these cases there will be absolutely no expense for projection; the only cost to the sender will be that of transportation to and from the office of this publication. All films should be addressed in care of the Editor, and they will be returned to the sender within 48 hours after receipt at this office. By this method films to be reviewed are kept from service for only a minimum period of time. The second phase of this projection-room service is the opportunity extended to every Moving Picture Age subscriber to examine and demonstrate here the qualities of the various standard makes of projection equipment. An invitation has been extended to the manufacturers of standard projectors, stereopticons, and screens to install their products in our projection room, so that the prospective purchaser may study the different brands of equipment and see what type seems best suited to his purposes. Printed matter will also be kept at hand by those whose equipment is on display. There will be no one present to urge upon the prospect the merits of just one product, unless the person prefers to come with the representative of one certain product and allow this salesman to demonstrate the superiority of his product in construction and performance in comparison with other makes. Already three wellknown projectors and one standard screen are being installed in the room, and the response to our invitations to the projector, stereopticon, and screen manufacturers indicates that by March 1 the Moving Picture Age projection room will be available as one place in which the user or prospective user of projection equipment may scrutinize and test, at his leisure and without biased influence to sway his judgments, the established and reputable instruments of visual instruction. The third phase, impartial assistance to the distributors of equipment, is obvious. The distributor whose product is installed in our projection room is welcome to use the room for purposes of demonstration and comparison at any time, merely by giving us advance notice. Whenever a sale is made through such open comparison as is possible under these conditions, . the customer is assured of satisfaction and the distributor has certainly earned his right to the sale. Moving Picture Age rejoices when it can serve subscriber and advertiser with such mutual satisfaction.