Motion Picture Magazine, May 1914 (1914)

MOTION PICTURE MAGAZINE 167 •words "cherubim and seraphim." I gave the title as "The Last Copy," and I venture you will have hundreds ot entries giving it "The Last Copy" it seems so clearly that. Back to my idea—I know how little editors wish letters from the "dear" public—I know some- thing about them, for I have read proof on their editorials for ten years, and I know how simple and unassuming they are and what poor spellers and how they appreciate a little praise from just some one who un- derstands, and I know what really kind, brotherly hearts they have. And if this is turned over to an associate editor (the proof- reader generally edits them on our paper) it may call to their mind, if they are of the Photoplay Clearing House staff, one of my plots, that has been yearning, praying al- most to come to life, "The Tattooed Picture on J. Warren Kerrigan's Broad Arm," that has been struggling to reach the Victor scenario bunch. Kerrigan is one of the things I want to say something about. But first I want to speak of the wonderful Moving Picture age. You said in your edi- torials not long ago what I've been prophesy- ing several years, so I'll not say that. It is torture to sit thru the best-talked play of three hours' duration by an all-star cast if the auditor tells the truth. And I dont like the dramatization—I mean the arrangement for photoplay of talking plays. They are as dummies compared to some of the best one- reel plots. But it's a bait to catch the play- goers, who will not break away from the aristocratic $5 a seat playhouse for anything else. I dont believe in censoring photoplays. The censor is always crucified for his pains. What I want to say about the future of the movies is too big for my vocabulary. I'm going back to Kerrigan. Whenever I see Kerrigan I want to burst forth into talk—to ye editor—to some one who understands. This isn't a mush note. The varied comments of the people who see him awakens this desire. "It seems like I knew him," a young man says. "No other seems so; I like lots of the actors and actresses awfully well, but after the picture I forget, and after seeing Kerrigan I remem- ber and think about it and want to see him; I feel as if I already know him. Must be his personality, I suppose. AVhy, in that 'Matri- monial Brancier,' or whatever it was, when he got mad, he looked like an educated beast; just like a Deatt .vhen he twisted that red-hot iron; strong, he's like a giant, a Samson, and I do hope he comes here in Samson." From one of the lady reporters, confidingly, "I think it's because he is a composite of that sport's poet, once my best beau, the cowboy milkman, that looked just like him, only more so, delivered our milk one summer, and that tramp feature writer and printer combined we were all in love with—that I admire him so." "When he made love he kissed the girl square on the mouth," the tired dressmaker with two boys and a husband who isn't loving, explained. "Square on the mouth! Gee, it just made you homesick," she explained. I dont sup- pose another living person is so well known and beloved. Children call him everything— "Jack," "Warren," "Curly," "Kerrigan, the man who rides like a bird." For myself, I have studied out why I like him, and, as the young man, seems like I knew him. He acts the part assigned to him, but he puts in it the personality of Warren Kerrigan, all of it, without stint. I'll venture he drawls his words, Southern style, and his natural mo- tions are slow; but when there's action re- quired, it's double-geared electricity, as In the pictures. I dont think it's a good thing for the public to have him act in plays like the mine foreman, tho it ends all right; the part where he is brutal is so alluring it is bad for the rising youth. I dont like to see him die in some of the plots. 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