Camera - April 14, 1923 to February 16, 1924 (April 1923-February 1924)

CAMERA I "The Digest of the Motion Picture Industry" Page Seven Pictures, Paintings and Advice By rat h. leek ■ "No motion picture can compare with a great painting as a work of art," recently wrote a New York reviewer. The reason is that the film is the work of an organization of specialists, whereas the painting represents the personality of one individual." The reviewer doubtless will be interested to learn, however, that he soon will be given an opportunity to view an exception to that rule. Fop the Tom Forman production of "The Broken Wing," which just has had its first studio preview here, may safely be said to represent the personality of the director alone. . The youthful director, formerly a featured player in Paramount pictures, a scenarist, soldier, and Texan who knew every foot of the cow country in which he spent his youth, has made use of first hand information in the production story which, as written by Paul Dickey and Charles W. Goddard, had so successful a run on the New York stage. When the play first was acquired, to be filmed as a B. P. Schulberg production, Forman was named as director because of the opportunity for aeroplane thrillers, military maneuvers and big treatment of the sort that has contributed to his fame as a supervisor. But Forman contributed an additional detail to the work by announcing that he would himself write the screen version of the play. On its completion he visited Northern Mexico, New Mexico and the various "locations" in which the most spectacular phases of the picture have been filmed. He organized the two Mexican armies and led them into the comic encounters that form one feature of the story. While he worked with mechanical experts in the planning of what is declared to be one of the most impressive aeroplane feats ever accomplished before the camera. Also, the director can claim such credit for the selection of the cast which, headed by Kenneth Harlan and Miriam Cooper, includes such favorites as Richard Tucker, Walter Long, Miss Dupont, Evelyn Selbie, Ferdinand Munier and Edwin J. Bradly. When it is considered that the director also cut and edited the production, it may safely be said to come as nearly representing the personality of one individual as so complicated a thing as a film production may do. It looks as if the picture fan who yearns to see his or her favorite in person would have a real opportunity to satisfy a life long craving this summer. The motion picture exposition, to-be staged here from July 2 to August. 5 promises to offer a greater number of stars, starlets and featured players than ever before have been seen at one time. Advance announcements indicate that Doug and Mary, Charles Chaplin, Kenneth Harlan, Thomas Meighan, Gaston Glass, Orville Caldwell, Pola Negri, Barbara LaMarr, Ethel Shannon and all our favorites will shine simultaneously for the visitors. And, since President Harding is scheduled to make a personal appearance during the exposition, there should be plenty of political, as well as screen notables to fill the eye of the visitor. To seekers after literary inspiration, Olga Printzlau offers these words of advice: "get yourself a bungalow-studio in the heart of a zoo and start work." Miss Printzlau, writer of a greater number of screen successes than any other contributor to screen literature, has done just this thing. Seated in the interior of a picturesque bungalow structure in Hie heart of the Selig Zoo, the bobbed haired scenarist is at work on her most ambitious story — a screen version of "Maytime," the tuneful comedy that now is being played by half a dozen companies on the speaking stage in as many cities. Looking out of Miss Printzlau's front door one views an elephant or two, engaged in their daily occupation of reducing the hay supply on the lot. To the left are long rows (Continued on Page 22)