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

Record Details:

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(AMERA ! "The Diqest of the Motion Picture Industry' Page Five A Eulogy Due and by Others Unpaid IVhen the news of the untimely and tragic cath of Evelyn Nelson was broad-casted to t|> public this week by the Los Angeles nwspapers, the facts and alleged facts were indented in such a way as to leave room St most any kind of an unsavory deduction to the real story behind the sad affair, ro outstanding facts were seized upon to e the accounts all the sensationalism of ^ich the present-day yellow press is so iundantly capable — one was that Miss Nel4i had ended her own life and the other s that she had been a motion picture ress. Certain passages in the farewell Jte she left to her mother and sister were (itorted so as to make it appear as if she i ght have been a drug addict. Those who 1 ew Miss Nelson best know there could be malicious conclusion farther from the nth inasmuch as she at no time in her 1 s ever had any objectionable habits of any t. The possibility of a love affair with a ominent screen star being the cause of e unfortunate girl's ill-advised act may be serving of some credence, but certainly t in the light ungraciously chosen by the ws writers of the day. It is a common currence for suicide to follow unrequited e or bitter disappointment in the turn of ents which seem to close the door to one's ospects for future happiness. Self-deduction under such circumstances is not arly so extraordinary as it was made to em in this instance merely because people ominent in the motion picture world were volved. The contents of the late Miss Nelson's last ite would indicate that discouragement er her struggle for success as an artist as more to blame for her temporary dengement of mind than anything else, at to be satisfied with a cause so lacking sensational elements did not seem to be >ssible with those who wrote the reports the tragedy. There can be no gainsaying e rank injustice heaped upon members of le cinema fraternity by the press on the ightest excuse and in this case a young oman of very fine character and many adirable traits was the victim of such Evelyn Nelson maligning after she had ceased to be capable of defending herself. Here is the farewell note she left and it is printed verbatim with no additions or eliminations : Mother Dear and Dot: I am going away tonight. I am tired. I know I am being very unkind to you. I love you both. I know you have done all you could to make me happy. I have lost my ambition. I don't even want to work any more and I couldn't if I wanted to. I want rest more than anything in the world and I am going to find it. Please forgive me if you can. God bless you both. EVELYN. As must be perfectly apparent to every one, it would be difficult to so far misconstrue these lines into giving any substance to any theories having to do with the use of "dope" or an ill-fated romance. Of course there are those who know Miss Nelson had fostered a strong, honorable affection for a certain young man, but the fact that if there was such a love affair there was no happy fruition to it does not justify intimations reflecting discredit upon anyone. The willingness of the local press to lead a large public into jumping to such conclusions simply because the ones involved in the story happen to be picture people is not to be condoned by anyone believing in ordinary fair play. And, Miss Nelson's life was such as to command admiration rather than implied condemnation. Her many friends know this positively, but due to the manner of presenting the story of her sad ending a very small percentage of the great public would believe it now. Therefore, she has been done an everlasting injury she in no way deserved. The last rites conducted over her remains this week constituted an eloquent answer to all the attacks which have been made upon her by these uncalled-for inferences. Seldom has a funeral in filmland been so largely attended by so many notables of the great industry in which she was respected. The floral offerings were so extensive as to make it a really difficult problem to care for all of them. Those who served as pall-bearers were: Jack McDermott, Robert Dillon, Charles King, Craig Hutchinson, Leo White and S. W. (Doc) Lawson and each had known the deceased for many years, not one of them knowing one single thing which could be interpreted as derogatory to her character. In conclusion, the tragic case of Evelyn Nelson shall go on record as an outstanding protest of all filmdom against the usual press treatment of its people and it is to be devoutly hoped all newspapers will see the error of their way in indulging in so much fulsome sensationalism and will make the distinct gain of devoting their energies to being more generous to those who pass into the Great Beyond. The Fate of Big Pictures Promising "Special pictures — bigger and better!" "That's the cry going up from the general ublic using the exhibitors as a mouthpiece," eclared Floyd Brockwell, general sales manger of First National Pictures, Inc., in an ddress before the annual convention of film ales managers from the principal cities of he Pacific Coast and the Rocky Mountain itates. "The cry for big specials cannot be reisted," says Brockwell. "The general pubic's taste for pictures advances just as fast is the art. of picture-making progress. Exlibitors throughout the nation are convinced »f this, hence they are calling for bigger and •etter— and lots of them. "The public's taste of certain types of >hotodramas may be fickle, but they always vant the best. For this reason First Naional will offer to the screen public more Jian seventy of the finest 'specials' to be nade this year. "A canvass of the situation has shown hat these exhibitors are looking forward to the release of First National specials and are making preparations for a big film season. We have had thousands of inquiries regarding Norma Talmadge's 'Purple Pride,' now being directed at the United Studios by Frank Lloyd. The announcement that Thomas H. Ince will deliver not less than four big specials for First National distribution has been widely applauded by the men who know the picture-going public. "Richard Walton Tully's 'Trilby,' John M. Stahl's 'The Wanters,' Frank Borzage's 'Children of Dust,' and 'Dust in the Doorway,' Constance Talmadge's 'Dulcy,' which she has just completed and her 'The Dangerous Maid' and 'Mme. Pompadour' to be made in the near future have attracted no small amount of attention. "It is safe to say that George Fitzmaurice's 'The Eternal City' and Samuel Goldwyn production of 'Potash and Perlmutter' will be two of the picture drawing cards of the year. Edwin Carewe's 'The Girl of the Golden West' and 'The Bad Man' will be specials worth while and John M. Stahl's future production, which will include 'Why Men Leave Home' and 'Women That Pass in the Night,' are already eliciting a very large number of inquiries. . "Previews of Maurice Tourneur's 'The Brass Bottle' and James Young's 'Wandering Daughters' have convinced First National executives that these two dramas are of exceptional box office drawing power. Charles M. Duell's presentation of Richard Barthelmess in 'The Bright Shawl' and 'The Fighting Blade' will make screen history as will the enormous production planned by Joseph M. Schenck in which Norma Talmadge will be starred. These future productions will include 'Secrets' and 'Dust of Desire.' " First National's own production of a limited number of pictures to round out the year's big schedule of special presentations were explained to the convention by John McCormick, western representative of First National and by Earl J. Hudson, production manager of the unit and Richard Walton Tuly, who is acting in the capacity of advisory counsel.