Close Up (Oct 1920 - Sep 1923)

5 Moving Along In Movie-Land THE SILENT YET POLYGLOT DRAMA By George Landy The silent drama, it is true, speaks no tongue and yet all! It is the one universal language, for it speaks with the heart and to the heart, hence all humans may understand it. The better the picture, the more easily it is understood and by a greater variety of races and peoples. Yet, strange to say, the makers of the pictures often find that they must speak many tongues, so that they may communicate their desires and thoughts to the actors and others employed in the filming. It is one of the many paradoxes of the screen world. An unusually interesting illustration of this maxim is to be found in Guy Bates Post’s present filming of his second screen vehicle, “Omar the Tentmaker,” a Richard Walton Tully production, for release through Associated First National Pictures. Nigel de Brulier, who plays Nizam in this colorful photodrama, is French; although he speaks English very fluently, he is helped by having the director advise him in his native tongue. Madame Rose Dione, the Shah’s Mother of the story, has been here for six years, yet she speaks very little English and her native French is almost obligatory. Boris Karloff, the Imam Mowaffak, is of Russian birth. Many of the bits in the piece are being portrayed by Armenians, Persians, Arabs, Mexicans, Gurkhas and French-Canadians. Fortunately, the star, the producer. Director James Young, Cinematographer George Benoit, Oriental expert Francois Nazare Aga, Assistant Director James Ewens and Stage Manager Milano Tilden all speak at least one of these tongues in addition to English, so that harmony reigns on the set, although it sounds like the Tower of Babel. There the similarity ends, for every hour of the work is characterized by that close harmony and cooperation which were so noticeable in the production of “The Masquerader,” and which have even been improved upon for this second picturization, so that the finished product will be sure to reflect the harmony of its workers. We almost forgot to say that the genuine Persian cats used in the production have been trained to respond only to orders in Persian! THE MISOGAMISTS DREAM Eyes — twin stars of brilliancy. Shade twixt blue and gray, Fountains of redundancy — Mystic in their play. Face — of rarest piquancy, Oval in contour, Matchless pink and ivory Famished eyes allure. Nose — a tender aquiline. Brow — of cultured mould, Gates of pearls inward hem in Harmony untold. Hair of rippling chestnut hue, Ears small and dainty. Same that Milo's Venus knew, At t’ age of twenty. Form in rounded Hebe curves, IV rought in slenderness — Full of buoyancy, and nerves, Yielding tenderness. Lips — a source of purity, Dew’d with virgin bliss, Modest in their coquettry , For my eager kiss. These and other attributes Drew my raptured eyes, Which but tasted of the fruits, Plucked in Paradise. By Marshall Lorimer. “Burning Sands” came to a conclusion this week and George Melford will have completed what it is believed will be one of his best productions for Paramount and which it is confidently expected will rival “The Sheik” in popularity. Wanda Hawley and Milton Sills are the featured players in a cast of unusual strength. The story is by Arthur Weigall and the adaptation by Olga Printzlau and Waldemar Young. Mr. Melford in the first week of July plans to start his new Paramount production of Robert Louis Stevenson’s story, “Ebb Tide,” with Lila Lee and James Kirkwood, Raymond Hatton, George Fawcett and others. * * * Grace Darmond: I see you had a good time last night. Leading Man: How come? Grace Darmond: Found some hairpins in the back of the car. Add another problem to the woes of the much-harrassed producer! Arrowhead Ginger Ale ***•*£*(>« txCtpriOHAi| i x eomra only erf a*owhmosprin«£J *nu^ 8ffr*s ptNYucAi springs*. ^♦.AMCHOFAL lal — a good mixer At All Cafes ARROWHEAD SPRINGS CO. Phone South 381