Close Up (Oct 1920 - Aug 1923)

10 Under tfo h Y THE MAN MYRTLE STEDMAN It has been the privilege of the writer to have been an admirer of the screen ability of Miss Myrtle Stedman. This lady several years ago was at the height of stardom in the cinema field. We can remember the time when we would look forward with eager anticipation to seeing her in a new feature. As time elapsed this lady of surprising youth has more firmly implanted herself in the affection of the theatre-going public. Had Miss Stedman chosen an operatic career instead of one on the silent sheet, she would have been equally as successful, possessing a voice of rare sweetness she would have enchanted us with her vocal ability as she has in the past completed our satisfaction with her screen ability. To know this lady is a possession worth the keeping. She is one of the unusual intellectual kind. She is farseeing and has a perfect perspective of the larger questions of life. She is noted for her love of children and worthy causes. At no time has she failed to give her services liberally in the cause of charity. Being generous to a fault, she yet possesses that instinct of economy which will provide for those dependent upon her efforts. Very few people are aware of the fact that Lincoln Stedman, who is now playing in his third picture with Chas. Ray, is a son of her’s. This young man seems to have acquired the artistry of his talented mother and erudite father. During the past few months, Myrtle Stedman has been playing important or feminine leads with some of the greater production , companies resident in Los Angeles. She has just finished playing in The Goldwyn Feature, “The Concert,” and no doubt she must have been amused in playing in a production with such a title as it has always been one of her girlish ambitions to surpass in this direction. We occasionally receive letters asking about the present field that Myrtle Stedman is in. Invariably we have replied that she is continually keeping before the public with the same magnetism and grace that enraptured her audiences of a few years ago, and we haven’t a doubt in the world but that she will enrapture many more before she retires from screenland. e Magnify! TOKYO RULES ON FILM MORALS AND SUBJECTS To the Vidor Hollywood Studios this week came a letter from G. Tachibana, Chief Inspector of Films, Metropolitan Police Board, Tokyo, Japan, showing just what the censors of Nippon will allow on the screen — ■ or rather what they will not. “I have read your creed with much pleasure,” writes Tachibana,” and I have the honor to send you a copy of our standard.” There are sixteen angles in films, according t'o the Japanese official, which will not pass muster at the Nipponese metropolis. The tabooed pictures include those that: Concern the Imperial Family or ancentors. Endanger the prestige of the nation. Incite radical changes of government, or principles, or social disorder.. Endanger the “reputation and honor enjjoyed by great men and sages, dead or alive." Suggest methods of crimes or means of escape. Injure international relationships. Represent “too cruel or atrocious acts, or ignominious or obscene conduct, adultery or vulgar love affairs. Criticise current events, or suggest or discourage any personal affairs of individuals. Tend to discourage learning and lawful business, or to “make people rough-hearted and frivolous.” Lead children to “play mischevious sports.” “Broken or defaced films, or films BEHIND ‘CLOSE-UP’ LARRY RICHARDSON Out at the Vitagraph Film Company’s plant on Talmadge street, you will find William Duncan, the serial king, co-starring with Edith Johnson in the working title of their present superserial “The Wizard’s Spy Glass.” With them playing the heavy lead is Mr. Larry Richardson. Many of you at one time used to help to pack the theatre in which Larry Richardson was featured in such plays as “Fortyfive Minutes From Broadway” and “When Johnny Comes Marching Home.” Personally it was one of our great pleasures to resupply our slang vocabulary by going to hear Larry’s pull-offs in this linguistic attainment. We missed him, as many others did, and had wondered what had become of him, when one day we happened to see the man you will see on our back cover acting the part of the wicked villain who is always robbing the hero, Bill Duncan, of the lady of his heart, Edith Johnson. We watched several scenes being taken and was unduly edified at the clever artistry displayed by Larry. It is a well known fact that Bill Duncan never pulls “a boner” in selecting his heavy. We have several instances in mind where previous heavies are now being featured by other independent concerns. From this you may gather that it is just possible that the same fate may overtake the present subject of our notice. Richardon has been before the public in a theatrical sense from the days he was able to articulate “Cheese it, here comes the cops.” His experience has been varied and lengthy, and we haven’t a doubt that when nineteen twenty runs into twenty-one, he will be confidently predicting a surer success for himself in the screen world than he ever did when playing slangy parts on the stage. that shake too much (because of harm to eyes).” Tend to injure the dignity of school masters. “Contradict morality and consequently the principle ‘Good brings its own reward and the devil its punishment.’ ” Just now the women have got Madeline beat, and they’re still going good.