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Hollywood, Calif.
THE FILM MERCURY, FRIDAY, MAY 21, 1926
Page Seven
The Public Still Wants Its Hokum
By ANABEL LANE
The producers claim that they are making better pictures because the film audiences have been educated and demand better screen vehicles. Can it be these purveyors of celluloid fare really believe what they say? Or are they flattering the cinema patrons into the belief they would know a worthwhile film if they saw it?
It is true the movie is improving, and has advanced from its infancy, but the fans throughout the country retain the mind of a twelve-year-old child, and enjoy those films that are aimed at that mentality.
Once or twice a year a picture that is unusually fine is a financial success, and people point to that fact as proof of the public demanding high-class stories. When a film like “Stella Dallas” joins the list of money makers, it is because mother love is an emotion felt even by imbeciles. The finer points in the film are generally overlooked. “The Big Parade” is not successful because of its subtle irony against war, or because of its frank realism, but because it presents the glamor and color of war in an entertaining manner.
One might as well say the public understands and appreciates paintings because Whistler’s “Mother” and Millett’s “Angelus” are popular. The mob’s appreciation of art is valued only by those things that effect the emotions, not the intellect.
The finer films that are successful have an emotional appeal that can stir the Philistines without causing any unnecessary brain exercise. Screen efforts like “Greed,” “Isn’t Life Wonderful?” “The Tower of Lies” and “The Last Laugh” depict mental conflict rather than instinctive or congenital emotions, and go over the heads of the public.
In a recent article, “The Photoplay Market,” the information was given that there is a call for stories as follows, all melodramatic : Railroad stories, firemen stories and crook stories. This shows the material the people want. “The Big Parade,” “The Merry Widow” and super-films are not the result of the public demand, but the desire of the more intelligent minds of the movie to produce better product.
The fact that westerns are more popular than other films, and that the stars of these pro
ductions are paid more than the actors in other type stories, denotes the preference of the cinema patrons.
To disprove the hallucination that pictures have improved because of the discrimination of the public, or that they patronize the finer ones, I shall quote from a few exhibitors.
“Lilies of the Street.” Star cast. People here raved about this one, and satisfied comments were heard on all sides. A very good box office bet. — A. C. Werner, Royal Theatre, Reading, Pa.
“Merry Widow.” A wonderful picture which did not do the business it should have done. I don’t believe it is an extra good small town picture. — T. Barnett, Finn’s Theatre, Jewett City, Conn.
“The Midnight Flyer.” Oh, boy! What a wonderful picture! I ran a trailer and sold my seats to capacity business. — Robert Hines, Hines Theatre, Loyalton, S. D.
“Slave of Fashion.” Old but good, but title killed business. Metro has the titles and pictures for big towns only. Three years back I made more money on Metro’s product than I am at present, but they were pictures like “Quincy Adams Sawyer,” “Turn to the Right,” clean pictures with drawing power. — P. A. Preuss, Arcada Theatre, Arvada, Colo.
“Grass.” No entertainment value. Some patrons walked out before it was half over. Too much like a travelogue. Suitable for a college only. — Mrs. J. T. Aravelle, Elite Theatre, Placerville, Calif.
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