The Film Mercury (1926-27)

THE FILM MERCURY, FRIDAY, JUNE 11, 1926 Hollywood, Calif, Page Ten f ... — \ The Open Forum [In publishing letters in this department, The Film Mercury is doing so merely in the interests of conducting an Open Forum for expression upon all topics concerning the film industry, and does not indorse or take sides with any of the writers. Names and addresses must accompany all communications, although these will not be published if the writer so wishes.] Editor Film Mercury: Commenting upon technical flaws in pictures, how about “The Dark Angel?” The military sequences of this picture destroy the poetry of an otherwise great picture. A battery or brigade of artillery was shown passing through a village in England, en route to the front. The procession passed through at a trot or canter. This is in defiance of regulations, as it is distinctly laid down that passing through towns, etc., mounted troops must proceed at a walk. No attention was paid to formation. The commanding officer and his staff of signalers and other technicians with their range finders, etc., were absent. The guns and caissons were not camouflaged. The guns were skeleton — no picks and shovels on them and no gunners’ impediments on the caisson. The drivers lacked whips. A whip to a driver in the army is part of his equipment. The horses were unencumbered, whereas the driver carries his blankets and waterproof sheets on his off horse. The horse carries waterbucket, feed bucket, master’s great coat, head ropes and peg. The caisson is packed with gunners’ blankets, strapped to the seat. The sergeants or section commanders did not carry rifles and otherwise lacked equipment which is available. The piece de resistance was reached when a flash was shown of a mounted soldier blowing a bugle whilst the battery was on the march. Why the bugler was shown I do not know. Be it known to all and sundry, bugles are not used by mounted troops. All mounted troops of the British army employ trumpets where available. Sincerely, D. J. Editor Film Mercury: Something prompts me to say a few words about your cruel, uncalled-for criticism of “The Bells.” I was at the preview, and the round of applause at the close of the picture seems to me to be the comment of three or four hundred people in contradiction of your very unfeeling criticism. To wound the feelings of so many who played in the picture (who did most excellent work) , was terrible and uncalled for — because one does not receive as much money as some more fortunate one who does no better work — is absolutely no excuse for vituperation. Your quotations of salaries in this week’s issue is absolutely untrue, because I am in a position (because of income tax), to know. “The Bells” is a gem! And your one opinion will not hurt the sale of it. Nothing can, because it will sell itself. For myself and for more than a dozen others, I can say I will never buy another copy of your miserable sheet. I have known Mr. Young intimately for fifteen years, and have never met any man who so little deserved to receive the hurt you have given him. I dare you to publish this. Very sincerely, MRS. STOEPEL, City. Editor Film Mercury: For errors and inconsistencies in the silent drama, why not criticize “Infatuation,” adapted from the stage play, “Caesar’s Wife?” Why Do They Do It — (1) The period of the story being after the great war, is after 1918 — why is the ruler of Egypt spoken of as the Khedive? When the last ruler of Egypt under that title was deposed in late 1914, and succeeded by his uncle, Kamel, under the title of Sultan, the title of the ruler was again changed in 1914, on Egypt being granted Select Story for First Barrymore U. A. Picture John Barrymore’s first production for United Artists will be a story based on the life of Francois Villon, vagabond poet of the fifteenth century. self-government, to King. (2) Why is the residency of Percy Marmont, the British representative in Egypt, shown without any sentries or guards, so that anyone may come and go at will — “witness the wife of the heavy.” Speaking of Percy Marmont, why do they dress him in a mess-jacket of the vintage of 1901? (3) After a considerable time spent officially in Egypt, it did seem odd to see the Ruler of the country, “call him King or, Khedive,” stop to pick up a foreign representative at his court. (4) Why is the Turkish fez and tassel used exclusively, instead of the high Egyptian Tarboosh with no tassel after Mohamet Ali, early in the Nineteenth century. The Egyptians cut off the tassel to show their independence of Turkey and adopted the Tarboosh. The fez is still worn by Turks and Levantines. (5) And why does Malcolm MacGregor insist on wearing his “Solar Tope” in evening dress? Also how does Miss Griffith stand the daytime heat of the sun with nothing but a very becoming bit of lace over her LORNA MOON ADDED TO M-G-M WRITING STAFF Lorna Moon has been added to the writing staff of the MG-M studios to work with Monta Bell on the forthcoming production of “Upstage,” Walter De Leon’s story of vaudeville life, to star Norma Shearer. Miss Moon for some time past has been associated with the De Mille studios. * * * Charlie Murray is expected back in Hollywood within the next ten days. He will play a role in “The Masked Woman,” June Mathis’ next First National production. ♦ ♦ ♦ BENNETT AND BLYSTONE SIGNED BY SENNETT Alma Bennett and William S. Blystone have been signed to five-year contracts to appear in Mack Sennett comedies. head, while out riding with Malcolm MacGregor — who this time very properly wears his “Solar Tope.” (6) Again, will the produc* ers and directors never learn that the picturesque long Arab gun is a thing of the past, as far as native conspirators are concerned, who are much more likely to use a Mauser or a Colt automatic? However, no doubt there was a lot of money spent on makingthis picture, so — like “Caesar’s Wife” — it must be above reproach. Yours, H. McM. Universal Scenario Company 5507 Santa Monica Bird. Hollywood, Calif.