Motion Picture Classic (1923, 1924, 1926)

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I Christmas Cards from the Stars! i ■ In J A N U A R D D O SCREEN STARS put anything of their personality g into their season's greetings? j' O THEY DESIGN lovely cards themselves and com H pose their own poetic messages? j In 1 A SPREAD OF SEVERAL PAGES of reproductions of the J jj -^"* cards that silversheet actors send each year in jj jj greeting will appear in the January Motion Pic [ I ture Magazine. They will give you as much plea | g sure as tho you had received a personal card from your ( H favorite star. = J A N U A R Y I I Y 1 | Motion Picture Magazine | | Wally's Last Word | AN EXCLUSIVE STORY by Charles A. Post, Wally's best friend, in J whose arms he died. It is not of the happy-go-lucky W ally , but of = the Wallace Reid with whom Post tramped the hills by day making the g fight; of the Wallace Reid who found only emptiness in fame and jj 1 fortune. g 1 'T^his issue is full OF Christmas features as intensely interest ( A ing, as intriguing as any gaily wrapped Christmas package. Among jj its surprises are: the first instalment of "Thistledown," a six-part serial, g 1 by Dana Gatlin ; an unusually beautiful folio of cinema stars; gossip, | ( more inti?nate and chatty than ever, by the Editor, and articles in plenty. §§ IllllllllllllllllllllllllllllllllllilllilllllW film itself. As the story deals with the tyrannical methods of the Czar, the Soviet authorities granted permission to the producer to film the actual localities mentioned in the novel, thinking that the picture would be excellent propaganda for the Soviets. However, when the picture was almost finished, the authorities observed that the producer was more interested in art than in propaganda, that the tragedy was being presented without any attempt to spoil it by intruding politics. They thereupon withdrew permission for further filming. But by then the better part of the picture had already been made, and the negative was slipped out of the country before the Soviets could lay hands on it, the few remaining scenes being taken in a Warsaw studio. "The Disinherited" reveals the ugly machinery of tyranny, in which, whenever the existence of that tyranny is being threatened by enlightening influences, the lowest and meanest instincts of hatred and brutality are deliberately aroused by the dark influences serving the tyrant, so that the cause of liberty is forgotten in the exercise of these hatreds and brutalities. Despite the intenseness of the emotions which dominate the story, the acting is characterized by a masterly restraint and a well-marked tempo not often seen in other European productions, and those who have had the opportunity of estimating the talent of Russian actors thru the Stanislawsky troupe and the Balieff artists on their visit to America will have cause, after seeing the superb workmanship of their countrymen in "The Disinherited," to regret that the Russians have thus far played such a minor role in the advancement of screen art. The Powers Behind the Screen (Continued from page 20) had been back in the old nickelodeon days, the days when he plead with the General Film for a chance — an exhibitor. He was at this game until the summer of 1921 when he realized that there were more theater seats in the country than there were people willing to fill them. Exhibitors, too, had begun to object violently to competition in their end of the game from a man they thought should devote his talents to producing and distribution. Gracefully, Zukor yielded. He began selling theaters that had ceased to pay. The exhibitors' own organization, the Motion Picture Theater Owners of America, representing thousands (Eighty-four)