Motion Picture Classic (1923, 1924, 1926)

iiiiiiiiiinii!iiiiiiiii!iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii;nmiiiiiiiiiii[iiiiiiiiiiiiiiiiimiiiii!iii Verve! Ginger! Pep! There's nothing old fashioned or hackneyed about THE CLASSIC! It admirably reflects the youthful spirit of 1 926. It is out of the beaten track of screen publications. It is unusual, distinctive, sparkling. It is recognized as the best edited of all motion picture publications. The greatest screen writers contribute to THE CLASSIC each month. It is truthful, fearless and authoritative. You cant afford to miss a single issue. The July Classic Watch for the RICHARD DIX Cover! The July CLASSIC will feature a remarkable, human interest story of Richard Dix, the most absorbing document since The Motion Picture Magazine published the life story of Jack Gilbert last Summer. Henry Albert Phillips will continue his series of interesting interviews with the leading British and Continental authors on the subject of motion pictures. In the July CLASSIC you will find the opinions of Vicente Blasco Ibanez, William J. Locke and W. B. Maxwell. Another striking feature of the July CLASSIC will be a startling article on production errors, mistakes of costuming, sets, etc. It is written by an expert and you will find it of keen interest. And a dozen or so other big features! 82 Tents in Canaan (Continued from page 63) lute and wreath design on rug and chair. Pale pastels on the sage-green walls. Leases His Own Place Tt is a queer line of speculation — to think how, like a partridge, this pure Nordic who originated, I believe, somewhere in Iowa, has found his exact coloration in environment. Perhaps his wife has helped — I dont know. But Charley loves his English cottage home. Smilingly, but with a certain tightness at the lips, he speaks about his straitened finances, and the joke which was played on him. Charley had attained great popularity as a star. He had built and furnished this cherished home of his. Then he tried to make his own pictures — artistic pictures — independent pictures. The trust squeezed him — crushed him — flattened him out a helpless midge on the ground. Creditors took his home — like a flash. But they were not quite so cruel as creditors are in moving pictures. They allowed Charley to lease the place — his place — from them, while he began, slowly, painfully, to mend his shattered fortune. He is working now in a picture called "Paris" for Metro-GoldwynMayer. But it will be a long time before Charley can buy his cottage back. ("""harley is exactly like the china shepherd lad that stands by the door. To have ousted him from his home would have been as cruel a procedure as to dash down the pretty boy from his pedestal. The shepherd lad has a cocked hat, blue hair, white ruffled collar, a long^tailed coat of mulberry, and tight green knickerbockers with large gold roses all over them. His dainty feet in black pumps are crossed at the ankles and at his feet crouches a long-eared dog. Morning. The birds singing shrilly in the garden. The hedges smelling like an English lane. The fountains with their chubby cupids that match the chubby cupids on the andirons in the fireplace. Costly, dainty, spicky beauty. Arrogantly cheerful. Maddening really, unless you are a Nordic yourself. A Borgia Bungalow ""Fhe Countess Domski, being of Polish extraction, selected the American Colonial for her Beverly home. Pola Negri's house is white, high-pillared, and marked by two austere sentinel palms. The interior frankly discards the Colonial. It is Italian Renaissance. Paintings and hangings in tints of dull wine and dark smoke, dark brocades, tables and chairs carved in the severe rectangular style bequeathed by the papal aristocracy ; coffinlike chests that rest on claw feet and ornaments of beaten bronze and brass. Before the stone fireplace, giving tea to Chaliapin, the mistress might be a Borgia in her dark, sensual beauty. Pola is as decisive a type as the Italian interior of her Colonial house. Above her fireplace Pola has her own portrait by an expensive portrait painter. But May McAvoy, one of the few who still cling to a home in Hollywood, has hung above hers some Rembrandts perchased in Paris while she was making "Ben Hur." So why should the spirit of Pola be proud? Moreover, I remember seeing, in the home of Mr. and Mrs. Joseph Schenck (Norma Talmadge) a most interesting example of a batik, which seemed unusually