Motion Picture Classic (1923, 1924, 1926)

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A New York theater was so crowded mi the afternoon Valentino's "The Eagle" was first presented that the newspaper writers had to be escorted to their seats via the stage door. Another unforgetable opening was that of "The Thief of Bagdad," because everybody had to battle their way to the theater lobby, and even Douglas Fairbanks had a hard time in carrying Mary Pickford thru the curious and pressing throng. Morris Gest had gone one better than the usual presentation, for in addition to the great arc lights and periodical flashlights, there was the Arabian, dirge-like music in the lobby and wafted to the sidewalk there came the perfume of incense. The Rush of Reviewing Tt is no wonder that the critics are enthusiastic about an afternoon pre-showing of a picture, for after the evening performance, which finishes, as a rule, well after eleven-thirty, the reviewers have to hurry back to their offices and turn out a carefully written impression of the film. There is romance and glamor about a great newspaper office just before midnight. Boys are hastening here and there to the call of "copy," and carrying the sheets of paper to the telegraph and city desks. The reporters, with telephones at their elbows, are beating on their typewriters, and the copyreaders, seated around two great semi-circular desks, are absorbed in their work. Cables from all parts of the world and telegrams from many different points of the country are coming in, and shortly before the dead-line every effort is made to send the late stories up to the composing room to catch the first edition. As a rule, the critics of music, the drama and motion pictures do not have to worry themselves about the first edition, but they must have their articles in the second edition, which is from three-quarters of an hour to an hour later than the first. Hence, you will see the critics from the three departments coming into the office, usually in dinner jackets, peeling off their coats and sitting down at typewriters in their respective offices. The programs are before them, and they sit for a while in thought conjuring up the first few sentences and then go ahead with the effort. Sometimes a review may be only eight hundred words, and on other occasions it may be nearly twice that length. It is something you can read very quickly, but an effort which requires painstaking thought to transcribe. The critic invariably waits in the office to read the proofs of his work, and then he goes home with his mind filled with thoughts of what he has seen. His dreams at times are possibly infinitely more involved and more flighty than any film that has been made, as while he sleeps he may have the heroine of one picture mixed up with the hero of another and the villain of another production turned into a nice young man. And the comedy character may, in this sleeping thought, turn out to be a minister of the Gospel who never slips when he treads on a banana peel. And then next morning this critic who has written the stuff, and read it on his typewritten sheets and also in proof, glances at the news of the world on the first page and then turns to look at his yarn as it is in the paper. Another review has been written and other pictures to see. Letters to King Dodo {Continued from page 61) Eighty feet under the paving-stones of Rome, haunted by the togaed ghosts of citizens once buried there, the Bragaglia, he said, is peopled by tall houris — slender, black-eyed, darkfaced, always dressed in white, wearing no stockings, in the most extreme decolletee and the most exotic of make-ups. Item : empurpled eyes. A rickety, medieval, wrought-iron bal cony is woven around the interior. Darkbrowed gentlemen carry knives that spring out of the handle. Futuristic paintings deck the time-stained walls. Lanson Pere ct Fils, gentleman's vintage of 1911 — eighteen cents a bottle! And a journalist gets fifty per cent, off! Nevertheless, Carey came back to Hollywood. The Foremost Screen Writers Contribute Every Month to the MOTION PICTURE CLASSIC! Eugene V. Brewster Agnes Smith H. W. Hanemann Alice Tildesley Mordaunt Hall Don Ryan Matthew Josephson Frederick James Smith Robert E. Sherwood Sara Redway Tamar Lane Harriette Underhill Harry Carr Laurence Reid Every month, too, THE CLASSIC presents the best work of such artists as John Held, Jr., Everett Shinn, K. R. Chamberlain, Covarrubias, Major, and Wynn. 84