Motion Picture Story Magazine (Feb 1914 - Sep 1916 (assorted issues))

To those interested in the development of Motion Pictures, outside of the pleasure they afford, this contest should prove interesting and valuable reading. It is only occasionally that the playgoer, who is rightly the Court of Appeals in Picturedom, has an opportunity to hold a convention of ideas, and the purport of what he has to say applies to the roots of the business — manufacturer, director, actor, exhibitor and lawmaker. "Judge Public" dons his robes, sadly, too infrequently to suit us, arid his duty is delegated too often to careless or hidebound servants. Therefore, we pray you to harken to his mandates, as expressed by thoughtful letters from the countrywide, and, outside of their entertainment, who knows but that some day many of them will become comfortable laws of your own making. The $10 gold prize is still open to the best answer in 200 words or less. "Oyez, Oyez! the court is open." Ruth Shoemaker, Bethesda, Md., says: "In the photo-dramatization of novels, the thread of the story should *never be changed; or, if so, the producer should state that the play is founded on the novel, not a dramatization of it," Numerous contestants are special pleaders for the children, believing that the photoplay is a significant educational factor. Mrs. Charles H. Doyle, Gloucester, Mass., writes interestingly as follows: "Can we not have something special for the children? There are many things at the photoplay ' little ears' should not hear, and 1 little eyes' should not see. Why not reserve Saturday afternoon as 'Children's Day'? All the fairy tales and charming stories of children's books, together with educationals, Pathe's Weekly, and perhaps performing-animal acts, would be quite appropriate and charming to the young on 'Children's Day.' " Alec W. Watkins, Fresno, Cal., believes that "the only sane way of improving the public understanding of the drama is to give the public an opportunity to exercise its judgment in such matters. The effect of censorship, in the past, in all countries, has always been to encourage the ordinary and the mediocre, and to stifle the originality of genius." A. V. Calderwood, Astoria, Ore., is out for "a few less tragedies involving the woman who wears a black shawl, and dies of a distressing fit of coughing ; a few less massacres of Indians by superhuman cowboys. More educationals, more dramas of the better class, more historical films are highly praised by the audience." Edwin D. Comer, 310 South Eighth Street, San Jose, Cal.. wants and hopes for truer life portrayals : The photoplay actor seems to have fallen into a rut in the matter of portraying certain emotions and feelings. For instance, he wishes to convey the idea that the character he represents has become wounded. His hand invariably goes to his heart. No one ever sets wounded except In the heart! A character is taken suddenly ill — hand to heart again! Heart trouble is quite prevalent — but my! Then we have the deathbed scene, a la mode, with clutching at the throat, gasping for breath and rolling of eyes. Vivid enough, but not generally true to life. The one quiet death scene I ever witnessed was tremendously effective and was favorably noted by every one within my hearing. These are but two examples of a great number of ''bromides" of acting to be seen in almost every film. "Ah !" the producers will say, "but we exhibit to all classes, and must make incidents very plain." True enough, but is clearness dependent upon absurd repetition? We have perfected the studio and the machine; now let us make the pictures real pictures of life, and the American audience will be quick to recognize and to appreciate. 121