Motion Picture Classic (Jan-Dec 1920)

Lift Corns out with Fingers A few drops of Freezone loosen corns so they peel off Insist on an unbroken package of genuine ' ' Bayer Tablets of Aspirin " marked with the "Bayer Cross." The "Bayer Cross" means you are getting genuine Aspirin, prescribed by physicians for over nineteen years. Handy tin boxes of 12 tablets cost but a few cents. Also larger "Bayer" packages. Aspirin is the trade-mark of Bayer Manufacture of Monoaceticacidester of Salicylicacid. Apply a few drops of Freezone upon a tender, aching corn or a callus. The soreness stops and shortly the entire corn or callus loosens and can be lifted off without a twinge of pain. Freezone removes hard corns,, soft corns, also corns between the toes and hardened calluses. Freezone does not irritate the surrounding skin. You feel no pain when applying it or afterward. A small bottle of Freezone costs but a few cents at drug stores anywhere. Tlic Ednid Wcilej Co., CisdDoali, O. KILLTHE HAIR ROOT My methtxl la the onlj wij to prereDt the hair from uowlns ■cain. £av. palolest, harmlraa. No acara. Booklet ftec Write today CDciaalmir 3 stampa. W« toacb beauty cultarA D. J. Mahler, tW-P Mablar Park. Prwfdeace, R. I. Aspirin Name "Bayer" identifies genuine Aspirin introduced in 1900. Photoplay fashions change, indeed ! Consider the screen idol of some two years ago, the vampire, the be-curled ingenue. All of them are in the discard, altho the curly-headed flapper has fought hard for screen life. It is distinctly a man's year in the films. Producers declare that the world war has centered interest in masculinity. Anyway, nearly all the new stars on the horizon are men — Eugene O'Brien, Owen Moore, Lew Cody, David Powell and others. But the days of the Bushmans, the Wiltiamses and the other typical film idols have waned. Note what Crane Wilbur says on another page of this Classic. Photoplay followers have sickened of the clothing store manikin who personified every virtue. It's thumbs down for the film idol wearing an arrow collar and a halo. , Today the popular man on the screen must be different — and human. The debut of Douglas Fairbanks marked the dawn of this era. He did something besides pose. Observe how players like Wallie Reid are turning to comedy, how Bert Lytell has switched to character studies in "Lombardi, Ltd." Recently we had 'Gene O'Brien, in "The Perfect Lover," as a painter who decides to put his affairs of the heart behind him and settle down to domesticity. And now we have Lew Cody bringing another male character to the screen — the typical boulevardier, the man about town who, according to Mr. Cody's own announcement, is "always charming in manner, with a distitigite air and a way with women — in brief, a man of personality who is not disliked by men, tho they envy him his savoir faire and his knowledge of the secret of living." Thus the screen male who is a mingling of good and bad. Some miles from ,the virtuous but unsoiled blacksmith of the pioneer film days! lu For women the steps must necessarily come slower. Yet the lady of dead black morals — the vamp — has passed. The guileless ingenue — of dead white morals — is also in oblivion. This year we have had our not entirely spotless but more or less humanly good women of "The Woman Thou Gavest Me," "Kathcrine Bush," and other popular photodramas. Not to mention the sophisticated ladies of the Dc Mille dramas who can look a divorce in the face without quivering a single beaded eyelash. The whole style in women folk has changed. We have our Nazimovas, our stately Kathcrine l^IacDonalds, our lureful Gloria Swansons and our beauteous Corinne Griffiths where once gamboled the be-curled ingenue of other days. We consider the very human frailties of our film heroines as calmly as once the flapper star watched her pet canary. The photoplay can be safely said to be advancing when it no longer demands that its characters be good or bad as in the old-fashioned melodrama.s — white or black of heart in the most obvious style. We have discovered that there is something of good and something of bad in everyone! Which means that our stories are passing the kindergarten stage. Does not Maugham say, in his "The Moon and Sixpence," "I did not realize how motley are the qualities that go to make up a human being? Now I am well aware that pettiness and grandeur, malice and charity, hatred and love, can find place side by side in the same human heart." The coming few months will see a definite stand taken against the cutting of feature plays to fit de luxe theater programs. Recall what David Griffith said recently in The Classic? Mary Pickford has just announced that she will not permit her future productions' to be cut in any way by exhibitors, either to shorten their programs or because they do not like certain scenes. This winter is going to see an interesting experiment. While American companies are talking of invading England and the Continent to produce pictures, a British film company is coming, bag and baggage, to produce in California. The organization, G. B. Samuelson's all-British Company, will probably produce at Universal City. Mr. Samuelson is bringing his entire companv, including Madge Titheradge, the wellknown stage star, and his whole technical staff, from directors to cameramen. The company arrives via Montreal, heading direct for the coast. Mr. Samuelson is planning to make at least two productions: Gertrude Page's "Love in the Wilderness" and Ridgewell Elkin's "Night Riders." Reports from Germany indicate that the late "central power" is returning with vigor to the making of motion pictures. An official embargo exists on all foreign films, but, it is said, American and French films are being smuggled into the country in large quantities and are being openly exhibited. The officials in fact are winking at the embargo. (Eigbti/four)