Motion Picture Classic (Jan-Dec 1920)

Deformities of the Back Greatly benefited or entirely ^\ cured bythe PtuloBurt Method. The 30.000 cases successftilly treated in our experience of over 17 years is absolute proof of this statement. No matter how serious yoor ; deformitj', no matter what treatments you have tried, think of the thousands of sufferers this method has made well and happy. We will provethe Taloe of the Philo Burt Method in your own case. The Philo Burt Appliance on 30 Days' Trial Since yoa run no risk there is no ressoowhyyoa should not accept oar offer at once. The photographs here sfaowhowligfat. cool, elastic and easily adjustable the Philo Burt A[)f^iance is — bow different from the ok) torturing plaster, leather or stediackets. To weakraed or deformed spines it ^)rw^^'all^lnrf^Vf ift'iifiirTlMfrvfTiin the most serioms cases. You owe it to yourself to investifcate it thoroafrhly. The price is witbin reach of aO. Serndforottr Free Book tadmy and describe the nature and condtrton <A. yoai troable as fully as possible so we cangive you definite inlorTnarinn. PfTTLO BURT IfFG. CO. Be a "Movie** Photographer Eua<S*l«t2M«<.klr F^^ !■— fi-y worfc '"^■f rau to all pacta L bruneL college o( PHOTOGRAPHY ftia oofUMCtioo witfa\ V «nT other scbaol / 12C9 Brxiwi;, NrwYaifc Okr or Ewht cLKisfs. S montha' courae raeaptrtr Inatrurtiaa i PfcaOC^IU •»' Mvtton Hctwrvs onprmtiiiK sU stvidard can taatiiw-iori. Instalhamta ta^en. CmM BthmI ofxratca 20 ^ Y«rt. Chicaro. BoMw. Philadelphia. Detrott. Pitttburxh. CaM ttr M*« today for Booktot S. Expert BECOME A GRADUATE ' Practical Nurse Toa can can SU to C mOvSaL taiSwsfnKkn«wtoMoo ^m CELECT your own '-^ subject — love, patriotism — write what the heart dictate^ then submit yonr poem to ns. We write the moaic and suantntee pobUab tx*m acceptance. Our leading compoeer a Mr. Leo Friedman one of Ajnenca's well-known musiciaiis, tbe author of miny song Buccesies, socfa ma "Mmt Me Tomgkt in DnamUnul." "Ltt Me Catt You SwttOtmrt." ~Whn$ IDrttan tfOld Erin," and ochen the ales «C whidi no into nrilHon ci cefMo. 8«fkd M Many po^H m r» «**■ Ooa't Dolov. Oot ■— Qol>> An Old-Fashioned Girl {Continued from page 25) She has a bottle of Hungarian glass, red and white, with one small wine-glass to match, which was used by President Buehanan in his own home. There are scent bottles, tall cut-glass bottles for the dresser, Chinese lacquer bottles, old majolica bottles — in fact, the array of liquid-holders is simply astounding. Marj' is a connoisseur who delights the owners of old curiosit)' shops. Mary Maclvor is just past eighteen and looks not a day over fourteen. One cant believe it possible that she presides over the lovely home at 2018 Cahtienga Avenue, a terraced, flowered bungalow in Hollywood. She wears simple frocks, little one-piece dresses like those of a small girl, and her sunshiny hair, which waves and curls quite naturally, is held back at the nape of the neck by an amber pin. A huge, floppy straw hat with a ribbon twisted around the crown and pulled thru the brim at the back is as unadorned and plain as if Mary Maclvor were a schoolgirl instead of a leading lady and the wife of a star. Mr. Desmond, who had been entertaining a business caller on the veranda, blocked the door and shook his finger threateningly. "Dont make this too confidential. Baby. Remember, every word you utter will go down in black and white." ''I suppose Mr. Desmond will play leads with you?" we said. "Yes, when she gets a little older ; she cant make up to look old enough just now," he answered. "How did you come to pictures, and why ?" "Necessity! Need of money. There was no romance coimected with my first appearance at all. I was at a fancy dress ball in Culver City, had been taken there by friends, and Thomas Ince saw me. He offered me a job with fifteC^ dollars a week wages " MOTION PICTURE CLASSIC "Yes, once. A director swore at me. Men may swear before me, but not at me. A girl's defensive armor is her selfrespect and 1 shall always maintain mine. Never did I work under that man again, altho he made the apologj' I demanded." The pride of Scotch ancestrjand Southern environment sparkled in Mary's wistful grey eyes. SHORT CUTS TO FILMDOM Things are not what thej' screen. It's a wise atrthor that knows his own scripL Rome can he huflt in a day — leave it to props ! Dont hitch yonr wagon tc a star — be one! Marry in haste, divorce at leisure. Dont look before you leap — it's only a papier-mache cliff! Nine tailors may make a man, but one good modiste can make a star. Sclf-p-^ssessioii is nine-tenths of the lore. Fortune favors film stars. The pay's the thing! A fan's a fan for a' that! Custard-pie covers a multitude of things. A, press agent at liand is worlli reams of gusli. A reel of Oiapliu makes us all akin. Plots — All that aren't swiped are old. Still drama brings sleep. Too many crooks foil the fan. A sweet ingenue is halt the plot. The vamp is the mother of dissension. Cast curls for all lines. Fan-cied is as fancy does. "Engagement, Sweetie, and one gets a salary in the movies, not wages!" groaned the Irishman from Dublin. "Some day Beedee, (as she calls her big husband), and I are going to build a fine house, aren't we, Beedee? A house with a six-foot fireplace and logs that bum three days, enormous chairs everywhere, a landscape window ten feet wide, a private den for Beedee and a little room where I can write whenever I feel like it. Yes, I write short stories and poems, 'out I hate scenarios or continuity or anything with numbers in it. "1 love the Bible because it contains all I want — poetry, history, love stories and battles, but I never really enjoyed it until I was given one without numbered verses, written just like a novel. It used to distract me to read about Ruth and Naomi with those old figures straggling down the page — reminded me of a movie script: Scene I. Ruth says 'Entreat me not to leave you.' " "Have you experienced anything unpleasant in pictures?" THE SOUL OF THE SCREEN By Frederic T. Cardoze I am the voiceless soul of many a scene, My realm the boundless regions of the screen ; A million million vassals I command With but an idle gesture of the hand. I am the whole wide earth. I am the sea, I wing the universe on pinions free; I am the hill of smiles, the vale of tears, 1 am a day, I am a thousand years, I am the jade Deceit, I am the truth, I am maturity and I am golden youth. And I am folly, frivolous and vain. Yet I am wisdom, when I will, again. To me there is no hidden road or path, I hold the keys to gladness and to wrath; I am the silent guide to every glade Where glows the sun or falls the somber shade. Today I steal a garment from the light. Tomorrow, from the wardrobe of the night; 1 am a ragged beggar, bowed and grey. Yet I am Croesus, flinging gold away; I am the cold and flaunting ifistress Pride, And I am Modesty with Diffidence allied. The deeds of ages, dead and quick, I trace ; I barter not with time nor yet with space. Tho from my tightened lips there falls no word, The messages I bear are clearly heard ; The fair and foul things of life I glean — I am the soul and spirit of the screen! THE OUTCOME By Claren-ce E. Flynn Life's always at its best upon the screen. It is not perfect. Life is never so. There runs a struggle thru each shifting scene. And shadows often come, their pall to throw Across the landscape. Things go wrong a while. But always comes at last the shine's glow. And gloom is followed by the song and smile. In every drama wrong must have its reign. In every tale the villain has his day: Gladness we see. contrasting it with pain. And truth is valued but by error's sway. The right and wrong are alternate in power. The scene is now in sun, now shadow cast. But tho the wrong may triumph for an hour. The right is seated on the throne at last.