Motion Picture Classic (Jan-Dec 1920)

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zy Costs 15 Cents As Much as 15 Dishes of Delicious Quaker Oats A serving of bacon and eggs, at this writing, costs the housewife about IS cents. It supplies about 250 calories — the energy measure of food value. That ISc would buy about 15 dishes of Quaker Oats. And they would supply 2,500 calories of food. Compare Food Values Quaker Oats yields 1810 calories per pound. Round steak yields 890. So oats are twice as nutritious as beef, measured on the calory basis. The cost of some necessary foods at this writing will average about as follows : Coat Per 1000 Calorie* Quakar OaU . BKe Avarafa MaaU • • 4Se FUh about • . BOe Ef(> . . eoc VagaUblai lie to 78c r Oat This doesn't mean to eat oats alone. One needs variety. But Quaker Oats is the supreme basic breakfast. It costs one-ninth what meat and eggs cost for the same calory value. And the oat is the greatest food that grows. All Puny Grain* Diacarded Quaker Oats is flaked from queen grains Oat lovers all the world over send here only— just the rich, plump, flavory oats. for Quaker Oats. We get but ten pounds from a bushel. By ,„i,t,„,,» ,,», discarding all the small grains we get a \ou get all this flavor without extra delightful flavor. pri" when you specify Quaker Oats. ISc and 3Sc per Paekag* Emctpl (n >A« Fmr Wtit mit^ Stmth AicKarf In StaltJ Round Paekag— uiith Rtmooabtm CoPT )2I0A MOTION PICTURE Erich Von Stroheim and The Miracle (^Continued from page 69) sible and the big, crashing final scene will be made last of all, for by that time the actors will fully grasp the undercurrent and depths of the preceding situations. Taken now, they would not feel the true values. "Yesterday, we had some highly emotional scenes and — " "You should have seen him," interrupted Una Trevelyn. "While he was making me cry as if my heart would break, I looked up and he was crying, too — he feels everything he is directing. He knows all about period furniture and decorations, and all the great paintings," went on Una, as we watched him arrange the yellow satin drape on the table in the foreground of the set. ".\nd music," said Sam de Grasse ; "he has a thoro acquaintance with the musical classics and knows what should be played during each scene to bring out the best efforts. He plays the violin himself." "He knows all literature, too," chimed in Clyde Fillmore. "I can't see how he has managed to learn so much in his few years, it must be the result of his continental education." As I left the studio and stepped out into the late afternoon sunshine, with the haunting melody of the "Je T'Aime Waltz" ringing in my ears, I was still thinking of Erich von Stroheim's last words and the smile, which included the eyes this time, accompanying them. "My ambition," he said, "is to write and direct. To go on — on, worthy of what my friends believe I can do — making bigger and better pictures." WIND-IN-THE-WILLOWS By Lydia M. D. O'Neil Wind-in-theWillows, you stand so tall — Slender and straight as a sapling pine ; Youth's in your footstep, youth's in the call Of your lifted eyes when they meet with mine. Wind-in-the-Willows, the day is glad — Sunny the mesa and gold the sky; What is it fretting me, Indian lad? Search you the heart of me, tell me why! Gold is the sky, but the gold will fade, And youth will pass Tike the fading light, Fretting in vain at the fates that made Your skin so tawny and mine so white. I am one of the dominant race ; I am bound by the dominant law ; But Wind-in-tne-Willows, youth's in your face, And I wonder, I wonder — who'll be your squaw? (trinttyHght)