Motion Picture Classic (Jan-Dec 1920)

Page scan 000257 from Motion Picture Classic

Record Details:

Title:
Motion Picture Classic
Date:
Jan-Dec 1920
Publisher:
Brooklyn, N.Y. : M.P. Pub. Co.
Volume:
Motion Picture Classic (Jan-Dec 1920)
Leaf #:
000257
Language:
English
Collection:
Hollywood Studio System, Fan Magazines, and Early Cinema
Format:
Books
Contributor:
UC Berkeley Art Museum and Pacific Film Archive, PFA Library and Film Study Center
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
First issue in 1915; absorbed Shadowland in November 1923; became Movie Classic in September 1931. -- Anne Helen Petersen, 2013. Secondary sources consulted: Inside the Hollywood Fan Magazine by Anthony Slide and MovieMags.com.
Date Added:
May 30, 2024
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Above, Betty Compson in "The Miracle Man," and, right, in an old Arbuckle comedy. Below, the new dramatic Bebe Daniels and, lower right, the Gloria Swanson of Sennett days The Farce University By HARRISON HASKINS THE celluloid farce comedy seems to be the training school of the film star. "The farce university," the}' call it in picturedoni. Consider Gloria Swanson, Clarine Seymour, Betty Compson, Alice Lake, Bebe Daniels and Mar) Thurman. All graduated with honors from fast and furious farces. \Vc asked one of the biggest directors in the country to account for this seeming phenomena. 'Phenomena— nothing!" he exclaimed. "In farce comedy you are taught to put over your points with a baiig — to accentuate with speed — to retain your poise while tons of water swee]) by and a brick house tumbles about you. In a sentence, to have poise with pies." Which, if we may further pun, seems to hit it. W'e jnit ttie same question to Gloria Swanson herself. She said almost the same thing. "Acting in farce teaches you to slightly over-exaggerate to drive home things with a smash," remarked Miss Swanson. "When the dramatic director gets you, he merely has to tone you down. -\nd it is much easier to tone down than to tone up some one who doesn't know how to make his or her points. That is why you can more or less successfully step from film farce to film drama." Which ex -Miss only a e ago ayer in nnett (Thirty-three)