Motion Picture Classic (Jan-Dec 1920)

The Charm and Influence of Music In all tlK wurUl. nothing can equal music for it. u. versa! charm with boys and girls, men and v'omen Ite influence . is toward clean, wholesome, enlivening companionship. The wide-awake, active youngster; tlie r"'"-;;';tic iittden the sedate matron .-jnd dignified man 'a S a iommon meeting ground of i"J«"^i^> "''"' standing and pleasure in the medium of music. Gib. son Instruments furnish the perfect medium for -"f ■■Sj^^f «f,;°S: I^eS I'ny'te-'c?,: SS^Zn To^pl^r.^he' songs "l youth or the carols of age with a Gibson. I, privides pleasing environmen. and _^con^gen,a, eom_j pamonship which "••">';»»> ^^^^^^„,„, of ,hose qualities wS'"mak'fo'r'''stre"grh of character and personal cbarm^ i'nd-foiflelf^-'DrrrSays^" Sy tTrs are no^read to the Gibsonite. , , . U,uJ,J %P<>rt,'nil,cs offered. Wnte for particulars and Free Beek. , 1. /^ '-.. ^~~„^r.v 608 Parsons St.. Kalamazoo, Mich. Gibson Mandolin-Guitar Company, g — Compound Hair Invigorant, Will Develop — Protect — and Conserve Your Hair NAVIGATION Taught by Mail HuTuiruilrt of Ship Otficers needed In Me,-. -hant Marine and Navy. Salaries up t.. f412moiithlj' andllvlnh-espeneea. You can qualify Ihrougli Captain Warren Slieppard'a B.m.e Sindy Cotme on Xavtk-attou. Chai>,^e of a llfettme to see tbe woild ae a bhtp'a ofncer at a big 1 WiUrf.n ir... u""K -'V..lir Fntmel. on the Seven Sea.." World Technical Institute. Dept. 105. Fuller Bid,.. J.r«y City. N. J. Halrforever. the Scalp Cream. Is a genuine product of American skill and research. It will not give the hair a fluffy artificial transitory fullness nor will the beneficial effects of Halriorever be noticed Immediately. But II used consistently and properly, dandruff Is eliminated and the weak Impoverished hair will gradually become strong, full and vigorous. The thin, short hairs that have replaced those fallen out will Increase In diameter and length and as tho Improvement continues the hair will aegulre a natural, healthy, vigorous lustre: the bar. spots on the scalp gradually and surely disappearing. Tube 60 cent., ordered thru your dealer or by mail prepaid. MANGAN & CO. 2555 Third Ave. Laboratories New York STORIES WANTED ducers' League. -141, St. Louis, Mo. EARN »25 WEEKLY spye time writing tor _^news_ fr?e"'prS,riynXa.e!=l?r'l.""Louls. Mo_. VAUDEVILLE ricT OK THE STAGE, f tell you how. Send 6c post; GET ON TBI!. BiAur-. ,f^^^ ^^^^^^ Vaudeville LaDelle, Sta. 302, Jackson, age for Illustrated and full parliciulars. Ulch. Getting Into the Movies? There is a greater demand now than ever before for new Motion Picture Stars. If you are considering going in, read our booklet on "How Can I Get Into the Movies?" It discusses the methods used by new players and there's a raft of good suggestions in it. Send 5c, postage money, for the booklet and get started before the fall rush. We will also inclose our new price list (greatly reduced) of our courses in Motion Picture acting. NATIONAL M. P. INSTITUTE You Have a Beautiful Face RUT YOUR NOSE? |N this day and age attention to your aPPearauce i^s^a^",/''-i"'^,r"'a?piar"'="s I expect to make the most out of lilc, N°' -T'/tlon whiih is alone well worth -frli.^-W^Jb'^'^r^ur'^uC^rl^S^^^^w^o.^^ i^^aSy'^' ,l";Snrrnd"dt\''l."in5:rrr'e°",^i.'!r%^nVs laily occupation, bem. """' ";'rt',„d«v for free tooklei. ,MeH Ulls yo«J^^X'rT"' '"'""'" Noses nilfioul cost tf not jotirfoclon. M. TRILETY, Face Specl.llst, 1039 Ackerm»n Bide.. Blngh»mlon, W. Y ■ MOTION PICTURE The LowBrow Playwright Speaks (Continued from page 26) I did not know a continuity from a fishing-pole. . ••I foresee the steady lessening of the director's importance and the steady ascendency of the author. Of course, these writers must learn the technical details of scenario building. It will not be necessary for him to work out a complete continuity, but he should be able to take the finished script and point out every weakness, . , , , "The successful dramatist can quickly master this. What director except the two or three leaders, perhaps— knows more of audience psychology than James Forbes or Winchell Smith. The technique of laughter, for instance, is just the same on the screen, depending upon the sudden turn from grave to gay, or the funnily developed situation. "Stage farces do not adapt to the films for the reason that they are too fast. The screen demands a simple story without involved characters. On the j other hand, the success of a foothght 1 farce depends upon swift movement, the ramifications of plot and clever dialog or characterization. The most valuable stage laugh comes from a quirk of character. "In the films there seems to be no time to develop characterization. Just as in a , rapidly moving stage melodrama, there is i no time for sidelights, character phrasing or tricks of manner, "To my way of thinking, one of the two greatest weaknesses of the presentday photoplay is the lack of clearness of characterization. No one seems to have thought it necessary. Of course, the brevity of a photoplay makes this difficult But it is becoming steadily more necessary. The plays that Hve on the screen are the ones possessing clear-cut characterizations. "You know the fundamental question that the scenarist must ask himself is the same that the playwright puts to himself 'Will they believe it?' Both ot them must lav their story foundations so that the audience will travel with the characters, feeling their emotions and reactions. Then the audience will believe. The only wav to achieve this is by clearly drawn characterizations, so human that folk out front will say, 'Why, I know "The other great weakness of the 1920 photoplay is the slowing up of the story thru close-ups and unnecessary shots. The close-up should be used rarely— only to accent. I know the close-up is the safeguard of the incompetent director, for the cutting man can use it to bridge over all sorts of slips and gaps. I also know that stars 'demand' close-ups. l.ut stars are not so awfully important in the films nowadays and they are steadily irrowing less important. I know a lot ot players will resent that statement, but 1 believe it." , Mr Veiller does not think that the thought picture will ever be popular "Where is the audience for the thought (mghty) M