Motion Picture Classic (Jan-Dec 1920)

1 notniKJUS ni'ver real. tliiir -iceiia llieir first steal ('\ery use alwav Sltl mega i wear ill the in his 'I'iri' CliNKMA Crkdo 1 \rilh all due apol (u/ies to Messrs. Menken and Xnthan) That every movie star either has a divorce or is getting one. Tliat vampires always luirn intense arouiKl their homes. That villains are always kind to their uives That It'adini; men lead liM-s. That cinema kisses are That directors tear ii]) rios hefore "shontinn" scenes. That scenario editors i,'ood plot that apjiears. That directors always phones and camera-men their caps reversed. That douhles always d darinjj stunts while the star limousine. Thai interviewers always limes with the stars — said liciiifj omitled from said interviews That home i)ictures of the stars are faked and that anyhody's home is borrowed for the eminent one to pose in front of. That Mack Sennett bathing girls cant actually swim. That scenario writers never on any occasion read the novel from which they make their script adaptations. That feminine stars go to bed at nine o'clock because any dissipation shows the next day. That tears are always produced by onions or glycerine. Thai a screen star cant walk down the street wilhoul drawing a crowd. .\ FARKWl-.LI. Hv Jon .\ II.A.M.o.N Ilarletpiin and Columbine. Hand in hand with yesterday, \'anish o'er the sunset's rim, Dancing all the way ( )nce love kindled at her laugh. Maidens' eyes were soft for him. Hearts were young then ; now. alas. Memories grow grey and dim .yt^v: Double Exposures Conducted by F. J. S. o u k f a v o r i t f. momknts of ti"^ Month .\ dull harem afternoon as depicted in "The Kight to Love." Mae Murray's robe dc unit in the same. ; have gay gay times "What Do Women Love?" i.s the title of a new ,' |)hotoplay. .\nil the advertising offers the following suggestions: "Kisses' Clothes? Jewels? Cavemen' Home? dren ? Romance ? Adoration "'" Take your choice! Chil And come. the desert island cuties still 1 f the cinema has (iroduced anything more apjiealmg than those closeups of Lila Lee in the final moments of "The Prince Chaji,'' we want to know about them. Thinos Wi'.'ri-: Tiri:i) Of — Close-ups of bottles of home brew exploding. Vera Stedman in Christie Comedies .\llan Holubar. the director, cnMributes the following advice to extra>" attending a movie reproduction of a Kitz recejition : "Do not lift your dancing partner by her ears. "Do not drag back your right leg in making a bow. "Do not nucjge your hostess in the ribs to .ittract her attention. "L'nder no circumstances must men playing 'diplomats' engage in fist fights while the camera is clicking. "Dowagers must not shoot craps with the property men ; it interferes with their work. "Dinner guests must not eat all the food until it is certain that a retake will not be necessary," THE END OF SUMMICR Hy Tiii-xMA Stii.i.son I never knew a dance could be So sweet a thing before — The viol's throbbing ecstasy. The gleaming stretch of floor, llu' little breeze whose melody Crept thru the opened door — Harle([uin and Columbine, Uncrowned rulers of romance, F""ade like halfforgotten dre.-ims. Dying in their final claiice. Hut the world heeds not nor cares — Days of dreams are done for ay .\nd the player folk ])ass on, Hand in hand with yesterday. That pl.iyers really use the things they approve of in the magazine advertisements. 'I'hat stars never say the things credited to them in interviews. That a st.ar frequently changes the whole motion jiiclurt story .-iround. if it doesn't suit her or somebody else gels a good chance. That (iriffith directs his pictures, from notes written on his cuff and that he never uses a script. ' lulside I knew were starlit skies .\nd summer's scented dusk ; Hu*, gazing U]), I found your eyes. /\ f'-agrance sweet as musk I'pbore me into Paradise. The world was but a husk I never knew what fragile things Life's fairest treasures are; How fleet the wave whose passion tliiigHcr beauty on the bar; ()ur love, as frail as moon ninlh's win;;^, Was dust upon a sl.ar. I I'iftij ninri