Motion Picture Classic (Jul-Dec 1928)

Letters from Classic Readers $15.00 LETTER The Silent Drama DEAR EDITOR: Recently certain critics made statements wliich prove conclusively that they do not understand the . scope and effectiveness of picture plays; and it is to these that I would give answer. I address those who predict that the silent drama will soon be replaced by the new soundproducing films. The silent drama in its ideal form, has no need for spoken dialogue. It is drama expressed in pantomime and when its effects have been properly planned and interpreted it is a complete and distinct form of expression. Spoken dialogue would mar its effect. A good moving picture actor expresses ideas and emotions adequately in action alone. A great director plans and directs a series of actions that make a completely expressive drama. What need for spoken dialogue has Lon Chancy, Emil Jannings, Pola Negri, Gloria Swanson, or any other of the host of firstrate motion picture artists? What use would Cecil B. De Mille, D. W. Griffith, Eric von Stroheim, King Vidor, or any other thoroughly competent director have for the spoken word. None whatever — if they know their business. Synchronized musical scores can add much to the effectiveness of a picture play but spoken dialogue can only be a hinderance. Let the screen give sound to musical comedies, vaudeville acts, grand operas and concerts, but let it add to the silent drama only a good musical setting. Truly yours, Adrian Anderson, Birmingham, Alabama. $10.00 LETTER Applause for "Speedy" Dear Editor : HThis is a written applause for "Speedy." Children clap their hands loudly and sincerely during any part of a picture that pleases them. We over twelve years sit silently and limit ourselves to remarks of praise or disgust in our companions' ears. Oh, to have been a child the other night ! "Speedy" is full of the sort of stuff that tempts our hands to come together in a happy, snappy bang 1 We have seen drama, sentimental syrup, slap-stick, mystery, wild west, and indigestible sex on the screen, but they are all topped and tipped by the good comedy picture such as Harold Lloyd creates. His possible nonsense lends itself perfectly to the camera. And "Speedy" is such possible nonsense. Mr. Lloyd knows just when to side step from the ridiculous. "Speedy" is an unassuming hero — a young man of faith and fate. He is imaginative — witness his base-ball scoring at the soda fountain ! He is shrewd — see how he adds a line to Pop's |10,000, making it $70,000. He is loyal— his sweetie and Pop are his life. He is an idealist — remember the home in the moving van? He is brave — fighting with fist and wit a gang of thugs. He is determined — he ran that horse car once during the twenty-four hours under the most suspensive circumstances, and M'OH .' "Speedy" has the virtues that make for character, with enough of the "Old Nick" in him to make us wonder if we won't meet him on the street any day. Very sincerely, Helen Jensen, Detroit, Michigan. $5.00 LETTER A Trip to Movieland Dear Editor: YY/hen troubles press on every hand, and life seems dull and drab and dreary, I take a trip to Movieland, and soon forget that I am weary. My woes are chased away by smiles; no journey could be brighter, shorter. A flash ! We're in the South Sea Isles ; the total fare a modest quarter. Along that moonlit coral strand We Want to Know What you think of the movies and the stars. This page is devoted to Classic's readers, who are invited to write about their impressions of the pictures and players. Be as brief as possible, as letters must not exceed 200 words. We also suggest that you be entirely fair in your views. In other words. Classic would like to receive constructive criticism or arguments about the productions and performances. Fifteen dollars will be paid each month for the best letter, ten dollars for the second, and five dollars for the third. Besides these three prizes, we will also pay one dollar for any other letters printed. If one or more letters are found of equal merit, the full prize will go to each writer. Anonymous letters will not be considered. Sign your full name and address. We will use initials if requested. This is your department. We want you to take advantage of it. Letters must be addressed: The Letter Box, Classic, Paramount Building, 1501 Broadway, New York. no spirit could be heavy-laden, as heart i to heart and hand in hand, the hero wanders with the maiden. A villain lurks beneath the palms, and plots his evil machination; follows suspense and inward qualms fed by your own imagination. The lovers now are torn apart ; Virtue is slain without a reason ; the hero sacrificed to art, ^''ice is triumphant for a season. What if it is the same old biz! What if you recognize the hokum ! You know the villain will get his ; the hero's sure to catch and choke 'im. And so you cheer the same old fight, and yell severely, "Give him hell, son !" then see the lovers wave Good-night, and fade out in the same half-Nelson. What if it is the same old brand, if one brief hour be free from sorrow, and you forget, in Movieland, your bills that will come due tomorrow ! Yours very truly, W. W. R. North Adams, Massachusetts. $1.00 LETTER Sea Stories, But Not Gruesome Ones Gentlemen : \Y/hy this epidemic of gruesome stories of the sea? Why all these brutal sea captains who flay and chain their prisoners and make life generally miserable for them? Must every sea story have a sordid, nasty plot, must it be crammed with brutal and cruel characters? There have been so many of these so-called realistic sea stories, that the average person who really is not a blood-thirsty moron, will run a mile when one is advertised. In our city it began with Barrymore's "When a Man Ix)ves." This was not a sea story, to be sure, but the ocean episode left a darkbrown taste in the imagination that was hard to forget. "Captain Salvation," for all the fine acting of Lars Hanson and Pauline Starke, left the same impression, and "The Blood Ship" contained sequences that were too harrowing for words. And now comes the worst of the lot, "The Haunted Ship." Why doesn't some producer give us those fine sea stories like Thomas Meighan used to make? Or, why not film some of Edward Connolly's sea tales? But deliver us from these horrid, sordid stories of the sea which we have suffered far too long. Sincerely, A. C. Bordeaux, Dubuque, Iowa. 6