Motion Picture Classic (Jul-Dec 1928)

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And the long evenings listening to old men's tales. " I decided to stay in Baghdad. You get so you like the place. The people, when you know them, are so fine. They take you into their family circle like a brother, I was going to ask for my discharge, when the Armistice came, and settle down in partnership with an Arab gentleman. We were to have a caravan of camels and do 'exporting on a large scale. I was very fond of his daughter, too. Her name was that which means apple in English. Dusky sunbrowned red cheeks, the name suited her. "She used to watch from her room, behind the iron grille, in the evening when I would join the family at dinner. She could see me swinging down the road, and she would hasten downstairs, abba flying — that was her robe — and unfasten the heavy doors of the house, and when I pushed them open I'd find her standing in the little niche where the watchman usually stayed, and I'd pick her up and carry her into the dining room. "TViere is something kindly and unpretentious about the Arabs. I liked it, after wandering all over the earth. I got golden coins from the Turks, some of them still lived in Baghdad following the British occupation, and had them melted down to make bracelets for little Apple. And golden anklets, so pure that they were flexible in the warmth of the hand. "Then I was called back to England. I had to leave the good people. I wanted to return to Arabia. I had made up my mind to come back. But, somehow, when I got this sudden call to report, I felt a premonition that this was the last I would see of them. For sometime anyway. I couldn't walk down the bund and face them. I knew my sadness was in my face and they, divining with knowledge born of tolerance, would know that I was to leave them." Modernistic lamps in Victor's motion picture dressing-room. Black nymphs on an apple-green wastebasket. Outside on an adjoining stage they were manufacturing thrills for a million fans who must have their tremors vicariously. Baghdad in the sunset. Little Apple with her golden bangles. The bazaar-wallas screeching their wares. Under the modernistic lamp Victor smiled his tight-lipped grin, half-sardonic, half-wistful. "And when I got back to England, I had an offer to make my first picture. They wanted me to play a prize-fighter. And I did. And there were other pictures. And then I came to Hollywood. "But, say, coming up from South Africa — Capetown — where I enlisted — there were all sorts of chaps joining up to fight. Chaps who had left the island and gone on sheep ranches, gone prospecting, gone all over the world. One chap had sold a flock of four thousand goats that he had been raising down in Africa, to join up. It was great. All these prodigal sons coming home to fight." A modern Arabian Knight in Hollywood fetters. A Baghdad daddy gone movie. What, oh what, would Hussein ibn Abbass say? The black nymph on the apple-green basket hung her head. For Loving Out Loud {Continued from page 55) those spoken lines are usually just one blooming epigram after another. They are fine for an occasional evening. But if you feed motion picture audiences on that kind of wordy fare night after night, those audiences are going to begin staying at home and listening to the radio, where they can either take their talking or leave it alone. John Gilbert believes that much more expressive love-making can be done with the aid of the recorded voice. Ramon Novarro also believes that the spoken word will help put across finer shades of meaning. Adolphe Menjou believes that realism demands that love remain mute. " I would prefer to enact all my future love scenes silently," Menjou admits. "We all know that for true realism silence should accompany the sequences of love, for it certainly does off the screen." Greta Is All for Talking NORMA SHEARER believes that talkies in general have yet to prove their real value, but that if conversation is to be effective anywhere it should be in love sequences. Greta Garbo believes that the voice is often remembered when the face is forgot'ten, and that spoken words will enable film artists to make far more lasting impressions upwn their audiences. Clara Bow claims that the impression will depend entirely upon the quality of the voice. "John Barrymore, with his wonderful voice, could make a love scene idyllic," Clara admits, "but for some less fortunate leading man to pipe up with a voice like an asthmatic fish-horn would bring a reaction from the audience that would be just too bad." May Mc.\voy believes that the spoken word will help a player to get into the proper emotional mood. "When making love, you talk love," May claims. William Haines seconds that motion. " A man always makes love by talking," Haines asserts. "The faster he talks, the more love he can make." Conrad Nagel, who has made more spoken love sequences than any other player to date, believes that no attempt will e\-er be made to use the talkies with the very sexy, passionate embrace type of love scene, but that for interpreting the sweet, natural \o\'e affair the spoken words are far better. Joan Prefers to be Dumb JOAN CR.\WFORD doubts the realism of the spoken word in any love scene. "Love-making sequences will get over far better in the silent drama," Joan claims. "A huge close-up shot of a player's face would never seem natural with a voice issuing from it." •Francis X. Bushman, who has been playing romantic scenes on the screen ever since those early days when a nickel would pay the admission to any movie theater in the country, believes that the talkies will be a godsend to an art that was beginning to stagger a little in recent years. " Romance is often made a farce in the comparatively crude talkies of today," Bushman explains, "but that is only because the talking picture is not yet perfected. We must train our players to speak, our directors to employ that sp)eech effectively, and our writers to produce really suitable lines for the players, \\hen all this is done, we shall have motion pictures with many times their present effectiveness." 82