Motion Picture Classic (Jan-Jun 1929)

Big Lens and Focus Men {Continued from page ji) like the most exquisite Millets, like rarest etchings. He is, without a doubt, the most skilled amateur photographer in the film colony. Some of Sterling's pictures are now touring the Continent, London, Paris, Rome. Cairo had its Sterling exhibit this spring. Painter, sculptor. Sterling naturally looked with speculativ'e and analytical eye on the more or less drab art of photography. He soon found himself, between comic scenes for the studios, contrasting the grays of bromo oil transfers. Location trips are not complete without Farrell MacDonald 's high speed camera. He's another lens and focus man. Homely scenes, pastoral views, are his choice. A dog and a horse and a cowpuncher, and MacDonald is right there with his camera. George Hackathorne does marvels with a little portable, the small negatives of which he enlarges. He has a black-andwhite national park series — Yosemite, Grand Canyon, Yellowstone — that is superlatively lovely. One day Edwin Carewe, the director, was not satisfied with the quality of pictures that the still photographer was producing. It is at such little moments that history is made. Ever since then, Eddie has been posing his own motion picture stills and getting the kind of results he wanted. .Another director who gets relaxation among his negatives after a hard day among his yes-men is Emory Johnson. He'll Be a Big Star in a Year (Continued from page 74) good-bye, she and the girl friend had an engagement to go swimming with Hob. Of course, he was rather a disappointment at first. His garb was more that of stocks and bonds than songs, dances and witty sayings. And he didn't talk a bit like the palooka in the play, or any other palooka, for that matter. In fact, he said so little that the girls, thoroughly intrigued with that je ne sais quoi so apparent in Mob's pictures, figured that so far as he was concerned they hadn 't made such a hit. However, when the whirring motor had whirled them from the shore, and the hour for adieux arrived. Bob said he'd had a corking day, and mightn't he come again? He did. .Again and again. And again. Other masculine interests eliminated the girl-friend. .Miss Jones and Mr. Armstrong became sufficient unto themselves. Hut now they were Ethel and Bob. And as the happy summer faded into the sad haze of .Autumn, Bob gathered courage to say: " I love you. " And when Ethel answered: "I love you, too. Bob. " It was just force of habit and astonishment that made him mumble. " Is zat so?" Then there was the business of the diamond solitaire. And plans for a wedding. But show business takes no count of Cupid. And Bob was sent to Lonfion with the show. But not even the Shulx-rts can outwit Cupid. So sure enough, Ethel followed on. The " I do" was said in sound of liow Bells. And they lived happily ever afterwards. In all fjf Hollywood there isn't a more beloved couple, beloved by one another, beloved by the world. So there you have it, the sweetest story ever told — about the Love Life of a Movie Star. Ohe Thinks Too Much Such Women Are Dangerous. . . . No doubt had Shakespeare been born into this, the Hollywood era, he would have amended his lines to read: "Yon Pringle hath Aileen and hungry look; She thinks too much. Such women are dangerous." For Aileen Pringle does think too much — far too much for the ease of mind of most men: and certainly quite as far too much for the ease of heart of most women. She is one of the distinctive figures on the screen today and, as well, one of the distinctive figures among the women of America. An actress of ability. A beauty. A wit. A strategist in affairs of the heart. Chosen by Elinor Glyn to portray the unquenchable queen in "Three Weeks." Sought out by many of America's foremost literary lights: Mencken, Hergesheimer and other verbal heavyweights. To say she is remarkable is saying only part of it. Likewise to say that of the article she has contributed in the next, the February, issue of Classic. The Confessions of Aileen Pringle by Gladys Hall And they're confessions, the facts she lets be known in this story. What .Miss Pringle says is the truth. How and why she happened to become an actress. How and why she got married. And why she will not remarry. And why she will not, for all their lives lie apart, consider divorce from her husband. A few instances of her tactics in love. .\n estimate of herself — and not an insincere estimate. Don't miss this article. Find out some of the things that go on and that have been going on in the mind of the stately and brilliant person whom other women regard as the most dangerous of their number in Hollywood. The February Classic will appear January 10 on every newsstand. Be there yourself — and early — to get your copy of next month's Motion Picture Classic IVs the Magazine With the Personality 87