Motion Picture Classic (Jan-Jun 1929)

Silence, Please! {Continued from page 57) lumber. That scene is, of course, N. G. The younger carpenter is led, weeping, to the Red Cross room and put in charge of the house mother. The director is gi\en two Aspirins. The star is permitted to stick a hat-pin into the press representative. Again bells ring, whistles blow, horns toot and the performance starts over. This time the film in the camera will buckle. The next time another carpenter will succumb. The next time a portion of the scenery will fall over with an unmistakable crash. By that time it will be time for lunch. Thus it goes, while you pour yourself another cup of coffee and spread your whole-wheat toast with marmalade. Xor will the afternoon bring any relief as long as carpenters have a union. To be sure, there are such things as sound-proof sets, free from carpenters and uncertain adjacent scenery. So far as they go, the sound-proof sets are very good; hell, in fact, they are perfect. Again incased in an upright sarcophagus, the cameraman makes no noise and the director has only to follow his script and direct the action along with the carefully rehearsed dialogue. This is virtually the same thing as making an ordinary movie and that is my point. Plus qa change, plus c'esl la mime chose (Ladies' parlor on the mezzanine floor). A talking movie is shot in just about the same way as the old-fashioned kind except that it takes more time. And the motion picture industry made a bum out of that element Irjng before Einstein did. The real mystery of the talkies and the wonder thereof is in the complicated a|)[)aratus to which the microphone is hitched, which mystery and wonder, so far as I can make out, is similar to the insi'lfs of a Rolls-Royce or the smell of a ' ' liiese village. Pok Puts It Over {Continued from page jg) ^.>. my very best — everything I can give to make a success of the film in which he is co-operating. "Oh, I feel so proud of myself, terribly proufl! All that has gone before was nothing compared with the film we shall make. Everything is to be real. I will have no 'seven-dollar-a-day' supers playing as though each were a little sheik. In the desert I will find the real i)eople unaffected by any artificiality to form the background characters of the film." I \nd sf) I'ola talked on and on. She could I 'lly talk of her own plans for producing. It was all about Mr. Shaw. It was evident she had fallen heavily for him. Even as she spoke, a messenger arrived with a translation of the play into Polish from Mr. Shaw. Sipping a glass of wine, I'ola thought for a moment, then added, " I am sure we shall jL'ree." ' ertainly, Pola has scored one of the atest successes of her career with her up with liernard Shaw. Indeed, there very few actresses who would have ac iiiplished what Pola has done. It will be 'resting to see how this remarkable com ition turns out. \t least, "Ca-sar and Cleopatra" should a very interesting profluction. Provirlof course, "I am sure we shall agree" ■)mes sure. 'lever woman, Pola Negri. Anyone who does r the fir«t lime 9'jmcthin^ never done before 1st be. The kindof people who read CLASSIC <''■ the kind tf* appreciate this. Which is why ' lyASSIC is first to carry the story of it as it h.-is bren first to carry so many other unusual 'rms of news and uncommon interest. \tarsdemmid ^ QecXuijvcc Johw their ndrice! ^T)ROFESSIONALS in the art of makeJL up, such as Miss Phyllis Haver, agree that the delicate task of darkening eyelashes is one which should be intrusted to no preparation other than genuineMaybelline, for improperly accentuated eyes cannot be risked. Genuine MaybeUine instantly makes lashes appear dark, long, silken, and luxuriant — but not utmaturally so. It gives the exact desired results — and very easily. Miss Haver's choice,itwould seem, should be your choice. So insist upon genuine, harmless MaybeUine and complete satisfaction is certain to be yours. 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NoriRtnofwordn to makeor write -any olhiT purlieu. Thi« in all. Fvoryono rewarded if activel]rint«rtfd. NocfiBtoriiljln:af.ion. Nothing tohuF now.latar, or ever. Juat 8('Dd tho number of tho "dilicrf-nt ' aato in • letter or on n r">nt card. Tbat'u all. ocDt> Do toonej. Auto Mgr., Dept. 638 SOO N. Dearborn St. Chicago, III. ^1 m (^ 85