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THE MOTION PICTURE DIRECTOR
February
In the topsy-turvy land of “ Miss Brewster s Millions ” stars become extras and extras become stars. Here are ten extras who impersonate Mary Bickford, Florence Vidor, Corinne Griffith, Norma Shearer, Mae Murray, Norma Talmadge Pola Negri,
Gloria Swanson, Betty Bronson and Colleen Moore.
Paramount solved the problem by changing the title and placing a feminine star in the leading role, thus accomplishing several things at once. Most important of these is the fact that the present title preserves the identity of the story and at the same time conveys the thought that plot changes are to be expected.
The changes in the superficial elements of tbe story are radical; those in the basic, human side in which lies the real value of the original “Brewster” are very slight. And all the new and unfamiliar material is due to the influence of the modernization of its setting.
In those times when the original hero was a strictly up-to-the-minute young man, his attempt at spending a million a year was so unusual and presented such difficulties, that it possessed a great “punch.” Since then, times have progressed far beyond the author’s wildest dreams so to
preserve the “punch” of the idea a girl was created to spend the millions!
At present, spending a million in a year isn’t such a remarkable feat. Miss Brewster of 1926, as she is portrayed in the Lasky film by Bebe Daniels, must spend the amount within three months!
According to the producer this is a fairly accurate example of the increased tempo of modern life during the twentysix years that have elapsed since the author’s original conception of the story.
In keeping with that increased tempo are the other elements of added “pep” and thrill, flash and color comprising up-tothe-minute ultra-modernism. Lavish clothes, the absence of conventions and social restrictions characteristic of the most colorful phases of modern life will feature “Miss Brewster,” and make the original spendthrift of the earliest days of our pres
ent century appear dull and uninteresting in comparison.
Instead of making the principal character a member of the “four hundred” as was the case in the original story, the feminine Brewster makes her bow as an extra girl in Hollywood. This new idea holds a special significance. In 1900, New York’s famous social circle represented the ultimate in speed, the peak of ultra-modernism, the abode of thrills, the atmosphere into which there entered the greatest liberty of thought and expression, the utmost in freedom from convention.
The life of an extra girl in Hollywood conveys to the general screen audience the present-day ultimate along these lines. All classes of our society meet and mingle in the democracy of motion picture life. The spirit it represents typifies the complete disappearance of artificial social barriers and conventions.