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MOTION PICTURE MAGAZINE
SEPTEMBER, 1920
Almost a decade ago, when the art of the screen was first pronounced worthy of depicting life's dramas, this Magazine was founded. From the first, it aimed to be the voice of the Silent Drama — the friend of those in front, and of the shadowed players. It has always been ready to encourage all that is good, and eager to wield its power against all that is unworthy. Every word, every picture in this Magazine is printed for you, the reader; hence it is your magazine, and the official organ of the Motion Picture public.
Cinema Husbands
rHE American husband is, as a rule, the most indulgent male that the development of the races has yet seen. His greatest demand of the wife upon whom he lavishes his Saturday night pay envelope is th it she shall dress prettily and be pleasantly companionable. Granted these two qualities, the American husband's chief desire is to keep his wife interested in him. He is not even adverse to cooking his own breakfast providing wifie is prettily ensconced in rose crepe de chine.
The pretty American wife, who possesses an ounce of grey matter underneath her well-coined head, is the most pampered and spoiled individual on earth.
And yet — were you a foreigner — what impression would you derive from the husbands of the cinema?
That all husbands are fickle — that American men only marry a woman to grow tired of her, — that if she glances sideways at another man, nay, merely pins a rose in a masculine buttonhole, she is branded in her husband's mind as unfaithful.
Silvcrshect husbands are always ready to follow the baby vampire; they are never credited with wisdo7n enough to see thru the other women's wiles, nor remain appreciative enough of hers whom they chose " 'til death us do part."
Alovie husbands are always outgrowing their wives, if not in looks, then in culture and worldly attainments.
As a matter of fact, most American women's brains are as versatile as American men's minds. The sexes are running a race, neck and neck, in the circular track for knowledge and culture.
But what movie husband is ever depicted as imagining his wife's outrunning him, or even running a tic?
Such characterizations have mastered the stage long enough. We are tired of their rantings, of their disbelief, their fickleness, their general lack of home love and desire for bright lights; above all are we tired of their pictured indifference.
If an American husband is indifferent, it is his wife's fault.
Let us have a scree nic burial of the movie husband. To the movie incinerator with "Blind Husbands," "Silk Husbands and Calico Wives," "Women in Rooms 1 3," "IVhy Change Your IVivesf Let us be shown on the silvcrshect an honest-to-goodness American husband who stands just a bit in awe of his wife's appealing beauty, who appreciates her cleverness and who is only too glad to carry her parcels, help her on with her coats, trudge home promptly at six every evening and who is so busy keeping his own restless American -Loman interested in him that he has no time for , issing glances from other calculating feminine eyes.
The average American husband is no fool.
The cinema husband is not only a fool but a blind egoist as well.
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