Motion Picture Magazine (Aug 1921-Jan 1922)

<.lllllllllllllHIIIIIIIIIIIIHIIIIIIIIIIIIClllllllllllllCJIIIIIIIIIIIIt3IIIIIIIIIIIIClllllllllllllCJIIIIIIMIIIIt3l llllll[]IIIIIIIIIIIIC)IIIIIIIIIIIIC]IIIIIIIIIIIIC]llllllllllll[]IIIIIIIIIIIIC]l'llllllllllinilllllllllllC]IIHIIIIIII|[]|||||||lll||C]||||||||||||[]lllll can * The Editor's Page •S* If f C3IIIIIIIIIIIIC3IIIIIIIIIIIICailllllllf tf 1C3tl ll[IIIIIIIC3lirillf1IIllCatlIII(lliltlC3llilllllllllC3IIIIIMIIIMC3llft«lflflllC311IIIiMIIIIC3tlllir[IIIMC3IIIIIIIIIIIICailllllllllllC3l1ll1ltllli;C3llllIfltllffC3IIIIIIIIIIIICJIIIIfrirrillC3lllllllflllICJIIIllllM!llC3illlllll1l1 IC-^S^ Tke Movies and Tkeir Morals Today finds the motion picture taking its place as one of the greatest industries in the world. Too, it takes its place among the Arts. From the wildcat scheme of yesteryear it has grown; it has expanded; branching out in various ways. Great financiers are pouring their gold into its coffers — no longer is it a seven-day wonder. It has proved its greatness and taken the place of prestige given it thruout the civilized world. With the birth of the motion picture there was an exodus from legitimate circles. Failures — those comprising the human flotsam, as it were, drifted into the silent drama, unable to hold their own with the accomplished workers of the theater. For months and years this state continued to exist. The movies were termed "low-brow." Xo one deeming himself a success, even moderately, or feeling he possessed any chance of success, looked upon the screen with favor. And the failures, the human driftwood, came to the movies in great numbers, scattering here, there and everywhere. Slowly the movies have come into their own. The greatest executives, the most renowned managers and players of the theatrical world, the foremost representatives of letters and art have brought their gift to the silent drama. But by the time they came to the screen, the damage was done. The undesirables are to be found distributed generally over the field. And today, unfortunately lor the welfare of the screen, they are in some instances still present. Due to the colossal proportions of the industry, the elimination process must, of necessity, be slow. Time alone can adjust affairs. Every now and then a single instance of a screen person run amuck seeps out — however, these individual cases do not reflect the state of the entire industry. On the motion picture roster are the names of scores of earnest and sincere workers, men and women cherishing ideals and illusions, who are giving their very all to their work. We hope to join these members of the industry in a crusade against the cankerous thing, diminishing it is true, yet not diminishing rapidly enough — which threatens the very vitals of the great industry — the far-reaching art itself. Like the crusaders of old, we will carry on — if need be, putting aside personal achievement that we may more quickly accomplish our purpose ! Censorship and Billyh Sunday Billy Sunday, one of the greatest evangelists the world has ever known, has promised to lend the film industry his assistance in fighting censorship. Cecil de Mille is said to be largely responsible for Billy Sunday's determination to stand with the screen people in their war on censor boards. Mr. Sunday recently visited his son in Los Angeles and went to the Lasky studio. The conversation turned to censorship, and Mr. de Mille asked : "If you were forbidden to use the name of God in your sermons, what would you do?" "I would go out of business," Mr. Sunday replied. That's just what will happen to us if the extremists on the censor boards have their way, said Mr. de Mille. Mr. Sunday's answer was typical. "I get you," he said, "I'll help." He went on to say, "There is no more justice in allowing a few people to say what shall be seen on the screen than there would be in setting up a policeman to teach a Sunday school class." The motion pictures w e 1 come Billy Sund a y as their champion Billy Sunday, one of the greatest evangelists the world has ever known, has promised to lend the film industry his assistance in fighting censorship Capitalizing on Morbidity Time an d mistortune has befallen some motion picture star or. as has been the case, some player, capital has been made of it. Tlie pictures in which they have appeared, often in some minor role, have been exhibited while their name has been advertised outside of the theater in bold letters.. And be it said to the credit of those in the motion picture profession, they have done all in their power to slop this practise but without avail. They have, in some instances, refused to release the production1 for a space of time, even tho this meant a considerable financial lo^s. However, as soon as the production was again released, there has been a tendency e upon morbidity. The cure for this practise hands. If an exhibitor's ai theater when he indulges in soon be a change of tactics. :iy in the public's '1 not frequent his •f thingf, there will 59 f