Motion Picture Magazine (Aug 1921-Jan 1922)

cm iOTION PICTURE MAGAZINE L. An Easy, Fascinating Way to Learn DRAFTING AT HOME Employers are looking for skilled draftsmen. No line offers greater opportunity for advancement. Drafting itself not only commands good pay, but it is the first step towards Q success in Mechanical or Structural Engineering or Architecture. Let the International Correspondence Schools help you to win success in Drafting or whatever work you like best. This is all we ask: Choose the work you like best in the coupon below, then mark and mail it today. This doesn't obligate you in the least but it will bring you information that may start you on a successful career. INTERNATIONAL CORRESPONDENCE SCHOOLS Box 6630, Scranton, Penna. ■Without cost or obligation, please explain how I can qualify for the position or in the subject I have marked: D DRAFTING □ ELECTRICITY D AUTOMOBILES □ SURVEYING Name— Address Play the Hawaiian Guitar Just Like the Hawaiians! 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Please send complete information, special price offer, etc., etc. Town County State Please write name and address clearly. M.P.JM. An Easy Way to Remove Dandruff If you want plenty of thick, beautiful, glossy, silky hair, do by all means get rid of dandruff, for it will starve your hair and ruin it if you don't. The best way to get rid of dandruff is to dissolve it. To do this, just apply a little Liquid Arvon at night before retiring; use enough to moisten the scalp, and rub it in gently with the finger tips. By morning, most, if not all, of your dandruff will be gone, and three or four more applications should completely remove every sign and trace of it. You will find, too, that all itching of the scalp will stop, and your hair will look and feel a hundred times better. You can get Liquid Arvon at any drug store. A fourounce bottle is usually all that is needed. (T\ The R. L. Watkins Co., Cleveland, Ohio ■088 AGE Across the Silversheet (Continued from page 67) months of her life to assisting him in his fight to come back. To go further with the story would be to ruin the entire suspense. And suspense the story does possess, for things hereafter happen so quickly that it would be impossible to jump far ahead of the action. There are dramatic complications of the Enoch Arden variety, and there is a convenient, tho far-fetched, solution. The cast is splendid, with Charles Meredith, Fontaine LaRue, Winifred Kingston, Lillian Rich and Spottiswoode Aitken supporting Ethel Clayton. Miss Clayton has played continually thru the last few years in program pictures, but she always brings to the story, however mediocre and banal it may be, her best efforts. She is without a doubt one of the most sincere actresses on the screen today. THE THREE MUSKETEERS — UNITED ARTISTS Those who have read Alexander Dumas's "The Three Musketeers," and those who still have that treat in store for them, will enjoy the D'Artagnan of Douglas Fairbanks' and the shadowed story. The story of the rural lad, D'Artagnan by name, who comes to the ancient city, and, thru his swordsmanship, becomes the companion of Athos, Porthos and Aramis, the Three Musketeers, eventually finding himself the central figure of intrigue, adventure and high romance, adapts itself beautifully to the screen. It affords many quickened pulsebeats and a sustained interest thruout. Liberties have been taken with the original Dumas story, it is true, but in these days of censorship there was no choice in the matter. Mr. Fairbanks and his assistants undoubtedly felt that it was wiser to eliminate certain colorful episodes themselves— eliminate them carefully and cautiously— than to have them boldly lifted from the high points in the story by censoral shears. They managed this task with high efficiency and without impairing the story. For example, Milady de Winter is hardly the amorous lady Dumas painted her ; Constance is the niece rather than the wife of Bonacieux, and D'Artagnan is spared several adventures. However, as we said before, these changes have been deftly made and the production, while it might possibly have been better for their presence, is well worth while without them. No time or expense has been spared in making "The Three Musketeers" a splendid affair. As the rural youth, Doug has endowed his characterization with a local color; but later, as the beplumed and dashing cavalier, he is often typical of the land of the erstwhile free and the present home of the brave. The rest of the cast is colorful and the settings are extravagant, breathing the spirit of the time, and in every instance the proper background for the action. The screen is richer indeed because of "The Three Musketeers." THE IDLE CLASS — FIRST NATIONAL Every once in a while Charles Spencer Chaplin gives the screen a masterpiece — to-wit : "Shoulder Arms" and "The Kid." In between, he keeps to his schedule with less worthy efforts, which are, nevertheless, better than the majority of similar productions. Such a production is "The Idle Class." The beloved Charlie is cast in a dual role, even as is every star now and then — he is the well-groomed husband and a tran-p. And those who have felt that the . Chaplin comedy was responsible for its being to the patched trousers, huge shoes and natty cane, owe it to themselves to sc~ Mr. Chaplin as the well-groomed husbanv. To attempt relating the plot would be futile, for it is chiefly conspicuous by its absence. Suffice it to say, that golf enthusiasts will undoubtedly enjoy the golf episode. The central idea about which the production is entwined is of mixed identities and a masque ball. Edna Purviance again plays opposite Mr. Chaplin, and causes you to hope that the rumor that she is soon to be given an opportunity to prove her worth is not without foundation. LITTLE LORD FAUNTLEROY — UNITED ARTISTS The greatest attraction of "Little Lord Fauntleroy," to our mind, was Miss Pickford's portrayal of Dearest; next we liked Claude Gillingwater as the Earl of Dorincourt ; next, the settings and photography, and next Miss Pickford as Little Lord Fauntleroy. Nor does this necessarily mean that we didn't find Mary very enjoyable as the little Lord. It does not. We simply found the other things, previously mentioned, even more enjoyable. Little old New York, the rolling English lawns, the turreted castle" with its curving drivewa3-s and old gardens, its great baronial hall — these settings and others, thanks to artistic workmanship and selection and expert photography, resemble old tapestries mellowed by the touch of passing years — against them the characters move with beauty. As Dearest, mother of the Little Lord, Miss Pickford gives a shadow portrait which is the acme of artistry. She has made the mother pathetically whimsical — understandable. Her golden curls piled high upon her head, her tiny form encased in basques and hoops, she seems an old painting come to life. We do not think that even time will dim our memory of her Dearest. And that Mary Pickford is truly the artist is evinced by the fact that she has permitted Claude Gillingwater every opportunity in the role of the grandfather. His Earl of Doi incourt is identical to the word-picture of the Earl Frances Hodgson Burnett gave her readers. We venture the hope that he will remain within the shadow fold. , As for the Little Lord himself, Miss Pickford has undoubtedly the gift of eternal childhood. She has mastered the slight swagger of the little boy, along with many other characteristics — with her curls in evidence and velvet breeches and old laces, she has created a charming Little Lord Fauntleroy, even if you are always aware that it is your beloved Mary Pickford portraying that character. In several scenes, she does splendid work, but every audience will adore her meeting with her crotchety grandfather — and later the parting The story of Cedric Errol, who lives in New York with his widowed mother until his grandfather, the Earl of Dorincourt, sends for him to come to England, where he will be prepared for the title which will some day be his to share, is familiar to every one who remembers the bedtime story hour. It was not a simple task to bring this popular book to the screen, and at times the action is inclined to drag slightly. Nevertheless, everyone who sees the production will be glad that Alary Pickford elected to bring the story to the screen. Naturally, the fact that Miss Pickford (Continued on page 97)