Motion Picture Magazine (Aug 1923-Jan 1924)

«°™n™fr Women's Work in Motion Pictures (Continued from page 29) Pauline Frederick, and was two years with "Brewster's Millions" and four with Julian Eltinge in "The Fascinating Widow." It was at the close of this latter piece in Toledo that she suddenly decided to become a scenario writer ; and she at once returned to New York to prepare herself for her newly chosen profession. Edwin Carewe, the Metro director, to whom she had submitted an adaptation, admired her work and gave her her first opportunity as a staff member of the Metro organization. In less than a year she was placed at the head of her department; and for seven years thereafter she applied herself diligently to the task of selecting, adapting, supervising and editing pictures. During this period she turned out "To Hell With the Kaiser," "Draft 258," "The Millionaire's Double," and "The Successful Adventure." Then came the turning-point in her work — the great opportunity to reveal her full capacity and to establish herself for all time as one of the truly vital factors in motion-picture production. She received the assignment to do "The Four Horsemen of the Apocalypse." And — tho few people realize the fact — this picture (which marked a new mile-post in the progress and development of the cinema) was as completely her own personal production as it is possible for any great enterprise to be the exclusive product of one person. Not only was the script and continuity her own undivided creation from start to finish, but it was thru her influence that the directorship was assigned to Rex Ingram. It was she who watched and supervised every detail of the picture's progress ; made suggestions ; edited and cut it ; wrote the titles ; decided most points ; solved its problems ; and, in short, fused life and personality into every foot of film. But she did more ; and nowhere is her shrewd, far-seeing vision better exemplified than in this further detail : She sensed the possibilities of Rodolph Valentino as a leading man, and literally put him upon the map. Tho she and Ingrain worked in perfect accord, her one undeviating stipulation was that, if she secured him the directorial commission for the picture, Valentino — then a comparatively obscure "heavy" whom she had never met — was to play Julio. Since then the world of filmdom has, in unmistakable fashion, stamped its approval upon this choice of hers. Thus it was that she achieved a great and epoch-making picture, and at the same time gave to the public its most popular romantic idol. The irony of life is such that credit does not always fall where it is due. But those on the inside know that "The Four Horsemen," body and soul, was the work of June Mathis. Immediately upon its release she was flooded with commissions : she had become the recognized leader in her field — the Mrs. Harun-al-Rashid of screen editors. But thru loyalty she remained with Metro until 1922, and then went to the Famous Players-Lasky organization, where she did Valentino's first starring vehicle, "Blood and Sand" — thus adding another splendid achievement to her already remarkable record. Miss Mathis has now received the most important of all her assignments — and incidentally the highest editorial honor which the industry has to offer — namely : the adaptation of "Ben Hur." June Mathis, however, is by no means the only woman who has attained high ( distinction in motion-picture production. The list of women whose creative and organizational labors have deeply affected the evolution of the cinema, is a long and imposing one. Regard Mary Pickford, for example. Because of her supremacy as an actress, the public gives little thought or consideration to her other important accomplishments. But had Miss Pickford never appeared on the silver sheet, she would still be a significant figure in motion pictures. Her personal management of her own productions— her work in selecting material, editing scripts, casting, directing, and releasing — constitutes a conspicuous and noteworthy chapter in motion-picture history. When the public reads the announcement that an actress like Alary Pickford has formed her own producing company and is heading her own organization, it does not realize what tremendous labors and responsibilities are entailed. The task of managing such an enterprise is a Herculean one. It requires a knowledge of every phase of the industry ; and it involves the spending of millions, the running of tremendous risks, and the supervising of a dozen technical and commercial departments. When one adds to all this the artistic responsibility of selecting and creating an appealing picture and of playing the leading role therein, some idea may be gained of the mental capacity and commercial acumen necessary for such an undertaking. And yet, this is what Mary Pickford has done — and done successfully. Her actual achievement in pictures — barring her histrionic artistry and considering merely her organizational and directorial activities — would make many a Wall Street magnate's job seem trifling by comparison. Another woman director and producer whose accomplishments have gone a long way toward making the motion-picture industry what it is today, is Lois Weber. "Lois Weber Productions" are known wherever pictures are shown. She is one of the most notable contemporary creative figures in the screen world ; and when the history of the cinema comes to be written, her name will be somewhere up near that of the eminent Abou ben Adhem himself. Not only is she the world's leading woman director, but she is one of the leading directors of the screen, irrespective of sex. Like June Mathis, Lois Weber began her career on the speaking stage ; and she was also educated for concert work. But the lure of the films was irresistible, and so great was her aptitude, that almost at once she began turning out pictures of a very high order. She both wrote and directed many of the conspicuous successes of recent years. Among her productions are "Where are My Children ?" "The Man Who Dared," "Borrowed Clothes," "For Husbands Only," "Hypocrites," "To Please One Woman," "The People vs. John Doe," and "Too Wise Wives." This list, tho not complete, is an eloquent argument against the silly contention that women are not equipped by nature for the larger tasks of this world ; and it brings vividly before one the fact that the cinema industry— the fourth greatest industry in the world today — would be far behind its present state of development, both artistically and commercially, had it not been for the achievements of the many women in its ranks. It is in the scenario departments of the various motion-picture organizations, how A Secret of Popularity BATHING dress especially reveals a woman's dainty grooming — white underarms, marble-smooth limbs. But don't pull hair out! That's dangerous! Nature rushes to heal the spot and so nourishes it; several hairs grow in, strong and coarse, for every one removed ! Use X-Bazin — the century-old, French way to remove hair safely and cleanly. X-Bazin does not increase the growth of new hair. 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