Motion Picture Magazine (Aug 1923-Jan 1924)

^MOTION PfCTURI IfWl I MAGAZINE Protestations over the liberties which the movies took with several plays and novels. Dear Editor: Not so very long ago a very well-known author denounced the movies in very harsh terms. He said something to the effect that most of the performers were morons and the directors ignorant to the point of semi-illiteracy. Naturally everyone who read this claim opened wide his eyes, perked up his ears and wondered the wherefore of this bitter arraignment of the makers of our pictures. But after seeing the liberties taken with well-known novels and famous plays one cannot help but sympathize with the author. Recently we were permitted to see Miss Clara Kimball Young's version of "Enter Madame,", that sparkling and delightful comedy of Gilda Varesi which captivated New York a season ago. The play has been published, and in a general way the movie of it followed the story as well as might be expected considering the limitations of the screen. Allowances must be made for excessive action in scenes to make up for the loss of dialog which, after all, is the basis of true comedy. But there was no reason under the sun why Miss Young should have elected to make Mme. Lisa Delia Robbia the stepmother of the boy in the play rather than the mother as she was written. Here was a story of a temperamental grand-opera singer in her middle life who returns home after many years abroad to find her son grown and her husband about to divorce her for another woman. It was the mother-love for her boy and her pathetic determination to hold her husband that made this little play so delightfully human. But the beauteous Miss Young could not bring herself to play the mother of a grown young man, so she became his stepmother. The play was a sensation in New York and the talk of the season, but the movie was merely a "movie" — one of the many which are ground out, soon to be shelved and forgotten. It is highly doubtful whether twisting the original story out of shape to fit Miss Young's charms added anything to her screen career. The liberties taken with "Brass" are almost too numerous to mention, but as I am not a fan for that story I will leave the protesting of these liberties taken, to some other person. For inconsistency, stupidity and utter lack of an author's viewpoint, I think "Main Street" as produced by Warner Bros., and "based on the novel by Sinclair Lewis," takes the little concrete biscuit with the little baby blue ribbons tied to it. Could a greater mess have been made of a story than was made with this one. Why in the name of common sense couldn't we have had "Main Street" as it was written ? It must be remembered that more copies of this book were sold than any other piece of fiction in the last ten years. The enormous sale of the book alone would indicate that the story has a very general appeal. But did we get this story translated to the screen? The title was to be sure, but beyond that one could scarcely recognize the mutilated remains of the story itself. Characters scarcely more than mentioned in the book were raised to the nth power of importance in the film. Most of the real characters whose acts and utterances fill the book from cover to cover were left out. Where was Maud Dyer, the wife of the druggist who had an affair with Doc. Kennicott in Carol's absence? Dave Dyer on the screen was apparently a rollicking bachelor. Where was Vida Sherwin the old maid, Carol's confidante and foil? Where was Raymie Wutherspoon with "How I Became Popular Overnight! I They used to avoid me when I asked for a dance. Some said they were tired, others had previous engagements. Even the poorerdancers preferred to sit against the wall rather than dance with me. But I didn't 'wake up' until a partner left me standing alone in the middle of the floor. "That night I went home feeling pretty lonesome and mighty blue. 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Five Dancing Lessons Free So sure is Arthur Murray that you will be delighted with his amazingly simple methods of teaching that he u»r??nTSfnU'd for a H™tted time only to send FIVE ™, LESS0^*S to all who sign and return the coupon. These five free lessons are yours to keep — you need not return them. They are merely to prove that you can learn to dance without music or partner in your own home. Write for the five lessons today— they are free. Just, inclose 10c (stamps or coin) to pay cost of postage, printing, etc., and the lessons will be promptly mailed to you. • ou will receive: (1) The Secret of Leading. (2) How to Follow Successfully. (3) How to Gain Confidence. (4) A fascinating Fox-trot Step. (5) A Lesson in Waltzing. Don t hesitate. You do not place yourself under ai i obligation by sending for the free lessons. Write ti ARTHUR MURRAY Studio 951, 290 Broadway, New York Arthur Murray, Studio 951 290 Broadway, New York City. 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