Motion Picture Magazine (Feb-Jul 1924)

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Free of Charge, full infoiiuallini on the French discovery for the relief of Excessive Fat, Address Il yoH care tOj enclose 5^ in stamps to hrip corer expense. Exit tke Flapper Heroine {Continued from page 44) woman with years of struggle and bitter experiences behind her. She has been a circus rider, a professional dancer, and had to fight her waj' thru all kinds of obstacles to get a chance in the movies. Norma Talmadge, whose work in "Secrets" promises to be one of the great triumphs of screen history, is still young but she has been married for some time and is no longer in the baby ingenue class. In fact, all the fine work on the screen is now being done by girls who are young enough to have romantic appeal but who have lived long enough to know what life is really about. Pola Negri, for instance, is just at the height of her power and at the high tide of her life. Her producers have all but wrecked her American tour by trying to make over all her heroine parts into pure white flowers. They made "Bella Donna" ridiculous by trying to make us believe that the lady wanted to be as good as good can be, but was under the spell of a naughty influence of some kind ; nobody could quite figure out what it was. Pola, being a sensible, clear-minded woman, has now set her foot down with a thump. She absolutely and firmly refuses to play any more heroines who are beautiful and sweety-sweety and "all white" as she calls them. When Pola first came over, and when Lubitsch came soon after, they were both surrounded by anxious producers who told them that the American audiences want this and that and the other thing ; and that everj'tlung must be chemically pure. For a minute the foreigners were stopped in dismay. But they had the good sense to realize that the American audiences are pretty much like all other audiences. So Lubitsch. left to choose his own play for Warner Brothers after Mary Picklord's "Rosita," picked out a satire called ■"The Marriage Circle." The theme would have brought gooseflesh out on the producers years ago. It is considered to be the all-around best acted play ever put on in Hollywood with the possible exception of "A Woman of Paris." And every actress in it is a veteran beyond the flapper class. Alarie Prevost cannot claim many years but has been on the screen nearly ten years and is a veteran who knows hard knocks. She has risked her life doubling for Mack Sennett comedians in dangerous "gags." She has pounded her way thru every imaginable obstacle. And Marie has been a married lady, which places her beyond t!ie flapper barriers. Lubitsch says she is the finest actress he has seen in America. Florence Vidor, after a long struggle, is just coming into the fame and recognition that she is entitled to. She has been learning how to act a little better with each picture. "The Marriage Circle" finds her a finished artist — but also finds her the mother of a four-year-old daughter. Monte Blue, in whom Lubitsch thinks he has found a very remarkable actor, is a veteran who started in as a cowboy rider in "The Birth of a Nation." Adolphe Menjou and Creighton Hale are both mature men of family. In other words, Hollywood seems finally to have arrived at the conclusion that kids cant act. The only actress besides Pola who has survived the massacre of stars at Lasky's, is Gloria Swanson. Lubitsch, from a rival studio, proclaims her, next to Marie Prevost and Mary Pickford, the finest actress Washburn — the popular choice since ISM Play Yourself Into Popularity! WHEREVER you go. if you play a banjo, a ready welcome awaits you. At parties you're the center of interest. A new, greater popularity is yours. And that is only one reward. You have your own satisfaction — a companion in times of loneliness. 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