Motion Picture Magazine (Aug 1924-Jan 1925)

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/IGMOTION PICTURE UneJI I MAGAZINE i <1BM Yours truly, John Smith ALL the world despises an anony^ mous letter. We like a man to sign his name to what he writes. But did you ever think that unknown merchandise is anonymous? Nobody to vouch for it. No name signed. Notice the advertisements in this publication. There in bold print are the names of those who stake their reputations— stake your good-will towards them on the truth of what they have Written. The maker of advertised goods realizes that he might fool you once — but never the second time. His success is dependent upon your continued confidence in what he says in the advertisements. Read the advertisements with confidence. They tell truths that you should know. The measure of satisfaction is larger in advertised products l Rameses, bought at salvage price, was secured. Thus endeth the first lesson : Pharaoh's pagan palace has become a place of Godly worship, while huge legs, heads and the bodies of Pharaoh's colossi, and most of the Sphinxes are left to be gradually covered by the sands of the California desert. But meanwhile, and here's the rub — the Cathedral of Notre Dame in which "The Hunchback" was filmed is being transformed into a sport arena for the filming of Jack Dempsey's series "Fight and Win !" The aftermath — Florence Turner has been returned to the fold of American filmdom thru the courtesy of Marion Davies and will have a part in "Janice Meredith." Miss Turner, an early favorite of American movies, and her mother were stranded in England because of the slump in picture production on the other side following the war. Miss Davies' offer to Miss Turner came like a veritable bolt of salvation, so unexpected was it in the midst of her distress. Miss Turner has brought back with her an interesting two-reel print called "Film Favorites," a sort of film monolog in which she is the only actor and impersonates everything from a decrepit old man to an ingenue. Flo can certainly turn the trick on the silversheet. She has lost none of the vivacity and magnetism that made her a screen favorite when she was probably the only cinema actress that took the movies seriously. She was featured opposite Maurice Costello in the old days and was the undisputed queen of the then new art. "Belonging," by Olive Wadsley, a story of society life in Paris and London, now belongs to Maurice Tourneur for production by right of the American dollar — dollars, that is. "Belonging" pictures the struggle of the Comtesse Desanges in devoting herself to her paralyzed husband, Conti, while being distracted by the attentions of Charles Carton and Julian Guise. Conti's death, instead of bringing a solution to the Comtesse, brings only a greater problem. Going it alone — in other words, "Single Wives," those society matrons who shed their husbands like old clothes, when they refuse to climb the social ladder with them, has gone into production with Corinne Griffith co-starring with Milton Sills. George Archainbaud who has just completed Earl Hudson's "For Sale," is directing it. The picture is the first for Miss Griffith since "Lilies of the Field," and for Milton Sills since "The Sea Hawk." Phillips Smalley will have a role in the picture similar to the one he took in "Flaming Youth," Lou Tellegen will again register in a divorce story, and Dr. Jere Austin who has just finished an important part in "Sundown," will appear in it also. "The Lost World" — according to calamity howlers, this might be a modern story with its cast made up of Flapper and Jellybeans, but it's much smarter than that. It's a Conan Doyle fantasy dealing with the experiences of a party of English explorers, who discover a lost world inhabited by dinosaurs, tetrabelodons, oxdastylus and other prehistoric mammals. Natural History Museums beware of bandits ! No date is given for this First National production, raids being notoriously uncertain as to results. {Continued on page 116) 114