Motion Picture Magazine (Aug 1924-Jan 1925)

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Professions, Business Concerns. 7 Guaranteed C <k * O by refund of J _ each i Cuticura Talcum Unadulterated Exquisitely Scented 116 GE Here is an interesting study in motion picture make-up, demonstrated by Wallace MacDonald in Love and Glory. At the left, he is the romantic youth, at the right, the man of seventy. It requires three hours to put on and take off this make-up Letters to trie Editor (Continued from page 105) to react properly; so, as I have suggested, something's wrong. Perhaps I am not even a good moron. That being the case, you wont publish this letter; for, while it maybe true that the moving pictures cater to morons, I am not so sure that they cherish us sub-morons. Your moving picture magazine, then, would have little recognition for one whose enthusiasm (obviously because of his intellectual depravity) for the movies is not nearly so rife as villainy, for instance, in a Universal picture. So, while I am greatly interested in the cinema, I shall spare your time and my own feeble mental energies. I shall not try to tell you that to me The Hunchback of Notre Dame was a dull, depressing picture, in every point more grotesque than artistic, and that whoever told Norman Kerry he could act spoiled a good cigar-store Indian. I shall stop before I tell you that if I had directed that tiresome Woman of Paris, you, even, might never have heard of it. And lest I should add that Lillian Gish and Sir James Barrie are my favorites. Yours, rather truly, William Morrell. Pittsburgh, Penn. Criticizing the Critics Dear Editor: I have been reading your magazine with great interest for quite a number of years, and each issue seems more enjoyable than the last. How you manage to make it so is a puzzle, but a fact, nevertheless. I have often been tempted to write the "Answer Man," but never did. To digress a little, I firmly believe that "he" is a woman. No mere man could stand up under the strain of some of those idiotic questions, and only a woman's ingenuity and mendacity could think of the "eighty years old" and "long beard" fabrications. Also, any reference to age brings fire, and some of the answers are quite catty! So there! That's off my chest! Page Sherlock Holmes ! To get back to what I started to write you about : I have often wondered why so many fans write criticisms of screen actors as if the characters portrayed were the actors themselves. They will flatly say they dont like Doug Fairbanks or Gloria Swanson, as if they had personally met those artists, when they really mean that they dont like their work. In the old 10-20-30 melodramas, where the audience hissed the villain and applauded the hero, lots of people believed the villain was a rotten guy and the hero a model man, when it was often the reverse. I really think that lots of movie fans think the same thing of the screen artists whom they criticize. I read where one woman said she never wanted to see Pola Negri again, and Charles de Roche could not take Valentino's place, etc., when she had only seen these artists in one picture. In that picture De Roche did not even have to comb his hair, and Pola Negri's part called for cigarets. De Roche, I imagine, could make up to look like Beau Brummel if the part called for it, and in The Spanish Dancer I dont remember Pola Negri smoking a single cigaret. Both of those people are clever artists in my estimation, and merely portray the characters for which they are cast. Some of the fans seem to lose sight of the fact that screen actors are merely human beings, after all, and drop the personality of the character they are portraying as soon as they are out of range of the camera. It is much more accurate to say you did not like "So and So's" work in "such and such" a picture, if you have not personally met the artist whom you criticize. I enjoyed E. M. Smith's letter so much, and I sincerely hope that Mack Sennett will give us the Three Weak suggested. I did not see the picture, but I read the book, and like the man with the smallpox, "I got over it, but I never looked the same." When I heard that Elinor Glyn had chosen Conrad Nagel for the Perfect Lover, I saw the "rift in the lute." If they were available for her production, I dont see how she overlooked Schildkraut, Novarro, Valentino and Ricardo Cortez. (As to looks, anyway.) I am not saying that I dont like Conrad Nagel's work. I love every move he makes, but not in a part like that. I have only seen Cortez in one picture, Society Scandal, and all he did in that was grin and look handsome. I imagine he could have grinned his way thru Three Weeks and filled the bill nicely. The back of Valentino's neck films beautifully and I imagine that on the couch of roses that could have been featured to great advantage. But I have taken up too much of your valuable time, so I will end this outburst. In conclusion I will say that here is one movie imbecile who is rooting for Motion Picture Magazine strong. As the Perfect Liar remarked to his best girl : "It brings a ray of sunshine into what would be an otherwise colorless existence." Sincerely yours, Annie St. Claire, Box 226, Lake George, N. Y, Wanted: A Talking Film Dear Editor: The vital necessity for "original" screen stories has long been in evidence, but it was not until I witnessed (Continued on page 119)