Motion Picture Magazine (Aug 1924-Jan 1925)

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Madison Mills Mfrs., 509 B'way, New York VOU can earn $1 to $2 an hour in your spare 1 i time writing show cards. No canvassing or soliciting;. We instruct you by our new simple Directograph System, supply you with work and pay you cash each week. Write today for full particulars and free booklet. WESTANGUS SHOW CARD SERVICE LIMITED Authorized Capital $1,250,000.00 69 Colborne Building, Toronto, Can. nMfrnSM H^^BHBSB 102 A "new art" production of Salome was Nazimova's dream. But her producers refused to grant it, so she took all the money she had and made her dream come true. And it ruined her financially and professionally Dreams That Did Not Come True (Continued from page 25) didn't want any publicity. She had the world in the hollow of her hand. But at only one point was she balked. She wanted them to put her out in a "new art" production of Salome. They wouldn't. So she took her own money — all the money she had — and made her dream come true. It was a very wonderful and beautiful picture. It embodied the finest and most advanced ideas of a very wonderful woman. And everybody knows what happened to it. It ruined Nazimova financially and professionally. She is now playing a part in a minor picture and is frank in saying that she doesn't know whether or not the public will consent to take her back. Marshall Neilan stood alone in the ability to make pictures showing the seamy side of life. Give him the East Side, an Irish cop, and a ragamuffin, and he stood alone, without rivals. His dream was to make himself known as a director of big dramatic pictures — big, sweeping, tumultuous plays. So far as I know, not one of them has been a real success. Tess seems to be still on trial. It has received the best and the worst notices of any picture of the year. Its box-office future is dubious. Eric von Stroheim was formerly an Austrian army officer. He was steeped in the charm of the Viennese atmosphere. He knew so well the charming, well-bred cynicism of Austrian life. The one great ambition of his life was to show this in a picture. He spent years trying to get a foothold in pictures. He worked his way up thru the ranks of the extra men. He tried and tried until he got a chance, finally, to be a director. But always he had this one dream in his heart. Finally the great day came. They consented to let him nu.ke Merry Go Round. He wrote the story himself. In it were his heart and his soul and his dreams. He brought over the state carriage of the Austrian Emperor himself, as one of the props. He assembled a great cast. He drew forth a little actress, Mary Philbin, whom he had discovered and had been saving for just this event. And then, after he had taken a few scenes, they discharged him as a result of a dispute and put in another director to finish his picture. Von Stroheim may make a million successful pictures and become the most famous director in the world ; but never, never, never will his heart recover from that wound. He is a broken-hearted man today as the result of this disappointment. On the whole, next to Griffith's, I think von Stroheim's was the most dreadful smash of any of the air-castles. One day, in Ireland, a little boy read a book called The Prisoner of Zenda. It fascinated him. He couldn't get it out of his mind. It haunted him with its charm. The little boy's name was Rex Hotchkiss. He didn't know just what to do with his life. He became a sculptor. Finally he came to America and became a motion picture actor ; finally a director. On the screen his name became Rex Ingram. Always he treasured the thrill that came to him when he read The Prisoner of Zenda. Finally, he got to be a figure big enough in motion pictures to be able to dictate what pictures he would make. His first choice, quite naturally, was The Prisoner of Zenda. But for one reason or another, this dream was postponed. Finally the day came. I hardly need say that it proved to be one of his least successful pictures. There are many dreams lying around Hollywood unfulfilled. Probably the chance will come to the dreamers one day, and I wonder with what result : Pola Negri wants to play Camille; Lillian Gish wants to be Juliet, so also does Mary Philbin ; Louise Fazenda wants to stop being funny and play in tragedies ; Lubitsch has long had a dream of filming Faust; and Ramon Novarro is now working out his dream of playing Ben Hur. Well, may be the gods of dreams be kind to them all. Every advertisement in MOTION PICTURE MAGAZINE is guaranteed.