Motion Picture News (Sep-Oct 1923)

1022 Motion Picture News H^r\ HE BIRTH O F A NATION" is creating some excitement among the powers behind the French Republic. Premier Poincare has personally banned the film on the strength of a law passed in the second year of the French Revolution, on August 6, 1790, which gives the Government power to veto all spectacles calculated to disturb public order. The English manager of the production, H. Fenston, stands to lose $40,000 by the banning of "The Birth of a Nation," and he has called at the Foreign Office to ask if the political objections on which the police acted could not be met by radical cuts in the picture. The principal scenes objected to are believed to be the court scene where Negroes place their bare feet on the tables and the scenes showing the pursuit of a white girl by a black man. The promoters are ready to delete all offending incidents, in order to set out on their 3,000,000-franc tour. Readers of the press despatches from France have learned of considerable conflict between American tourists and French nationals from Africa. Inasmuch as these nationals helped France win the war, the Republic has given them equal rights with its white citizens and guests. The Premier is pressed on his present course by Negro deputies and by fear of losing their support in the Algerian elections. Neither carf France afford militarily to affront her North African citizens. Many Paris newspapers are asking what is the good of film censorship if the Government interferes. "The Birth of a Nation" was passed by the censor with a few minor reservations. The police actually declare in one quarter that the scene showing the assassination of Lincoln might spur some French Booth to kill M. Poincare. * * * T7 IE WED as an artistic effort, "The Green Goddess" takes v very high rank among screen achievements. Second thoughts on the production strengthen this conviction. It is the sort of picture which pushes the industry ahead, marking a real advance and further confounding the dwindling few who still can't see any art in or about the silversheet. This is the result of a happy combination of star, director and story. George Arliss, of course, was established long ago as a master of pantomime. On the stage, facial expression and vocal gifts were blended by him in such a manner as to become one in their effect on the spectator. But it takes the screen to bring out his remarkable pantomime, and nothing of lasting value is lost by the absence of the voice, either. In "The Green Goddess" Mr. Arliss 's ability to "speak" from the screen becomes startling at times. His genius at summing up a situation by the raising of an eyebrow, or the lifting of a hand, is given full play and is a delight to watch. Yet all these gifts would not avail if they were not guided by just the right kind of director. Sid Olcott, who had shown only a short time before in "Little Old New York" that he could do that sort of picture supremely well, supplies in ' ' The Green Goddess" additional proof that he knows what he is about. As for the story, it is glove-fitting for Arliss, as on the stage. And the management of it, by Forrest Halsey, who made the adaptation ; Director Olcott, the star and the players, is wholly effective. The screen speaks its own language though it is silent. "The Green Goddess" is eloquent as a work of art. * * * J-JY MAYER, the well known cartoonist whose " Travelaughs" liave furnished a bright spot on the program for several seasons, is branching out. He will make a series of two-reel comedies for Universal. Not animated strips, but legitimate two-reelers. /CHARLIE, the biggest ele^ phant in America, and who is said to answer to 183 summers, is about to be executed. The big pachyderm has been acting before the camera for several years, but he has been registering such heavy villainy that the Humane Society of Los Angeles has decreed that he must depart his earthly life. He is a member of Universal's menagerie. Charlie never was a male Pollyanna. His temper, always bad, has become more savage, his whims and fancies more treacherous. The huge elephant weighs five tons and because of his great intelligence and wide education is valued (press agent figures) at $30,000. He may be hard to replace, but his owners have decided that unless Charlie is dispatched at once, it is only a question of time when he will murder a few human beings besides wrecking a studio or three. On the average of once a month he breaks his chains and fares forth upon Los Angeles, just rarin' to go. He shows no partiality in his campaign of playing a "dirty elephant heavy." Movie sets, front porches, lamp posts, motor cars, trolley cars and occasionally a dog, a horse or even a human being have shown the wear and tear of his mighty trunk and the crushing force of his weight. The only man who could ever handle him was his trainer who has just emerged from the hospital after being knocked down and knelt upon by Charlie some weeks ago. Charlie is a widower. He had a mean wife in Susie. Some years ago when they lived together the big spouse almost wrecked the town of Raleigh, N. C, and Susie was hanged for it, a stone derrick and several loops of chain being used. Charlie is too big for any derrick — and a little too wise to take poison and a bullet might make him hopping mad. So H. A. Snow, the explorer, has been called to superintend Charlie's execution. Just what method the executor will use to exterminate Charlie has not been determined, but it is possible that he may be towed out to sea and used for target practise by a battleship. * * * THE Paramount Art Department have conceived and executed an eye-compelling insert of forty pages of its company's productions for the coming season — which appears in this week's issue of the News. It reflects the dignity and improved standards of motion picture production and advertising and emphasizes the fact that Paramount has an art department second to none. There is color and background on every page — the advertising talk being readable and the cuts exciting attention. In all a distinctive, artistic insert — one carrying on the Paramount prestige. * * * OLLEEN MOORE, who has risen rapidly as a picture star within the past year, became the bride of John McCormick, West Coast Representative of Associated First National, on August 18. The wedding took place in Los Angeles. The young couple are receiving congratulations and best wishes from their host of friends in the industry. * * * AS an earnest of the respect for the memory of the late lamented President, S. L. Rothafel of the New York Capitol deserves especial commendation for the dignified presentation he gave for the views of the funeral of the beloved Executive. Warren G. Harding was a man of simple tastes — a man never seeking ostentatious display of any sort. It was fitting and proper that Mr. Rothafel so arranged the presentation of the funeral scenes that they carried out the atmosphere of simple dignity. There was no fanfare of PICTURES AND PEOPLE