Motography (Jul-Dec 1917)

November 24, 1917. MOTOGRAPHY 1095 Only Pictures That Count Are Good Ones NOTED AUTHOR OF PLAYS SPEAKS OF FILMS AS SIDE-LINE OBSERVER BY EDWIN MILTON ROYLE A noted playwright LET me say 1 am only an observer on the side lines, and I do not pretend to speak with authority as to the great moving picture business, which is both an art and an industry. Its evolution is so constant and so swift I doubt if any one can catch any very definite idea and pin it securely to the wall for observation. However, here are same vagrant impressions: Old things are past or are passing. All or most of the tricks have been played. All the situations have been used. The public can no longer be astonished. Production is no longer an object but an accessory. The trade mark of the big producers no longer means very much, for they produce pictures that are good, bad and indifferent, and only the good count. Public Is Seduced by Actor For the moment the public is seduced by the actor, his or her reputation and personality. Even that is passing or will pass. The very success of Apollo Jones in one picture makes it increasingly difficult for Apollo to repeat in the next. The picture is going through the same evolution already accomplished by the spoken drama. Once they went to see John Drew. Now they ask what he is playing. Hitherto the author has been conspicuous by his insignificance. The manager paid the acting celebrity a salary equivalent to an important slice of the British national debt, and gave the author a meal ticket— perhaps neither was worth the price. The business methods are changing, and must change. Undoubtedly some second story men have jimmied their way into the moving picture industry, but in the long run such men cannot compete with legitimate business men. Must Have Good Story Well Told There have been and will be changes but the one essential thing that has not and will not change is the demand for— a good story well told, and so the authors will eventually come into their own. From the authors' standpoint the one encouraging feature of the present situation is the independent producer. The bin linns with large staffs, huge plants, and enormous output no longer beckon to the author. In the first place they treat him with curious want of consideration. We will admit that there is "Nothing new under the sun." The only thing that is new is the individual's point of view. Author G'ves Way to Re-writer There are lots of men who know as much and many who know a great deal more about the American than I do. The only thing that could make "The Squaw Man" of value was my point of view, but the average manager, having bought the author's point of view, waives the author aside and employs a re-writer to deliberately change that point of view. The essential thing that made the work different and unique consequently disappears. I do not wish to give the impression that this happened to "The Squaw Man," but I have had the unpleasant experience of seeing what_ I though was a big story absolutely disappear in the hands of the re-writer. Author's Advice Is Unsought The big firms having bought the author's ideas apparently do not want the author's co-operation or advice as to the further exploitation of these ideas. The big firms, making good, bad and indifferent pictures, can, by and through the good, force the bad and indifferent on the market, but that does not compensate the author who has a book or a play kicked into the bad and indifferent class to the detriment of his reputation and the further sale of his product. Independent Producer Author's Hope The independent producer is the author's present hope, for the independent producer must make good. His only chance is to make a picture that everybody wants, and he gives it a personal care, a personal touch that is of great value if he is a man with an instinct for beauty and for drama. I have been having an agreeable and a hopeful experience with one of our most important independents, Mr. Harry Rapf. Mr. Rapf exhibited great courage and initiative in even thinking of doing my play, "The Struggle Everlasting." which stars Florence Reed. It is a modern morality play and if he succeeds in translating its symbolism into pictures he will have done something new and original and perhaps important. Again, I have had the unusual experience of having my advice and co-operation invited, almost welcomed by Mr. Rapf and his very able director, Mr. Kirkwood, in the working out of this difficult subject. Mr. Rapf took me into the wilds of Maine and treated me as a person of almost human intelligence — a new and delightful experience. Brother of Enid Bennett Is Killed in Battle The shadow of the great war has fallen upon Enid Bennett, the young Australian screen star, who has just been relieved of her contract with the New York Motion Picture Corporation through a decision by Judge Russ Avery in the Los Angeles courts, whereby she is free to continue her work with Thomas H. Ince, in Paramount pictures. While the trial was in progress Ingle Carpenter, an attorney, was handed a cablegram reading, "Lieut. Reginald Bennett killed in action on western front. Please inform his sisters, Enid and Marjorie Bennett." When Miss Bennett stepped from the witness sttand, her attorney gently escorted her to the judge's chambers where, in as kindly a manner as possible, he informed her of the sad fact. Miss Bennett collapsed and was cared for by a physician. Lieut. Bennett was the oldest brother of Enid and Marjorie and a member of a western contingent on the European battle front. He had been in France for more than two years. Billie Burke's Next Picture Is "Land of Promise" For the cast of "The Land of Promise," in which Billie Burke will be starred by Paramount shortly, Thomas Meighan will appear opposite the star, in the leading male role. Helen T. Tracy, J. W. Johnson, Mary Alden, Margaret Seddon, Walter McEwen, Grace Studeford and John Raymond complete the cast. "The Land of Promise," written for Miss Burke's starring vehicle on the speaking stage, several seasons ago, is the work of W. Somerset Maughan. The screen production was directed by Joseph Kaufman, who also directed "Arms and the Girl," Miss Burke's most recent Paramount picture. "The Widow's Might," New Eltinge Play Following "The Clever Mrs. Carfax," Julian Eltinge's second Paramount play, released this month, the famous impersonator of feminine characters will be seen in "The Widow's Might," written especially for him by Marion Fairfax and directed by William C. De Mille. The two scenes from Harold Lockwood's latest picture, "The Square Deceiver," tell their own story. It is a Metro production. Theda Bara appeared in person on election night at the Academy of Music in New York where the latest William Fox Standard Picture, "The Rose of Blood," is playing.