Moving Picture World (Jan-Feb 1927)

MOVING PICTURE WORLD Marceline Day, a beauty of the MetroGold wyn Mayer studios, who has appeared in such pictures as “The Barrier” and “The Gay Deceiver.” 484 The Movie Missionary (Continued from page 478) week. But wherever he stopped, the “movie” missionary would explain to the exhibitor the value of well-handled publicity, good exploitation and consistent advertising. He also would meet the editors and endeavor to explain away that age-old charge of hokum. “But don’t overlook the fact,” countered Mr. Mortimer, during the discussion on this subject, "that just as soon as your missionary got out of town the exhibitor would forget all he had been told about publicity and everything else. He’d go back to his old method and clip out what first came to hand — or, maybe nothing at all. He’d get all interested in this missionary stuff while the good lad was on the ground. But when the missionary disappeared the exhibitor would revert to type.” “Is that true of all of them?” was the question. “Wouldn’t a certain percentage learn and help the picture business?” “Oh, yes. Quite a few of them would.” “Well, then, if the missionary kept on making the rounds wouldn’t the results gradually make his job worth while on all sides? It took a long time to introduce fireless cookers in South Africa, but they say the cannibals roast their victims on them now.” “Yes,” replied Mortimer, “they’d learn eventually. And maybe, if they did, they’d be like the cannibals. They’d roast the producers and the'poor missionary would be first to go up in smoke. But even at that,” he concluded, “we admitted to begin with that the missionary would have to be a martyr.” In the mail there comes from Harry Reichenbach, the New York press agent de luxe, a statement which he titles “The Press Agents' Show-Case.” Oddly enough, without any knowledge of this article, Mr. Reicheribach offers the very best argument for a “movie” missionary. “Ho, hum,’ ’he writes. “What’s the difference? There are press books and who cares where they come from? “Press books are like love-making. You can’t tell which is the most efficient material — or how the stuff is impressing the other person. Certainly you can’t — from a distance — any more than you can woo a girl by wireless and keep her away from the other* boys. Mr. Reichenbach is certainly right. More power to the lover who is on the ground and the “movie” missionary who is on the job. An Invaluable Book For Visual Education Work PPORMING part of the Century Education Series, “Motion Pictures for Instruction” provides an authoritative and useful handbook for educators who are turning their attention toward the cinema as a class room adjunct. Written by A. P. Hollis, M. S., Film Editor for the De Vry Corporation, the book is not propaganda for visual education, but an aid to those who seek to use pictures intelligently. It does not seek to supplant the text book with film, but rather to show the methods whereby the projector can be used intelligently to supplement the text, and not the least valuable advice is a caution against the overuse of picture. — E. W. S. February 12, 1927 Veidt’s Big Dreams (Continued from page 480) tain people who have studied, or who have a particular love for them, understand painting, sculpture, music and the art of the stage. But the circle of those who understand whatever international message there is in music, in art, even in literature and in correctly translated books, is limited. Therefore, we will try to reach the masses by means of motion pictures that will hold a direct appeal to all nationals, everywhere.” This is the man who, backed by the powerful support of Mr. Laemmle, will, in the not distant future, undertake to try the proposal of internationalization. Whether he will have the aid of his stage mentor, Reinhardt, or at some time the actual support of men of the type of Lubitsch, Jannings, etc., remains to be seen. But it is an established fact that when his starring contracts permit, Veidt will undertake his great plan. * * * * Conrad Veidt is still a young man. He was born in Berlin, January 22, 1893, and received a grammar and high school education, starting his stage career in 1913 in Reinhardt’s Deutsches Theatre, climbing up from the bottom, as a supernumerary in many productions, to playing leading roles. He made his first success on the stage in 1916. Two years prior to this, Veidt won recognition for his work in Paul Leni’s picture, “The Mystery of Bangalore.” a story of India. His screen associations have included both Lubitsch and Jannings. Veidt became known in an outstanding way through his excellent work in “Dr. Caligari,” following this with “Lady Hamilton,” “Lucretia Borgia,” “Ivan the Terrible,” “The Living Mask,” “The Three Wax Works” and “Love is Blind,” among others. When John Barrymore began work on “The Beloved Rogue,” a story of Francois Villon, he insisted that Veidt come to America and play the role of the King. Mr. Veidt spent several months in Hollywood, during the latter part of last year, returning to Germany in December to complete work on “The Student of Prague,” in which he has a role not unlike that of Faustus. This picture will reach the United States shortly. The first picture in which Veidt will be starred under his present contract with Mr. Laemmle will be “The Chinese Parrot,” based on Earl Derr Biggers’ novel. Leni will direct. For his next succeeding role, the distinguished German actor and scholar will be seen as “Gwynplaine,” the mountebank, in reality the “Lord Clancharlie,” in Victor Hugo’s novel “By Order of the King,” or “The Man Who Laughs.” No one would be greatly surprised if Mr. Laemmle decides to try out the internationalization suggestion with “The Man Who Laughs,” as Mr. Veidt, a German star, doubtless will have a young American in the role of “Dea,” the blind girl opposite him, and such roles as the “Duchess Josiana,” etc., may, with considerable success, be apportioned among the skilled actresess and actors of England, France, etc. Certain it is that this will not at all interfere with Mr. Veidt’s announced plan.