The Moving picture world (April 1921)

470 MOVING PICTURE WORLD April 2. 1921 MOVING PICTURE Published weekly by the Chalmers Publishing Company, 516 Fifth Avenue, New York (Telephone : Murray Hill 1610-13). Subscription Price: United States and Its poss«sslons, Mexico and Cuba, $3 a year ; Canada, J3.50 a year ; foreign countries (postpaid), $5 a year. Copyright, 1921, by Chalmers Publishing Company. Copyright throughout Great Britain and Colonies under the provision of the Copyright Act of 1911. (All rights reserved.) President, J. P. Chalmers, Sr. ; Vice-President and General Manager, J. F. Chalmers ; Secretary and Treasurer, E. J. Chalmers ; Assistant General Manager, James L. Hoff ; Editor-in-Chief, Arthur James ; Advertising Manager, Wendell P. Mllllgan. Address all correspondence to the company. The office of the company is the address of the Ch°lcaCgoSbjBce : Suite 1021-1023 Garrick Building, 64 West Randolph Street (Telephone: Central 5099). Paul C. Hinz, Manager. _ Los Angeles Office: 610-611 Wright & Callender Building (Telephone: Broadway 4649). A. H. Giebler, Manager. Clne-Mundlal, the monthly Spanish edition of the Moving Picture World, Is published at 516 Fifth » venue by the Chalmers Publishing Company. Yearly ' subscription, $3. Advertising rates on application m _t Member Audit Bureau of Circulations This publication is dedicated to the service of the moving picture industry in all of its elements. Its foundation is character, its watchword is enterprise, its aim is betterment. The censorship situation in the State of New York was given into the personal charge of William A. Brady at a meeting held on Tuesday evening at the National Association rooms. Mr. Brady is against any compromise, and he proposes to conduct an open campaign in Albany on the merits of the question. The Rev. William Sheafe Chase, of Brooklyn, after conferring with the censorship committee of the National Association on a measure to be introduced in the preseru; legislature, surprised his confreres, including the reform leaders of the state, by proposing a bill even more drastic than the Clayton measure and thereby displaying a mental attitude which astonished even his fellow reformers. Apparently the efforts of the industry must be centered on open defense of the screen without dealing with the reformers. It is too early at this time to predict the results in the State of New York, but the industry is on firm ground in refusing to agree to any compromise measure. We are in hearty accord with the action taken by the Motion Picture Theatre Owners of Kentucky in their protest against picture exploitation of Clara Smith Hamon. "We protest the motion picture ex ploitation of the Clara Smith Hamon story as announced by the press," telegraphed Louis J. Dittmar, president of the Motion Picture Theatre Owners of Kentucky and head of the Majestic and Rialto Theatres Company in Louisville. The message was sent to the National Association of Motion Picture Industry to emphasize the desire of Kentucky exhibitors to keep the screen free from objectionable personalities, propaganda or material. Mr. Dittmar expressed himself very emphatically as to the "outrage" of further flaunting this most sordid tragedy in any form or under any guise. The action is constructive and absolutely right. The Detroit Free Press is another of the big newspapers to protest against moving picture censorship and the following expression is worth reading: "We are not blind to the fact that the problem of the child and the young per son at the moving picture show is a very serious question today ; and we know also that little is gained by arguing that where minors are concerned, parents and guardians are responsible for what those in their charge see and do, because today many parents and guardians are notoriously lax in their oversight. But this condition cannot be reached by censorship, though something may be done and is done by regulating the attendance of children at picture houses unaccompanied by their elders. "Here again the first remedy is education and the stirring up of conscience. In this particular instance too the moving picture producers and the owners of movie houses have an especially large cooperative duty, while as a matter of practical business, they are going to avoid trouble for themselves if they show themselves extremely sensitive to the public demand for the protection of children from over sophistication and contamination. Some producers already are commencing to 'play safe.' " and Paste [for l^evi'spaper and 'Program. (?on\>e nience. To secure some realistic scenes of wild boars romping in their native haunts, Edwin Carewe, director, has dispatched his assistant, Wallace Fox, and two cameramen, to Santa Rosa Island, a deserted island lying off the coast of southern California that is said to be literally overrun by the ferocious animals. The scenes will be used as flashes in Anita Stewart's latest Louis B. Mayer-First National attraction, the real boar hunt to be seen in the picture having already been filmed on the Lasky ranch. Tom Gallery, the stalwart Chicago boy who has taken the film world and one gifted star by storm during the past year, has been selected by Metro to play the leading male role in Viola Dana's new special production, "Home Stuff." The handsome Tom will be seen in a part that he loves — that of a small town youth — in this story by Agnes Johnston and Frank Dazey. Al Kelley, who has been associated with Miss Dana for more than four years, is directing the production. Florence Turner has been borrowed from Metro to support Gladys Walton in "The Bobbed Squab" at Universal City. Rollin Sturgeon is directing. Milton Sills, who is enacting one of the leading roles in Metro's all-star production of "What Is the Matter with Marriage?" from Jack London's novel, "The Little Lady of the Big House," has purchased a beautiful new residence in Crescenta Park, Hollywood. The leading man is installing a swimming pool and has laid out a large garden on his new grounds. Victor Schertzinger has just completed cutting "The Concert," the screen version of Hermann Bahr's famous comedy, which he directed. Charles J. Brabin, who wrote and staged the screen sensation of the year, "While New York Sleeps," is cutting and supervising the editing of a new special shortly to be released by William Fox. Estelle Taylor, who distinguished herself in the leading feminine role of the former, will again be seen in an important part, while the others include such favorites as Marc McDermott, the wonderful "paralytic" of "While New York Sleeps"; Harry Sothern, the "weakling son," and Sallie Crute. Harry Carey is making the final scenes of "The Homeward Trail" at his own ranch in the San Francisquito Canyon under Director Jack Ford. Mignone Golden plays the opposite lead. William Worthington has had his company at Laguna the better part of the week on location for "The Opened Shutters," with Edith Roberts, Edward Burns and Charles Clary in the principal roles. Frank Mayo's new picture, "The Truant," for which an entire Kentucky village was built in Topanga Canyon, is progressing rapidly under Director Robert Thornby. Lillian Rich is leading woman. Three serials are in course of production at Universal City: "The Seal of Satan," with Eddie Polo, directed by J. P. McGowan; Eileen Sedwick in "The Terror Trail," under Director Edward Kull; and "The White Horseman," starring Art Acord, under direction of Albert Russell. Maurice Tourneur has laid aside his "Lorna Doone" story for the time being, and has begun the production of a story called "Foolish Matrons," by Donn Byrne. The cast includes Doris May, Wallace MacDonald, Kathleen Kirkham, Hobart Bosworth and Charles Meredith. The new picture was begun this week, immediately after the moving of the Tourneur establishment to the Ince studios. George H. Kern has just completed the prison scenes for "The Unfoldment," and expects to have his picture ready for cutting in another two weeks. Florence Lawrence and William Conklin play the leading roles, and others in the cast are Barbara Bedford, Raymond Cannon, Charles K. French, Lydia Knott, Albert Prisco, Wade Boteler and George French. This film is being made at the Hollywood studios.