The Moving picture world (November 1921)

704 MOVING PICTURE WORLD December 10. 1921 Idle Promises Mean Failure, Says Lasky; Industry's Ideals Must Be Ever Higher IT is now several years since the slogan "Fewer and better pictures" was adopted among producers and in the main I feel that most of them have tried to live up to the ideal thus expressed. But I do not believe that any of us have fully succeeded. True we are making better pictures than we made a few years ago. I may say for example that Paramount Pictures are very fine pictures, generally speaking. But they can be better. That is the crux of the matter. Not only must pictures be better— they must be so much better that there will be no necessity of trying to convince the public of the fact. The pictures must speak for themselves and in terms so emphatic that even the dullest eye and mind will appreciate their quality. This is essential for the simple reason that unless pictures are produced with a positive insistence upon superior quality, they, will ultimately find themselves without an audience and the producer will be like Othello, "with occupation gone." More than ever before are audiences discriminating. This is not just an expression — it is the truth— as I happen to know very well indeed. The exhibitor has to present something that is a decided attraction before he can hope to fill his house. Not merely a sensation— it must be good, good in quality, good in story material, cast, direction, production, presentation. There is no single element in the art and industry from the start to the finish, from scenario to theatre, which cannot stand some advancement almost daily. And this advancement is imperative if the business is to retain its past popularity. Exhibitor Hurt First Where does the shoe pinch hardest? Who suffers first from falling attendance at picture theatres? Unquestionably, the exhibitor and immediately through him, the sales organization, and ultimately the production organization. But this admits of extensions in various directions. It means that artists and technicians suffer, that the very organizations themselves must ultimately, find their well formed and carefully constructed edifices trembling because the final product does not sell as it should. It is a simple matter after all. Motion pictures are like any commodity, plus art. They are made, they are sold, they are witnessed. If they are not good they will not sell. The By JESSE L. LASKY public must be attracted. This cannot be done by flamboyant advertising, by "booster" methods, by mere promises without fulfillment. There must be truth behind every promise and it must be carried out. An Optimistic World We are living in an optimistic world, despite the many causes for possible pessimism. Things are not as yet in the even-flowing state that we could wish, but as rapidly as possible are being put into that state. The world is filled with plans for ideal conditions of living and working. The Limitation of Armament Conference is the greatest of these plans ; the administration of tax problems is another; the gradual adjustment of trade conditions is still another. People are inclined in this country to be optimistic and this very characteristic has carried us through many vicissitudes. So I do not for a moment maintain that we should immediately become pessimistic and decide that the motion pictures are going to the "demnition bow-wows." I do insist, however, that no amount of optimism will enable producers to continue successfully in business if they do not heed the handwriting on the wall and make better pictures — not merely talk better pictures. So far as we are concerned, Paramount Pictures are going to be better all the time. They've got to be. It isn't a case of merely hoping for the best — we have to know in advance that we are making better photoplays, that every story is filled with the material that people demand, that the best stars and directors, the finest settings, the most perfect technique are all applied to the end that the exhibitor may be able to fill his theatre and send his audiences away satisfied with what they have witnessed. Ever Higher Ideals We believe that every picture produced as a Paramount Picture for future release approximates at least the ideal we have set — but we realize fully that by next month, or next year we shall have advanced that goal post several miles and be striving for something still finer. However, we cannot see further than this and must hope that we are at least a measure or two ahead of even the exacting public's demands. Take Cecil B. DeMille's two latest pictures, "Fool's Paradise" and "Saturday Night." I have seen them both and if I am any judge, I pronounce them both as nearly perfect as it is possible to make a production. This is not idle talk. I mean it. If I were not convinced, I would say so. There is nothing to be gained by saying something that is untrue. The public will soon enough discover the actual facts and tell you so. The stellar combination idea in special pictures made good with "The Affairs of Anatol," another DeMille picture, and "Peter Ibbetson," wherein Wallace Reid and Elsie Ferguson arc co-starred. It has proved to us that the public likes to see several of its favorites together. I can understand this. I remember reading novels by various authors and wishing my favorite characters might meet one another. It is much the same idea. What will be the effect, thinks the playgoer, of seeing Wallace Reid, say, and Elsie Ferguson, making love or involved in a great dramatic situation? And the producer fulfilling this desire, meets a popular demand. So we are planning now the combining of Agnes Ayres and Jack Holt in a William DeMille production. Love An Enduring Theme George Melford's "The Sheik," with Agnes Ayres and Rudolph Valentino, touches high water ■ mark in popularity. Certain critics assailed it but the public placed upon the production the seal of its approval, which is the final test. It is a picture that women in particular like. Why? Because love is the central theme and motif. Love against the background of the desert sands and the life of the Orient. Mr. Mel ford is now making "Moran of the Lady Letty," with Dorothy Dalton featured, and Rudolph Valentino in the male lead. I am firmly convinced that it will also appeal, this time to men and women almost equally. I feel sure the public is going to like "Miss Lulu Bett," William DeMille's production. It is so intensely human, so applicable to everyday life, that it can hardly fail to win the audiences of every class. So with the pictures starring Wallace Reid, Ethel Clayton, Gloria Swanson, Betty Compson, Agnes Ayres, Jack Holt, Thomas Meighan and the specials, such as "One Glorious Day" with Will Rogers and Lila Lee. SCENES FROM 'THE LAST TRAIL," A WILLIAM FOX RELEASE