The Moving picture world (November 1921)

December 31, 1921 MOVING PICTURE WORLD 1055 Most Hopeful Sign in the Film World Is Unusual Number of Great Pictures SOMEONE asked me the other day what I considered the most hopeful sign now evident in the world of the motion picture. My reply was this : "The unusual number of big productions before the public today, and the fact that more and more are being planned for the immediate future — not to mention those that are already completed and ready for distribution as soon as the market can absorb them." My questioner smiled. I knew what was passing through his mind. He was thinking that he had heard something like that before, that it was "old stuff" — the same that he had heard and read in announcements by producers periodically for the last half dozen years. And what, is more, he said as much, and I had to tell him that he was wrong, and I told him just wherein he was wrong. For years producing and distributing organizations have been talking, predicting and promising "big pictures." Some of them have been hoping that they could make good. Others have honestly believed that they could. Most of them were just bluffing — either they didn't know how to make good or they never intended to try. But today the big picture is actually here. Look back over the past few months — back to last January, if you will — and consider what the screen has presented to you during 1921. Paramount alone has given the world "The Inside of the Cup," William deMille's "Midsummer Madness," Cecil B. DeMille's "Forbidden Fruit," "The Witching Hour," "Deception," John S. Robertson's "Sentimental Tommy," "The Great Moment," "The Golem," "The Affairs of Anatol," "Experience," "Footlights," "The Sheik," "Enchantment," "Get-Rich-Quick Wallingford," "Don't Tell Everything" and William S. Hart's "White Oak." These are only a few of our own productions, listed in the order of release. Other companies have done well, too, in presenting "Way Down East," "The Old Nest," "Over the Hill," "The Three Musketeers," "Passion," "Little Lord Fauntleroy" and "Theodora." Take Cecil B. DeMille's "The Affairs of Anatol," for instance. Here was Mr. DeMille at his greatest. When we announced the galaxy of stars that were to appear in this production, the public gasped. Such a thing never had been heard of before — twelve stars in one picture ! It was released simultaneously in more than 200 of the leading theatres of the country. George Melford's "The Sheik" is having similar success because it deserves it. Based upon one of the most popular novels of the day, it was handled by its producer in such a way that its right to be called one of the biggest productions By JESSE L. LASKY First Vice-President of Famous Playcrs-Lasky Corporation of recent years cannot be disputed. On Christmas Day we are releasing Penrhyn Stanlaws' production of Sir James M. Barrie's "The Little Minister," with Betty Compson in the stellar role of Lady Babbie. I have always prided myself considerably on being fairly accurate in my predictions as to how the public is going to like a picture, once I have seen with my own eyes the finished production. "The Little Minister" is going to be acclaimed everywhere as the most beautiful thing ever thrown upon the screen. Mr. Stanlaws has produced a masterpiece, and it is Barrie, every inch of it. As for Miss Compson, she is simply ideal — lovely beyond my power to describe. On January 1 we are releasing William DeMille's production of Zona Gale's novel and prize play, "Miss Lulu Bett." So well has Mr. DeMille succeeded in transferring this absorbing story of American small town life that Miss Gale has actually told us that both her story and play have been improved upon. When Cecil B.'DeMille and I were in Chicago recently on our way East — Mr. DeMille bound for Africa and Europe on an extended vacation — an interviewer asked me what I considered the finest picture Mr. DeMille ever made. My answer was "Fool's Paradise." The same question was put to Mr. DeMille. His choice was "Saturday Night." The truth is that they are both so good that the public will have a difficult job in finding out which of us is the better judge of pictures. As soon as Mr. DeMille returns to Hollywood, which will be some time in February, he will immediately start the production of Alice Duer Miller's greatest story, "Manslaughter." What a story for picturization in the hands of DeMille ! While negotiations for the purchase of this story were still pending we received more than 100 letters from people outside the industry recommending it for the screen. George Fitzmaurice's production of "Peter Ibbetson," with Elsie Ferguson and Wallace Reid in the leading roles, will soon be shown in some of the large cities outside of New York under the title of "Forever." For those who have seen this production at the New York Criterion, where it smashed the house records at legitimate theatre prices, no comment from me is necessary. This masterpiece will be followed by two productions made by Mr. Fitzmaurice abroad, "Three Live Ghosts" and "The Man From Home." We have also sent to Europe another of our greatest directors. John S. Robertson. Working along similar lines he has produced "Love's Boomerang" and is now in Spain making another production, "Spanish Jade," from the novel by Maurice Hewlett. George Mel ford has recently completed one of the biggest productions to be shown next year. It is "Moran of the Lady Letty," a wonderful sea story by the late Frank Norris. Two special comedy productions were planned some months ago. One of them, directed by James Cruze, has been completed. "One Glorious Day" is the title and Will Rogers heads the cast. The other "Is Matrimony A Failure?" is now in the making with T. Roy Barnes in the leading role. Gloria Swanson will be seen in "The Husband's Trademark" (it has a thrill bigger than the famous ice scene in "Way Down East") and another story, "Beyond the Rocks," by Elinor Glyn, author of "The Great Moment." Betty Compson will appear in Penrhyn Stanlaws' production, "The Law and the Woman," adapted from the Clyde Fitch play, "The Woman in the Case." She will also be seen in "The Noose," a William D. Taylor production, and in W. Somerset Maugham's story, "The Ordeal." Agnes Ayres will soon be presented to the public as a full-fledged star in "The Lane That Had No Turning," by Sir Gilbert Parker. She is about to start work in a new William DeMille production, "Bought and Paid For," in which she will appear with Jack Holt and Theodore Roberts. Wallace Reid will be seen in "The Champion," the stage play in which Grant Mitchell scored a great hit a year ago ; "Across the Continent," an automobile story by Byron Morgan, and "The Ghost Breaker." Ethel Clayton has completed "Her Own Money," "The Cradle," adapted from the French play by Eugene Brieux, and "For the Defense," an adaptation of the play by Elmer Rice. Thomas Meighan will be seen next in "If You Believe It, It's So," by Perley Poore Sheehan, author of "The Whispering Chorus," and later in "The Proxy Daddy," by Edward Peple, and "Our Leading Citizen," by George Ade. On Jack Holt's list, besides the William DeMille special, is "While Satan Sleeps," an adaptation of Peter B. Kyne's "The Parson of Panamint," while Dorothy Dalton, who is featured in Mr. Melford's "Moran of the Lady Letty," will next be starred in "Tharon of Lost Valley." In addition, we will have from Cosmopolitan "Boomerang Bill," with Lionel Barrvmore; "Back Pay," "The Bride's Play,'" "Find the Woman," "Sisters," "The Young Diana," "The Price of Beauty" and others.