The Moving picture world (January 1922)

January 7,' 1922 MOVING PICTURE WORLD 63 Abraham Lehr, Goldwyn Production Head, Emphasizes Need for Youth to Give Best Interpretation of Photoplay Romances ABRAHAM LEHR, vice-president in charge of production at the studios of Goldwyn Pictures Cor- poration in Culver City, CaHf., in in New York, conferring with Samuel Goldwyn and other officials of the company on mat- ters of production policy. He expects to remain here for a few weeks developing plans that will be put into operation on fiis return to the Coast where the studio organization is well ahead of the produc- tion schedule for the current season. In talking of the production require- ments of the day, Mr. Lehr stressed the need for youthful players to interpret youth and romance on the screen. "We cannot afford to stand still," said Mr. Lehr, "we cannot rely on actors and act- resses because they have become popular in youthful roles. In the ordinary course of events the passing years leave their mark on these players just as they do.on all the rest of us and it becomes neces- sary to find others to fill their places. Youth Has its Magnetism "A careful study of the preferences of motion picture fans throughout the coun- try leads to the conclusion that the great majority want above all else a dominating love motive. Now this love interest does not always have to be centered in ex- tremely youthful characters; but there is tio getting away from the fact that youth, romance and love are generally a more attractive trinity than middle age, ro- mance and love. This being the case there is no ignoring the need for the attributes of genuine youth in our acting personnel. "The artful actor does wonders in simulating characteristics that are not his own, but after all there is a magnetic something about youth—its verve, its sparkle that can be reflected on the screen through the medium of youth itself. Goldwyn is a young company and it in- tends to remain so. "We have young men in high execu- tive positions in all branches of the or- ganization and through them we get a con- stant supply of fresh ideas. We have players such as Patsy Ruth Miller and Cullen Landis who radiate youth and high spirits and we are looking for more of the same caliber. Must Appeal to Average "In selecting players we keep in mind the need for appealing to the average taste of the American public. Clean-cut, ■wholesome young men and women whose experiences have not hardened them or led to a premature sophistication are the nat- ural interpreters of the romance of the rising generation. Exotic types may have a brief vogue, but their popularity is nec- essarily limited. "Another important point in making pictures of broad appeal is what may be termed finish in production. Goldwyn pictures have won a reputation of being carefully produced in the matters of set- tings, lighting and photography. All of these are, of course, held secondary to the story, but they can be made of great value in conveying the desired impression to an audience. Careful Work in All Details "Under the direction of Cedric Gib- bons, art director at the Goldwyn studios, every detail of a picture's setting is care- fully worked out in order to secure a suitable atmosphere, and where the story permits, no expense is spared to present homes of wealth and good taste. Consid- ering that photoplays afiford thousands of motion picture patrons their only glimpse of the more luxurious side of life, these rich backgrounds must serve to quicken the imaginations of many limited lives. They may in a way give substance to dreams of comfort never realised in ac- tual experience. "Along the same line, the value of beautiful costumes in pictures depicting society life is never overlooked. Recog- nizing the exhibitor's need for attracting matinee business, and the fact that his audiences are largely comprised of wom- en, it is easy to figure that clothes are important. Take a picture like 'Grand Larceny,' for example. Here we have Claire Windsor, one of the most beauti- ful women on the screen, appearing in a variety of stunning gowns. That the at- tractiveness of the picture, in the eyes of is materially enhanced by these fashion- able costumes is obvious." Referring to the type of story that Goldwyn has in mind for coming produc- tions, Mr. Lehr said that the editorial pol- icy was broad enough to include whatever was true and sincere and likely to be in- teresting to the great mass of theatre pa- trons. He emphasized the value of the human note, which is found in stories such as Peter B. Kyne's "Brothers Under Their Skins," soon to be placed in pro- duction. Exhibitors Want Films Like ^'Theodora, " 'Vld Nest'' and "Dangerous Curve Ahead*' By ALFRED WEISS President, Goldwyn Distributing Corporation Vice THE year 1922 will be the year of the big photoplay. And by big I mean in subject matter, in imaginative direction, in box-office value, adequate production and in acting marked by high intelligence and truthfulness to human nature and social conditions. Has Had Big Success Take our imported spectacle, "Theo- dora," for instance. It has had the big- gest kind of a boxoffice success because it is the world's great spectacular photoplay •—the critics of six of America's largest cities bear witness to that fact—and the exhibitors are keen to book it. It is the sort of production, in its bigness, that the exhibitor wants. But exhibitors want other big pictures aside from the spectacle as the great suc- cess of Goldwyn's two Rupert Hughes photoplays of modern, everyday domes- tic life, "The Old Nest" and "Dangerous Curve Ahead," indicate with the greatest certainty. There is nothing spectacular about either of these photoplays yet they are really big pictures and exhibitors have made big money with them. Big Pictures Are Business Getters Exhibitors have learned during the past year that big pictures will double and treble box-office receipts. I have per- sonally received hundreds of letters from exhibitors all over the country telling me that they had done the biggest business of the year, and often in the history of their theatres, with "The Old Nest" and "Dangerous Curve Ahead" and asking for more productions as big in subject matter, direction, acting and producing as those two pictures. Goldwyn will have a number of pro- ductions for the new year that will meas- ure up with these two in every respect. Several have already been completed, others still are in production while still others are scheduled for production in the near future. For instance, "The Sin Flood" I con- sider one of the biggest pictures this sea- son. Its theme is as big and vital as its acting and production. "Grand Larceny" will, I am confident, rank high among the dramatic photoplays of 1922. It possesses drama, vivid characterization and stamina in a high degree. Rupert Hughes will be represented by a new domestic comedy-drama, "The Wall Flower," which should rival in interest "The Old Nest" and "Dangerous Curve Ahead." Of the other big productions on 'the Goldwyn list it is too early to speak at this time, but several of them are destined to rank with the biggest pictures Goldwyn has ever made. 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