Photoplay (Jan - Jun 1924)

PhOTOPI n M\(.\/im \i)\i ii i imm. Si ( in>\ i up was born *\ith the notion pi ture In the Edison peep show days and that it was ■> most garish close-up that brought down the in -t demands foi censorship of the picture in the 'oos when the Vitascope depicted the Maj Irwin John Rice ki--; or that l.uliout-, <li solves, double exposures and su< h devices were common in the early day magic pictures from the Paris studi rge Melies: or that both the close up and the mi back figured in "The Great drain Robbery" and "Th< of an American Fireman" produced by Pi : on in iQ • [nstances oi the -or t could be multiplied endlessly. The greater claim that Griffith raised "motion picture acting to the higher plane which won for it recognition as a genuine art" ibetter substantiated Mr. (iriilitli did not invent the language oi the motion |>i> ture, l>ut, rather, he became an early master of its syntax and rhetoric. It i only fair, however, to point out that these published self -proclamations of Griffith's were made within the motion picture industry, rather than as public utterances. They were perhaps essential to the development of his career. The realm of the motion picture was and i dominated by that peculiar mind which Usually mistakes modesty lor cowardice and commonly confuses ordinary conservatism with weakness. This has begotten a picture publicity policy of "claim everything, concede nothing — and take all you can get." While these developments were in progress in the swift evolution of the motion picture to a new plane of dramatic form, a closely related movement was inevitably set in motion within the business organizations of the industry. The state of flux lil erated a collection of old impulses, hates and rivalries, which expressed themselves in a violent succession of moves. Internal troubles spelled the beginning of the end in the General Film Company, even while it golden llood was at its height. Plots and counterplots, with ever-shifting realignments of factions and interests, wove a tangled web of affairs among the Independents at the same time. Some of the more significant of these movements and their results will he the subject of the next chapter— along with the previously untold story of how Charles Chaplin came to the screen. I TO BE CONTTNTJED ] What Men Have Told Me About Other Women [ CONTINUED FROM PAGE 30 ] a good a right to be polyandrous as men haveto be polygamus. Maybe your wife agrees with you." I'.vtremes seem to be one great complaint that men have. My wife hasn't any conver-ation. My wife talks all the time. My wife \ on't go out to a cabaret with me in the evenng. My wife hasn't let me stay home one night in three months. There must be a middle ground, a happy medium, between those two extremes. If there are two thinga man apparently objects to, it is a wife who can't intelligently discuss baseball or golf or whatever his hobby happens to be, and a wife who has Gibraltar opinions about everything from the Ruhr to the Japanese earthquakes. A man does like to have his opinion at least respected and his stories laughed at. It's such a little thing, after all. "CIFTY-THREE per cent of California brides ■^ are between forty and forty-five years of age. Is it that California climate again? Or do the girl spend the first forty years trying to get into the movies? — .V. I'. World. THE modern successful Commercial Artist dresses well, lives in a fine home, drives his own car and enjoys the luxuries of life. He is well paid for his drawings and is independent. Modern business firms spend millions of dollars annually lor drawings and advertising illustrations. Presentday advertising literally could not exist without commercial art — it is a necessity. 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