Photoplay (Jan - Jun 1919)

PllOTOPl ^ M\i.\/i\i ADVERTISING Si i iiu\ American Movies in '.-< iud td from ; apai i to .1 higher level. With Japan's quick lhos< made bj Vitagraph, Lubin I adoption oi Occidental ways and customs, Triangle, with a sprinklini ol [ncc and a certain poignant social evils have arisen, ver> few Universal! And tin great, i among them the tendency among Japanese Japanesi favo Fattj trbud women to practise birth control, it was the account oi the extremity depicted in hi r< "Where \u Mj Children" film, with its cut leases; Douglas Fairbanks, Clara Kimball tjng analysis of the question, that led them young, Marj MacLaren and Mary Pickford ook and listen, and think, with Strange to say, Se uc Hays fapan tin' result that the vice has been greatly i e, has made but little impression on the reduced. So says the educator. Japanese. 1 1 1 is seldom seen In the 0 "We are greatly afraid lest our native and not too well liked producers fall into loose methods. Our the His work as censor has been particularly ater in Japan is intensely commercial, more difficult, l>r Numata adds. At first he had so than an outsider would think," he de to fight againsl the high officials, who tried dared. "The government, quirk to realize to crush hi> views Bui his case was taken what i^ good for its people, will not permit up 1>\ the Japanese press, and at length the influx of any such trash a^ whiteslave he won out. For instance, when "Where plays. Nor will it allow native production \n tiy Children" was to he shown in of them, My mission here deals largelj with Tokyo governmental head wished certain that question,— what to produce." portion expurgated l>r. Numata, aftei > The viewpoint of an Oriental, gleaned from careful viewing, did not agree with them what be has seen on tin silversheet, i an The run-off was held back lor some time, interesting one. The plays of greatest preva although in tin end the film wai shown lence in Japan. says the film censor, arc uncut. Directors 1 Have Known I Continued from page 2Q I artistically as wall as morally. Studio con that even actors occasionally give provocations have been changed some 150 per cation for profanity — never exdted, never cent for the better since he and a few like in the slightest doubt as to what he wants. him took up this work. he always gets the best out of everybody. I don*t think 1 have ever come in con Of course he always contrives to get aclact with a more extraordinary mind than tors who know their business. Himself Hush Ford's. It works with electric speed, an actor of the soundest French school, a it crackles and sparks like a dynamo. I veteran of the Comedie Francaise, he has have heard him take hold of a script that the craft of the drama and the art of was like a badly collapsed suet pudding, acting at his finger-tips and he knows the flopping all over the place and in fifteen camera thoroughly. I saw him on one ocminutes reconstruct the whole thing, point casion working with a rather tempera ing out not only where it was wrong and mental young actress who happened to be why but what should be done to give it. tired and nervous and heaved a hair brush a semblance of human intelligence, so that at his head, missing him, fortunately, with all the writer had to do was to remem a foot or two to spare. Instead of flying ber what he had heard, zo home and fol off in a rage, as most directors would have low instructions. That is what I call a done, he was not even offended. He unreal, dramatically constructive mind. It is dcrstood perfectly that it was a gesture also one of the most versatile minds in the caused by a nervous spasm, walked over world. One of the characteristics he is famour to her with his sweetest smile, patted her on the shoulder in his own affectionate, for as a director is the frantic speed with paternal manner and had her calmed down which he works. When he was directing and ready to work in two minutes. With me upon one occasion we shot twenty almost any other director this incident two scenes in an hour. We made the would have put an end to the day's work entire picture in eight working days. It and with one or two excitable youths I may be economical and profitable for the know to the week's work, company but it is exhausting for the ac Mr. Jose, on the other hand, while in tors. I believe it is his boast that one no wise belonging to the "temperamental'" day in Florida he shot no less than eighty class, is not of the kind at whom one scenes! And(, on top of that, shipped his could safely hurl hair brushes. Not that company back to New^ York on the mid I have ever tried or wanted to try. I night train. I can tell you that when one don't happen to be "temperamental" my has worked a day with Hugh Ford one self. Besides, I'm a very poor shot. Mr. knows that one has been doing a day's Jose is an exceedingly able and human work. Rehearse? Fudge! "See here, Polly, person, of keen intelligence and, like many you know' what to do: you come in, walk others of keen intelligence, possessed of to the table, take your gloves off, see the very little patience with stupidity. The letter, look horrified and grab the tele actor who gives him the results he wants phone. All right! Let's take it: camera!'' Now Mr. Yignola's method is the exact opposite of Mr. Ford's. He is of the school that believes in an abundance of rehearsing. Every step, every minute gesture he wants repeated over and over again. has no trouble with Mr. Jose. But woe betide the wight who thinks he — or she — knows it all. One of the most satisfying directors I have ever worked with is Hobirt Henley, who has just finished directing "The Woman He will try seventeen different ways of on the Index," the first picture I made picking up an opera cloak and forty-nine for Goldwyn. Incidentally he is the youngvariety of poses for a woman who stands est, if I am not mistaken, of them all. at the fireplace watching for her lover to He belongs to the school that never bite come through the door. the scenery and never raises his voice to Quite the mildest-mannered, most ami the actors — except for dramatic effect when able and placid of directors is Emile Chau it is necessary to produce excitement and tard. Never ruffled even by the mot quick action in a mob scene. 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