Photoplay (Jan-Jun 1920)

Photoplay Magazine — Advkrtising Section I II The Shadow Stage (Continued) is delightfully described by Lillian Leighton. Walter Edwards directed in his dependable stately style. Edith Kennedy made a good scenario from the play by Ernest Denny. THE WALK'OFFS— Metro Frederic and Fanny Hatton saw their comedy on the screen the same time I did, and if they didn't complain that the real satiric spirit of it was lost, I suppose I shouldn't. It is very mild entertainment, and it seems to be played a little too seriously by its star, May Allison. A word of praise for May however: she is one of the most sincere of our celluloid actresses; one of the prettiest, and one of the least selfconscious. If you know the story at all, it is a light satire on the shams and foibles of the "smart set" — and a very motion-picturish smart set, here. It gets its name from an old darky story that the Creator made people without brains, went away, and forgot to come back ; the people walked off —and the darkies always call high-falutin' Deople "WalkrOffs." May, as Kit Rutherford, is one, but she finally agrees to stay put and love a young Lochinvar with lots of money. Emory Johnson plays that part, and we wish he might be seen more often. Darrell Foss is good as Schuyler Rutherford; Joseph Kilgour impressive as usual as Murry Van Allan — such an exquisite name for a society heavy I The Hattons are great satirists and the screen has somehow never been able to reflect their philosophy. THE RIGHT OF WAY— Metro It is extremely doubtful if this most excellent transcription of Sir Gilbert Parker's novel will ever be popular. It is heavy, slow, and it has an unhappy ending — Parker's own ending. But it is one of the most thoughtful things that has ever emanated from a studio, and certainly it is one of Metro's most faithful film adaptations. It brings Bert Lytell as an actor of surprising force. I knew Lytell could act — but I never suspected him of such dramatic discrimination and reserve. As Charley Steele, the brilliant but inebriate young English-Canadian lawyer, with his supercilious, blasphemous viewpoint, his monocled indifference, he is a new Lytell. Rather, he is not Lytell at all; he loses himself absolutely in his character. Long scenes with him alone on the screen, are neither tiresome nor unconvincing. There are no fireworks. Jack Dillon's direction was never sensational but always logical. Antrim Short is Billy. Leatrice Joy, a comparative newcomer, is sweet and sane as Rosalie. And the guide of "The Blind Husbands," H. Gibson-Gowland, contributes a real characterization as Joe Portugais. THE LUCK OF GERALDINE LAIRD — Robertsori'CoIe We may have called "The Pinnacle" "Blind Husbands"; we lent weary assent to the changing of "The Admirable Crichton" to "Male and Female." But Kathleen Norris' "The Luck of Geraldine Laird" remains "The Luck of Geraldine Laird" in these pages. What do you suppose they re-christened it? "Woman and Wife!" Seemingly forgetting that a Select version of "Jane Eyre" done by Alice Brady masqueraded under that very title. This brings back the old Bessie Barriscale of "The Cup of Life," in a big-time story of small-town life. Not since her Ince-Triangle days has she had a better vehicle. Not even the stilted posing of Niles Welch could spoil it. Its psychology is that of the people who read the papers but never believe that "such things can really happen"— to them. The director could Cartoon Stars make big money Sidney Smith, Clare Briggs, Fontaine Fox and other cartoon stars make from $10,000 to $50,000 a year. Bud Fisher makes over $50,000 a year from Mutt and Jeff. R. L. Goldberg's yearly income is more than $125,000. Yet both Fisher and Goldberg started as $15 a week illustrators. Ministers, bookkeepers, and mechanics have become successful illustrators and cartoonists through the Federal School of Applied Cartooning. Don't let your present job hold you back. Capitalize your cartoon ideas. The way is now open to you. L SEND SIX CENTS FOR A Road to Bigger Things This book shows studio pictures of the 32 greatest American cartoonists who are on the staff of the Federal School. It tells how in one course you can learn cartooning, animated cartooning, chalk talking, and window card writing. One of these is your big field. It shows how by home study, you can learn the skill, stunts, short-cuts, and the professional touch of these famous cartoon stars on the Federal Staff. These stars make big money from simple cartoon ideas. Do you want their fame and incomes? Just send us your name and address, with 6c to cover postage, for this book that tells you how. Do it NOW! Federal School of Applied Cartooning 048 Federal Schools BIdg. Minneapolis, Minn. When you write to adve Users please mentiou PHOTOPLAY MAGAZINE.