A pictorial history of the movies (1943)

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184 THE TWENTIES Robert Flaherty induced Paramount to produce a picture he had shot in the South Sea islands, Moana of the South Sens. It had virtually no plot, but thanks to its exotic atmosphere and beautiful photography was an artistic success. ABOVE RICHT Moana would be called a documentary film today. It celebrated the joys of the simple, outdoor life of primitive people. Among its attractions were shots of several authentic native dances, such as this. BELOW LEFT Bessie Love had an extraordinarily varied career. Starting with Griffith after graduation from high school, she played everything from home girls to dance-hall vamps. She had something of the little girl quality of Mary Piekford, yet could play the dopecrazed mother of Human Wreckage. She had something, too, of the wistful charm of Lillian Gish, yet could be a hoofer in The Broadway Melody. In 1926 she created one of her most famous roles, shown here, that of Lovey Mary, in the picture of the same name. BELOW RIGHT Although Farrar's Carmen had been a pronounced success, the movies had always rather shied away from stories used as grand opera. However, Henry King finally directed a version of Murger's Scenes de la vie de Boheme, which Puccini had turned into an opera. Lillian Gish played Mimi; her fragile beautv was a perfect embodiment of the doomed little grisette. John Gilbert was an equally happy choice as the poet, Rodolphe, in La Boheme.