Picture-Play Magazine (Sep 1923 - Feb 1924)

10 What the Fans Think Continued from page 8 something about it all that just "gets" one, and one is not the same afterward. A "wild'' place? Well, I've lived in Hollywood for over two years now, and if I ever meet up with something wild I'll be so astonished that I shall probably die of shock! Hollywood is a place of good citizens (ask the Chamber of Commerce!) and line homes, not wild animals— human or otherwise. My favorite star? All of 'cm! Men diid women, you know, are the windows through which we look out on life, and even though some of the windows be dirty, within ourselves we can make them •it least a little clean and interesting. Rose Edwina Bush. 6083 Salem Place, Hollywood, Calif. A Dissenting Minority Report. When I heard of the praise given "The Covered Wagon," and when I went to see it I was in hopes of seeing a good picture. But it disappointed me. The picture was rotten, terrible, awful. And all the praise it got ! I paid one dollar md fifty-five cents to see it, and it wasn't worth five cents. What was there to it? Nothing but a weak romance, an attempt it humor and pathos that showed what i fool directed it, and then a lot of canvas-covered wagons crossing the plains. The cast was deplorable. Lois Wilson was charming and helpless. Kerrigan was terribly miscast, and Torrence, when he tried to be funny, was sickening. Tully Marshall was as bad as Ernest, and, in fact, the only decent actor in the cast was Alan Hale. I class it the worst picture of the year, next to "Jazzmania." Richard Rhone. Chicago. An Appeal to Douglas Fairbanks. I am an ardent moving-picture fan, and like other fans have a great many likes and dislikes, but I shall devote this letter to Douglas Fairbanks. During the war I was only a little girl, living at a naval training station. I had not become a fan at all. In fact, I hated the movies worse than anything, as they gave me nightmares, but there was one actor I had heard so much about that I finally got my father to take me to see him. That actor was Douglas Fairbanks. I first saw him in "Mr. Fix-It," and was so excited that I went to the auditorium every picture night in the hope that I'd see him again, for we didn't know what would be there until it was flashed on the screen. I saw him in "His Majesty, the American," "Headin South," "The Mollycoddle," romething about "Manhattan," I think it was "Manhattan Madness," and "When the Clouds Roll By." Then Mr. Fairbanks grew a mustache and finally made "The Three Musketeers." which was very good. Then "Robin Hood." If he makes another one like "Robin Hood" I'll quit him for life. It was azvful. I know a great many fans will rise in wrath when I say that, but just let them read some of the tales about Robin Hood, then shut their eyes and use their imagination (if they have any) and try to picture Fairbanks in the role. I'm sorrv, but they can't do it. When I was at Atlantic City I went to see an old picture of his called "The Americans." I just wish Mr. Fairbanks could have heard the little boys }<elling when he did his old stunts! I've" never heard such enthusiasm in my life, and I'm sorry to say that his historical pictures have not received the hurrahs of -the little boys like his old-timers have. Please, Mr. Fairbanks, give us an oldtimer for a change ! Something like "His Majesty, the American." A Kid. Baltimore, Md. Why Did Betty Leave Us? Why did Betty Compson just leave us and go to Europe to act in pictures? We miss her very much. Who could play the part of a clever girl crook as well as she? There is no one, I am sure. Or who could be so charming as she was in "The White Flower?" I hope she will soon be back with us. There is a great place left unfilled when Betty is not there. Nobel La Fond. Route 4, Box 16, Greeley, Colo. Let's Apply the Golden Rule. I think it would be a very good thing if every fan before writing to "What the Fans Think" Department would read the letter by Ethel Gingrich in the November issue of Picture-Play. This department is a. very good place to practice the "Golden Rule," and is not the place to air personal dislikes. I wish Douglas Fairbanks wouldn't look at the camera so much. He has the manner of looking at the audience as though he were saying "Didn't I do that fine? Now watch me." I like him, but that habit spoils the pictures for me. Bebe Daniels does that, too. I don't like to think they are conceited. I do hope Barthelmess will not take T. C. Van Antwerp's suggestion seriousl)'. Let those players who can do nothing else cater to the flappers. Mary Louise Hiatt. 241 Klotter Avenue, Cincinnati, Ohio. A Plea for the Elaborate Programs. I do not fully agree with John D. Cahill in his views on movie theaters. In fact, I believe the cinema palaces of today are of greater help to the enjoyment of motion pictures than the cheap, smelly ones of the past. The wonderful settings, and the carefully arranged musical programs bring out the best that's in the picture. Perhaps some one will say that a good picture does not need any help in bringing out the best points. Maybe so. But then, again, \ hat is a good picture? Likes and dislikes differ. One may class a picture as marvelous and go to see it several times, while another would say it was rotten. Which leads to a discussion of greater movies. As long as motion pictures are shown the greater movies campaigns will mean no more than just publicity because what's great in the eyes of one is punk in the eyes of another. If the vaudeville acts preceding the feature picture outshine it, then the movies are taking a back seat and should fight that much harder to get to the front. There is one thing that could be abolished to good advantage, and that's the boresome filmads. Respectfully yours, Le Roy Westlund. 700 E. Cook Street, St. Paul, Minn. Some Very Decided Opinions. _ Here I am doing what I've always considered hopelessly dumb — writing to a fan magazine — but I really feel that this particular column of Picture-Play is becoming increasingly valuable to the star, the producer, and "to the public, and for that reason its contributors should include the common-sense element, rather than the high-school girls. That article of _ Mabel Ballin's on the critics and interviewers she has known was especially interesting. I. for one, have been inordinately curious to know something of Agnes Smith, Malcolm Oettinger, Helen Klumph, and the other contributors to your magazine. Miss Ballin's frank and wholesome comment on their personalities has given me much pleasure, and I'm sure was well received by every reader. Picture-Play is one movie magazine that escapes the scathing disdain of Katherine Fullerton Gerould, I'm sure, because it does not scatter the seeds oi Pollyanna press-agentry as some of the other saccharine publications do. More power to Agnes Smith ! The way she wades in to some of these ridiculous pictures does my system good. Her review of "Ashes of Vengeance" serves Norma Talmadge right for making such a picture As the other fans indulge in personalities I'm going to wade right in. It is becoming increasingly evident that Norma Talmadge is complacently satisfied with her place in the film firmament and does not intend to put her every effort intc her work as she used to years ago in the old Vitagraph pictures. She is the rich and well-fed Mrs. Schenck and does not intend to ruffle her composure with am little movie role, and this thought registers on the screen and is being understood by all, even by the most stupid o) the theater fans. Miss Talmadge has done nothing since "Smilin' Through" thai is worthy of comment. "Within the Law' was worth while, but the indifference oi the star was nevertheless very evident, and detracted from the quality of the picture. I do not mean to be a carping critic. I formed an early fondness for Norma's work, and I shall be reluctant to mark her from my list of favorites, but one more picture of her so maddeningly self-sufficiency will do the deed. I certainly agree with Mr. Ben Kartman that Paramount is a cannery in its methods. Many actors, while not exactly ruined by their connection with that company, have certainly not gained anything by the connection. Mr. Westerman. in his reply, says his uncle is one of the heads of Paramount, and that he is in a position to know that Constance Binney. May McAvoy, Gareth Hughes, Pola Negri, Dorothy Dalton, Valentino, and others did very little before joining Lasky, and in the case of those who have since left they have failed to get fat contracts again This assertion can be disputed from every angle. It is true that Paramouni has great resources and does not mind how much the actresses pay for their gowns, or how many freak cabaret scenes are erected, or how far the companies have to travel for so-called "realism,'' but that's beside the point. Each picture, no matter whether adapted from a novel, a play, or an original, comes out of the factory looking exactly like the one that preceded it. Miss Swanson's and Mr. Meighan's pictures are getting to be the most boresome things on the screen for the reason that they are so standardized. Miss Constance Binnney had won a prominent place on the stage by her great success in "39 East" before she joined Paramount. If she had stayed on the stage I believe she would have been better off. I met her at the Realart studio just before Christmas in 1921. I was never more impressed with a girl. She is much prettier off the screen and is extremely intelligent, being able to talk well on any subject. That is not strange because she comes from a distinguished family and was educated in the best schools. Still, I was surprised to see such an ab Continued on page 12