Picture Play Magazine (Mar-Aug 1926)

10 What the Fans Think Addressed to Intolerant Fans. For many years I have attended movies and have passed through all stages of interest, adoration, and extreme idealization of my various favorites. I can, therefore, look back with dispassionate interest on my former wild enthusiasms and also have an understanding heart for all of the enthusiasts — particularly the young ones — who are passing through the same wild hero worship for their Rudy, Ramon, Ronald, and John Gilbert. But why is it that they can see only one, and must regard all others as imitators and impostors ? Why not admit their infatuation, and the possibility of other rival heroes being gifted actors and almost as charming as their ideal? I have read and enjoyed Picture-Play Magazine for years, and have particularly liked the "What the Fans Think," but I cannot get over being puzzled by this intense intolerance oni the part of the majority of fans. I have seen, studied, and almost lived movies. If I had devoted as much time to the study of any other subject, I would be considered an authority on it. I think I am in a position, at least, to say that we need and want all the different types on the screen — the marvelous dash of Doug, the sweet sensible goodness of Mary Pickford, the romantic appeal of gypsy John Gilbert, Spanish Ramon, Italian Rudy, and English Ronald — not to mention scores of others — some rising in one role to great heights and others perhaps plodding along with little chance of ever reaching the heights. But whether they reach the heights or not, each and every one, at some time, brings joy and pleasure to us. I am through with my Pollyannalike sermon— which I do not expect to be printed or read — but, fans, try to be reasonable and tolerate all of them and not show your extreme youth fulness by denouncing all but your own personal ideals. Twenty-three. 2811 Twenty-sixth Street, N. E., Washington, D. C. This Fan is Movie Mad. I must tell Picture-Play readers of my one and only favorite — William Haines. I used to be so bored at movies, but since I have seen him, I am movie mad. I never thought a screen player could affect me like this. I hope to see many pictures of him as he is the most wonderful, adorable man on earth to me. M. E. New York City. What's Wrong with the Movies? The only thing wrong with the movies that I can see is that the producers are releasing so many good pictures I can't get time — or money — to see them all. For those knockers who are continually finding fault with the movies, I suggest taking a quiet evening off and seeing "The Big Parade," "Stella Dallas," or "The Wild Bull's Lair." Yes, sir! I think the last a good picture, and, what's -more, the best Western I've seen in many a day. Beatrice Hooks. Granbury, Texas. For Accuracy in the Movies. Will you permit an old business man to offer a suggestion for the betterment of pictures? If it seems I am full of ego, it is only because I have traveled considerably and observed a good deal in my experiences as a game warden and ranger, fireman, police officer, bronco buster, sailor, soldier, trapper, woodsman, and finally as an executive and official in a million-dollar corporation. Pictures can be made the greatest educators of the world, but not until they present life as it really is. Take, for example, a scene in which a board of directors of a corporation meets to elect an officer. The movies will show the directors with clenched fists, glaring eyes, every muscle and nerve taut. In real life, the directors, at such a time, are relaxed, apparently doing anything but giving the attention to the matter before them, yet with their ears open all the time. Such a scene as the movies make it can spoil an entire picture for me, and for those who also are or have been in business. I recently saw a much-advertised picture of Alaska of the gold-rush time. The first few feet of that film spoiled the whole thing. Any "sourdough" could have told the directors of that picture that the gold seekers did not all pack the same kind of duffel. They had bundles of all sorts and sizes, tied with rope, string, wire, or anything else. Yet, in the picture, the bundles all looked as though they came out of a department store, so identical were they in every respect. Worse than that, there was not a shovel or pick in sight, though the men were going to dig for gold ! A few feet more of film and we saw the hero struggling up old Chilloot pass with a heavy pack and wearing an overcoat, while one of the other actors had a fur collar. The whole thing was absurd. A man would not last fifteen minutes dressed like that carrying a pack up that mountain, summer or winter. And this was supposed to be in summer, with the heroine wearing a white waist ! ._ Also, in the name of accuracy, at what time do you need lanterns at night in the summer in Alaska, where there is almost perpetual daylight? But more important than this — just tell the directors that when a man is shot, he does not reel back and clutch his heart. He falls face down in every mortal wound. Tell them that trappers do not trap in summer. Tell them that women of the desert do not paint their lips or pluck their eyebrows. Tell them that real men do not go through battles or suffer imprisonment for months, and come out with clean shaves and hair cuts. Tell them that when the covered wagons crossed the plains, buffalo chips were the fuel on the prairie and that there were no immense camp fires. Tell them that the owners of those covered wagons came from every part of the country and that they did not bear the look of being made by the same maker, like zo many_ Ford cars. Tell them that on a trip like that the oxen were not sleek and fat as though stable fed, nor could the hero's horse have looked as though he was in a box stall every night — as I presume he was, in reality. Those who have seen that life would know that every rib of the animals would be showing and that the covers would be torn and dirty and patched. Tell them that history is supposed to be accurate and that the movies should at least make some attempt along that line. Old-timer. Seattle, Wash. An Outspoken Fan. I've just seen "The Road to Yesterday," and want to give three rousing cheers for William Boyd and Vera Reynolds. But Jetta Goudal and Joseph Schildkraut were n. g. Raymond Griffith is one we can't see enough of. So is Alberta Vaughn and also Gladys Hulette. Wasn't she a knockout in "Go Straight?" Why, she was even better in this poor picture than Pola Negri or Mary Pickford could possibly be at their best. Greta Nissen is also an "eye opener." Norma Shearer is the most beautiful person on the screen. That's a fact, and I defy any one to contradict me — and, what's more, she can act. I say, give us more of Norma Shearer, Richard Dix, Virginia Valli, Greta Nissen, Alberta Vaughn, Alice Ardell, Betty Bronson, Esther Ralston, Mary Brian, Florence Yidor, Laura La Plante, and Gloria Swanson. Less of House Peters, Conway Tearle, Ricardo Cortez, Thomas Meighan, Mary Pickford and Charlie Chaplin. Robert Ruffing. 156 King Street, Dunkirk, New York. The Power to Attract Sympathy. It has been my habit, when attending a movie, to observe the effect on the audience as well as to enjoy the show, and as a result of my observations, I honestly believe Corinne Griffith has the greatest power of awakening sympathy of any star. When McCormack sings "O Genevieve," the great depth of feeling in his tones creates a sympathetic response that his hearers simply must feel; so with Corinne Griffith, this depth of feeling compels an intelligent audience to respond sympathetically to the heroine she portrays. Cloyd M. Fluke. Roaring Spring, Pa. A Sight Worth Seeing. Not long ago, as I slowly made my way homeward, I noticed on Broadway and Ninety-sixth Street a very large crowd at the Apthorp Restaurant, near the uptown subway. Being a woman, I had to go over and see what it was, thinking all the while that it was perhaps another holdup, never dreaming that they were taking pictures ! After I had battled my way through the crowd to the first ranks, whom did I see but Lois W'ilson, dressed as a waitress, flipping pancakes in the window — she's an expert at it — and outside, Ben Lyon ! The only way to describe Lois Wilson is to use the word "beautiful," and even then one can't do her justice. I believe that on the screen much of her beauty is lost, because never before had I thought her exceptionally attractive. I stood right next to Ben Lyon's chauffeur and when, between scenes, Mr. Lyon came for his overcoat, I got a good look at him. Even some men near me were forced to admit, and envy, his good looks. F. M. I. 319 West Ninety-fifth Street, New York City. A Hint for Cecil. May I call the attention of those Rod La Rocque fans, who are constant readers of "What the Fans Think" like myself, to a recent interview with Emil Jannings, the great German actor, in which he said : "Of your 3'oung men I like best Rod La Rocque. There's a fellow who always plays a believable man, no matter how the story ties him, no matter how the director hinders him !" That is a fine compliment from a great actor to a promising young one May Cecil B. De Mille see it and take the hint about stories and directors for his star. Mary Worth. Charlottesville, Va. From a Valentino Fan. I saw "The Sheik" five or six times, and if it were shown again, I would se2 it once more. Last night I saw Rudolph in "The Eagle," and I am going to see it again tonight. The house was so crowded that the people were still looking for seats around ten o'clock. Edna Wall. 152 Pacific Street, Brooklyn, N. Y.