Picture-Play Magazine (Sep 1928 - Feb 1929)

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The reason for having the husband exhibit such "willful" tendencies in "Chicago," was naturally to show that he stood by his wife in the crisis, and thus arouse sympathy for him. It was a rather illogical expedient, and very different from the stage play. In that, the husband was just a simp, and Roxie Hart was perfectly capable of looking after herself, without any assistance from anybody. At least, in the stage play; both were consistent, and not given to any imitation virtue and false sentiment. The husband did not steal, and if he had, there was no attempt engaged in to make him sympathetic. The play was an out-and-out satire against the cheap notoriety often given criminals through the politics of office seekers, and the columns of the yellow journals. Much of this flavor was lost in a screen version that was obviously and mechanically motivated. A year or two ago Clara Bow appeared in a picture called "Mantrap." She was separately made love to by Ernest Torrence and Percy Marmont, both of whom are sufficiently mature to be identified as character actors. The roles that they played were hardly youngish. Yet at the finish, of this picture, to be sure that no offense would be suffered by any puritans, and perhaps also to provide a happy ending, Clara returned to Torrence, with the evident intention of being "his darling" for life. She was married to him, but it was a preposterous union. I can remember the final scene, of Clara running up to him and kissing him, as one that aroused a pretty feeble response. The screen version, I might mention, was in this respect a complete departure from the original story, for in that it was shown that the girl was simply selfish and self-seeking in her purported affection for a man much older than herself. That is more intelligent and more logical. Regulations regarding marriage are sometimes peculiarly complicated in different countries. Foreign nations do not understand our domestic problems at all, and what we consider very daring situations often pass them by as meaningless. At the same time, some foreign rules are very restrictive, say particularly in a country like Canada. Here, marriage for instance is hardly "companionate." In fact, it is, as it should unquestionably be, a very sacred institution. The showing of a divorce on the screen is forbidden. A few years ago "The Snob" was shown there. Jack Gilbert and Norma Shearer were in it, cast as man and wife. Miss Shearer, as the wife, after a long siege of vicissitudes, found living with her husband intolerable. The inference, toward the close of the picture, was that they separated. When the picture was screened in Canada — though they had a child — they were portrayed as not married. In another film, spoken titles had to be changed as follows : American version : "I congratulate you on your very successful marriage." Canadian version : "I congratulate you on your very successful affair." American version : "I am her husband of yesterday." Canadian version : "You are her sweetheart of yesterday." Occasionally marriage, or the suggestion of marital happiness, is used to patch up the finish of a picture, when it has no place in it. Most of the time this is just catering to what the producer believes the public wants — a felicitous fade-out. The ending of "Lovers," a ludicrous adaptation of "The Great Galeoto," was a case in point, and more recently "Sadie Thompson." In both, the way in which the closing scene was enacted amounted to "dancing on' a dead man's grave." The peculiarities of censorship laws, internationally, and their effect on production, are perhaps the most interesting phase of restrictions placed on pictures. However, it might be rather dreary to go into these extensively. One might note, in passing, that in Turkey all films are banned that show men wearing the fez. Heaven help our news reels of a Shrine convention ! In Great Britain, no picture can have a scene laid in a "lunatic asylum." But after all, is that really necessary? In Chile all films are divided into three classes: (1) Those for "adults over fifteen years of age"; (2) pictures for those under and over fifteen ; (3) pictures for those over fifteen, but — to quote directly — "not advisable for young ladies." This great variety of restrictions, in a world market, have at times undoubtedly exerted a deterring influence on pictures, but simultaneously they demand an increased ingenuity in discovering ways and meanings of avoiding conflict with them. It is becoming more and more difficult, naturally, to make pictures that will please everywhere.