Picture-Play Magazine (Sep 1928 - Feb 1929)

12 Continued from page 10 occurs to me in connection with these smart, self-satisfied critics. Fans do enough criticizing, but we are all aware that our remarks do not carry as much weight as the accredited press representatives'. Even — I purposely make this a separate sentence to point the hint — though it takes no special training to be a critic. Any reporter can be put on the job. It does take training to be a painter, an actor, a singer, or a writer of reputation. The film actor or actress, no matter how sourly noticed, has no way of getting even. As The Stroller remarks, he is under the direction of men who often do not know as much of his own art as he does, and I add that he is also at the mercy of any reporter who writes without knowing anything at all. Fans really have more right to criticize. They pay for their seats, and they must set up some defense against, for instance, the nervejangling talkies and the too-obtrusive press agents ; also against the utter stupidity of some movie on which they have squandered money. The smart critics have no defense ; they only want to sound clever, not to be just. The regular critic with a conscience and sense of proportion is different. I own that I am -in sympathy with The Stroller's merely suggested views on Mary Pickford's estimate of the importance of her bob. He was not offensive' about it. S. W. Philadelphia, Pennsylvania. Be Patient with Talkies. As a critical observer of the movies for the past fifteen years, I would like to say a few words in regard to the advent of talking pictures that has recently threatened to revolutionize the movie industry. We must not be too critical, however, for we must realize that they are still in their infancy; and, judging by the sensation they have already created, there are wonderful possibilities for their steadfast growth and favor with the movie-going public. As for imy reasons in stating this fact, allow me to cite a few instances where we are benefited. The movie industry was rapidly reaching a point in which it was threatened with a terrible "slump." Witness the recent fade-out of prominent stars of exceptional acting ability and stage experience, who ha^/e been replaced by sweet young things, their only assets their dimples and shapely limbs. This, of course, is a good substitute for acting ability when we are inclined not to be too critical. Were they to rely solely on their merits, and were devoid of "it," they would be complete washouts. The second and most important is that the talking pictures enable us to see and hear famous artists at a cost no greater than going to our neighborhood movie theater. This is a luxury when compared to the price, we would pay to see them in person. I cannot say too much for the Movietone, as it is indeed marvelous to see important events from all over the world recorded in voice and sound. And as for drama, that has had its tender love scenes -disillusioned by the highpitched voices. Give us. some of the stars who have , had stage experience and know how to speak their parts correctly. As I said before, we must realize that the talking pictures are ,in; their infancy, and great inventions have developed from ideas thought by many to be worthless. William W. Allen. Overlea, Baltimore, Maryland. What the Fans Think A Sprinkling of Cayenne. Ever since this "new-face" thought hit the directors and producers between the eyes, I have to say that I've never seen so many plain-looking girls on the screen. There are almost as many young fellows in the same class. Can you tell me what any director or producer sees in the "flatas-a-pancake" Marceline Day? I absolutely fail to see anything but plainness, which we can see enough of all around us, without going to a movie to be further annoyed by what we go there to avoid. She has no acting ability whatever. And when sex appeal was passed around, poor Marceline seemed to have been sadly forgotten. This quality is vitally important to a rising young star of to-day, if one is to judge by what one reads in movie periodicals. Another poor girl who is wasting her time is Leila Hyams. Although Lina Basquette is awkward and ordinary looking, she has possibilities, providing she reduces at least ten pounds and lets her hair grow out into a longer bob. June Collyer's retrousse nose won't get her as far as Blanche Sweet's bulbous nose got her, and that isn't far. The screen calls for perfection, unless, of course, one is fortunate enough to possess that pleasing imperfection of Colleen Moore's and Lillian Gish's faces and figures. Greta Garbo's name can also be included here. We do not go to the movies to see plain people; we want to get away from plain people, things, and places ; that's why we go to the movies in the first place — to get ourselves into another world ; and if we see lots more plain people who can't act, the movies wouldn't appeal to us nearly as much. The most beautiful blonde on the screen is Vilma Banky. No doubt lots of people who read this will say, "If you saw her in person you wouldn't think so." You rarely see beauty of face and figure in the same person. A fitting illustration is the perfect body of Joan Crawford compared to her face, which is not as perfect as her figure, as far as actual "beauty" is concerned. On the other hand, Billie Dove has a perfectly beautiful face, but her body is very much out of proportion. And I am voicing the thoughts of countless others when I say she can't act. I hope those whom I have criticized will see this letter and profit thereby. Irene Gandreau. 1419 Tangerine Avenue, St. Petersburg, . Florida. Against All Talkies. Talking comedies are monotonous, cheap, and common. They are never funny, and whenever possible I skip them. As to feature-length pictures with talking in them, I believe they would be far more interesting if only parts were in dialogue, and all the explanatory . subtitles kept in. A full-length talking picture, or, as the companies call them, "onehundred-per-cent talking pictures," are very apt to be monotonous and boring. It is not that I do not like to hear the stars' voices, but the girls are likely to disappoint, as the Vitaphdne distorts and makes their. voices sound affected. I did like Conrad Nagel's voice in "Tenderloin," but the very opposite for Dolores Costello's voice. Yet I liked her performance, and when silent she was splendid. Sound pictures are not so bad, but I do not think the Vitaphone Symphony Orchestra is particularly good. This subject makes it a problem for the movie goer, in my opinion, and what seems so unfair to me is that the producers jus* stick them on us. Because they are t novelty, the public falls for them, when they are not a wonderful invention at all. As usual, the directors and producing companies are going too far. If we fans who dislike talkies are in the minority, then give us a chance for once! The majority should not always have its way. And most people only think they like them, when they don't know their own minds. Next, I believe another mistake is to give us "canned vaudeville" in the talkies. I suppose I don't appreciate music, but I really have no desire to hear orchestras, comedians, singers, et cetera, appear in a short sketch on the screen and screech through the Vitaphone at the top of their lungs with voices that are worse than bad. The Vitaphone is unnecessarily loud, anyway, and its shrillness is very apt to give one a headache. I have often tried to shut it out by holding my hands over my ears, but it is practically impossible. It could be toned down a whole lot. This also makes the program longer, and it is unfair to the patrons of the theaters which have the feature picture come on at an unreasonable time in the evening, because every one cannot go at supper time, nor can they go very late. The audiences of small-town theaters are suffering for this reason, and are forced to listen to something which is really enough to drive a sensible person crazy. M. L. H. Elizabeth, New Jersey. A Happy Fan Speaks. Truth is stranger than fiction. Perhaps that is why this story, though true, may sound like a fairy tale. A pen pal of mine, a patient in a Missouri hospital, was soon to celebrate her birthday. Learning that Doris Kenyon had composed a book of poems, I thought that would prove the ideal gift. I didn't know the title, but that did not worry me. After searching unsuccessfully in the principal stores in the city, I wrote Miss Kenyon, explaining the circumstances, and requesting the name of the publishers so that I might purchase the book. It takes at least six days for a letter to reach California, yet exactly fifteen days later a package from Miss Kenyon arrived. Imagine my surprise when I found it to be a beautifully bound copy of "Spring Flowers," by Doris Kenyon and her father, inscribed "To Helene C. Braeuner's friend, with my very best wishes. Sincerely, Doris Kenyon Sills." My aunt in California recently had an opportunity to observe Doris and her husband, Milton Sills, at close range, when they spent several days at the hotel where she is employed. Auntie wrote: "Mr. and Mrs. Sills are both very quiet — the type one likes to associate with. Mrs. Sills has lovely hair, of the shade that gentlemen prefer. Her graciousness is what attracts me. I've worked a good many years among stage and screen folks, and I know the genuine article." There really are good folks in Hollywood— look for the good. It is a great deal more fun. Helene C. Braeuner. 210 French Street, Buffalo, New York. Listen, Miss Perula. This is only one of the insignificant sparks from the bombshell which has burst over the head of Joan Perula. However unworthy of note as this may be, I trust it