Picture Show (Nov 1919-Apr 1920)

18 Tlu Picture Show, February 7(k, 1920. ''Shots" — from Broadwest— IT is indeed an event for a British film to be re issued, but so popular did " The Ware Case " prove when last released that Film Booking Offices arranged to give it another run. Accordingly, this fine film which features Violet Hopson, Mathcson Lang, and Gregory Scott is now being exhibited throughout the country. On seeing the him one can scarcely realise that this BROADWEST production registered Miss Violet Hopson's initial appearance with this all-British company, and also Mr. Matheson Lang's first screen part without character make-up. □ n n The film was manufactured in 1915, and since that time Miss Hopson has appeared in practically every production placed on the market by this company. Slowly but surely this delightful star has risen to fame and popularity until 1 920 finds her a world favourite. n n.n But just as Violet Hopson, Gregory Scott and other BROADVC'EST artistes have been acclaimed amongst picture-goers the world over, HORACE HUNTER in "Under Suspicion." so have the films which feature these popular players forged steadily towards supremacy in the world's markets. n n n It is the aim of the BROADWEST Film Co. to cater for the public in every way possible, and to this end Mr. Walter West keeps constantly in touch with the picture house audiences. All credit is due to this enterprising producer for first bringing to life on the screen some of the many fascinating and sporting characters contained in Nat Gould's novels. He introduced them at a time when the conventional types of domestic and war dramas were beginning to "drag," and it was indeed a happy thought which prompted this enterprising motion picture director to transport BROADWEST audiences from the war-weary atmosphere of every day life to that of the Turf. n n n So great has been the success of these racing pictures that Mr. Walter West is now directing his fifth, which is an adaptation of yet another Nat Gould novel. nnn " Under Suspicion" is another BROADWEST film which is now being exhibited throughout the kingdom. The story is a very strong one, and the cast contains names well-known to the cinema-going public: HILDA BAYLEY plays Countess Nadia Vasiloff, JACK JARMAN plays Nadia's Brother. CAMERON CARR plays Count Vassiloff, HORACE HUNTER plays Major Paul Holt, HENRY LATIMER plays General Noivard, ARTHUR WALCOTT plays Peter Kharloff, and DOROTHY WARREN plays Marie Petrovsky. Believe me; if you miss seeing this film, you will regret it, for it is undoubtedly one of the finest British films, both technically and artistically which have ever been placed on the market. BROADWEST FILMS, LTD., 175, Wardour Street, London, W.l. ('Phone: Gerrard 240. Character as Told by the Face. THIS is a photograph of a born fighter. Take the forehead, projecting like an areh. Benevolent in the extreme, spasmodic, arid impulsive in all actions, with great obstinacy of purpose and determination. The slightest attempt to fight or coerce them will bring them up " in 'arms " in a minute. This type will rush madly into all kinds of dangers and difficulties, and often make a failure of their magnificent powers of leadership which they nearly all possess. The eyebrows going in a straight line, devoid of suspicion in others, being rather close together, a'little inclined to mistrust himself. Clever ; ambitious, could rise to groat things for the benefit of their fellow-men. Mimicry large. Note the eye, alert, roguish : a born actor, fiery, impulsive. Take the Nose. INDICATIVE of the martial spirit, courageous, adaptable to their surroundings, and the people with whom they come in contact. Is No. 14.— DOUGLAS FAIRBANKS. good company. Enormous workers in ovcrythinj" .they like and take up. Hasty and impetuous m Speech and action. The upper lip, almost flat, denoting a head* strong, wilful, and passionate nature. Would" give away his last penny. The under lip showinjsii a wonderfully kjnd, generous disposition, could get on with men better than women. In Love. THIS type generally meet with disappoint ment. Their affections a»e nearly always ',' misplaced, or never returned. In summing up the face as a whole, ambitious and aspiring, extravagant and generous nature. Impulsive, despising mean or underhunl actions, and secures the favours of men. In Health. WE find this type more suitable to outdoor life. They usually make good hunters, and good shots ; strong, active circulation : robust, excellent constitutions. A country life and plenty of outdoor exercise is the only medicine they need. This is an adventurous type, change is essential to their well-being, and they are, as a rule, great travellers and good sports. They are usually excellent speakers, but more from " plain speaking " in a particular way all their own. We find them materialistic and I practical in their views of life. If they see n j thing is right, it is right to them, and for this! reason they are often found doing exactly the I opposite fromwhat one would expect. They are interesting, curious puzzles, but one of the most popular type imaginable. Personal Magnetism. IN the expression and shape of (he eye we find personal charm and magnetism, quicknoss of brain, wit. and eloquence, great concentration, irritability. Fatalism seems to play a strange role in their lives, and they seem chosen ' to be the mouthpiece of destiny. But, being born fighters, we find them fighting the fates with that unconquerable spirit that never, t ires. Tne Expressions of Connie Ediss On Comedy and the Camera. SOME time ago a magazine had t he originality — and commonsense — to pub • lish an interview with Connie Ediss, in which this superb exponent of the ludicrous made her contributions to the conversation through the medium of facial expression alone, a photographer being in attendance to record her " replies."' It is not surprising that, when the " interview " appeared, these photographic remarks were voted as " the best set of expressions ever seen/' There is an impression abroarl, which is steadily gaining ground, that the screen is losing a uniquo asset in the absence of this genius of facial expressiveness from tho realm of animated shadows. And when a certain famous actor-manager whom I met List week — ■ w ho has himself appeared on the films — waxed enthusiastic on the same subject, it seemed high time that The Picture Show got the whys and wherefores of the whole business from tho person most concerned. Accordingly I went to see Miss Ediss. " I had a film offer made me the other day.", she said, when I confronted her — almost aecus. ingly in her dressing-room at the Criterion CONNIE EDISS. Theatre. " But.'' she added simply, " it was: not large enough." There is something engagingly direct about Connie Ediss. " You see," she went on, " film acting i3 hard work — tedious work. It's so dead slow, and anything tedious and slow is right against my nature. My whole instinct is to get a thing that has got to be done, done at once. So, unless a very good offer were made me, film work does not hold out sufficient inducement to warrant, my working all day in the studio as well as all the evening at the theatre. But," she remarked quaintly, if anything did tempt me to act in pictures, I'd work faithfully. "People are always telling me that -I should go 'on the movies,' because I happen to be able to make funny faces ; and personally, I venture^ to think I should be successful — in comedy, of-j course ; but, at the same time, it is a very different matter ' making faces ' on the stase to, what it is making them before the camera, where the various expressions must be 'held,', like this " — (here the mobile features of Miss" Ediss tinderwent a startling change) — " for some seconds, instead of being more or less instantaneous. However, I think I could make a funny ' movie ' that would be really funny, because so much can be done in screen comedy — especially with the feet. It seems to me that film comedians don't utilise thoir bodies sufficiently, and that they concentrate too much on their facial expressions — whereas then are so many natural positions of the body which would cause screams of laughter. There is a good deal of comedy in movement alone.' Chaplin seems to have realised this more thun a prod many screen comedians."