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Picture Show Annual 131 On the whole, the old stories have been well treated, and in many, such as " Anna Christie," it makes one wonder how the silent version could ever have been tolerated, such a lot depends upon the dialogue. The talkie versions of silent films that were taken from plays were nearly all successes, even when the play was really out of date, for they were made merely as photographed and sound- recorded plays, and in the cleverness of the dialogue one forgot the background. The same cannot be said of those talkies taken from novels or original stories. It was not at first realised that title writing is an entirely different art from dialogue writing. There is the warmth of the voice to infuse into the words what had to be made plain in cold print or gesture. That is why in the first talkies so many of the characters talked in sub-titles. In these talkies, it is interesting to note John Gilbert was the dashing hero of the silent " Cameo Kirby " and it was one of his first starring roles. Now it has been re-made as a charming musical romance with J. Harold Murray and Noima Terr is as the gambler and his lady-love. that the title has often been changed from that of the silent picture, which, in its turn has been changed from the original play or story, often when the title of the original apparently had a great deal of box-office value. The play ' They Knew What They Wanted," for instance, served Pola Negri as a silent picture under the title of " The Secret Hour." It has now been made again, under neither of these, which would both have some value, one would imagine, ut as " A Lady to Love." Can you imagine Erich A ; von Stroheim in a Clive Brook role ? Or Constance Bennett in a part played by Jetta Goudal ? This, however, was the difference in the two chief characteis of the thrilling spy melodrama, " Three Faces East," when it was re-made as a talkie. Above is a scene from the new version, and on the right a scene from the old version.