Screenland (Apr–Sept 1923)

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from Hollywood 21 the title given to the little and film cutters thai always ultra lavish production. The Yes Chorus IPhe yes blight is the curse of the movies. Pictures are being ruined every day because lack of courage prevents subordinates from pointing out flaws. The sublime conceit of the big men of the industry, — little kings whose courtiers .know that the king can do no wrong — will brook no contradiction. ''Yes" your boss. That is the motto that everybody pins on the wall, from the prop boy up to the president. The assistant director "yesses" the director; the director "yesses" the production manager; the production manager "yesses" the producer. And the producer in his turn must often "yes" the banker from whom he has borrowed his last million. No matter if the yes-man knows in his soul that the man higher up is wrong. No matter if he has to prostitute his artistic conscience. He must agree or lose his job. His voice must be added to the chorus of praise, in which a "no" sounds a discordant note. And the man who gets off the key in the yes chorus loses his job, pronto and very swiftly, few take the risk. But Who Killed Cock Robin W: hen Bella Donna was in the making, a special private preview of the first three reels was held in the Ambassador theatre. Hard-boiled exhibitors who always go to a preview hoping for the worst, so that they may beat down the price of the film, sat and watched Pola Negri sweep through three thousand feet of film. And at the end, they cheered. Pola was superb. Her abandon was soul stirring, her beauty enchanting. The exhibitors, shaken out of all natural caution, enthused. And then somebody, some high Paramount official, hung crepe on the proceedings by bringing up the censor bugaboo. What would the censors of Pennsylvania and Ohio do to this wicked woman? Better tame the picture down. It might kill the dramatic value of (Continued on page 100)