Screenland (Oct 1923-Mar 1924)

90 " (Slender at Jht I How Wonderful it reels" KOMINENT women in society, business and the theatrical profession give unqualified ' praise to Dr. R. Lincoln V Graham's prescription, vT'u neutroids, for flesh reiMt^r. duction. "Slender at last! 4>?" i A>>J*Oh, how wonderful it feels," int/Pt write hundreds of grateful fyjjj 4 if 'women. Dr.Grahamhasmore than 3000 such letters on file at his famous sanitarium on Eighty-ninth Street, New York. Without the annoyance of diet, baths or exercise, it is now possible to regain and retain the slenderness, and consequently the vitality of youth much longer than most women had expected. Dr. Graham's Prescription is Harmless Neutroids, the prescription developed by Dr.R. Lincoln Graham, famous New York stomach specialist.af ter a lifetime of research, merely reduces the yeast cells in your stomach. This causes your food to turn into firm tissue instead of fat. Neutroids have just the opposite effect of yeast cakes and preparations taken by people who wish to gain flesh. Dr.R l .Q rahamThey relieve you of that bloated feeling, nausea, headache, blood pressure and all the ills of obesity — at the same time reducing you to your deeired weight. Neutroids are guaranteed harmless, containing no thyroid or other dangerous drug. Personal Consultation Without Charge Dr. Graham would be pleased to have you consult him personally at his sanitarium or if you can not conveniently call, you may feel quite free to write him for professional advice regarding your case.This offer is open to all who order Dr. Graham's prescription Neutroids, using the coupon below. GUARANTEE ELIMINATES RISK Dr. Graham guarantees Neutroids to give satisfactory results; and that his prescription may be taken with safety by any one. Every woman orman who wishes to regain or retain the youthful slenderappearance and vigor of youth will use this coupon without delay. Dr. R. Lincoln Graham, 123 EasV"9th*£Steeet,""Dept! "en* c/oThe Graham Sanitarium, Inc., New York City: — Send me 2 weeks' treatment of Neutroids which entitles me to free professional mail consulting service and free booklet on Obesity. I will pay postman $2 (plus 16c postage! on arrival of the Neutroids in plain package. I understand my money will be refunded if I do not get a satisfactory reduction from this 2 weeks' treatment. Name % B Address m LEARN Movie Acting! A fascinating profession that pays big. Would you like to know if you are adapted to this work? Send 10c for our Twelve-Hour Talent-Tester or Key to Movie Acting Aptitude, and find whether or not you are suited to take up Movie Acting. A novel, instructive and valuable work. Send dime or stamps today. A large, interesting, illustrated Booklet on Movie Acting included FREE. FILM BUREAU, Station 5, Jackson, Mich. tical as well as human phases. "Griffith's face placed among those of editors, writers, critics of art and the drama and research workers in science would look entirely at home. Substitute that of Fairbanks or Chaplin. Either would seem as alien as would the face of a musician. Griffith belongs to the executive, organic group. He thinks as well with weights and measures as he does with human values. He would have made an excellent architect. His whole mental type shows that he conceives a picture only fifty per cent as a matter of human beings, the other half as a piece of machinery. In this he differs widely from the average playwright and producer of the spoken stage. His is a mind not so capable on the human value side as is Bclasco's for instance. Builds Like an Architect For so efficient a person in material management Griffith is curiously subjective. In fact, I am inclined to think he is more able to conceive and carry out the big outlines of a play than to bring precision into details of execution. "In subjectivity he thinks as an architect does, in terms of operation, not as a writer thinks in terms of human situation. If Bernard Shaw turned motion picture producer he would be the very antithesis of Griffith. Shaw would start in with human values. Building situations all around them he would bore through to a plan of execution. "Griffith starts with a plan of execution and works toward the human situation. As he comes down to the more purely human side, his technique will become greater. If one could graft Shaw or Eugene O'Neill on to Griffith or vice versa three great results in the dramatic world would appear. Rex Ingram's Temporal Chin he chin of Rex Ingram is more 1L expedient and temporal than that of Griffith. He meets a situation more abruptly. There are a hundred evidences of this in his face. He has the alertness to life which means precision of thought and action. His is a nice balance between the subjective and the objective, between understanding human beings and carrying out plans for them to operate in under his directorial supervision. "Compare his eye with Griffith's. Ingram's more than shows penetration, his grasp of intentions and motives. He takes a humorous delight in the way we mortals disport ourselves. There is a neatness about his mind which gives an edge but also limitation to his directing capacity. For every ability tends to set limits. He sees with so much precision that he often lacks the imaginative scope of a less definitive penetration. "Giiffith has the squarer brow of the SCREENLAND scientist. He has the subjective eye which weighs operations. "Ingram's eye measures people. Students of men get his look of precision. Practically no upper eyelid is visible in Ingram when his eyes are open. The upper lid always disappears in the man who studies human beings. "Griffith has the drooping eyelid of the subjective mind. Subjectivity is always related to sleep and tends to produce that expression. "Compare the chins of Griffith and Ingram. Griffith has the idealistic will. He has to conceive what he does as an idea before he can make himself carry it out. The Sculptor's Appreciation of Form Notice the chiselled quality of Rex Ingram's lips and the finish of his features. For a moment imagine yourself a sculptor. If you modelled that nose or pressed your fingers into clay in forming the upper lip you would have to carry vour touch with the greatest delicacy. "Ingram has the sculptor's appreciation of form and mass. He is a sculptor first, then a director. That is the secret of his motion picture success, because such a man takes the clay of human nature and fairly models his production into being. His definiteness of touch is the power and the limitation of his work. The sense of form which it brings is confining. It prevents limitless suggestibility implied by less definition. De Mille's Dramatic Mind (ne would look far to find greater contrast of type than Ingram and DeMille unless it were DeMille and Griffith. In DeMille the appreciation of human values, the instinct for elemental forces is supreme over sense of form and conception of craft. DeMille shows in every attribute the type of mind seeking for the humanly dramatic to portray thought, emotions and feelings — to bring the inside of man into outward expression. This, of course, is true of any great director but not always so strikingly. Griffith puts the emphasis on the architecture of a play, Ingram on the artistry. De Mille puts his finger on the dramatically human and keeps it there. He has a veritable instinct for these values. He smells them out, as it were. "All of De Mille's sensitivity is in the face, the end of his nose, the chin and the brow. "His eye is tremendously subjective, but totally different from that of Griffith, who has the inner thought of a planner. De Mille is a ponderer of human action. He has unusual penetration and comprehension of the human. He reads thoughts and feelings. It is to these he wishes to give expression. There is something of (Continued on page 92)