Screenland (Oct 1923-Mar 1924)

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98 '—PHOTOPLAY Writing From John Emerson and Anita Loos, two of the world's most famous, most successful, highest paid screen writers. They have written photoplays for Douglas Fairbanks, Mary Pickford, Constance and Norma Talmadge, Madge Kennedy, Lillian and Dorothy Gish, Lionel Barrymore, Blanche Sweet, Henry Walthall, Mae Marsh and other stars, and for Griffith, Ince, Sennett, Zukor, Paramount, Famous Players and other producers. Study Under Recognized Authorities Let these two masters of screen technique, continuity and satire — Emerson and Loos — give you a careful systematic training in writing and selling scenarios. Exactly the practical, comprehensive, thorough, teachable course in Photoplay Writing you have wanted — at moderate cost. Teaches you every angle — correction and criticism of your lessons as you proceed. Not merely some printed matter. Send Today for Free Book Millions paid yearly to screen writers. Big increasing demand for good screen stories. 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Why longer lament the great success of such a dish of slops as, say, Abie's Irish Rose, when in the same community there is also room — albeit smaller room — for a true and tender, and very worthy comedy like this comedy of Molnar's? The French Revolution Again afael Sabatini's Scaramouche is our old camarado, the French Revolution play. The French Revolution play, as you know from living in the same neighborhood with it since childhood, is the dingus in which some thirty actors and actresses dressed up like a BradleyMartin ball are labelled chevalier, comtesse and duchesse, and spend three hours visiting their hauteur upon a young man dressed like Chauncey Olcott who is hence one of the plain people and who somewhat cryptically comes into his own at eleven o'clock by discovering that the aristocratic and rascally Due is his own father and that he is hence free .to wed the fair and hitherto aloof Aline Vilmorin Plougaste de la Wurzburger. There are several variations of and departures from this particular treatment of the theme that are not less familiar to the experienced theatregoer. Sometimes the dingus ends with three-fourths of the cast walking heads erect, shoulders thrown back and faces transfigured by the holiness of the balcony spotlight into the wings, there presumably to have their royal blocks chopped off by the guillotine. And at other times it ends with a duel in which Citoyen Kraus runs the Chevalier Gervais de la Bockheister through the gizzard and is borne aloft through the left upper entrance by the triumphant Yiddish and Irish supers singing the "Marseillaise." But more generally it takes the form first specified. Scaramouche duly takes that form. It is acted in its leading role by Mr. Sidney Blackmer. Mr. Blackmer is one of the numerous Algonquin Hotel Salvinis, the fine points of whose great art persist in eluding me. 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