Screenland (May-Oct 1931)

SCREEN LAND Si 2.II1S and Sal vos Give us your screen impressions — write 'em and reap! REAL TRIBUTE (First Prize Letter) As a preacher I am not hostile to motion pictures. To me they are educational and not wholly materialistic. A moving screen-drama absorbs me because I desire to see life from many different angles. I want to see life as it is. It isn't a question of realism versus idealism. The question is one of balanced facts. I have a vital fear of being self-blinded — refusing to see what can be seen. If a slight noise annoys me I can shout loud enough to drown out the little noise. But that wearies me and fails to eliminate the annoyance. Many people are like that with life. Moving pictures show life in reality. When I see human hate, passion, and love upon the screen I see life. I see where is my battlefield. I am more eager after that to combat hate and boost love and charity. Norman Ritcey, Caledonia, Queens Co., N. S., Canada. DEDICATED TO DIRECTORS (Second Prize Letter) One hears people say how a star's acting makes a picture. Maybe the actor does deserve the credit — maybe ; but I had the opportunity of seeing a picture made and from now on the director gets plenty of laudation from me ! One seldom hears of the hours the director must drill the star until the action and dialogue reach the smooth perfection the public sees. Nor does one usually realize that the director must see that the setting is in keeping with the picture and that the scenes are realistic. He makes the plot either funny or pathetic and sees that the costumes fit into the atmosphere. There are people to do the work in each of these departments, but it is the hand of the director that smooths the rough edges to make a picture. So, come on, fans, give the director a great, big hand ! Dalpha Fasken, 2010 King St., Seattle, Wash. 'RAY FOR "RICH" (Third Prize Letter) After reading "Cimarron" I heard it was to be picturized with Richard Dix in the role of Yancy Cravat. And what a serious mistake, I thought, on the part of the casting director. Richard Dix could never do this part which called for such a great character ! That was my opinion because I had never seen him in anything except pictures which required only ordinary actors. So when "Cimarron" was billed at my favorite theatre, I said that I would not waste my time in seeing what should have been a magnificent picture, only to have it spoiled by Richard Dix. But being truly feminine I changed my mind. What a frightful mistake I had Charming Claudette Colbert all dressed up in nice, new summery clothes. Claudette will next be seen in "The Smiling Lieutenant," opposite that very fascinating Frenchman, Maurice Chevalier. made about Mr. Dix! He was splendid as Yancy Cravat. His acting was superb. And if "Rich" never makes another picture, he should be content to rest with the laurels that he won in "Cimarron." Flora Pipes. Box 104. Texarkana, Texas. BUDDY, BE YOURSELF! (Fourth Prize Letter) I might forgive anything like Anita Page's extra pounds, Vallee singing through his nose or Betty Compson's two chins — but to have one of your own Kansans Let's get together in this department every month and see who can write the best letter. The most sincere and constructive letter will win the first prize of $2 0.00. Second prize, $15.00. Third prize, $10.00. And there's a fourth prize of $5.00. All winning letters, not over 150 words, will be printed. Mail your letters so they will reach us the 10th of each month. Address Slams and Salvos Department, SCREENLAND, 45 West 45th Street, New York City. prove disappointing — it's too much ! Please, someone, persuade Buddy Rogers to shave off that mustache — it is terribly unbecoming to the naive Buddy. Let William Powell or the suave Menjou wear the adornin? hair in their own sophisticated way but never the childish Buddy ; rompers would be more becoming. Sl-e Haney. Girard, Kansas. FOR— As an artiste, Garbo is unsurpassed. Exteriors other actresses may copy, but they may never achieve the depth of feeling, the sincerity of emotion, and the marvelous art — the careful and detailed execution of a performance — that have made. Garbo a name in the history of the modern drama. Take a day off and spend it with Garbo's "Inspiration." A day with Garbo will teach you many wonderful things : it will give you an appreciation of the art of the drama such as you have never known before. If ever a performance raised a film from the commonplace to the sublime, it is this most sensitive and human of the Garbo creations. To speak of another actress surpassing one who climbs ever upward on the ladder of histrionic art, who seems, indeed, to have reached the pinnacle, and yet continues on, is absurd beyond any word of refutation. Richard E. Passmore. Media. Pennsylvania. (Continued on page 10)