Screenland (Sept 1922–Feb 1923)

a^wooi SCREENLAND C*nfi«i» n 1 rould You Like to Be a Borrowed Bride? TEIGH GORDON GILTNER, in " The ■L* Shock Absorber," has written a story of a young husband who needed a wife to convince his mother and father that he was a dignified married man. His real bride was elsewhere, getting a divorce. Complicated situation, is it not? hch Funnier than "Pigs Is Pigs" OLLIS PARKER BUTLER has written a *^ story entitled "Use Common Sense/' which is more laughable than the guinea pig story upon which Mr. Butler's reputation as a humorist tests. That his latest is his best is hard to believe, is it not? •ran lear top nt< to You Want Rough Stuff? Here It Is! TIHLLIAM SLAVENS McNUTT has done " ▼ his best novel in "The Land of Turmoil." It combines humor, conflict, and dramatic love from start to finish. Good? Oh, very good! And what is more, most of the real action takes place right in New York among the underworld denizens. Also Eleven Short Stories by Elisabeth Sanxay Holding John D. Swain George Allan England Mella Russell McCallum Elmer Brown Mason Louise Kennedy Mabie Robert T. Shannon H. BedfordJones William Merriam Rouse <e Burton Blades BUR sr and T omorrov .WITH APOLOGIES TO NO ONE. (Copyright, 1922) DELEASING a motion picture film is ^launching a ship; except that the s, builder is usually sure that his craft v float; while no producer is ever sure that hi picture will be a success. The success of a picture is determined, of course, by the amount of money that it makes —not by its artistic merit or the judgment of discriminating critics. And the unhappy fact exists in Hollywood that good pictures make poor or no money just as often as poor pictures make good money. For those who carp at the obvious faults and shortcomings of the screen, let us discuss a chart of picture earnings—a chart maintained by one of the biggest producing and distributing organizations. 0NE of greatest directors in America ^ was engaged, several months ago, to screen one of the most beautiful sentimental dramas. An eminent star was cast in the leading role. No limits were placed on the scenic investiture and technical detail. The result was a photoplay of surpassing beauty. It was heralded as one of the greatest motion pictures— by the critics. But the crowds who register their sentiments at the box office were not so enthused. They turned the play down cold. Now, the accounting department will tell you that it is a "flop." AT the same time that this master picture was made, another cheap, boisterous, bana story was rotted onto a defenseless strip of celluloid and many prints of the same were distributed among first-class theatres. This monstrosity drew happy families from their firesides throughout the United States and it is still going big. It has made money. It is a knockout" they will tell you at the accounting department. 'X'HERE are loud-mouthed, mallet-headed • u^15*8 who ydl that the Motion Picture is bad because the producers are so ignorant sensual, mercenary, weak-minded and shortsighted. But these producers (these same panderers to the low public taste!) would be grinding out art, philosophy, drama and intellectuality by the reel, tomorrow, if that tricky fellow, Mr. Public, would slide his dollars across the plate glass counter of the box office for it The really surprising thing about it all is that the picturemakers have made any films of artistic worth. Griffith leader of them all, has squandered thousands in altruistic efforts to entertain his own cultured ego and praygoers at the same time. . ne lev«' °f public taste has been oversho lust as often as it has been underestim3»' * * 'WF\ story stru<t!>j™" f *