Screenland (Sept 1922–Feb 1923)

HJJy-^ SCREENL&ND Cdifi™~ ittle HINTS for BOOKLOVERS Fiction Reviewed from the Playgoer's Viewpoint MERTON OF THE MOVIES By Harry Leon Wilson. Reviewed by Frank Fiske. ThE art of the silver screen is not flattered by Mr. Wilson in his latest book. Merton, chief performer, is one of the most enjoyable characters to be found in the course of a reading, but his summers i^uu.6 reactions to studio life are not likely to cause anyone to take it seriously. He, however, takes everything very seriously. He is absolutely devoid of a sense of humor and has a profound faith in his mission to uplift the art of the film and bring "something bigger and finer" to the pictures. With this lofty purpose in view, he leaves his job as a clerk in Gashwiler's general store, Simsbury, 111., and journeys to Hollywood. Having previously prepared himself for his life work by taking a correspondence course in motion picture acting, he presents himself, with unlimited confidence, to the casting director. Not tor a moment does he suspect that the "stills" showing him in characteristic poses will fail to command attention. They do not. And neither does Merton. His peculiar talent is recognized the first time he appears before the camera as an "extra," but it is not until long, long after that he comes to a complete realization of its nature. Tli rough the machinations of Flips Montague, a versatile young lady wise in the workings of both stage and studio, he becomes associated with Jeff Baird. a comedy director, who solemnly assures him that he is "trying to do something worth while, instead of mere comedies." Those are Merton's words— "mere comedies." Under the impression that he is playing the leading part in a "serious drama," the guileless youth works under Baird's direction. Rejoicing in his rise to stardom, he attends the show If WINTER COMES, by A. S. M. Hutchinson. One of the greatest novels of our times. William de Mille should have been the first to recognize this and adapt it to the screen with his usual subtlety. Theodore Roberts, of course should play Old Bright. Lcatrice Joy could be Nona, Lila Lee, Erne, and, perhaps, Charles Ogle would suit us as Mark Sabre. We want none of your handsome leading men for this part, but some one with real character in his face is needed — in brief, an actor. The counterfeiter of Foolish Wives would do well for Humpo and the "heavy" whose misfortune it was to be dragged around in Over the Hill would suit us perfectly as Twyning. Twyning must not get off without his proper punishment, of course. What a scene they might make where Sabre forces that damning evidence down Twyning's throat! Olga Printzlau should do the scenario. She understands those things. For title to the picture, we suggest If Winter Comes. But read the book for yourself. It will make you laugh, cry, think and wonder — all at the same time! (Little, Brown.) P. S. — Fox bought the film rights. That spoils our review, and the book, too, perhaps. M AN AND MAID, by Elinor Glyn. Miss Glyn gives us as usual a story of passionate love in high society. (Her name is Alathea — 'miff said!) Trivial stuff. (Lippincott.) Brass, by Charles G. Norris. A most convincing and brilliant novel of marriage. Written with rare insight and skill, it holds throughout with the feeling that one is witnessing the great drama of Life. A book that is coming to the screen via Warner Bros. (Dutton.) Kimono, by John Paris. A grim but compelling story of the slave trade in Japan, revolving around the love of a white man for his Nipponese wife. (Boni & Livcright.) N ARCISSUS, by Evelyn Scott. A penetrating study of minds, spiritually starved. Very well done. (Harcourt, A light, exotic PETER WHIFFLE, by Carl Van Vechtcn. book vou will enjov as a relief from the heavier novels. (Knopf.) THE FLAMING JEWEL, by Robert W. Chambers. An unreal tale of unreal people. It will please Chambers' large following because of its exciting motif. It will no doubt find its way into playhouses. (Doran.) ton of the Movies is to be filmed is pregnant with possibilities. In fact, it forms the theme for a comedy in itself. high ing of his first picture. Disillusion ! Baird had tricked him into "profaning the sunlit glories of the great open West and its virile drama !" His serious acting was "funny," and he was hailed as a new comedian. "The acting which had been his soul's vision was a thing for merriment And in telling Merton's story, Mr. Wilson makes the films "a thing for merriment." He turns the glaring light of clever burlesque on the art of the silent drama, and delicately probes it here and there with the lancet of wit. He makes one of his characters refer to it as the "Peter Pan of the arts," intimating that it is not only in its infancy, but will never grow up. One gathers that the author's opinion of screen drama is not particularly complimentary. In view of this, the report that Mer it the motion pictures are as bad as Mr. Wilson would intimate in his book, Mr. Wilson's story will be made ridiculous. If they are not, and successfully follow the story, they will be ridiculing themselves. Still worse, suppose the producers seek revenge on the author? Suppose that they take advantage of the chance to turn the tables on the man who burlesqued the motion pictures, and burlesque his burlesque. There is yet another danger. Just as Merton, serious actor of high and noble purpose, was excruciatingly funny on the screen, so might Harry Leon Wilson's laugh-provoking novel become a thing of pathos once it was filmed. The path of comedy leads along a narrow ridge, with the canyon of tragedy on one side and the slough of maudlin sentimentality on the other. A malicious or stupid director can shove the author V brain child into either abyss with a single subtle and almost imperceptible push. What better opportunity for retaliation against a satirist could be asked : 1 THE GLIMPSES OF THE MOON Bv Edith Wharton. F The Glimpses of the Moon, a brilliant novel, becomes a motion picture, you may be sure that it will be about as dull and stupid as most of the other screen versions of popular fiction, not because motion picture producers are fools, but because our morals are so rigorously protected in the movie theatre if nowhere else. Susy Branch, reared among the smart members of a brilliant but dissolute society — "people with a balance"— meant to wed when she found someone who combined the maximum (Continued on page 64')