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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..0d48a3f --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #51484 (https://www.gutenberg.org/ebooks/51484) diff --git a/old/51484-0.txt b/old/51484-0.txt deleted file mode 100644 index 893a848..0000000 --- a/old/51484-0.txt +++ /dev/null @@ -1,1584 +0,0 @@ -The Project Gutenberg EBook of Film Truth; September, 1920, by Anonymous - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Film Truth; September, 1920 - -Author: Anonymous - -Release Date: March 17, 2016 [EBook #51484] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK FILM TRUTH; SEPTEMBER, 1920 *** - - - - -Produced by Chuck Greif and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images available at The Internet Archive) - - - - - - - - - [Illustration: - - _September_ _25 cents_ - - FILM TRUTH - - “_That Little Red Devil_” - - MOVIE SPICE!] - - - - - [Illustration: decorative bar] - - FILM TRUTH - - Vol. 1, No. 6 September, 1920 - - Published every month by FILM TRUTH, INC., Leroy A. - Pales, president, 2255 Broadway, New York City - - 25 CENTS A COPY $3 A YEAR - - - -_“FILM TRUTH” accepts no advertising, prints no press-agent bunk, has no -boss other than its thousands of readers--and is prepared to travel -willingly to the eternal bowwows the day it discovers that any other -guidance is necessary._ - -_It is the only publication for the public that comes from “within the -industry,” with all the real news, and the latest news._ - -_You get concentrated, unadulterated, unalloyed “pep” when you buy “FILM -TRUTH,” without a wasted word or a slushy syllable._ - -_But--to be sure of getting “FILM TRUTH” every month you must let your -newsdealer know that you want it. His orders are limited and he can’t be -blamed if you are disappointed when an issue sells out faster than he -anticipated. Be on the safe side and have him save a copy for you every -month. Tell him to-day!_ - - [Illustration: decorative bar] - - - - -Simper, Simple Sucker - - -Don’t cry little sucker--don’t cry! If they put Ponzi in jail the movies -will get you bye and bye. You will always be taken care of--considerably -more “taken” than cared for. - -An easily deceived world has been led to believe that the official birth -rate of the sucker clan is “one every minute”--but the man who made the -calculation must have had a slow-motion watch. - -We know that we are babbling words of truth. For we have before us the -shining example--the word “shine” is appropriate--of a person who calls -himself “Director Brennan.” Almost as long as we can remember, this -self-christened “Director Brennan” has been fishing in the Shimmering -Sucker Sea with the movies as his bait. And the fishing must be good, -for he keeps at it, and keeps expanding. - -Our first recollection of the fisherman calls to mind some very crude -bait. But it worked. For a fee of several seaworthy simoleons, simpering -suckers who thought they had ability that could successfully cope with a -camera were permitted to see their photographic likeness in a bulletin -which they were warmly assured met the eyes of all the leading producers -and casting directors. The open road to a screen career was to pay for -the insertion of your photograph in the bulletin--and pay again, and pay -some more. Directors had to have players, and logic is logic, sooner or -later some director was going to see your photo. - -Only a month ago we came across one of these old bulletins in a dingy -East Side printing shop. Honest, cross our heart, we are neither -spoofing nor joshing--there were three hundred pound would-be ingenues -and Ben Turpin doubles who aspired to play handsome heroes. Bleating -boobs waited in hourly anticipation of a wire from David Griffith--“I -saw your photo in Brennan’s Bulletin and must have you to play the lead -in my next picture.” - -In vaudeville parlance “Director Brennan” was working a “single” act -then. Coming down to the Fall of 1920 we find him “doubling in brass.” -If you are a silly sucker anxiously fearing that you may escape your -fate we are about to show you how easy it has been made for you. -Director Brennan is playing both ends against the middle--for your -convenience. And--“if you don’t find what you want ask for it.” - -In the New York Evening Mail we renewed our acquaintance with Director -Brennan one night by reading the following ad: - - GET INTO THE WONDER INDUSTRY OF THE WORLD. - - The motion picture producing business. Hundreds of fortunes have - been made and are being made in it. Successful motion picture - playwright and director offer part ownership in a series of - powerful, emotional plays for the screen, entitled “When Dreams - Come True,” “Time Will Tell” and “Inspector Flynn.” I’ve got the - plays, the experience, the organization and the facilities for - producing up to date pictures with the real punch in them. No stock - jobbing scheme. No agents. Principals only. See me personally. - -Director BRENNEN, 2 West 123d st., N. Y. C. - - - -The following morning we picked up the Illustrated News to find this -burning message: - - A GENUINE OPPORTUNITY TO MAKE GOOD IN PICTURES. - - If you have the talent to act in pictures and can qualify I will - put you on the screen and register your type and personality in a - series of scenes, flashes and close-ups running from 200 to 500 - feet and record your screen adaptability; a wonderful chance for a - few ambitious beginners of both sexes to make good in pictures. - Director Brennan, New Idea Films, 2 West 123d street. - -We must say that “Director Brennan” has our admiration. If “Safety -First” is a nation’s motto, “Safety Always” is “Director Brennan’s” -bible. His proposition is legally correct, and technically true. This -may mean a lot to a sucker but it’s a ha-ha to us. Nevertheless, though -Post Office Inspectors have looked him over, and our old friend Bill -Hicks, the valiant crusader of the _Specialty Salesman_, has tested his -spear on him, it must be stated in loud and certain terms that “Director -Brennan” is “within the law.” - -So line up, members of the clan. If you desire a part ownership in “When -Dreams Come True”--go to it. If the dreams are slow in coming try “Time -Will Tell.” After the pictures have been completed by the “successful -motion picture playwright and director” and you’re wondering what the -devil to do with them--ask “Inspector Flynn.” After that, get out of the -line and clear the way. There was another one born the same minute that -you were--and he is pleading for a “part ownership.” All we can assure -you is that if “Director Brennan” offers to sell you a “part ownership” -you’ll get a “part ownership.” There’s nothing wrong with that -proposition. - -Neither is there anything corkscrewey about the “Genuine Opportunity to -Make Good in Pictures.” “If you have the talent and can qualify,” it is -very simple. Of course you are not expected to be surprised when you -learn that you “qualify” by having coin sufficient to pay for a test -print of yourself. If the price seems pretty high for two hundred feet -of film that costs about four cents a foot, be comforted by the -compensating fact that despite the ad you didn’t have to show a heluva -lot of “talent.” - -What are you going to do with the “series of scenes, flashes and -close-ups” after you get it? Search us! Perhaps it will make a dainty -watch-fob. Our best society is now using a strip of moving picture film -as a visiting card. There is nothing better to start a good fire on a -wintry night; and we have even known of films that could be substituted -for gorgonzola. Maybe yours will qualify as camembert. - -At least you cannot say that “Director Brennan” did not live up to his -promises and the letter of the law. He offered you a “wonderful chance -to make good in pictures.” You’ve made good. Yes, sir! Cash in advance. -You’ve made good, suckling, don’t worry. - -You’ve been “made”--and _good_. - -[Illustration: open book decoration] - - -SUGGESTIONS FOR A FEW “SUPER SPECIALS” - -These ideas, offered gratuitously, are guaranteed to work in the hands -of the worst amateur and are assured smashing box-office success: - -For a “Super-DeMille” special: Discard the envelope chemise, and prevail -on Paris to design a postcard chemise. - -For a “Super-Sennett” special: Clothe the girls in modesty. - -For a “Super-Lew Cody” special: Frequent close-ups of dainty molar -signatures on his broad shoulders. - -This way out! - - - - -Rough-riding Mrs. Reilly - - -A correspondent from Los Angeles steps up to us with this dare, -“Speaking of film truth, is there an editor with the moral courage to -call the bluff of one Pearl Reilly, better known as Charlotte Shelby, -mother of Mary Miles Minter?” - -Wouldn’t that peeve a pacifist moo-cow? Here we have gone serenely along -thinking that, with all the crimes we might be accused of, of all the -blistering names that might burn our skin, none would even hint at a -lack of courage. If we need courage then T. N. T. could be improved with -a dash of pepper. - -Our correspondent wants to know if we care to call the bluff of Mrs. -Charlotte Shelby. Frankly, we don’t care particularly about the job. -Mrs. Shelby means considerably less than zero in our young life; and -only a minute fraction of that to most of our readers. - -Aside from having been granted possession of a very talented daughter, -Mrs. Shelby Reilly would be stealing time under false pretenses when -occupying the thoughts of either the editor or his readers. Stage -mothers are perfectly capable of taking themselves seriously and -realizing their own flabbergasting importance. Thank the stars there is -no need of the rest of us helping out at the job. - -True it may be, as our correspondent says, that “Mrs. Reilly has ridden -roughshod over everyone she meets and gets away with it. She has no -regard for the dignity of any profession, insults newspaper men and -writers, directors, leading men, and in fact has everything pretty much -her own way.” - -Isn’t it a sad story? Can you tell us what sort of “newspaper men” Mrs. -Shelby or any one else can “insult” and get away with it? Advertising -solicitors, perhaps. They are fair game for anyone in all seasons. But -our own years of pencil-pushing from New Orleans to Milwaukee and New -York to San Francisco have failed to record on our books any “insults” -unrevenged. As a matter of fact any good newspaper man will say that an -insult makes the best sort of story. - -Ask the shade of old Vanderbilt what it thinks about the time that -crusty individual declared, “The Public be Damned!” - -Mrs. Shelby can continue riding if she cares to, dear correspondent, but -she’s only spoofing her own sweet self if she thinks she is going to -continue to “get away with it.” Some day she’ll stub her toe in a poison -ivy patch. - -Perhaps the first scene of the final act has already been played. The -Hollywood Dirty Dishers say it has. According to our correspondent the -action started when Charlotte Whitney, for six years secretary to Mary -Miles Minter, bobbed up out of a job. According to the letter writer, -wagging tongues in Los Angeles declared that “Mrs. Reilly and Charlotte -had a terrible row over Mary and that Charlotte told Mrs. R. where to -head in. Rumor has linked Mary’s name with that of a well known actor -and Ma Reilly went wild. She had visions of the family meal ticket -annexing a husband. Charlotte was supposed to keep guard over Mary at -the studio while Ma Reilly endeavored to keep tabs at home. - -“It seems that Charlotte, could see no harm in Mary’s having a little -love affair with a nice young man and didn’t keep the door properly -locked. - -“When things got too hot at home Mary had a way of sneaking out of the -unhappy mansion and going to Charlotte’s house.” Our correspondent then -relates this _denouement_. “This had happened one night and while -Charlotte and Mary were getting ready for bed Ma Reilly burst in the -door and for the moment forgot her pose as the southern aristocrat. The -neighbors recognized the Minter car at Charlotte’s door and gathered -round to hear the row and witness the fond mother, with the gentle -southern manner, drag her eighteen year old daughter out by the ear. - -“The next morning Mrs. Shelby ordered two well known actors on the Lasky -lot to keep out of Charlotte’s office, accusing them of designs on Mary -and Mary’s money. A well known director was also forbidden to speak to -Mary. A few days after Charlotte announced that she was through as -secretary.” - -If this be true--isn’t it a rumbunktious mess? But if all such facts -were roaming around awaiting placing--this lone editor’s “moral courage” -would not be needed to “call Mrs. Shelby’s bluff.” It seems to us that -Charlotte is the little girl who is apt to turn that trick at any -minute. Keep your eyes on Charlotte, boys and girls. - - * * * * * - -The dailies duly recorded that Gail Kane, demure and with downcast eyes, -walked down the church aisle with Henry Iden Ottman, of New York, -recently. - -The groom is a son of the founder of a packing house bearing his -name--hence should be well supplied with “skins,” wherewith to cater to -the movie star’s well known expensive tastes. Which is well, oh, very -well. - - - - -S’s’sh----! Some Gossip - - -Egotism and lack of ability usually go hand in hand. Yet, we cannot say -the rule applies in Maxwell Karger’s particular case. Karger has the -respect of practically all the stars on the Metro roster, and apparently -has more than his share of ability. But, ye Gods, what a swelled dome! -We understand there is a clause in this Director General’s contract with -Metro, whereby his name must appear in every story sent out by the -publicity department. We judge every copy reader in the country who gets -the junk cuts the name out, just because they are sick and disgusted at -even such long distance evidence of “great I amness.” Darned if we can -figure ourselves, exactly why Karger thinks his name looks so pretty in -type. - - * * * * * - -Oi, Oi. Vass is? That business disturber Lewis Selznick, just when he is -considered down and out, gets himself new backing, and out comes an -announcement that his two kids, Myron and David, who masquerade under -impressive titles, and who should be back in high school, go abroad to -“study the foreign situation.” That, to us, is the biggest laugh of the -past month. About all the study of the foreign situation they will do -will be to study the shapely legs of the midinettes who parade the -Boulevard des Italiens and the Place de la Opera in Paris. Yes, indeed, -Algernon, papa’s new bankroll, said to have been advanced by Stanley -Mastbaum of Philadelphia, will take wings just as did all his other -bankrolls under the able hands of these two, whom we have heard referred -to by Harry Reichenbach, as the “biggest jokes of the business.” - - * * * * * - -A little bird whispers that Bill Russell, Fox star, is about to take the -matrimonial plunge. The woman? Why, his leading lady in recent pictures, -Helen Ferguson. - - * * * * * - -A picture no artist could paint was presented by Sammy Goldwyn, nee -Goldfish, as he stood wreathed in smiles at the entrance to the Astor -theatre, New York, waiting for congratulations after the premier showing -of “Earthbound.” Someone in the Goldwyn publicity department must have -tipped Sam off that he had a good picture, so, baldhead and all, there -he was waiting for the critics to line up and pat him on the back. You -know, all our very best film magnates are like that, shunning the -limelight and detesting publicity. - - * * * * * - -In a corner of the Astor Hotel, where as many million dollar companies -are started (on paper) each day, as upon the rug of the Alexandria -Hotel, Los Angeles, each night, several gentlemen were discussing D. W. -Griffith the other day. - -One was telling a story to the effect that the Great D. W. had gotten -himself unpopular in a great many circles. - -Says he, “Griffith, y’know has forgotten his ‘ham fat’ days, and with -his resonant voice and omnipotent air, gotten himself generally ‘in -wrong,’ Well, an advertising solicitor breezed around to his offices the -other day, and Grey, his man Friday, like a faithful Great Dane, -blatantly berated the man for daring to insinuate Griffith should -advertise. ‘Do you know you speak of the Great Griffith,’ says Grey. - -Great H----,’ sulphurously replied the ad solicitor. ‘When he comes -through with an advertising contract I’ll stand for that bull.’” - - * * * * * - -We doubt if there is a shrewder woman in the theatrical game than -Justine Johnston, Realart’s new star. Justine, otherwise Mrs. Waenger -(yep, he is with Realart, too) has our deep respect. Prior to marriage -she got along very well, from Ziegfeld Follies days, through her period -as hostess in Broadway “gyp” joints, down to the time she guided the -destinies of “The Little Club.” Ask any New Yorker of the latter place. -We thought Justine’s hand was out of the Club, then after paying two and -a half dollars for a snifter of something or other, we wondered. -However, that is natural. Every time we think of Justine, we somehow -think of the word “expense.” - -Boy, page Morris Gest! - - * * * * * - -Just before Ollie Thomas went abroad with hubby Jack Pickford, coast -wanderers came back with an amusing yarn. Seems, according to the tale -bearers, Ollie was partying a bit, and announced to all and sundry that -Jack thought he was getting away with a lot, but in reality was not. -Well, Ollie always did have good eyesight. Disclosing a little secret of -our own, we have a lot of sympathy for Ollie. Because she is married to -Jack? Well--maybe, we wouldn’t say. Some day, by the way, we are going -to devote quite a little bit of precious space to extolling that member -of the Pickford family. Always providing he doesn’t drop out of motion -picture sight beforehand. - - * * * * * - -Coast gossipers are including Lillian Hall and director Emmett Flynn in -their conversations these days. Seems the two have apparently been seen -often together. Well, as Chaplin so aptly said, “it’s a great life in -the West.” Wonder if Shirley Mason doesn’t find herself lonely without -Lillian around? And what is the trouble with friend husband, which -forces Lillian to depend on friends for entertainment? - - * * * * * - -A person in a position to know, has sent us another, and what is claimed -a truer angle of the splitting of the Doris May-Douglas MacLean team, -about which we had an article in the August issue. This party states -that MacLean had such an exalted case of swelled cranium, following the -success of several pictures, that he refused to renew his contract -unless he was starred alone. Tom Ince, not feeling justified in asking -the delightful Miss May to support him under those conditions, had no -alternative other than to sign her to a separate contract. - -Perhaps we are prejudiced in favor of the feminine sex, yet, if the -above is true, we earnestly look for a “flop” on the part of MacLean. - - * * * * * - -There must have been loud wails of anguish lately, if the rumor -percolating from the famous Players-Lasky studios to the effect that -Elliott Dexter had to stop work when a picture was but half completed, -is true. Production, ’tis said, had to be retaken with another leading -man. Picture row said Dexter was in a sanitarium--and was not charitable -in ascribing reasons. We always found Dexter a pleasant fellow, and -extend best wishes for an early recovery. - - * * * * * - -There was a warm competition between the theatrical promoters, William -A. Brady and Al Woods early in August, to see who could get his play on -the boards first. Both were on the same theme, and according to critics, -very similar. Brady won with “Opportunity.” Woods was one night late -with “Crooked Gamblers.” So we judge to the victor will go the spoils, -and Brady will dispose of the picture rights of his play for twenty-five -or fifty thousand dollars. Yep, even though it is soon carted to the -storehouse. - - * * * * * - -Wow! Aren’t some people hard to satisfy? Look at this here, now. Tina -Mendoti, who is suing the Premier Film Corporation for $8,000, claims -she was engaged to star in a picture for $2,000 a week, and was paid but -half. Who, by the way, is Tina? And, how come she really got half of the -salary in real money? - - * * * * * - -Louise Fazenda and Chester Conklin are going to shake the dust of the -Sennett lot to join Special Pictures, a comparatively new corporation -which will give them an opportunity to be individually starred. Tightwad -Mack will have a hard time holding ’em this season. - - * * * * * - -A clash between Director Douglas Gerrard and Doraldina, the new Metro -star, resulted in Joseph Engel calling off production work on “Passion -Fruit.” Differences of opinion arose at Santa Barbara, where the company -was on location. Both star and director shot in telegrams and the -company was recalled. The company it is said sides with Gerrard. -Evidently trying to nip in the bud another tyrannical domineering -Nazimova. - - * * * * * - -When “The Mollycoddle” was first announced as a Fairbanks production, it -was naturally understood, and was so advertised, that Harold McGrath the -novelist, would whip the story into screen form. And now, say the wise -ones, Mr. McGrath’s story should really be credited to Tom Geraghty and -Doug Fairbanks himself. True, we understand the original story was -McGrath’s work--but the picture version, that is another thing. Anyhow -one scene was McGrath’s--and he drew down cigarette money amounting to -$25,000. Well, well! - - - - -Cough Up, Charlie - - -Charlie Chaplin is hiding in Utah because a state law makes it -impossible to serve him with a restraining order preventing the sale of -his latest picture. Mildred Harris is hovering around New York, because -that is the spot to be if you are interested in the coin that comes from -a picture sale. And her attorneys have filed suit in Los Angeles just to -be safe in covering the country. - -All of which is a pretty mess not calculated to do the picture industry -any good. Still less is it calculated to bring credit to Charlie and -Mildred. Least of all to Mildred. - -For the girl who married into stardom is talking--talking too much. The -interviews she gave New York’s papers on the day her attorneys filed -suit sounded like the rattling of a vacuum bottle. Mildred Harris in the -role of an anguished wife suing for divorce on grounds of cruelty looks -like Theda Bara would in a Pickford part. - -Big city interviews are out of Mildred’s class. She gets her “lines” -balled up and hangs a “To Let” sign from the upper stories. - -But Mildred has little to lose. In Lois Weber’s clever hands she was an -actress of promise--but no more--before she cleverly annexed stardom -along with the title “Mrs. Charlie Chaplin.” Slipping back will only be -a balancing act for Mildred. - -Charlie’s case is different. Charlie is one of the half dozen figures -who mean and typify the motion picture to the general public. Charlie, -with all his personal faults, is so big as an artist that he can -suffer; and so big a part of the motion picture, that the art can -suffer. - -Therefore, be it resolved and otherwise made known that we are about to -take it upon ourselves to offer a little advice: - -Take a tip from us, Charlie, slip her the coin. We don’t know the price, -but it will be cheap at any price. Settle it. Call it quits. Get back to -work. There’s the slim bespectacled shadow of Harold Lloyd on your path. -Get busy. - -You don’t want to go into Court. What’s the use? There are only two -courses open to you. You either have to sit still and say nothing, -taking your medicine like a man, playing the age-old part of giving the -woman the benefit of silence, or--or--. - -You have to start telling things. - -And that will hurt you as much as it will injure anyone else. - -Silence means a costly verdict against you. Conversation will mean a -costly verdict against the industry as well as all concerned--and at the -hands of the great arbiter, the general public. What of it if you say -you have lots to tell? Mud has an inherent habit of smirching all who -touch it. Even blue mud does it. - -On the other hand the payment of a juicy bunch of coin now will wrench -your very soul. But after it’s all over you’ll find it didn’t hurt half -as much as you expected. It’s like pulling a tooth. - -Come on--try it, Charlie! - -Zi-i-p--goes a nickel! - - - - -Our Stars: Eugene O’Brien - - [_This is the first in a series of articles which will answer for - fans the eternal question, “What sort of a person really is - So-and-So?” At some times we may be forced to pierce some bubbles; - at others, as on occasions such as this month’s subject - presents--why, YOU’LL BE SURPRISED!_] - - -Eugene O’Brien was born with the advantage of a regular fellow’s name, -and the handicap of perfectly chiseled features. The “handicap” has -served to bring him rating with the two-thousand-a-week stars in spite -of the “advantage”--if you get what we mean. - -O’Brien is really too “pretty.” To most men he is almost--but not -quite--as sickeningly sweet as Francis X. Bushman used to be. Perhaps -this condition is aggravated by such titles--and such pictures--as “The -Perfect Lover.” Mayhap, also, it is but the innate jealousy of the male -beast. - -Film Truth’s mail from all sections of the country is frank and -outspoken--and a pretty safe index to public thought on films and film -folk. Reading this barometer we find that Eugene O’Brien is regarded as -not quite all “a man’s man.” He’s “too nice,” according to the most -recent letter--this from an eighteen-year-old miss. - -Inside the film fold and stage circles the same opinion prevails rather -generally. O’Brien deserves to be kicked twice around the block and once -up the alley for the “Lunnon” accent he acquired at the Lambs Club. Or, -perhaps we should call it outspokenly a “Lambs Club accent.” The -difference may be explained by the statement that if there is any -violet-tinted drawl that grates on a regular he-American’s ears more -than a London accent it is a Lamb’s bleat. - -This affectation--plus mannerisms in the same atmosphere--has been -against O’Brien. We will confess that for many years we also held to the -general view that Eugene was too lavender-hued for mixed company. - -But later years, and closer opportunity to hold the microscope over the -subject of this sketch, have brought a change of mind. We are ready to -state--now that we have been asked the question, “What sort of a fellow -is he really like?”--that Eugene O’Brien is a regular, -honest-to-goodness human equation, and a “he” of the species. - -O’Brien, to those who know him, a likeable chap, a liberal host, and a -true blue pal. He has, deep down within him, a sense of personal -perspective. We even believe he realizes what some others think of him, -and, give him credit, a lurid, cussing contempt is his only reaction. - -If only the blankety fool would exchange that blarsted thin-stringed -London twinge for the healthy twang of his Denver birthplace. - -The nearest we have ever known him to come to it was on a recent -occasion when Selznick attempted to put into force certain petty -restrictions on the use of automobiles in journeying to locations -distant from the Los Angeles studio. - -Harry Rapf, the studio manager, was made the mouthpiece for the ukase. -It went over well enough with the rough and ready bull wielders who -wield a wicked tongue--when the boss isn’t around. As for -O’Brien--nobody thought that “nice boy” ever raised his voice above a -whisper. Rapf decided to play it safe from the first bell and he opened -the attack on O’Brien in rough and ready fashion. - -Then the explosion! Dynamite, T. N. T., and essence of Whiteheads! -O’Brien illumined the air for miles around with a volubly expressed -desire to mingle in catch-as-can combat with Rapf, a willingness to -oblige with a two-fisted massage, a craving for anything short of murder -and arson. - -No high-and-mighty temperamental star’s dignity, mind you! No sulking in -the dressing room, or writing of “letters to the boss.” Just man-to-man -talk, rip-snorting, raz-a-matag square-shooting shouting. - -Rapf crawled down from his eminence quicker than an incline railway with -a busted cable. The lines traveling the hills coming down to Cincinnati -or descending Mount Tamalpais couldn’t make greater speed if they were -hell bent for election. - -And O’Brien established himself with the members of his company and the -studio hash-slingers who were present that day. They swear by ‘Gene, and -with him. - -In closing, let us remark that Eugene O’Brien is just as much a bear -with the women off the screen as he is on. Gene is there as a -picker--and what’s more the _class_ picks on him. Which tells the whole -story. - - _The Fall Season is here--and with it the first of the year’s big - pictures. If you want to read about the pictures months in advance, - there’s one sure way,--tell your newsdealer to save FILM TRUTH for - you each month._ - - - - -The Best Stock Sellers - - -The suns of Summer are cooling fast, and the browns of Fall are -appearing. A new year is about to begin in the motion picture business. -For, be it known to the lay reader, the picture year like the stage year -has September for the first page of its calendar. - -What better time to check up and tabulate on what has happened to the -year’s best stock sellers? - -This sombre thought is brought to our mind by the fact that we have just -met the director of “Determination,” which many class as the -record-breaker of the year’s six best stock sellers. - -“Determination,” we learn, has sunk for the third time. It may come up -again; it is said that they do once in a million years. But for the -time, at least, “Determination” is wallowing in the mire at the bottom -of the river. - -“Company’s disbanded. All is off,” fumes the director. “And I’m going to -sue for ’steen hundred thousand dollars.” - -“Determination,” we take it on our own authority to decide, is -temporarily strapped for money. It’s a habit that stock-selling picture -propositions have. There is no reason to believe that “Determination” is -an exception to the rule. - -Captain Frederick Stoll, the genial promoter of “Determination,” is sure -there, with the quality denoted by his picture’s title, if he has no -other abilities to recommend him. It must be well over a year ago that -we first heard of his proposition. Then he was working Cleveland. A -wealthy “queen of the manicure shops” if our memory serves us, became -very much interested in the “captain’s” plans to make such a -super-special picture as would shame all previous efforts. - -Ohio was good territory for a time, other states followed. But some six -months ago the genial promoter pulled his master-stroke by moving -headquarters to Washington, D. C. You see, the name of the company was -U. S. Photoplay Somethin’ or Other, and the combination of U. S. with a -Washington, D. C., address was quite the class. - -While in Washington the Captain was guilty of some very wonderful -advertising. Full page advertisements in the Washington papers told the -story of the Captain’s life, and his reasons for believing that he had -the makings of “the world’s greatest picture.” - -From the ad we also learned that the Captain acquired his title with the -1st Illinois National Guard Regiment. A funny thing was that the ad gave -over several inches of its space to tell about the history of the First -Illinois, in ’98 at Cuba and so on, but nowhere did we find a mention of -the fact that the Captain himself was not present when its various -heroic feats were accomplished. - -A few months ago a company of players longer than a boarding house -mailing list was announced for “Determination.” Announcements flew thick -and fast for a few weeks, work was started at Fort Lee--and then the -shut-down. - -Glory be, we’ve used up all the space the editor gave us and devoted it -all to “Determination.” We’ll have to wait another month or two for a -discussion of the records of “Democracy,” “Crusader Films,” Johnson and -Hopkins, and others of the year’s best stock sellers. - -Meanwhile, as you read the ads and the beautiful literature, please take -the tip that we have given you so often: 4% in bank is better than “ad” -promises of 400%. - - - - -Five Reeling, Reels - - -One picture seen during the month we consider unworthy enough to be -given a review outside of our regular “Boosts and Boots” department. -This doubtful compliment goes to Realart’s offering “A Dark Lantern” in -which the ever thinning, now far from beautiful Alice Brady is starred. - -When we thankfully saw the final fade-out, one expression rose to our -tired mind “A heterogeneous mass of nothing.” That is about all we got -out of this so-called feature. - -Occasionally we wonder at the almost unlimited patience possessed by a -forgiving public, which will permit big manufacturing companies to foist -a mass of celluloid such as this time and time again, upon them through -the exhibitor. - -Jumpy to a farcical point in its continuity, with a story chiefly -notable by its absence, and with a star in Alice Brady, who may well be -regarded as a “has-been” if this effort is the best she can offer, “A -Dark Lantern” is really pitiable as a modern day picture. - -Alice has apparently adopted the “grab it all for the family” policy, -for friend husband James L. Crane is found in the cast. One reviewer -most aptly describes his work in saying “his face reveals scant trace of -emotion in any scene.” Rather doll-like, as it were. And pray tell, what -else could be expected of Jimsey? - -Elephanitis of the bean, to put it inelegantly, is liable to result -fatally for Alice, so far as her artistic career is concerned. - - - - -Home, Sweet--_Safe_ Home - - -When Gertie, the village belle, finally decides she is not appreciated -at home, you can generally bet the last nickel of your last forty-cent -dollar, that very shortly she will be found in the already long line of -hopeful future “stars,” before the door of some motion picture studio. -And, just as certain as the seasons come ’round, is the fact that Gertie -will never star under any lights other than the flickering gas jet -beside the mirror in her hall bedroom. - -It simply isn’t done. In our experience, we have found that the chance -of the ordinary screen struck girl of “getting into the movies” is about -on a par with those of the rich man of Biblical fame entering Heaven. -Yet these prodigies who triumphed in amateur theatricals at the Home -Opera House, or of whom well-meaning friends spoke as “much cuter and -more beautiful than Flossie Star,” continue to pay the railroads a good -part of their revenue. - -Which may account for the startling dearth of suitable material for -musical comedy choruses, and for the presence of hefty, -thirty-five-year-old “girlies” in the burlesque troupes. - -To go into the “hows and whys” of this would take up more space than it -would be worth. And, though the difficulties of becoming even an extra -in pictures have been publicized broadcast by many magazines, and even -some companies, our mail continues heavy with letters from hopeful, -pleading, blinded women, old and young, who seek a way to picture fame. - -Casting directors, directors, company executives, have become so blasé -in the face of the onrush of appealing femininity to whom home and -virtue are as nothing to a career in motion pictures, that the -inexperienced damsel who catches their eye to any effect is indeed a -fortunate one. - -True, as many readers will say, “stars” bob up over night. “Over night” -is right, perhaps. Yet aren’t these bubbles on the crest of the wave, -these petted favorites of the moment of some one “powerful,” regarded as -is an old man’s darling? We’ll answer ourselves. THEY ARE. - -Nix, girls, nix. You might be the one in a thousand who got somewhere. -You MIGHT. But we would rather gamble against an electrically controlled -roulette wheel than have your chance. It would be pulling an old saw to -say the road was rocky, but take it from us, Aspirants to Movie Fame, -unless you have absolute assurance of a position bringing in at least -cakes and coffee, you will do better to stick close to home and mother. - -It is a great business. But there is no quick and easy shortcut to -automobiles, furs, picture in the papers and Pomeranian. Not more so -than there is a shorter cut between two points than a straight line. - -[Illustration: open book decoration] - - - - -Boosts and Boots - - -“A CUMBERLAND ROMANCE” (Realart). Padded to death. One of ‘those kind of -pictures’ released at the fag end of the summer season. Mary Minter is -as pleasing as usual, and makes most of her opportunities. See it if -nothing better offers. - - * * * * * - -“WHAT’S YOUR HURRY” (Paramount-Artcraft). Another story of the ‘roaring -road’ by a man who knows the automobile game. Well produced with Wally -Reid his usually capable self. This star is well ahead of the majority -of men stars, and his ability, ‘regular fellow’ manner, and good stories -are putting him further in the lead. A picture not to be missed. - - * * * * * - -“EARTHBOUND” (Goldwyn). Fantastic in the extreme, daring in conception -and execution. Will be received in almost as many different ways as it -is seen by people. With a psychic theme, it makes the imagination of the -spectator stretch to the utmost to encompass the thought. The thoughtful -will find much to make them pause. It is our opinion the production will -go over the heads of many. Also that it may not be quite the success in -a financial way that is expected. But, in its way, it undoubtedly stands -alone. - - * * * * * - -“WHAT WOMEN LOVE” (First National). Sol Lesser’s long heralded Annette -Kellerman film. Entertaining and at times thrilling. As may be expected -it is built around the aquatic ability of Miss Kellerman, who is seen -almost throughout in her ‘one piece.’ The under-sea scenes are -excellent. Will please generally. - - * * * * * - -“THE JACK-KNIFE MAN” (First National). King Vidor has produced a story -rich in every particular. There is humor, there is pathos, there is real -acting. No ‘big stars’ run away with the piece. Human interest -background appeals. A story of small town life that will please. - - * * * * * - -“THE CHORUS GIRL’S ROMANCE” (Metro). One of the best pictures of the -year. While comedy predominates, there are moments when the spectator -will be stirred out of himself. Viola Dana has done herself proud. Her -cute figure lends itself well to the part she plays, the Chorus Girl. -Story is well knitted, and is from the one which appeared some months -ago in the Saturday Evening Post. Settings, action, photography--all are -of highest standard. A picture that will appeal alike to high and low. -Should not be missed. - - * * * * * - -“IF I WERE KING” (Fox). Farnum set in story of medieval days. While the -public’s dislike of costume plays is as strongly apparent as ever, this -lavish production should be one of the few to get by from a box office -standpoint. Fox certainly spent a lot of money on it, and the -entertainment provided is well worth while. - - * * * * * - -“THE MAN WHO DARED” (Fox). Better than almost anything Russell has -appeared in. Fox is living up to advance promises of better productions -for the year. Russell good as a rough tongued, heavy fisted lumberman. -Eileen Percy opposite him. Parts are overdrawn but on the whole it is a -good picture. - - - - -A Confidential Chat - - -When this little publication first made its bid for favor, the Editor -had one idea paramount above all others. That was to dodge the avalanche -of press agentry which inundates the business, and instead to give the -public entertaining and TRUE information. - -That idea, while broadened, is still the main spring of FILM TRUTH. - -Some editorial rats have peeked out of their habit formed cobweb and -thrown a few scurrilous bouquets at us. - -That is to be expected. - -On the other hand, we have yet to hear from a single reader that we have -offended. - -From the early days of the motion picture industry, we have derived our -income from it. We have breathed, eaten and slept with motion pictures -before us. We wish to see the business on a continually mounting plane. -And, such little as we can do to accomplish this, we are doing. - -FILM TRUTH has no ‘grudge fights’ with player or company. Where -criticism may enter one month, praise is just as liable to be the -portion of the same person the next. - -If we err, it is as much a regrettable occurrence to us as to the party -erred against. _And our columns are open to the other side on such -occasion_. - -Fair play is given all. Particularly to that reading public which wishes -truth, and usually gets buncombe. - - - - -Bush League Stuff - - -Thirty-six weeks trouping in the hinterland heading the cast of a -maudlin but financially successful play has revived the drooping spirits -of Francis X. and Beverly Bayne Bushman. So many unpleasant, -humiliating, embarrassing events have occurred in the lives of the one -time film stars’ lives, since their abrupt departure from public view -some three years ago, that even the sublime egotism of Francis X. -himself was being shaken to the very foundation. But Francis X.’s faith -in himself, in his talents as an actor, in his popularity with the -public, has been restored. As for Beverly she was never but a faint echo -of her Adonis, second hand husband, so she too is cheered by the events -of the past six months. - -’Tis said that the tour of the play in which Bushman and Bayne were -starred replenished the family coffers to an extent that would permit -the redemption of the wonderful collection of valuable furniture which -last summer graced the show windows of a Broadway second hand store and -which went under the hammer to pay the alimony which Mrs. Bushman number -one insists on collecting to buy shoes for herself and the five children -who were the offspring of the one time film favorite’s first marriage. - -But it is not the somewhat delayed receipt of a little jack, that has so -pleased the Bushman-Baynes and is responsible for their greatest -elation. They could never regard the refusal of motion picture producers -to further star them, as anything but unadulterated malice. - -True there was a little talk about the Bushman divorce and the -subsequent marriage of Francis X. and Beverly, but they argued that -this little scandal would soon be forgotten. They acclaim now the truth -of their argument. - -But there are those who openly state that Francis is not able to -differentiate between popularity and notoriety, and make the assertion -that the appearance of Bushman and Bayne on the stage attracted a mixed -crowd of the morbidly curious who wanted to see “what they looked like,” -the remains of a vast army of kitchen mechanics and shop girls some of -them grandmothers now, who used to worship at the Bushman and Bayne -shrine and a few who came to laugh at and not with the show. - -A good many years ago as film history is figured, God gave Francis a lot -of good looks, a dislike for manual labor and a few brains, so he -decided to adopt the stage as a profession. - -His histrionic ability did not set the world on fire but fate was good -to him and one season found him heading the cast of a Broadway -production under the title of “Going Some.” The engagement was short -lived not because the play was bad material since it has proven a -popular dramatic stock vehicle, but because it was badly acted. Bushman -was one of the worst offenders. - -About this time picture producers were beginning to look about the stage -for talent. Essanay engaged Bushman to play the leads in some -extraordinarily good stories for the time and sent a company to Ithaca, -N. Y. - -The feature pictures, almost the first in the field, turned out that -summer were a success not because of Bushman and Bayne but in spite of -them. In fact one of the best of the several features found Francis X. -cast in a minor role--wherein hangs a tale which may illustrate the true -worth of this actor. When it came time to start work on “The Love Lute -of Romany,” Francis got his copy of the script. He read until he found -a scene that demanded the hero should climb a tree overhanging a deep -cliff and repose amid the branches while the villain chopped away at the -trunk until the giant of the forest was about to crash into the gulley -below. Francis didn’t read any further. He burned the soles of his shoes -locating Director Wharton and began an argument that was intended to -prove that this scene was no good. However Bushman did not have the -prestige with directors that he later acquired and the scene stayed in -the script with the subsequent result that another actor with more nerve -and less good looks played the lead in the picture. - -After the Essanay engagement at Ithaca came the era of multiple reel -features, with the names of the players presented on the titles, the -vogue of the fan magazines in which were printed long eulogies of film -players and an unprecedented interest in the photoplay. - -Bushman and Bayne became famous almost overnight. For a while they shone -as brilliantly as any stars of the day but soon the public began to tire -of picture after picture that contained no more entertainment value than -closeups of the stars and romantic poses that sickened the souls of -those who hoped to find drama in the movies. - -Then came the Bushman divorce. It was the last straw. The camel’s back -had broken. Bushman and Bayne were out in the cold, cruel world and -there they have remained until the enterprising Oliver Morrosco decided -that he would take a gamble with the play we have mentioned. The show -went out and made money. Now comes the final sequence of our story. - -Encouraged by the success of the Bushman-Bayne play, Mr. Morrosco has -shipped his stars to Los Angeles and is to star them in feature -pictures. He evidently has been “sold” the idea that Bushman and Bayne -can “come back.” Bushman and Bayne have never doubted it. - - - - -Developing Your Plot - - -Plot germs have taken up quite a bit of our time in this new series of -thoughts on the writing of photoplays. And rightly so. For, unless you -know where to look for plots, and how to recognize a possible plot in -embryo, how are you going to construct them? - -Let’s proceed a step further along our path. Having discovered the -_germ_ of a plot, how are we going to develop it into a full grown, -vigorous, structure? What is the prime necessity? What magic touch -infuses life and strength into the bare idea we possess and makes of it -something that will hold the interest of others, that will entertain -them? - -Speaking generally, and leaving to later discussion the narrower by-ways -and paths of plot development, we may set down as the primary essential -of a plot the basic element--_struggle_. Your plot germ, your original -idea, is usually an out of the ordinary character or an incident that -concerns ordinary characters in an unusual manner. - -Into this source you must inject--_struggle_. Some will call it -_conflict_, others will tell you that _suspense_ is the necessity. But -suspense is the outgrowth of struggle or conflict. - -There is struggle of varying sorts. Your struggle may be that between -the different characters of your story, it may be the struggle of one of -your characters against conditions of life and the world, it may be the -struggle of your character with his own inner self. - -But it is struggle of one sort or another that makes your story. Barring -the few exceptions whose existence we have noted, and which we will -describe and study later, it is the tale of struggles that makes up the -entertainment of the world. - -The spectator who comes to see a motion picture, or the reader who picks -up a book, expects to be introduced to an interesting character, one -whom he will either like very much or dislike very much. After hearing -your premises they expect to witness a struggle, the further progress in -life of your character and necessarily the sort of progress that brings -struggle. Your character may be the most interesting one in the world, -but two hours talk about his unusual points will not satisfy anyone. -Those two hours must concern things that are happening to your character -or events that he is causing to happen--that is, the element of -struggle. - -You will remember that last month, in discussing the possible plots to -be discovered in newspapers, we found a germ in the “Letters From -Readers” column. It was an epistle signed “Lonesome,” and was from a -young man who wanted to know why the big city did not provide some sort -of welfare club or association where a stranger could meet and become -acquainted with other persons? - -That word “Lonesome” aroused our curiosity. It would likewise interest -an audience. Imagine Charles Ray in the character. We see him fresh from -the country, in his little hall-room, life, hustle and bustle all around -him. But to Charlie they mean nothing; he has none in the length and -breadth of the city to call “Friend.” - -When you have introduced such a character you have the audience with -you. But you must go further. The audience wants to see Charlie struggle -against his environment, or, out of his despair they wish to see him -perform some rash act that will force a struggle on him. - -Comedy or drama can be developed from such a theme--by the injection of -struggle. The chances are you will bring to light that most artistic and -desirable of blends--comedy-drama. Suppose that our “Lonesome” -youngster, suddenly grown rash, forms a decision. “I’m going to walk out -that door,” he says, “and speak to the first person I meet. I don’t care -whether it’s John D. Rockefeller or a street sweeper, I’m going to tell -him I’m lonesome and want someone to talk to who will speak about -something beside the weather.” - -There’s the start of your struggle. Why, it’s a funny struggle alone to -see Charlie walking the room, trying to screw up his determination to go -through with the rashly made resolution. Finally he strides forth -bravely. - -Whom does he meet? - -There’s where your genius as a story teller comes in. What sort of a -character would O. Henry have him meet? Start a Harold McGrath story off -with this theme. The story will be running away with you--if your -imagination is in working order. - -The simplest form of struggle is that of the eternal triangle--two men -for a girl, or the conflict of two women for one man. The struggle that -develops out of your “Lonesome” story may eventuate in that sort before -it gets very far. But you can see that you have started on more original -ground, that if you follow these paths you will not have simply an -“eternal triangle” story. - -That has been our reason for withholding mention of “struggle” to this -point. There are those who would tell you of this basic essential before -any other point had been discussed. The result is that so many amateurs -set out to write stories by seeking for a struggle. They look over the -list of various sorts of struggles, two men for a girl, two girls for a -man, man against poverty, man against temptations, and so on. And when -the alleged story is completed it is merely a framework, without life -or soul. Stilted characters struggle through time-worn situations. - -“Struggle” may be classified and indexed. But “plot germs” cannot; the -plot germs that _you_ can discover are limited only by your own -experience, your own reading, your own imagination. And if you set -out to write your story by searching for the _germ_ that is unusual, -interesting, the chances are in your favor in securing originality--something -different. Because _your own life_, your own viewpoint is something -different. It is yours as long as you keep it yours, it is going to -become trite only when you grow lazy and follow the lines of pictures -and stories you remember because that is the easy way. - -Starting with a germ that is _different_ the “struggle” you provide is -going to be different, because it is going to be the sort of struggle -that could happen only to your _different_ characters. - -There’s the basis of originality--your own life, your own heart, your -own mind. - - * * * * * - -_ABOUT THE WRITING OF PHOTOPLAYS_ - -_No, dear reader, the article you have just read is not part of a -“course in photoplay writing.” We don’t like the phrase, we don’t like -anything that claims to be a course in photoplay writing._ - -_If we were to call these articles a “course” there would be the -inference that we thought any person who read them could learn how to -write photoplays. And we would be taking money under false pretenses. -That isn’t our business; it’s our antipathy._ - -_No, unless you have within you the material that would make you a -scenario writer eventually, whether you read this series of articles or -struggled along the Rocky Road of Experience, you would never become a -screen author._ - -[Illustration: decorative line] - - - - -A CLOSING THOUGHT - - -The Chicago Photoplaywright College, through its agents, requests our -advertising rates. - -To which we hasten to reply: - -During 1920 our schedule for advertising is as follows: For schools -claiming to teach photoplaywriting, $794,687.23 per agate line; for -promoters selling movie stock, $1,545,897.13 per dot of an “i”; for the -slimy beasts who take the savings of girls to make them movie stars, a -page absolutely free of charge and clear of war tax, couched in our -choicest adjectives, boiled in billingsgate,--all this every time we get -the goods on them. - -You’re welcome, Chicago Photoplaywright College! Any further information -desired will be gladly furnished on request. Apply to our Service -Department, with the accent on the “hiss.” - -[Illustration: decorative line] - - - - -_“Brilliancy”--and Stars_ - - -_It happened at the luncheon table at the Astor Hotel, New York._ - -_Trade paper critics and other film folk were gathered around the -festive board, prior to viewing the latest picture with Mildred Harris -Chaplin starred._ - -_The fair Mildred naturally was present._ - -_For a moment, strange to say, film talk had stopped, and politics and -the coming Presidential election was the topic of conversation._ - -_Said Jimmie Young urbanely and smiling addressing Mildred:_ - -“_Are you going to vote?_” - -_“Vote?” gushed the fair one vacantly, a tiny frown indicating -deep--er----mental effort. “Vote? What on?”_ - -_And the orchestra softly played “Asleep in the Deep.”_ - - - - - -End of Project Gutenberg's Film Truth; September, 1920, by Anonymous - -*** END OF THIS PROJECT GUTENBERG EBOOK FILM TRUTH; SEPTEMBER, 1920 *** - -***** This file should be named 51484-0.txt or 51484-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/1/4/8/51484/ - -Produced by Chuck Greif and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images available at The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Film Truth; September, 1920 - -Author: Anonymous - -Release Date: March 17, 2016 [EBook #51484] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK FILM TRUTH; SEPTEMBER, 1920 *** - - - - -Produced by Chuck Greif and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images available at The Internet Archive) - - - - - - -</pre> - -<hr class="full" /> - -<p><span class="pagenum"><a name="page_001" id="page_001"></a>{1}</span></p> - -<div class="figcenter"> -<a href="images/cover_lg.jpg"> -<img src="images/cover.jpg" width="347" height="500" alt="September 25 cents - -FILM TRUTH - -“That Little Red Devil” - -MOVIE SPICE!" /></a> -</div> - -<p><span class="pagenum"><a name="page_002" id="page_002"></a>{2}</span></p> - -<div class="red"> -<h1><img src="images/red-bar.jpg" width="90%" height="25" alt="decorative bar" title="" /><br /> -F I L M T R U T H</h1> - -<table border="0" cellpadding="2" cellspacing="0" summary="" -style="border-bottom:2px solid red;font-weight:bold;"> -<tr><td>Vol. 1, No. 6</td><td align="right">September, 1920</td></tr> -<tr><td align="center" colspan="2">Published every month by FILM TRUTH, INC., Leroy A.</td></tr> -<tr><td align="center" colspan="2">Pales, president, 2255 Broadway, New York City</td></tr> -<tr><td>25 CENTS A COPY</td><td align="right">$3 A YEAR</td></tr> -</table> - -<p><i>“FILM TRUTH” accepts no advertising, prints no press-agent bunk, has no -boss other than its thousands of readers—and is prepared to travel -willingly to the eternal bowwows the day it discovers that any other -guidance is necessary.</i></p> - -<p><i>It is the only publication for the public that comes from “within the -industry,” with all the real news, and the latest news.</i></p> - -<p><i>You get concentrated, unadulterated, unalloyed “pep” when you buy “FILM -TRUTH,” without a wasted word or a slushy syllable.</i></p> - -<p><i>But—to be sure of getting “FILM TRUTH” every month you must let your -newsdealer know that you want it. His orders are limited and he can’t be -blamed if you are disappointed when an issue sells out faster than he -anticipated. Be on the safe side and have him save a copy for you every -month. Tell him to-day!</i></p> - -<p class="figcenter"> -<img src="images/red-bar.jpg" width="90%" height="25" alt="decorative line" title="" /> -</p> -</div> - -<p><span class="pagenum"><a name="page_003" id="page_003"></a>{3}</span></p> - -<hr class="dblbar" /> -<h2><a name="Simper_Simple_Sucker" id="Simper_Simple_Sucker"></a>Simper, Simple Sucker</h2> -<hr class="dblbar" /> - -<p> </p> - -<p class="nind"><span class="letra">D</span>ON’T cry little sucker—don’t cry! If they put Ponzi in jail the movies -will get you bye and bye. You will always be taken care of—considerably -more “taken” than cared for.</p> - -<p>An easily deceived world has been led to believe that the official birth -rate of the sucker clan is “one every minute”—but the man who made the -calculation must have had a slow-motion watch.</p> - -<p>We know that we are babbling words of truth. For we have before us the -shining example—the word “shine” is appropriate—of a person who calls -himself “Director Brennan.” Almost as long as we can remember, this -self-christened “Director Brennan” has been fishing in the Shimmering -Sucker Sea with the movies as his bait. And the fishing must be good, -for he keeps at it, and keeps expanding.</p> - -<p>Our first recollection of the fisherman calls to mind some very crude -bait. But it worked. For a fee of several seaworthy simoleons, simpering -suckers who thought they had ability that could successfully cope with a -camera were permitted to see their photographic likeness in a bulletin -which they were warmly assured met the eyes of all the leading producers -and casting directors. The open road to a screen career was to pay for -the insertion of your photograph in the bulletin—and pay again, and pay -some more. Directors had to have players, and logic is logic, sooner or -later some director was going to see your photo.</p> - -<p>Only a month ago we came across one of these old bulletins in a dingy -East Side printing shop. Honest, cross our heart, we are neither -spoofing nor joshing—<span class="pagenum"><a name="page_004" id="page_004"></a>{4}</span>there were three hundred pound would-be ingenues -and Ben Turpin doubles who aspired to play handsome heroes. Bleating -boobs waited in hourly anticipation of a wire from David Griffith—“I -saw your photo in Brennan’s Bulletin and must have you to play the lead -in my next picture.”</p> - -<p>In vaudeville parlance “Director Brennan” was working a “single” act -then. Coming down to the Fall of 1920 we find him “doubling in brass.” -If you are a silly sucker anxiously fearing that you may escape your -fate we are about to show you how easy it has been made for you. -Director Brennan is playing both ends against the middle—for your -convenience. And—“if you don’t find what you want ask for it.”</p> - -<p>In the New York Evening Mail we renewed our acquaintance with Director -Brennan one night by reading the following ad:</p> - -<div class="blockquot"><p class="c">GET INTO THE WONDER INDUSTRY OF THE WORLD.</p> - -<p>The motion picture producing business. Hundreds of fortunes have -been made and are being made in it. Successful motion picture -playwright and director offer part ownership in a series of -powerful, emotional plays for the screen, entitled “When Dreams -Come True,” “Time Will Tell” and “Inspector Flynn.” I’ve got the -plays, the experience, the organization and the facilities for -producing up to date pictures with the real punch in them. No stock -jobbing scheme. No agents. Principals only. See me personally.</p> - -<p class="r"> -Director BRENNEN, 2 West 123d st., N. Y. C.<br /> -</p></div> - -<p>The following morning we picked up the Illustrated News to find this -burning message:</p> - -<div class="blockquot"><p class="c">A GENUINE OPPORTUNITY TO MAKE GOOD IN PICTURES.</p> - -<p>If you have the talent to act in pictures and can qualify I will -put you on the screen and register your type and personality in a -series of scenes, flashes and close-ups running from 200 to 500 -feet and record your screen adaptability; a wonderful chance for a -few ambitious beginners of both sexes to make good in pictures. -Director Brennan, New Idea Films, 2 West 123d street.</p></div> - -<p><span class="pagenum"><a name="page_005" id="page_005"></a>{5}</span></p> - -<p>We must say that “Director Brennan” has our admiration. If “Safety -First” is a nation’s motto, “Safety Always” is “Director Brennan’s” -bible. His proposition is legally correct, and technically true. This -may mean a lot to a sucker but it’s a ha-ha to us. Nevertheless, though -Post Office Inspectors have looked him over, and our old friend Bill -Hicks, the valiant crusader of the <i>Specialty Salesman</i>, has tested his -spear on him, it must be stated in loud and certain terms that “Director -Brennan” is “within the law.”</p> - -<p>So line up, members of the clan. If you desire a part ownership in “When -Dreams Come True”—go to it. If the dreams are slow in coming try “Time -Will Tell.” After the pictures have been completed by the “successful -motion picture playwright and director” and you’re wondering what the -devil to do with them—ask “Inspector Flynn.” After that, get out of the -line and clear the way. There was another one born the same minute that -you were—and he is pleading for a “part ownership.” All we can assure -you is that if “Director Brennan” offers to sell you a “part ownership” -you’ll get a “part ownership.” There’s nothing wrong with that -proposition.</p> - -<p>Neither is there anything corkscrewey about the “Genuine Opportunity to -Make Good in Pictures.” “If you have the talent and can qualify,” it is -very simple. Of course you are not expected to be surprised when you -learn that you “qualify” by having coin sufficient to pay for a test -print of yourself. If the price seems pretty high for two hundred feet -of film that costs about four cents a foot, be comforted by the -compensating fact that despite the ad you didn’t have to show a heluva -lot of “talent.<span class="pagenum"><a name="page_006" id="page_006"></a>{6}</span>”</p> - -<p>What are you going to do with the “series of scenes, flashes and -close-ups” after you get it? Search us! Perhaps it will make a dainty -watch-fob. Our best society is now using a strip of moving picture film -as a visiting card. There is nothing better to start a good fire on a -wintry night; and we have even known of films that could be substituted -for gorgonzola. Maybe yours will qualify as camembert.</p> - -<p>At least you cannot say that “Director Brennan” did not live up to his -promises and the letter of the law. He offered you a “wonderful chance -to make good in pictures.” You’ve made good. Yes, sir! Cash in advance. -You’ve made good, suckling, don’t worry.</p> - -<p>You’ve been “made”—and <i>good</i>.</p> - -<p class="figcenter"> -<img src="images/book.png" width="65" height="62" alt="open book decoration" title="" /> -</p> - -<p class="c">SUGGESTIONS FOR A FEW “SUPER SPECIALS”</p> - -<p>These ideas, offered gratuitously, are guaranteed to work in the hands -of the worst amateur and are assured smashing box-office success:</p> - -<p>For a “Super-DeMille” special: Discard the envelope chemise, and prevail -on Paris to design a postcard chemise.</p> - -<p>For a “Super-Sennett” special: Clothe the girls in modesty.</p> - -<p>For a “Super-Lew Cody” special: Frequent close-ups of dainty molar -signatures on his broad shoulders.</p> - -<p>This way out!<span class="pagenum"><a name="page_007" id="page_007"></a>{7}</span></p> - -<p> </p> - -<hr class="dblbar" /> -<h2><a name="Rough-riding_Mrs_Reilly" id="Rough-riding_Mrs_Reilly"></a>Rough-riding Mrs. Reilly</h2> -<hr class="dblbar" /> - -<p> </p> -<p class="nind"><span class="letra">A</span> correspondent from Los Angeles steps up to us with this dare, -“Speaking of film truth, is there an editor with the moral courage to -call the bluff of one Pearl Reilly, better known as Charlotte Shelby, -mother of Mary Miles Minter?”</p> - -<p>Wouldn’t that peeve a pacifist moo-cow? Here we have gone serenely along -thinking that, with all the crimes we might be accused of, of all the -blistering names that might burn our skin, none would even hint at a -lack of courage. If we need courage then T. N. T. could be improved with -a dash of pepper.</p> - -<p>Our correspondent wants to know if we care to call the bluff of Mrs. -Charlotte Shelby. Frankly, we don’t care particularly about the job. -Mrs. Shelby means considerably less than zero in our young life; and -only a minute fraction of that to most of our readers.</p> - -<p>Aside from having been granted possession of a very talented daughter, -Mrs. Shelby Reilly would be stealing time under false pretenses when -occupying the thoughts of either the editor or his readers. Stage -mothers are perfectly capable of taking themselves seriously and -realizing their own flabbergasting importance. Thank the stars there is -no need of the rest of us helping out at the job.</p> - -<p>True it may be, as our correspondent says, that “Mrs. Reilly has ridden -roughshod over everyone she meets and gets away with it. She has no -regard for the dignity of any profession, insults newspaper men and -writers, directors, leading men, and in fact has everything pretty much -her own way.<span class="pagenum"><a name="page_008" id="page_008"></a>{8}</span>”</p> - -<p>Isn’t it a sad story? Can you tell us what sort of “newspaper men” Mrs. -Shelby or any one else can “insult” and get away with it? Advertising -solicitors, perhaps. They are fair game for anyone in all seasons. But -our own years of pencil-pushing from New Orleans to Milwaukee and New -York to San Francisco have failed to record on our books any “insults” -unrevenged. As a matter of fact any good newspaper man will say that an -insult makes the best sort of story.</p> - -<p>Ask the shade of old Vanderbilt what it thinks about the time that -crusty individual declared, “The Public be Damned!”</p> - -<p>Mrs. Shelby can continue riding if she cares to, dear correspondent, but -she’s only spoofing her own sweet self if she thinks she is going to -continue to “get away with it.” Some day she’ll stub her toe in a poison -ivy patch.</p> - -<p>Perhaps the first scene of the final act has already been played. The -Hollywood Dirty Dishers say it has. According to our correspondent the -action started when Charlotte Whitney, for six years secretary to Mary -Miles Minter, bobbed up out of a job. According to the letter writer, -wagging tongues in Los Angeles declared that “Mrs. Reilly and Charlotte -had a terrible row over Mary and that Charlotte told Mrs. R. where to -head in. Rumor has linked Mary’s name with that of a well known actor -and Ma Reilly went wild. She had visions of the family meal ticket -annexing a husband. Charlotte was supposed to keep guard over Mary at -the studio while Ma Reilly endeavored to keep tabs at home.</p> - -<p>“It seems that Charlotte, could see no harm in Mary’s having a little -love affair with a nice young man and didn’t keep the door properly -locked.<span class="pagenum"><a name="page_009" id="page_009"></a>{9}</span></p> - -<p>“When things got too hot at home Mary had a way of sneaking out of the -unhappy mansion and going to Charlotte’s house.” Our correspondent then -relates this <i>denouement</i>. “This had happened one night and while -Charlotte and Mary were getting ready for bed Ma Reilly burst in the -door and for the moment forgot her pose as the southern aristocrat. The -neighbors recognized the Minter car at Charlotte’s door and gathered -round to hear the row and witness the fond mother, with the gentle -southern manner, drag her eighteen year old daughter out by the ear.</p> - -<p>“The next morning Mrs. Shelby ordered two well known actors on the Lasky -lot to keep out of Charlotte’s office, accusing them of designs on Mary -and Mary’s money. A well known director was also forbidden to speak to -Mary. A few days after Charlotte announced that she was through as -secretary.”</p> - -<p>If this be true—isn’t it a rumbunktious mess? But if all such facts -were roaming around awaiting placing—this lone editor’s “moral courage” -would not be needed to “call Mrs. Shelby’s bluff.” It seems to us that -Charlotte is the little girl who is apt to turn that trick at any -minute. Keep your eyes on Charlotte, boys and girls.</p> - -<p class="figcenter"> -<img src="images/half-bar.png" width="200" height="19" alt="open book decoration" title="" /> -</p> - -<p>The dailies duly recorded that Gail Kane, demure and with downcast eyes, -walked down the church aisle with Henry Iden Ottman, of New York, -recently.</p> - -<p>The groom is a son of the founder of a packing house bearing his -name—hence should be well supplied with “skins,” wherewith to cater to -the movie star’s well known expensive tastes. Which is well, oh, very -well.<span class="pagenum"><a name="page_010" id="page_010"></a>{10}</span></p> - -<p> </p> -<hr class="dblbar" /> -<h2><a name="Sssh_mdash_Some_Gossip" id="Sssh_mdash_Some_Gossip"></a>S’s’sh——! Some Gossip</h2> -<hr class="dblbar" /> -<p> </p> - -<p>Egotism and lack of ability usually go hand in hand. Yet, we cannot say -the rule applies in Maxwell Karger’s particular case. Karger has the -respect of practically all the stars on the Metro roster, and apparently -has more than his share of ability. But, ye Gods, what a swelled dome! -We understand there is a clause in this Director General’s contract with -Metro, whereby his name must appear in every story sent out by the -publicity department. We judge every copy reader in the country who gets -the junk cuts the name out, just because they are sick and disgusted at -even such long distance evidence of “great I amness.” Darned if we can -figure ourselves, exactly why Karger thinks his name looks so pretty in -type.</p> - -<hr /> - -<p>Oi, Oi. Vass is? That business disturber Lewis Selznick, just when he is -considered down and out, gets himself new backing, and out comes an -announcement that his two kids, Myron and David, who masquerade under -impressive titles, and who should be back in high school, go abroad to -“study the foreign situation.” That, to us, is the biggest laugh of the -past month. About all the study of the foreign situation they will do -will be to study the shapely legs of the midinettes who parade the -Boulevard des Italiens and the Place de la Opera in Paris. Yes, indeed, -Algernon, papa’s new bankroll, said to have been advanced by Stanley -Mastbaum of Philadelphia, will take wings just as did all his other -bankrolls under the able hands of these two, whom we have heard referred -to by Harry Reichenbach, as the “biggest jokes of the business.<span class="pagenum"><a name="page_011" id="page_011"></a>{11}</span>”</p> - -<hr /> - -<p>A little bird whispers that Bill Russell, Fox star, is about to take the -matrimonial plunge. The woman? Why, his leading lady in recent pictures, -Helen Ferguson.</p> - -<hr /> - -<p>A picture no artist could paint was presented by Sammy Goldwyn, nee -Goldfish, as he stood wreathed in smiles at the entrance to the Astor -theatre, New York, waiting for congratulations after the premier showing -of “Earthbound.” Someone in the Goldwyn publicity department must have -tipped Sam off that he had a good picture, so, baldhead and all, there -he was waiting for the critics to line up and pat him on the back. You -know, all our very best film magnates are like that, shunning the -limelight and detesting publicity.</p> - -<hr /> - -<p>In a corner of the Astor Hotel, where as many million dollar companies -are started (on paper) each day, as upon the rug of the Alexandria -Hotel, Los Angeles, each night, several gentlemen were discussing D. W. -Griffith the other day.</p> - -<p>One was telling a story to the effect that the Great D. W. had gotten -himself unpopular in a great many circles.</p> - -<p>Says he, “Griffith, y’know has forgotten his ‘ham fat’ days, and with -his resonant voice and omnipotent air, gotten himself generally ‘in -wrong,’ Well, an advertising solicitor breezed around to his offices the -other day, and Grey, his man Friday, like a faithful Great Dane, -blatantly berated the man for daring to insinuate Griffith should -advertise. ‘Do you know you speak of the Great Griffith,’ says Grey.</p> - -<p>Great H——,’ sulphurously replied the ad solicitor. ‘When he comes -through with an advertising contract I’ll stand for that bull.<span class="pagenum"><a name="page_012" id="page_012"></a>{12}</span>’ ”</p> - -<hr /> - -<p>We doubt if there is a shrewder woman in the theatrical game than -Justine Johnston, Realart’s new star. Justine, otherwise Mrs. Waenger -(yep, he is with Realart, too) has our deep respect. Prior to marriage -she got along very well, from Ziegfeld Follies days, through her period -as hostess in Broadway “gyp” joints, down to the time she guided the -destinies of “The Little Club.” Ask any New Yorker of the latter place. -We thought Justine’s hand was out of the Club, then after paying two and -a half dollars for a snifter of something or other, we wondered. -However, that is natural. Every time we think of Justine, we somehow -think of the word “expense.”</p> - -<p>Boy, page Morris Gest!</p> - -<hr /> - -<p>Just before Ollie Thomas went abroad with hubby Jack Pickford, coast -wanderers came back with an amusing yarn. Seems, according to the tale -bearers, Ollie was partying a bit, and announced to all and sundry that -Jack thought he was getting away with a lot, but in reality was not. -Well, Ollie always did have good eyesight. Disclosing a little secret of -our own, we have a lot of sympathy for Ollie. Because she is married to -Jack? Well—maybe, we wouldn’t say. Some day, by the way, we are going -to devote quite a little bit of precious space to extolling that member -of the Pickford family. Always providing he doesn’t drop out of motion -picture sight beforehand.</p> - -<hr /> - -<p>Coast gossipers are including Lillian Hall and director Emmett Flynn in -their conversations these days. Seems the two have apparently been seen -often together. Well, as Chaplin so aptly said, “it’s a great life in -the West.” Wonder if Shirley Mason doesn’t find herself lonely without -Lillian around? And what is the trouble with friend husband, which -forces Lillian to depend on friends for entertainment?<span class="pagenum"><a name="page_013" id="page_013"></a>{13}</span></p> - -<hr /> - -<p>A person in a position to know, has sent us another, and what is claimed -a truer angle of the splitting of the Doris May-Douglas MacLean team, -about which we had an article in the August issue. This party states -that MacLean had such an exalted case of swelled cranium, following the -success of several pictures, that he refused to renew his contract -unless he was starred alone. Tom Ince, not feeling justified in asking -the delightful Miss May to support him under those conditions, had no -alternative other than to sign her to a separate contract.</p> - -<p>Perhaps we are prejudiced in favor of the feminine sex, yet, if the -above is true, we earnestly look for a “flop” on the part of MacLean.</p> - -<hr /> - -<p>There must have been loud wails of anguish lately, if the rumor -percolating from the famous Players-Lasky studios to the effect that -Elliott Dexter had to stop work when a picture was but half completed, -is true. Production, ’tis said, had to be retaken with another leading -man. Picture row said Dexter was in a sanitarium—and was not charitable -in ascribing reasons. We always found Dexter a pleasant fellow, and -extend best wishes for an early recovery.</p> - -<hr /> - -<p>There was a warm competition between the theatrical promoters, William -A. Brady and Al Woods early in August, to see who could get his play on -the boards first. Both were on the same theme, and according to critics, -very similar. Brady won with “Opportunity.” Woods was one night late -with “Crooked Gamblers.” So we judge to the victor will go the spoils, -and Brady will dispose of the picture rights of his play for twenty-five -or fifty thousand dollars. Yep, even though it is soon carted to the -storehouse.</p> - -<hr /> - -<p><span class="pagenum"><a name="page_014" id="page_014"></a>{14}</span></p> - -<p>Wow! Aren’t some people hard to satisfy? Look at this here, now. Tina -Mendoti, who is suing the Premier Film Corporation for $8,000, claims -she was engaged to star in a picture for $2,000 a week, and was paid but -half. Who, by the way, is Tina? And, how come she really got half of the -salary in real money?</p> - -<hr /> - -<p>Louise Fazenda and Chester Conklin are going to shake the dust of the -Sennett lot to join Special Pictures, a comparatively new corporation -which will give them an opportunity to be individually starred. Tightwad -Mack will have a hard time holding ’em this season.</p> - -<hr /> - -<p>A clash between Director Douglas Gerrard and Doraldina, the new Metro -star, resulted in Joseph Engel calling off production work on “Passion -Fruit.” Differences of opinion arose at Santa Barbara, where the company -was on location. Both star and director shot in telegrams and the -company was recalled. The company it is said sides with Gerrard. -Evidently trying to nip in the bud another tyrannical domineering -Nazimova.</p> - -<hr /> - -<p>When “The Mollycoddle” was first announced as a Fairbanks production, it -was naturally understood, and was so advertised, that Harold McGrath the -novelist, would whip the story into screen form. And now, say the wise -ones, Mr. McGrath’s story should really be credited to Tom Geraghty and -Doug Fairbanks himself. True, we understand the original story was -McGrath’s work—but the picture version, that is another thing. Anyhow -one scene was McGrath’s—and he drew down cigarette money amounting to -$25,000. Well, well!<span class="pagenum"><a name="page_015" id="page_015"></a>{15}</span></p> - -<p> </p> -<hr class="dblbar" /> -<h2><a name="Cough_Up_Charlie" id="Cough_Up_Charlie"></a>Cough Up, Charlie</h2> -<hr class="dblbar" /> -<p> </p> - -<p class="nind"><span class="letra">C</span>HARLIE CHAPLIN is hiding in Utah because a state law makes it -impossible to serve him with a restraining order preventing the sale of -his latest picture. Mildred Harris is hovering around New York, because -that is the spot to be if you are interested in the coin that comes from -a picture sale. And her attorneys have filed suit in Los Angeles just to -be safe in covering the country.</p> - -<p>All of which is a pretty mess not calculated to do the picture industry -any good. Still less is it calculated to bring credit to Charlie and -Mildred. Least of all to Mildred.</p> - -<p>For the girl who married into stardom is talking—talking too much. The -interviews she gave New York’s papers on the day her attorneys filed -suit sounded like the rattling of a vacuum bottle. Mildred Harris in the -role of an anguished wife suing for divorce on grounds of cruelty looks -like Theda Bara would in a Pickford part.</p> - -<p>Big city interviews are out of Mildred’s class. She gets her “lines” -balled up and hangs a “To Let” sign from the upper stories.</p> - -<p>But Mildred has little to lose. In Lois Weber’s clever hands she was an -actress of promise—but no more—before she cleverly annexed stardom -along with the title “Mrs. Charlie Chaplin.” Slipping back will only be -a balancing act for Mildred.</p> - -<p>Charlie’s case is different. Charlie is one of the half dozen figures -who mean and typify the motion picture to the general public. Charlie, -with all his personal faults,<span class="pagenum"><a name="page_016" id="page_016"></a>{16}</span> is so big as an artist that he can -suffer; and so big a part of the motion picture, that the art can -suffer.</p> - -<p>Therefore, be it resolved and otherwise made known that we are about to -take it upon ourselves to offer a little advice:</p> - -<p>Take a tip from us, Charlie, slip her the coin. We don’t know the price, -but it will be cheap at any price. Settle it. Call it quits. Get back to -work. There’s the slim bespectacled shadow of Harold Lloyd on your path. -Get busy.</p> - -<p>You don’t want to go into Court. What’s the use? There are only two -courses open to you. You either have to sit still and say nothing, -taking your medicine like a man, playing the age-old part of giving the -woman the benefit of silence, or—or—.</p> - -<p>You have to start telling things.</p> - -<p>And that will hurt you as much as it will injure anyone else.</p> - -<p>Silence means a costly verdict against you. Conversation will mean a -costly verdict against the industry as well as all concerned—and at the -hands of the great arbiter, the general public. What of it if you say -you have lots to tell? Mud has an inherent habit of smirching all who -touch it. Even blue mud does it.</p> - -<p>On the other hand the payment of a juicy bunch of coin now will wrench -your very soul. But after it’s all over you’ll find it didn’t hurt half -as much as you expected. It’s like pulling a tooth.</p> - -<p>Come on—try it, Charlie!</p> - -<p>Zi-i-p—goes a nickel!<span class="pagenum"><a name="page_017" id="page_017"></a>{17}</span></p> - -<p class="figcenter"> -<img src="images/half-bar.png" width="200" height="19" alt="open book decoration" title="" /> -</p> - -<p> </p> - -<hr class="dblbar" /> -<h2><a name="Our_Stars_Eugene_OBrien" id="Our_Stars_Eugene_OBrien"></a>Our Stars: Eugene O’Brien</h2> -<hr class="dblbar" /> - -<p> </p> - -<div class="blockquot"><p>[<i>This is the first in a series of articles which will answer for -fans the eternal question, “What sort of a person really is -So-and-So?” At some times we may be forced to pierce some bubbles; -at others, as on occasions such as this month’s subject -presents—why, YOU’LL BE SURPRISED!</i>]</p></div> - -<p class="nind"><span class="letra">E</span>UGENE O’BRIEN was born with the advantage of a regular fellow’s name, -and the handicap of perfectly chiseled features. The “handicap” has -served to bring him rating with the two-thousand-a-week stars in spite -of the “advantage”—if you get what we mean.</p> - -<p>O’Brien is really too “pretty.” To most men he is almost—but not -quite—as sickeningly sweet as Francis X. Bushman used to be. Perhaps -this condition is aggravated by such titles—and such pictures—as “The -Perfect Lover.” Mayhap, also, it is but the innate jealousy of the male -beast.</p> - -<p>Film Truth’s mail from all sections of the country is frank and -outspoken—and a pretty safe index to public thought on films and film -folk. Reading this barometer we find that Eugene O’Brien is regarded as -not quite all “a man’s man.” He’s “too nice,” according to the most -recent letter—this from an eighteen-year-old miss.</p> - -<p>Inside the film fold and stage circles the same opinion prevails rather -generally. O’Brien deserves to be kicked twice around the block and once -up the alley for the “Lunnon” accent he acquired at the Lambs Club. Or, -perhaps we should call it outspokenly a “Lambs Club accent.” The -difference may be explained by the statement that if there is any -violet-tinted drawl that grates on a regular he-American’s ears more -than a London accent it is a Lamb’s bleat.<span class="pagenum"><a name="page_018" id="page_018"></a>{18}</span></p> - -<p>This affectation—plus mannerisms in the same atmosphere—has been -against O’Brien. We will confess that for many years we also held to the -general view that Eugene was too lavender-hued for mixed company.</p> - -<p>But later years, and closer opportunity to hold the microscope over the -subject of this sketch, have brought a change of mind. We are ready to -state—now that we have been asked the question, “What sort of a fellow -is he really like?”—that Eugene O’Brien is a regular, -honest-to-goodness human equation, and a “he” of the species.</p> - -<p>O’Brien, to those who know him, a likeable chap, a liberal host, and a -true blue pal. He has, deep down within him, a sense of personal -perspective. We even believe he realizes what some others think of him, -and, give him credit, a lurid, cussing contempt is his only reaction.</p> - -<p>If only the blankety fool would exchange that blarsted thin-stringed -London twinge for the healthy twang of his Denver birthplace.</p> - -<p>The nearest we have ever known him to come to it was on a recent -occasion when Selznick attempted to put into force certain petty -restrictions on the use of automobiles in journeying to locations -distant from the Los Angeles studio.</p> - -<p>Harry Rapf, the studio manager, was made the mouthpiece for the ukase. -It went over well enough with the rough and ready bull wielders who -wield a wicked tongue—when the boss isn’t around. As for -O’Brien—nobody thought that “nice boy” ever raised his voice above a -whisper. Rapf decided to play it safe from the first bell and he opened -the attack on O’Brien in rough and ready fashion.<span class="pagenum"><a name="page_019" id="page_019"></a>{19}</span></p> - -<p>Then the explosion! Dynamite, T. N. T., and essence of Whiteheads! -O’Brien illumined the air for miles around with a volubly expressed -desire to mingle in catch-as-can combat with Rapf, a willingness to -oblige with a two-fisted massage, a craving for anything short of murder -and arson.</p> - -<p>No high-and-mighty temperamental star’s dignity, mind you! No sulking in -the dressing room, or writing of “letters to the boss.” Just man-to-man -talk, rip-snorting, raz-a-matag square-shooting shouting.</p> - -<p>Rapf crawled down from his eminence quicker than an incline railway with -a busted cable. The lines traveling the hills coming down to Cincinnati -or descending Mount Tamalpais couldn’t make greater speed if they were -hell bent for election.</p> - -<p>And O’Brien established himself with the members of his company and the -studio hash-slingers who were present that day. They swear by ‘Gene, and -with him.</p> - -<p>In closing, let us remark that Eugene O’Brien is just as much a bear -with the women off the screen as he is on. Gene is there as a -picker—and what’s more the <i>class</i> picks on him. Which tells the whole -story.</p> - -<p class="figcenter"> -<img src="images/half-bar.png" width="200" height="19" alt="open book decoration" title="" /> -</p> - -<div class="blockquot"><p><i>The Fall Season is here—and with it the first of the year’s big -pictures. If you want to read about the pictures months in advance, -there’s one sure way,—tell your newsdealer to save FILM TRUTH for -you each month.</i></p></div> - -<p class="figcenter"> -<img src="images/half-bar.png" width="200" height="19" alt="open book decoration" title="" /> -</p> - -<p><span class="pagenum"><a name="page_020" id="page_020"></a>{20}</span> </p> - -<hr class="dblbar" /> -<h2><a name="The_Best_Stock_Sellers" id="The_Best_Stock_Sellers"></a>The Best Stock Sellers</h2> -<hr class="dblbar" /> - -<p> </p> - -<p class="nind"><span class="letra">T</span>HE suns of Summer are cooling fast, and the browns of Fall are -appearing. A new year is about to begin in the motion picture business. -For, be it known to the lay reader, the picture year like the stage year -has September for the first page of its calendar.</p> - -<p>What better time to check up and tabulate on what has happened to the -year’s best stock sellers?</p> - -<p>This sombre thought is brought to our mind by the fact that we have just -met the director of “Determination,” which many class as the -record-breaker of the year’s six best stock sellers.</p> - -<p>“Determination,” we learn, has sunk for the third time. It may come up -again; it is said that they do once in a million years. But for the -time, at least, “Determination” is wallowing in the mire at the bottom -of the river.</p> - -<p>“Company’s disbanded. All is off,” fumes the director. “And I’m going to -sue for ’steen hundred thousand dollars.”</p> - -<p>“Determination,” we take it on our own authority to decide, is -temporarily strapped for money. It’s a habit that stock-selling picture -propositions have. There is no reason to believe that “Determination” is -an exception to the rule.</p> - -<p>Captain Frederick Stoll, the genial promoter of “Determination,” is sure -there, with the quality denoted by his picture’s title, if he has no -other abilities to recommend him. It must be well over a year ago that -we first heard of his proposition. Then he was working Cleveland. A -wealthy “queen of the manicure shops” if our memory serves us, became -very much interested in the<span class="pagenum"><a name="page_021" id="page_021"></a>{21}</span> “captain’s” plans to make such a -super-special picture as would shame all previous efforts.</p> - -<p>Ohio was good territory for a time, other states followed. But some six -months ago the genial promoter pulled his master-stroke by moving -headquarters to Washington, D. C. You see, the name of the company was -U. S. Photoplay Somethin’ or Other, and the combination of U. S. with a -Washington, D. C., address was quite the class.</p> - -<p>While in Washington the Captain was guilty of some very wonderful -advertising. Full page advertisements in the Washington papers told the -story of the Captain’s life, and his reasons for believing that he had -the makings of “the world’s greatest picture.”</p> - -<p>From the ad we also learned that the Captain acquired his title with the -1st Illinois National Guard Regiment. A funny thing was that the ad gave -over several inches of its space to tell about the history of the First -Illinois, in ’98 at Cuba and so on, but nowhere did we find a mention of -the fact that the Captain himself was not present when its various -heroic feats were accomplished.</p> - -<p>A few months ago a company of players longer than a boarding house -mailing list was announced for “Determination.” Announcements flew thick -and fast for a few weeks, work was started at Fort Lee—and then the -shut-down.</p> - -<p>Glory be, we’ve used up all the space the editor gave us and devoted it -all to “Determination.” We’ll have to wait another month or two for a -discussion of the records of “Democracy,” “Crusader Films,” Johnson and -Hopkins, and others of the year’s best stock sellers.</p> - -<p>Meanwhile, as you read the ads and the beautiful literature, please take -the tip that we have given you so often: 4% in bank is better than “ad” -promises of 400%.<span class="pagenum"><a name="page_022" id="page_022"></a>{22}</span></p> - -<p> </p> - -<hr class="dblbar" /> -<h2><a name="Five_Reeling_Reels" id="Five_Reeling_Reels"></a>Five Reeling, Reels</h2> -<hr class="dblbar" /> - -<p> </p> - -<p>One picture seen during the month we consider unworthy enough to be -given a review outside of our regular “Boosts and Boots” department. -This doubtful compliment goes to Realart’s offering “A Dark Lantern” in -which the ever thinning, now far from beautiful Alice Brady is starred.</p> - -<p>When we thankfully saw the final fade-out, one expression rose to our -tired mind “A heterogeneous mass of nothing.” That is about all we got -out of this so-called feature.</p> - -<p>Occasionally we wonder at the almost unlimited patience possessed by a -forgiving public, which will permit big manufacturing companies to foist -a mass of celluloid such as this time and time again, upon them through -the exhibitor.</p> - -<p>Jumpy to a farcical point in its continuity, with a story chiefly -notable by its absence, and with a star in Alice Brady, who may well be -regarded as a “has-been” if this effort is the best she can offer, “A -Dark Lantern” is really pitiable as a modern day picture.</p> - -<p>Alice has apparently adopted the “grab it all for the family” policy, -for friend husband James L. Crane is found in the cast. One reviewer -most aptly describes his work in saying “his face reveals scant trace of -emotion in any scene.” Rather doll-like, as it were. And pray tell, what -else could be expected of Jimsey?</p> - -<p>Elephanitis of the bean, to put it inelegantly, is liable to result -fatally for Alice, so far as her artistic career is concerned.<span class="pagenum"><a name="page_023" id="page_023"></a>{23}</span></p> - -<p> </p> - -<hr class="dblbar" /> -<h2><a name="Home_Sweet_Safe_Home" id="Home_Sweet_Safe_Home"></a>Home, Sweet—<i>Safe</i> Home</h2> -<hr class="dblbar" /> - -<p> </p> - -<p class="nind"><span class="letra">W</span>HEN Gertie, the village belle, finally decides she is not appreciated -at home, you can generally bet the last nickel of your last forty-cent -dollar, that very shortly she will be found in the already long line of -hopeful future “stars,” before the door of some motion picture studio. -And, just as certain as the seasons come ’round, is the fact that Gertie -will never star under any lights other than the flickering gas jet -beside the mirror in her hall bedroom.</p> - -<p>It simply isn’t done. In our experience, we have found that the chance -of the ordinary screen struck girl of “getting into the movies” is about -on a par with those of the rich man of Biblical fame entering Heaven. -Yet these prodigies who triumphed in amateur theatricals at the Home -Opera House, or of whom well-meaning friends spoke as “much cuter and -more beautiful than Flossie Star,” continue to pay the railroads a good -part of their revenue.</p> - -<p>Which may account for the startling dearth of suitable material for -musical comedy choruses, and for the presence of hefty, -thirty-five-year-old “girlies” in the burlesque troupes.</p> - -<p>To go into the “hows and whys” of this would take up more space than it -would be worth. And, though the difficulties of becoming even an extra -in pictures have been publicized broadcast by many magazines, and even -some companies, our mail continues heavy with letters from hopeful, -pleading, blinded women, old and young, who seek a way to picture fame.</p> - -<p>Casting directors, directors, company executives, have become so blasé -in the face of the onrush of appealing<span class="pagenum"><a name="page_024" id="page_024"></a>{24}</span> femininity to whom home and -virtue are as nothing to a career in motion pictures, that the -inexperienced damsel who catches their eye to any effect is indeed a -fortunate one.</p> - -<p>True, as many readers will say, “stars” bob up over night. “Over night” -is right, perhaps. Yet aren’t these bubbles on the crest of the wave, -these petted favorites of the moment of some one “powerful,” regarded as -is an old man’s darling? We’ll answer ourselves. THEY ARE.</p> - -<p>Nix, girls, nix. You might be the one in a thousand who got somewhere. -You MIGHT. But we would rather gamble against an electrically controlled -roulette wheel than have your chance. It would be pulling an old saw to -say the road was rocky, but take it from us, Aspirants to Movie Fame, -unless you have absolute assurance of a position bringing in at least -cakes and coffee, you will do better to stick close to home and mother.</p> - -<p>It is a great business. But there is no quick and easy shortcut to -automobiles, furs, picture in the papers and Pomeranian. Not more so -than there is a shorter cut between two points than a straight line.</p> - -<p class="figcenter"> -<img src="images/book.png" width="65" height="62" alt="open book decoration" title="" /> -</p> - -<p><span class="pagenum"><a name="page_025" id="page_025"></a>{25}</span></p> - -<p> </p> -<hr class="dblbar" /> -<h2><a name="Boosts_and_Boots" id="Boosts_and_Boots"></a>Boosts and Boots</h2> -<hr class="dblbar" /> -<p> </p> - -<p>“<span class="smcap">A Cumberland Romance</span>” (Realart). Padded to death. One of ‘those kind of -pictures’ released at the fag end of the summer season. Mary Minter is -as pleasing as usual, and makes most of her opportunities. See it if -nothing better offers.</p> - -<hr /> - -<p>“<span class="smcap">What’s Your Hurry</span>” (Paramount-Artcraft). Another story of the ‘roaring -road’ by a man who knows the automobile game. Well produced with Wally -Reid his usually capable self. This star is well ahead of the majority -of men stars, and his ability, ‘regular fellow’ manner, and good stories -are putting him further in the lead. A picture not to be missed.</p> - -<hr /> - -<p>“<span class="smcap">Earthbound</span>” (Goldwyn). Fantastic in the extreme, daring in conception -and execution. Will be received in almost as many different ways as it -is seen by people. With a psychic theme, it makes the imagination of the -spectator stretch to the utmost to encompass the thought. The thoughtful -will find much to make them pause. It is our opinion the production will -go over the heads of many. Also that it may not be quite the success in -a financial way that is expected. But, in its way, it undoubtedly stands -alone.</p> - -<hr /> - -<p>“<span class="smcap">What Women Love</span>” (First National). Sol Lesser’s long heralded Annette -Kellerman film. Entertaining and at times thrilling. As may be expected -it is built around the aquatic ability of Miss Kellerman, who is seen -almost throughout in her ‘one piece.’ The under-sea scenes are -excellent. Will please generally.<span class="pagenum"><a name="page_026" id="page_026"></a>{26}</span></p> - -<hr /> - -<p>“<span class="smcap">The Jack-Knife Man</span>” (First National). King Vidor has produced a story -rich in every particular. There is humor, there is pathos, there is real -acting. No ‘big stars’ run away with the piece. Human interest -background appeals. A story of small town life that will please.</p> - -<hr /> - -<p>“<span class="smcap">The Chorus Girl’s Romance</span>” (Metro). One of the best pictures of the -year. While comedy predominates, there are moments when the spectator -will be stirred out of himself. Viola Dana has done herself proud. Her -cute figure lends itself well to the part she plays, the Chorus Girl. -Story is well knitted, and is from the one which appeared some months -ago in the Saturday Evening Post. Settings, action, photography—all are -of highest standard. A picture that will appeal alike to high and low. -Should not be missed.</p> - -<hr /> - -<p>“<span class="smcap">If I Were King</span>” (Fox). Farnum set in story of medieval days. While the -public’s dislike of costume plays is as strongly apparent as ever, this -lavish production should be one of the few to get by from a box office -standpoint. Fox certainly spent a lot of money on it, and the -entertainment provided is well worth while.</p> - -<hr /> - -<p>“<span class="smcap">The Man Who Dared</span>” (Fox). Better than almost anything Russell has -appeared in. Fox is living up to advance promises of better productions -for the year. Russell good as a rough tongued, heavy fisted lumberman. -Eileen Percy opposite him. Parts are overdrawn but on the whole it is a -good picture.<span class="pagenum"><a name="page_027" id="page_027"></a>{27}</span></p> - -<p> </p> - -<hr class="dblbar" /> -<h2><a name="A_Confidential_Chat" id="A_Confidential_Chat"></a>A Confidential Chat</h2> -<hr class="dblbar" /> - -<p> </p> - -<p class="nind"><span class="letra">W</span>HEN this little publication first made its bid for favor, the Editor -had one idea paramount above all others. That was to dodge the avalanche -of press agentry which inundates the business, and instead to give the -public entertaining and TRUE information.</p> - -<p>That idea, while broadened, is still the main spring of FILM TRUTH.</p> - -<p>Some editorial rats have peeked out of their habit formed cobweb and -thrown a few scurrilous bouquets at us.</p> - -<p>That is to be expected.</p> - -<p>On the other hand, we have yet to hear from a single reader that we have -offended.</p> - -<p>From the early days of the motion picture industry, we have derived our -income from it. We have breathed, eaten and slept with motion pictures -before us. We wish to see the business on a continually mounting plane. -And, such little as we can do to accomplish this, we are doing.</p> - -<p>FILM TRUTH has no ‘grudge fights’ with player or company. Where -criticism may enter one month, praise is just as liable to be the -portion of the same person the next.</p> - -<p>If we err, it is as much a regrettable occurrence to us as to the party -erred against. <i>And our columns are open to the other side on such -occasion</i>.</p> - -<p>Fair play is given all. Particularly to that reading public which wishes -truth, and usually gets buncombe.<span class="pagenum"><a name="page_028" id="page_028"></a>{28}</span></p> - -<p> </p> - -<hr class="dblbar" /> -<h2><a name="Bush_League_Stuff" id="Bush_League_Stuff"></a>Bush League Stuff</h2> -<hr class="dblbar" /> - -<p> </p> - -<p class="nind"><span class="letra">T</span>HIRTY-SIX weeks trouping in the hinterland heading the cast of a -maudlin but financially successful play has revived the drooping spirits -of Francis X. and Beverly Bayne Bushman. So many unpleasant, -humiliating, embarrassing events have occurred in the lives of the one -time film stars’ lives, since their abrupt departure from public view -some three years ago, that even the sublime egotism of Francis X. -himself was being shaken to the very foundation. But Francis X.’s faith -in himself, in his talents as an actor, in his popularity with the -public, has been restored. As for Beverly she was never but a faint echo -of her Adonis, second hand husband, so she too is cheered by the events -of the past six months.</p> - -<p>’Tis said that the tour of the play in which Bushman and Bayne were -starred replenished the family coffers to an extent that would permit -the redemption of the wonderful collection of valuable furniture which -last summer graced the show windows of a Broadway second hand store and -which went under the hammer to pay the alimony which Mrs. Bushman number -one insists on collecting to buy shoes for herself and the five children -who were the offspring of the one time film favorite’s first marriage.</p> - -<p>But it is not the somewhat delayed receipt of a little jack, that has so -pleased the Bushman-Baynes and is responsible for their greatest -elation. They could never regard the refusal of motion picture producers -to further star them, as anything but unadulterated malice.</p> - -<p>True there was a little talk about the Bushman divorce and the -subsequent marriage of Francis X. and Beverly,<span class="pagenum"><a name="page_029" id="page_029"></a>{29}</span> but they argued that -this little scandal would soon be forgotten. They acclaim now the truth -of their argument.</p> - -<p>But there are those who openly state that Francis is not able to -differentiate between popularity and notoriety, and make the assertion -that the appearance of Bushman and Bayne on the stage attracted a mixed -crowd of the morbidly curious who wanted to see “what they looked like,” -the remains of a vast army of kitchen mechanics and shop girls some of -them grandmothers now, who used to worship at the Bushman and Bayne -shrine and a few who came to laugh at and not with the show.</p> - -<p>A good many years ago as film history is figured, God gave Francis a lot -of good looks, a dislike for manual labor and a few brains, so he -decided to adopt the stage as a profession.</p> - -<p>His histrionic ability did not set the world on fire but fate was good -to him and one season found him heading the cast of a Broadway -production under the title of “Going Some.” The engagement was short -lived not because the play was bad material since it has proven a -popular dramatic stock vehicle, but because it was badly acted. Bushman -was one of the worst offenders.</p> - -<p>About this time picture producers were beginning to look about the stage -for talent. Essanay engaged Bushman to play the leads in some -extraordinarily good stories for the time and sent a company to Ithaca, -N. Y.</p> - -<p>The feature pictures, almost the first in the field, turned out that -summer were a success not because of Bushman and Bayne but in spite of -them. In fact one of the best of the several features found Francis X. -cast in a minor role—wherein hangs a tale which may illustrate the true -worth of this actor. When it came time to start work on “The Love Lute -of Romany,” Francis got his<span class="pagenum"><a name="page_030" id="page_030"></a>{30}</span> copy of the script. He read until he found -a scene that demanded the hero should climb a tree overhanging a deep -cliff and repose amid the branches while the villain chopped away at the -trunk until the giant of the forest was about to crash into the gulley -below. Francis didn’t read any further. He burned the soles of his shoes -locating Director Wharton and began an argument that was intended to -prove that this scene was no good. However Bushman did not have the -prestige with directors that he later acquired and the scene stayed in -the script with the subsequent result that another actor with more nerve -and less good looks played the lead in the picture.</p> - -<p>After the Essanay engagement at Ithaca came the era of multiple reel -features, with the names of the players presented on the titles, the -vogue of the fan magazines in which were printed long eulogies of film -players and an unprecedented interest in the photoplay.</p> - -<p>Bushman and Bayne became famous almost overnight. For a while they shone -as brilliantly as any stars of the day but soon the public began to tire -of picture after picture that contained no more entertainment value than -closeups of the stars and romantic poses that sickened the souls of -those who hoped to find drama in the movies.</p> - -<p>Then came the Bushman divorce. It was the last straw. The camel’s back -had broken. Bushman and Bayne were out in the cold, cruel world and -there they have remained until the enterprising Oliver Morrosco decided -that he would take a gamble with the play we have mentioned. The show -went out and made money. Now comes the final sequence of our story.</p> - -<p>Encouraged by the success of the Bushman-Bayne play, Mr. Morrosco has -shipped his stars to Los Angeles and is to star them in feature -pictures. He evidently has been “sold” the idea that Bushman and Bayne -can “come back.” Bushman and Bayne have never doubted it.<span class="pagenum"><a name="page_031" id="page_031"></a>{31}</span></p> - -<p> </p> - -<hr class="dblbar" /> -<h2><a name="Developing_Your_Plot" id="Developing_Your_Plot"></a>Developing Your Plot</h2> -<hr class="dblbar" /> - -<p> </p> - -<p class="nind"><span class="letra">P</span>LOT germs have taken up quite a bit of our time in this new series of -thoughts on the writing of photoplays. And rightly so. For, unless you -know where to look for plots, and how to recognize a possible plot in -embryo, how are you going to construct them?</p> - -<p>Let’s proceed a step further along our path. Having discovered the -<i>germ</i> of a plot, how are we going to develop it into a full grown, -vigorous, structure? What is the prime necessity? What magic touch -infuses life and strength into the bare idea we possess and makes of it -something that will hold the interest of others, that will entertain -them?</p> - -<p>Speaking generally, and leaving to later discussion the narrower by-ways -and paths of plot development, we may set down as the primary essential -of a plot the basic element—<i>struggle</i>. Your plot germ, your original -idea, is usually an out of the ordinary character or an incident that -concerns ordinary characters in an unusual manner.</p> - -<p>Into this source you must inject—<i>struggle</i>. Some will call it -<i>conflict</i>, others will tell you that <i>suspense</i> is the necessity. But -suspense is the outgrowth of struggle or conflict.</p> - -<p>There is struggle of varying sorts. Your struggle may be that between -the different characters of your story, it may be the struggle of one of -your characters against conditions of life and the world, it may be the -struggle of your character with his own inner self.</p> - -<p>But it is struggle of one sort or another that makes your story. Barring -the few exceptions whose existence we have noted, and which we will -describe and study later, it is the tale of struggles that makes up the -entertainment of the world.<span class="pagenum"><a name="page_032" id="page_032"></a>{32}</span></p> - -<p>The spectator who comes to see a motion picture, or the reader who picks -up a book, expects to be introduced to an interesting character, one -whom he will either like very much or dislike very much. After hearing -your premises they expect to witness a struggle, the further progress in -life of your character and necessarily the sort of progress that brings -struggle. Your character may be the most interesting one in the world, -but two hours talk about his unusual points will not satisfy anyone. -Those two hours must concern things that are happening to your character -or events that he is causing to happen—that is, the element of -struggle.</p> - -<p>You will remember that last month, in discussing the possible plots to -be discovered in newspapers, we found a germ in the “Letters From -Readers” column. It was an epistle signed “Lonesome,” and was from a -young man who wanted to know why the big city did not provide some sort -of welfare club or association where a stranger could meet and become -acquainted with other persons?</p> - -<p>That word “Lonesome” aroused our curiosity. It would likewise interest -an audience. Imagine Charles Ray in the character. We see him fresh from -the country, in his little hall-room, life, hustle and bustle all around -him. But to Charlie they mean nothing; he has none in the length and -breadth of the city to call “Friend.”</p> - -<p>When you have introduced such a character you have the audience with -you. But you must go further. The audience wants to see Charlie struggle -against his environment, or, out of his despair they wish to see him -perform some rash act that will force a struggle on him.</p> - -<p>Comedy or drama can be developed from such a theme—by the injection of -struggle. The chances are you will bring to light that most artistic and -desirable of blends<span class="pagenum"><a name="page_033" id="page_033"></a>{33}</span>—comedy-drama. Suppose that our “Lonesome” -youngster, suddenly grown rash, forms a decision. “I’m going to walk out -that door,” he says, “and speak to the first person I meet. I don’t care -whether it’s John D. Rockefeller or a street sweeper, I’m going to tell -him I’m lonesome and want someone to talk to who will speak about -something beside the weather.”</p> - -<p>There’s the start of your struggle. Why, it’s a funny struggle alone to -see Charlie walking the room, trying to screw up his determination to go -through with the rashly made resolution. Finally he strides forth -bravely.</p> - -<p>Whom does he meet?</p> - -<p>There’s where your genius as a story teller comes in. What sort of a -character would O. Henry have him meet? Start a Harold McGrath story off -with this theme. The story will be running away with you—if your -imagination is in working order.</p> - -<p>The simplest form of struggle is that of the eternal triangle—two men -for a girl, or the conflict of two women for one man. The struggle that -develops out of your “Lonesome” story may eventuate in that sort before -it gets very far. But you can see that you have started on more original -ground, that if you follow these paths you will not have simply an -“eternal triangle” story.</p> - -<p>That has been our reason for withholding mention of “struggle” to this -point. There are those who would tell you of this basic essential before -any other point had been discussed. The result is that so many amateurs -set out to write stories by seeking for a struggle. They look over the -list of various sorts of struggles, two men for a girl, two girls for a -man, man against poverty, man against temptations, and so on. And when -the alleged story is completed it is merely a framework, without<span class="pagenum"><a name="page_034" id="page_034"></a>{34}</span> life -or soul. Stilted characters struggle through time-worn situations.</p> - -<p>“Struggle” may be classified and indexed. But “plot germs” cannot; the -plot germs that <i>you</i> can discover are limited only by your own -experience, your own reading, your own imagination. And if you set out -to write your story by searching for the <i>germ</i> that is unusual, -interesting, the chances are in your favor in securing -originality—something different. Because <i>your own life</i>, your own -viewpoint is something different. It is yours as long as you keep it -yours, it is going to become trite only when you grow lazy and follow -the lines of pictures and stories you remember because that is the easy -way.</p> - -<p>Starting with a germ that is <i>different</i> the “struggle” you provide is -going to be different, because it is going to be the sort of struggle -that could happen only to your <i>different</i> characters.</p> - -<p>There’s the basis of originality—your own life, your own heart, your -own mind.</p> - -<hr /> - -<p class="c"><i>ABOUT THE WRITING OF PHOTOPLAYS</i></p> - -<p><i>No, dear reader, the article you have just read is not part of a -“course in photoplay writing.” We don’t like the phrase, we don’t like -anything that claims to be a course in photoplay writing.</i></p> - -<p><i>If we were to call these articles a “course” there would be the -inference that we thought any person who read them could learn how to -write photoplays. And we would be taking money under false pretenses. -That isn’t our business; it’s our antipathy.</i></p> - -<p><i>No, unless you have within you the material that would make you a -scenario writer eventually, whether you read this series of articles or -struggled along the Rocky Road of Experience, you would never become a -screen author.</i><span class="pagenum"><a name="page_035" id="page_035"></a>{35}</span></p> - -<p class="figcenter"> -<img src="images/red-bar.jpg" width="90%" height="25" alt="decorative line" title="" /> -</p> - -<div class="red"> -<h2><small>A CLOSING THOUGHT</small></h2> - -<p>The Chicago Photoplaywright College, through its agents, requests our -advertising rates.</p> - -<p>To which we hasten to reply:</p> - -<p>During 1920 our schedule for advertising is as follows: For schools -claiming to teach photoplaywriting, $794,687.23 per agate line; for -promoters selling movie stock, $1,545,897.13 per dot of an “i”; for the -slimy beasts who take the savings of girls to make them movie stars, a -page absolutely free of charge and clear of war tax, couched in our -choicest adjectives, boiled in billingsgate,—all this every time we get -the goods on them.</p> - -<p>You’re welcome, Chicago Photoplaywright College! Any further information -desired will be gladly furnished on request. Apply to our Service -Department, with the accent on the “hiss.”</p> - -<p class="figcenter"> -<img src="images/red-bar.jpg" width="90%" height="25" alt="decorative line" title="" /> -</p> -</div> - -<p><span class="pagenum"><a name="page_036" id="page_036"></a>{36}</span></p> - -<div class="bbox"> -<div class="red"> -<p class="cb"><i>“Brilliancy”—and Stars</i></p> - -<p><i>It happened at the luncheon table at the Astor Hotel, New York.</i></p> - -<p><i>Trade paper critics and other film folk were gathered around the -festive board, prior to viewing the latest picture with Mildred Harris -Chaplin starred.</i></p> - -<p><i>The fair Mildred naturally was present.</i></p> - -<p><i>For a moment, strange to say, film talk had stopped, and politics and -the coming Presidential election was the topic of conversation.</i></p> - -<p><i>Said Jimmie Young urbanely and smiling addressing Mildred:</i></p> - -<p>“<i>Are you going to vote?</i>”</p> - -<p><i>“Vote?” gushed the fair one vacantly, a tiny frown indicating -deep—er——mental effort. “Vote? What on?”</i></p> - -<p><i>And the orchestra softly played “Asleep in the Deep.”</i></p> -</div></div> - -<hr class="full" /> - - - - - - - -<pre> - - - - - -End of Project Gutenberg's Film Truth; September, 1920, by Anonymous - -*** END OF THIS PROJECT GUTENBERG EBOOK FILM TRUTH; SEPTEMBER, 1920 *** - -***** This file should be named 51484-h.htm or 51484-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/1/4/8/51484/ - -Produced by Chuck Greif and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images available at The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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