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If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: Film Truth; November, 1920 - -Author: Anonymous - -Release Date: November 2, 2016 [EBook #53434] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK FILM TRUTH; NOVEMBER, 1920 *** - - - - -Produced by ellinora and The Online Distributed Proofreading -Team at http://www.pgdp.net (This file was produced from -images generously made available by The Internet Archive) - - - - - - - Transcriber’s Note - - Obvious typos and punctuation inconsistencies corrected. - - Italic text is represented by underscores surrounding the _italic - text_. - - Bold text is represented by equals signs surrounding the =bold text=. - - Descriptions of illustrations have been added to the text. - ------------------------------------------------------------------------- - - - - - _NOVEMBER_ _25 Cents_ - - F I L M - T R U T H - - “_That Little Red Devil_” - - [Illustration: Woman looking over her shoulder] - ------------------------------------------------------------------------- - - - - - F I L M T R U T H - - Vol. 2, No. 2 November, 1920 - - Published every month by - - FILM TRUTH, INC. - 2255 Broadway, New York City - - 25 CENTS A COPY $3 A YEAR - - [Illustration: Side view of woman in dress] - - _DEDICATED to the TRUTH about - the motion picture industry and its people, - written without fear, favor or malice._ - ------------------------------------------------------------------------- - - - - - The Shame of Smut - - -I am of the mire too dirty for swine; I am of the filth that -incinerators cannot destroy; I am of the stench that God’s own sun fails -to purify; I am of the corruption that lies at the most dismal depths of -man’s mind; I am the slime and slew that pervert the divine gift of -speech;—I AM “SMUT.” - -I am the foul breath of disease; I am the tainted hands of sin; I am -Thought strangled by Shame;—I AM “SMUT.” - -The muddied waters of the Ganges are to me as the rippling mountain -brook. - -I am the refuse that Hell discharges. - -I AM “SMUT.” - - * * * * * - -And it is to me that the great Master of the Motion Picture has turned -for succor. - -I am selected as the tool to lure a vile profit. - -To me it has been left to smirch the good name of a revered American -classic; to dig a Grave of the Nameless for a play that clean men and -women have loved. - -I am the Satanic genius that makes an Artist—moulder of a pictorial -masterpiece—poison his triumph in gangrene. - -I AM “SMUT.” - - * * * * * - -My words need explanation. Yet from my own foul station I hesitate to -descend. Here, however, is an advertisement that sullied the pages of a -New York newspaper on October 4th: - - “_Why does every girl have - to battle against love?_” - -“Why does every woman have to feel the straining power of seduction in -one form or another—the hot, alluring breaths of deceits? - -“This thing has been, time and again, from the beginning of history, -through all the ages. Man’s most beautiful property, most sought after, -most desired, has been woman. And through all these ages it was more -through passion than the better desires. - -“Even the saints of past history fought bloody battles; worked, dreamed, -struggled through their love for women—not satisfied with one or two or -three. These almighty men demanded hundreds—every variety of beauty, -dainty little girls in their teens; blondes from the Northlands; strange -slant-eyed brunettes from the Southlands. Mighty wars, broken nations, -wrecked civilizations over the Helens-of-Troy and Cleopatras. - -“Doesn’t the same battle go on today, though changed and modified? Is -not every little girl still pursued? Why? What is this great mystery of -love? - -“There is the greatest revelation of a woman’s soul and a woman’s -temptation in a tremendous play that is shaking the world; the greatest -uncovering of a woman’s inner soul ever given. If you know, then you -know all love and all temptation, joy and sorrow. You will know the -DIFFERENCE between the alluring passion of deceit that leads to bitter -ashes; the great overwhelming, all-enfolding SOUL LOVE that looks -through the body and finds the great WOMAN-HEART; the love that every -woman wants, with peace and purity, leading on and up to the great -happiness, with the masterful, overwhelming bliss, all centered love of -the great ONE MAN. - -“To learn the great lesson of ALL LOVE you must see ‘WAY DOWN EAST,’ and -WOMAN and ALL WOMEN, and the story of Anna Moore in this play. And of -David the farmer boy, greatest of all lovers. And Sanderson, with the -old polygamous idea of deceit and shame for those women who fall in his -clutches.” - - * * * * * - -May my respected ancestors forgive me the quotation. May the minions of -Evil temper their contempt as I repeat: - -“_Why does every woman have to feel the straining power of seduction?_” - -“_The hot alluring breaths of deceit._” - -“_Even the saints of past history——_” - -“_These almighty men demanded hundreds._” - -“_Is not every little girl still pursued?_” - -Mephistopheles—thy pardon! Boccaccio,—turn not from me in repugnance! - -Mothers of Men—thy prayers! - -Verily, I am the dross that dares tarnish the sweet name of Woman; I am -the ulcers of leprosy; I am the spawn of hellions;—I AM “SMUT.” - -Yet— - -Am I the tool of the Master? - -Am I the bait that is sought to lure scurvy dollars? - -Am I to be the left hand of the Griffith? - - * * * * * - -FILM TRUTH will now speak: - -Why, oh, why, does the name of Griffith have to be signed to the slushy -drivel of such advertisements? - -“Way Down East” is a big picture; “Way Down East” can stand fairly, -squarely, flatly on its own feet. “Way Down East” is worth two dollars -of any man’s money. - -We paid two dollars to see it—and we are going to pay again. Provided -Mr. Griffith’s advertising writers don’t convince us that our money -would be accepted as a response to the salacious; our two dollars a -contribution to the cause of promoting motion picture censorship. - -“Way Down East” lived its life on the American stage honored and -respected—without the need of such truck and trash. - -“Way Down East” made fortunes for its stage sponsors, and yet the “Way -Down East” of the spoken drama was as an amateur’s weak-kneed effort to -the stirring strength of the screen gem that Griffith has given us. - -Then why the need for advertising what is cheap, tawdry and -contemptible? - -The “Way Down East” of the stage did not need, and the “Way Down East” -of the screen does not need, an appeal that says: - -“_Why does every woman have to feel the straining power of seduction in -one form or another—the hot, alluring breaths of deceits?_” - - * * * * * - -_The charming lady on the cover is not a bare back rider. Appearances -are deceptive. It is Norma Nicholls, one of a sextet of Vanity Fair -girls who, under Hal Roach’s protecting wing will delight the tired -business man in comedies to be released by Pathe._ - -_P. S.—The other five are just as pulchritudinous._ - -_On the inside front cover the attractive study by moonlight is one of -Lucy Cotton._ - -_And, we ask you, who couldn’t cotton to Lucy?_ - ------------------------------------------------------------------------- - - - - - Our “Flynancial” Page - - -No publication is complete today without its financial department in -which some thirty-five-dollar-a-week expert advises you how to get rich -on stocks and bonds. The guff is written principally for purposes of -draping around the ads of brokers who will give any sheet their money if -it will start an investment page. - -So this is our page. We have everything but the advertising. And our -hopes are slim. - - * * * * * - -_The Fan Film Corporation_ is offering stock in a million-dollar company -to back Louise Du Pre, “Mary Pickford’s former understudy.” Charles -Giegerich is “vice-president and general manager.” The four-page -prospectus read interestingly until we came across a column and a half -of praise for Miss Du Pre reprinted from _Motion Picture Classic_ and -credited, “By Chas. G. Rich.” We hesitated. We pondered. “Charles G. -Rich”—“Charles Giegerich.” Why they must be one and the same! And so -they are. - -Our “flynancial” expert hereby advises Fan Film that no matter how good -a proposition may appear otherwise, there’s a touch of the foolish when -you quote the press agent flub-dubbery of your own vice-president. - -_The Cortland Pictures Corporation_, of Indianapolis, has an -honest-to-goodness picture director for president and some fine local -names on the board. They modestly hint that five thousand theaters are -going to set aside one or two days a week to show their pictures—with -net results at the end of the year of $1,497,500 in profits. - -Wonder if someone has thought to tell the five thousand theaters what is -expected of them? - ------------------------------------------------------------------------- - - - - - “Guilty” - - -Score one for “FILM TRUTH!” A bull’s-eye zipped right to the center of -the dot! A ten-strike down the middle of Swindler Alley! - -Way, way back in its May issue—six months ago—“FILM TRUTH” turned its -trusty spear in the direction of one George A. Strader who was -victimizing would-be scenario writers on the strength of stationery -which proclaimed him “Formerly with the Famous Players-Lasky Company,” -and “a member of the National Association of the Motion Picture -Industry.” - -George found the high muck-a-mucks of the magazine field willing to -carry his ads telling amateurs in glowing terms of the wonderful -opportunities in photoplay writing, and of his own intimate inside -opportunities to sell scenarios. After the sucker forwarded a story -Strader would counter with a letter suggesting that a few expert touches -were needed—price $10—and a sale would be certain. Of course a little -typing would be charged for too, perhaps. But the “touch,” the $10 was -the main thing necessary for the sale. - -“Expert touch” was right—for nothing ever happened after George got the -ten dolderinos. - -“FILM TRUTH” told the truth—way back in May, and regardless of possible -laceration of Strader’s feelings, his protests, wails or threats. - -That was in May. The mills of the gods grind slowly, but October rolls -around, and, one bright Indian summer morning, we pick up our newspaper -to read: “George A. Strader was convicted yesterday in the Federal -District Court on an indictment charging him with using the mails in the -operation of a scheme to defraud.” - -One down! - ------------------------------------------------------------------------- - - - - - Letters of a Director - - -Dear Liz: Three cheers, kiddo! Hoorayeureka! I’ve discovered the place -where they bury the bodies. The secret is mine. Within six months, -dearie, I’ll be drawing down a thousand a week and owing more money than -the national debt. I’m going to be one of the big, bigger, biggest -directors. - -Don’t laugh, sweetie. I know I’ve been piking my way making good -pictures for a slim three hundred a week for so long that you won’t -believe I can step out. But listen—I’m going to be a big leaguer if I -have to wear a pillow slip on my coat lapel. Watch my errors, Liz. - -I’ve diagnosed my own case—and do you know what has been responsible for -the anaemia of the bankroll that has afflicted me all these years? My -early training was all wrong. Every time I spend a dollar I squeeze it -till the birdie cuckoos “One hundred cents!” - -I guess that year I spent in school spoiled me. - -I took them there copy book Maxims too seriously. You know the stuff I -mean. About—“Two bits saved is a jitney earned,” and “Save the pennies -and the dollars will draw four per cent.” - -Well, here I’ve been in the fillum flurry a dozen years little one, -before the truth dawned on me. They shoulda put silencers on them Maxims -or else handed them to you with interpretations and reservations. Chief -of which same is this here: “Nothing in these articles shall be -construed as referring to THE BOSS’S MONEY.” - -His bankroll is made to be shot; he isn’t happy unless it’s riddled. He -won’t say “Good Morning” to you unless you caused him to say “Good -Night, Mr. Receiver,” the day before. - -I’m starting on a new picture now, Liz, and to tell the truth if I hired -an oil promoter for property man I don’t think I could spend more than -fifty thousand dollars making it a good picture. But I’ve learned the -secret—and if I break a leg doing it I am going to take more time on -this picture than George Loane Tucker needs; I’m going to spend more -money than Von Stroheim; I’m going to build more sets and tear ’em down -faster than Mickey Neilan at his best; I’m going to have a bigger -hospital bill than a Holubar production. - -If I don’t spend more than two hundred and fifty thousand on this -picture I’ll be willing to take a job making LoKo comedies. Of course, -two hundred and fifty thousand doesn’t put me in the class with the big -boys but it’s a pretty fair start for a guy with wrong upbringing. - -It was this nut Stroheim that give me the idea. You know, Liz, when this -Von got through serving the time in the army that all them Heinies has -to, he came here and first broke into the United States histories in the -packing room of a department store. He studied stagecraft wrapping -planks around “This Side Up” signs. - -He musta come to Los in one of his own shipping cases for when I first -saw him hanging around the studios looking for extra parts he didn’t -look as though he’d ever possessed Mister Santa Fe’s price. The boys -gave him a rough deal in those days—you know it wasn’t a popular time -for gents with the “Von” handle on their monickers. But we had so many -beastly Berlin pictures that we all had to use him. He played more -German captains than there were in the Kaiser’s army. - -Then one day he negotiates a ten minute loan of Carl Laemmle’s ear and -comes out of the office with the title “Director.” He earned the -brackets by guaranteeing to make a picture for twenty thousand, and -faithfully fulfilled his promise by spending not a cent more than fifty. -What’s more it was a good picture. - -Universal foolishly thought the gink would be grateful for the -opportunity they gave him so they turned loose the noisiest advertising -and publicity they could. That queered it. He started going loco then -and he’s three laps ahead of a flea-bitten coyote ever since. - -Stroheim spends more money now on his own clothes than he guaranteed to -make that first picture for. Out here where every director has to look -like a Hartschaffner ad touched up by a futurist painter he manages to -hold the jazz record. What a swath he cuts with the extra girls! - -As for his pictures—if he reaches a cent less than five hundred thousand -on this “Foolish Wives” he’s making now he’ll probably be so peeved -he’ll try hari-kari. Why, do you know, Liz, he’s spent enough money -building Monte Carlo’s up at Monterey to relieve the housing shortage in -six states! - -Do I blame him? Not a bit. If he didn’t toss the coin that way people -wouldn’t believe he was one of the biggest directors. His company would -probably fire him for getting old-fashioned. Then they’d bail Ponzi and -put him on the payroll. - -Once you hadda put a close-up in every ten feet to be ranked an -up-to-date director; now you have to find new ways for filling up the -Home for Incurably Insane Cashiers. - -Another fellow whose boss has to make the money with a machine is this -here fellow Holubar. I think that Holubar and Stroheim musta formed some -sorta grudge when they hung out together on the Universal lot. Now they -take it out on the boss by racing neck and neck on the Expenditure -Extravaganza. - -Holubar’s just finished his first independent feature starring his wife, -Dorothy Phillips. “Man, Woman and Marriage” they calls it. Al Kaufman, -who supplied the money, must agree that this married life is expensive. -Here’s one way they ran head-long into the subtreasury, Liz: - -Holubar decides that a little prehistoric stuff showing a battle of the -Amazons with the Male Brutes would be good stuff. So five hundred horses -and five hundred dames are hired and turned loose for the action. The -janes are in the near-nude, and beside you can’t expect that many girls -in one city to know how to handle horses, so quite a few of them take a -tumble when the battle reaches the rough stage. The first thing you know -the ambulances are chasing to the Holubar lot as though they belonged in -the story. - -Continuity calls for the women losing the battle for the obvious reason -disclosed when a later scene shows three hundred of them nursing babies. -A hurry call is sent out for three hundred infants willing to yawl a few -hours for the movies. How that assistant director got ’em I don’t know— -but he did. - -“Shucks,” says someone then. “Now we gotta get three hundred women to -nurse the infantry.” That was a tough assignment—but some miracle worker -produced the women. - -Do you know what happened then, Liz? The kids went on strike! They might -be of the nursing age but hang it, they were particular where and when -they nursed And they had no sympathy for the battery of cameras anxious -to grind. - -All was at a standstill. What could be done? Then a clever chap who -deserves a Croix de Gerry Society had an idea. A few whispered words, -hurried telephone call, truck load of honey arrives. Honey applied to -the proper spot, youngsters start to work with a will. Cameras click. - -Isn’t it a great life in the West, Liz?—Your own ex-chauffeur friend, -Bill. - - [Open Book Decoration] - - _While they last, the publishers of FILM TRUTH will - send the first six issues of the book, April to - September, inclusive, to any United States address, - upon receipt of $1._ - - _Foreign postage, 25 cents extra._ - - _Details will be found on the inside back cover._ - - [Open Book Decoration] - ------------------------------------------------------------------------- - - - - - Corner in Chaplins - - -Sometimes we let our readers on the inside of a coming movie event so -far in advance that we are afraid they will forget all about our having -told them when the happening comes to pass. - -A reader has just written us, “I know you’ve told us about the delay on -Chaplin’s new picture, but why is it we don’t see so many old Chaplins -either? A couple of years ago every other theater was playing a Chaplin, -some of them so old the prints could hardly hold together.” - -Some four months ago we told “FILM TRUTH” readers about the Chaplin -serial that is already made—or rather, assembled—and about to be -launched whenever the moment seems ripe. Well, in that inside note, is -also contained the explanation for the scarcity of old Chaplins. - -The market is being scoured and cleaned. Every granddaddy Chaplin that -shows its head is being bought and retired to the home for the aged. If -you have a friend in the junk business tell him to look over that pile -in his backyard. It may disgorge a Chaplin print. And today it can be -sold. - -The men who hold the Chaplin serial up their sleeves are the wisest of -the wise. They won’t say the word “Go!” till the stage is set. One of -the essentials is freedom from junk competition. - -So wait a while longer for the Chaplin serial, readers. But when it -comes remember that “we told you so.” There are thousands of folks deep -on the inside of this movie game to whom it will be the surprise of the -year. - ------------------------------------------------------------------------- - - - - - S’s’sh——! Some Gossip! - - -Is it unfair to ask what Garret Hughes can see in Mildred Harris? Or -vice versa? - - * * * * * - -“Forbidden Fruit” is the next DeMille production in titular succession -to “Why Change Your Husband?” Just think of all we are going to see of -Elinor Fair, Gloria Swanson and others. The Los Angeles Hosiery -Hucksters and Lingerie Lizards have entered a protest against the -continuous overtime. - - * * * * * - -Oft in the still and starry night we have paused to wonder why DeMille -is willing to share so much of his favorites with the general public. - - * * * * * - -Temperament? If you want to know the meaning of the word ask Maxwell -Karger, director general of Metro production, about Ina Claire. Karger, -being a diplomat, probably won’t answer you. But anyone else at the -studio can tell you that Ina has the tempestuous, rock-bound coasts of -Maine licked to a frazzle forty ways when it comes to the stormy stuff. -Ina is only making her screen debut in this Metro picture but she knew -what she wanted—and by all hemlock cantankerousness, she got it, too. - - * * * * * - -It takes some pepper pot to create any notice in a studio where Nazimova -has worked. - - * * * * * - -Isn’t it rather sad, to say the least, to have fame affect some of our -stars, as it does? Our attention has been directed to Charles Ray—rather -more strongly to Mrs. Charles Ray. Charlie’s rise has affected her—so -much ’tis said, that there is a dearth of chauffeurs at the Ray villa. -This in spite of the fact that a half score or more have entered employ— -and rather quickly tired of it. One of ’em tells us his reasons, and we -admit they would peeve a brass Buddha. - -And, by the way, was it Mrs. Ray whose attitude toward a grocer’s -delivery boy who carelessly let his Ford drop a bit of oil on a -macadamized driveway, caused so much mirth around the colony lately? - - * * * * * - -An event long looked for in the Somborn household (Gloria Swanson of -yore) has occurred, and a bouncing girl is announced. Months ago we were -told that Gloria’s contract with DeMille, at a comparatively small -salary, could be broken only by such an event. Mr. Somborn, being a -picture magnate, is said to naturally have wanted to star his wife. Now -the way may be open. We shall see. - - * * * * * - -Mutterings around a certain railroad ticket office in New York the other -day, boded ill for the husband of the deceased Olive Thomas, had he -dropped his dignity and approached in person. His valet, through -association or education, we know not which, has picked up a domineering -attitude, and the tantrums he went through over the phone at various -times with every clerk in the office, got under the skin. “Don’t you -know who my master is,” chirped the valet. And just as chipperly the -railroad clerk said, “I do, and I don’t give a damn.” - -Party of four, two staterooms on the Century huh? We are slightly -curious, just slightly. - - * * * * * - -Would you believe it? There’s someone afraid he won’t be given credit -for making “Uncle Sam of Freedom Ridge,” the propaganda picture which -FILM TRUTH exploded in last month’s issue. The director, George -Beranger, is the man. At that, Beranger is in the right. He is an A1 -director, fully capable of making his own pictures. There was no need of -anyone else claiming credit for “supervision.” - - * * * * * - -While on the subject of Levey’s fillum it might not be adverse to -whisper that we have at hand letters from live wire exhibitors stating -they have thrown it out of their houses after finding it purely -propaganda. - - * * * * * - -From a press agent comes a screed concerning a production under way at -Los Angeles called “The Perfect Man.” And in the cast we find a player -named Andrew Sous. We’ll say so! - - * * * * * - -How soon are the dead forgotten! Ollie Thomas has not had time to get -settled in her grave, when here we find brother Duffy reported -gallavanting around New York one evening, imbibing the atmosphere, and -then some, in company with a fair damsel who has a husband somewhere or -other, and to whom an unbroken Arabian steed is as a lamb. - - * * * * * - -My, my, it does seem hard for a young lady to keep a “steady” in this -dear Los Angeles these days. Take little Lottie Pickford for instance. -Before going east, Gossip Row on the coast hummed with a hair pulling -match said to have been staged very, very openly, with Lottie in the -role of challenger, and a former Ziegfeld Follies beauty as defender. -’Twas said Lottie’s sweetie (who came on the scene following her -divorce) had been weaned away by the newcomer. Hence the fireworks. - - * * * * * - -Anytime you see an “it” on the streets of Hollywood wearing English -riding breeches wider than an embarrassed pancake, leather puttees wound -round legs thinner than a producer’s heart; a waxed and pointed mustache -sillier looking than shirred humming-bird’s eggs—lay a hundred to one -bet that you are looking at a moving picture director pulling down a -measly thousand a week. The question of the Sphinx: Must movie men of -the studios look like Asses? - - * * * * * - -These here now fillums make strange bed-fellows. “Determination” now has -in its cast both Lieut. Maynard, “the Flying Parson” and Maurice -Costello, who used to appear every now and then in Brooklyn police -courts to answer wifey’s objections to the pugilistic form of argument. -Remember when “Cos” was the shining matinee idol of the screen? - - * * * * * - -The Unkindest Cut of All: One of our contemporaries discloses to a -palpitating world the fact that Reeves Eason, the director, started life -as a butcher. - - * * * * * - -George Walsh was anxious to wind up his Fox contract while brother Raoul -was hitting on all twelve cylinders as an independent producer. Wonder -how George feels about it now that Mayflower’s limping progress -threatens to embarrass Raoul’s activities. - - * * * * * - -“Brewster’s Millions” is going to be made in pictures again. Producers -must work on the theory that they were entirely successful in their -efforts to kill off the earlier generations of fans. - ------------------------------------------------------------------------- - - - - - “The Public Be Damned” - - -The high faluting talk of art for art’s sake and such high sounding -expressions, placed on the lips of some picture magnates, is humorous -enough to make the Gods of High Olympus crack a smile in view of the -penny-grasping, public-be-damned attitude adopted when opportunity -presents. - -Twice within a month a big picture, meritorious in every sense, and one -which the public which supports the poor pictures of the same producers -should by every right have opportunity to see, has come out advertised -as not to be released for general exhibition for a period of years. - -Griffith started it with “Way Down East.” He stuck an exorbitant -admission price down for the New York showing, and then advertised the -picture would never be seen in any but the large houses in the large -cities. In other words, that the real motion picture public, the real -exhibitor, he of the small center, could whistle for this picture, but -could pay for the inferior stuff instead. - -Fox now comes forth with a masterpiece in the form of “Over the Hill.” -And his ads carry a line that the picture will be seen in the first run -houses only for the years 1920, 1921 and 1922. - -The consummate gall of such maneuvers, even in this business where one -feels like keeping a hand on his watch when in certain neighborhoods, is -somewhat appalling even to those of us who should be hardened. - -Mr. and Mrs. Public can see and pay for the ordinary film. But if, by -chance, the lordly producer makes one of exceptional quality, then -admission prices will be jacked up, exorbitant rental be demanded of the -big exhibitor—and the small towner can do without. - ------------------------------------------------------------------------- - - - - - Boosts and Boots - - -“PEACEFUL VALLEY” (Kane-First National). Charles Ray back to the role he -can play. No real story, but none needed. Star appealing and pleasing in -rustic setting. Dramatic moments interjected here and there. A hundred -times better than “45 Minutes from Broadway.” We take our hat off to Ray -once again. - - * * * * * - -“BEHOLD MY WIFE” (Paramount). From Gilbert Parker story. Somewhat above -the average production. Englishman of high birth marries half-breed and -sinks to degradation. Unconvincing motive. Mabel Julienne Scott, as we -have said before, is a real find. - - * * * * * - -“THE BRANDING IRON” (Goldwyn). Realistic action throughout, yet rather -unconvincing. Barbara Castleton excellent in part of girl who, it is -feared, may become lady of easy virtue through heredity. Jimmie Kirkwood -makes screen bow after long absence. - - * * * * * - -“THE TRUANT HUSBAND” (Rockett Film). First release by this independent -concern. Very human production, and will please most audiences. Mahlon -Hamilton and Betty Blythe best known in cast. - - * * * * * - -“THE FURNACE” (Realart Special). One of strongest plays of the month. -Will hold any audience from start to finish. Action throughout. Special -cast. See it. - - * * * * * - -“THE GILDED DREAM” (Universal). The bunk. Minus plot, action, or playing -out of the ordinary. Carmel Myers featured. Let it pass by. - - * * * * * - -“PASSION” (First National). A German made picture. Version of “Du -Barry.” Releasing corporation said to be worried as to whether public -will stand for German made picture. Feature is spectacular and except -where anti-German feeling is still particularly strong should appeal. -Pola Negri, whose reputation is known on this side, is Countess Du -Barry. - - * * * * * - -“THE SONG OF THE SOUL” (Messmore Kendall-Goldwyn). Falls short in -dramatic appeal. Kendall and associates are said to be looking for an -“out” in their contract with Vivian Martin. Vivian is not a star by any -manner of means, though she does her best work in this. There is really -material for good picture, but director and cast fall short. - - * * * * * - -“THE LEOPARD WOMAN” (Associated Producers). Merely another opportunity -for Louise Glaum to regale the public with her limbs and other physical -attributes. There are other players whose physical appeal is far -stronger. As usual she wears many stunning costumes, and picture is -lavishly made. Falls short on entertainment. - - * * * * * - -“THE RIDDLE WOMAN” (Associated Producers-Pathe). What a lemon this -release is! Apparently made with the single purpose of keeping Geraldine -Farrar continually before the camera. And she does nothing that a -mechanical doll couldn’t do. Pathe much worried over picture. An awful -dent in some one’s bankroll will follow in wake of this release. Farrar -is passée as film attraction. - - * * * * * - -“OVER THE HILL” (Fox). Greatest human document we have seen on the -screen. Doubt if there is a player in cast drawing over two hundred a -week. Puts “star” pictures to shame. Mary Carr as Mother gives greatest -characterizations we have witnessed. Inside story of picture is that no -one in Fox organization, even Director Harry Millarde could “see” the -film when screened. Fox himself, with his showmanship instinct, alone -visioned the sensation it would create. Short-sighted release policy is -treated in a special article in this issue. - - * * * * * - -“THE DEVIL’S ANGEL” (Clark-Cornelius). A strong state right attraction, -depicting life of the Latin Quarter. Produced by Lejaren á Hiller. Some -parts may not get by the Board of Review unless cut. - - * * * * * - -“SO LONG LETTY” (Robertson-Cole). From the stage version of the play of -Morosco’s. Replete with bathing beauties. Those who like such—and there -are many—will have their fill. - - * * * * * - -“YOU NEVER CAN TELL” (Realart). Bebe Daniels’ first for the concern. -Good entertainment. Comedy-romance of check room girl who yearns for -riches, finally “falls” for supposed chauffeur, only to find her dream -came true and he is wealthy. Miss Daniels fulfills every demand of her -part. Pleasant evening’s entertainment. - - * * * * * - -“SWEET LAVENDER” (Realart). Just what title indicates. A sweet, homely -theme that appeals. Mary Miles Minter her usual capable, charming self. - - * * * * * - -“EVERYBODY’S SWEETHEART” (Selznick). The last appearance of Olive -Thomas. Heroine from county poor farm. Pleasing though pathetic story. -The past has evolved an axiom among film men that death of star almost -makes pictures as yet unreleased, valueless. On good authority this -picture is said to be an exception, the public crowding the house -wherever shown, and will gross more than any picture this star ever -made. Last scene made just before she sailed for Europe, and death. - - * * * * * - -“HELD BY THE ENEMY” (Paramount). Though this company looks forward to -big business for picture, it is doubtful if public will care for it. War -play of civil war days, well produced—but still a war play. Based on -William Gillette’s stage production. - - * * * * * - -“NOMADS OF THE NORTH” (First National). Strong melodrama well and -carefully produced. Ernest Shipman responsible. Sure fire anywhere. - - * * * * * - -“ONCE TO EVERY WOMAN” (Universal). Excellent picture, realistically -produced. Dorothy Phillips is better each time we see her. A refreshing -production in a month of rather ordinary ones. - - * * * * * - -“SINS OF ROSANNE” (Paramount). Better to leave this one alone. For some -reason they hand Ethel Clayton poor material all the time. Unbelievable -in theme. Pass it up. - - [Open Book Decoration] - ------------------------------------------------------------------------- - - - - - It’s a Stormy Life - - -Tempestuous winter visits its venom on the country for but a quarter of -each year. - -Wherefore, why cannot “Ma” Pickford take example and cast the winter out -of her soul for at least a portion of the time? - -This woman, mother of our greatest screen actress, has occupied our -pages off and on for some time—without much credit. Now, once again we -feel called upon to devote a little of our space to the latest caper of -what those who should know—(including son-in-law Doug) have designated -as a sour disposition. - -Lately the fair metropolis of New York has been graced with “Ma” -Pickford, and daughter Lottie, the erstwhile Mrs. Rupp. Lottie has had a -good time. Why not—Manhattan is an Oasis in the Sahara. But “Ma,” as -usual, stepped off with the wrong foot. - -It seems the two went east with a film in which Lottie has the principal -part. And “Ma” decided to act as sales-manager—the “managerial” instinct -growing stronger with age. - -The second act reveals a projection room on 42nd Street. Dr. W. E. -Shallenberger, President of Arrow Film Corporation and of Federated -Exchanges, “Ma,” Lottie, and several members of the Arrow film offices -enter down stage (though “Ma” might appear to be “up-stage”). - -Reel one gets by O. K. Shortly thereafter Dr. Shallenberger with an eye -to business, injects a laugh into the plot. Those who know the Doctor’s -disposition insist it must have been a forced laugh, a business prop as -it were, in order to inform others he did not think so much of the film— -with a natural drop in the “asking” price a possible consequence. - -But it didn’t work out. True to form, “Ma” pugnaciously arose, and, -according to those present, irately questioned Shallenberger exactly -where he “got off at” as a critic, vehemently flung a few minutes more -berating from her 75 millimeter vocal channel, and then, getting warmed -up and into form, proceeded to “bawl” out the head of the Arrow Film -Corp. to a fare-thee-well. - -Then came the startling part of the affair. “Ma” is not used to being -crossed. Except for one occasion when daughter’s husband laid down the -law (which was related in a past issue of FILM TRUTH) she has seen all -adversaries crumple like grains of puffed rice when she really got -started. This time she got another unpleasant surprise. - -The Honorable Dr. Shallenberger said not a word. He arose, told the -operator to shut off the projection of the film, opened the door and -walked out. - -So, we judge, “Ma” is now peddling her daughter’s film around other -companies where the buyers have a conception of “decency” which Doc. -must, in her estimation, be lacking in. - - [Open Book Decoration] - ------------------------------------------------------------------------- - - - - - The Fame That Was - - -Just a brief line in one or two theatrical papers recorded what is, to -us, one of the most interesting events of the month. - -“Kay Laurel last evening stepped into the role heretofore held by Helen -Barnes in ‘Ladies’ Night’ at the Eltinge theater.” - -So it read. And our mind goes back to the Kay Laurel who but a few brief -years ago was the toast of Broadway. The Kay Laurel of enticing face and -figure of which artists and illustrators raved. The Kay Laurel who wed -Winnie Sheehan, the left bower of the Fox Film Corporation. - -Kay may have been seen many times lately on Broadway with the younger -Selwyn of the theatrical clan of that name. And now we find her in an A. -H. Woods’ piece. Perchance, we may be pardoned for lively curiosity as -to exactly why Selwyn did not place her in a large, secure part in one -of his own enterprises. Especially in view of the marked interest he -apparently holds for her. - -And the public, not conversant with what everyone in the business knows, -may ask why Winnie Sheehan, all-powerful film figure that he is, has not -relented and placed her with a picture company. - -But the birds of film row whisper that Winnie’s heart is hard,—that -there will be no more reunions. Kay, on the other hand, protests on -every opportunity that her feeling for her husband, her big Irish lover, -as she calls him, is as strong as the day he led her to the altar. - -So Kay stands again before the footlights, and Winnie, well, Winnie -watchfully waits. And Broadway smiles. - ------------------------------------------------------------------------- - - - - - The Drugged Awaken - - -The famed coat of many colors of Joseph of Biblical fame, or the -ever-changing chameleon, can’t pretend to hold a candle to the editors -of the Coast publication “It” for variety and shiftiness of policy. - -’Twas only a few months ago that this magazine, together with one or two -others put forth here in Los Angeles were rising up on their hind legs -and mouthing vapid denunciation at “FILM TRUTH’S” policy of getting -right down to fundamentals and digging at the cancerous sores of the -industry. Now comes to hand an issue of “It” thundering against the -shame of many of the movie colony, terming them drug addicts, and -calling for a thorough cleansing of the Hollywood section. - -Well, well, well! Even Rip Van Winkle awakened in time. And so it is -with “It.” - -To pretend that all the men and women of Hollywood were lily white, -beyond criticism, etc., has been a favored role with every publication -devoted to the industry. FILM TRUTH’S entry into the ring was met with a -holier-than-thou-don’t-dare-to-touch-us greeting by several -publications. We have gone on our well-known way, and now we must -compliment “It” for getting a little vision and editorially announcing -that all is not well with our little colony. - -“Two members of the colony carted off to the police station as drug -addicts” is the gist of “It’s” editorial. But why stop at two? And why -have certain publications risen in horror against articles appearing in -a San Francisco paper giving the report of the State authorities that -twenty-five per cent of the registered addicts in Los Angeles are of the -movie colony? - -That the use of drugs is widespread in certain quarters has been known -for some time. There is nothing that is new in the fact. It is a beastly -shame that such a cancerous few should smirch the clean majority; that -magnates should expect the public to take its entertainment from such -hands. - -At the same time we compliment “It” for finally removing the smoked -glasses and “don’t touch” dictum from its editorial staff. And, might we -gently inquire whether the move was through sincere desire to better -conditions? Or—is “It” after wider circulation, and lacking in faith in -the pulling power of its several really entertaining departments? - -While on the topic, we might refer to a certain fan magazine which, with -great fan-fare and blowing of trumpets, announces it will expose -stock-selling, fake motion picture schemes. We respectfully refer the -magazine to almost any one of our issues—and trust it will be as frank -as we have been in such exposés. - -Without patting ourselves on the back, we do hug close the thought, as -we see other magazines announce departments and articles that “tell the -truth,” that imitation is the sincerest form of flattery. - - [Open Book Decoration] - ------------------------------------------------------------------------- - - - - - On the Toboggan - - -Slipping faster than automobile prices—and in the same direction—are two -young ladies of the screen, yclept Mabel Normand and Mildred Harris. - -In one case it’s a shame; in the other it’s the natural course of -events. - -When good fellows slip we are sorry. - -On the other hand, water cannot run up hill, neither can matrimony make -stars. - -You can’t expect to find many tenants in the lofts of any screen star, -but Mildred’s vacancy surpasses understanding. Hoisted by matrimony into -the position of a First National star Milly fluttered along in -haphazard, fashion. Now, we understand, the end has been reached. The -coming Mildred Harris Chaplin productions will not be First National -attractions. Some other means will be found to offer them to a not -over-anxious public. - -Mabel Normand’s case is more difficult of analysis. In the hands of -Sennett, Mabel could have still been splitting honors with Pickford and -Fairbanks. Now she’s playing on the “Maybe, yes; Maybe no” time. What’s -the answer? - -It seems to us that Mabel started to slip the day she got well enough -acquainted with Samuel Goldwyn to call him “Sammy” and give him orders. -Mabel’s orders brought her individual stardom and probably more money -than the Sennett payroll afforded—but not the same pictures. - -Not all the printer’s ink that artists can splash will hold a star in -place if the pictures fail. High-priced vehicles and expensive -productions don’t balance for the genius of a Sennett. - -Now that Sammy has been erased from the affairs of the company whose -name he bears there is speculation in picture circles as to what effect -this will have on Mabel Normand’s status. Two years ago this discussion -would have been a burning one. The loss of Mabel Normand meant -considerable to any company. Now? It’s just idle speculation that -doesn’t seem to be heading anywhere and caring less whether it arrives -or not. - -It’s too bad! - -For Mabel is the original good sport of picture players. You can’t find -a Mabel Normand knocker if you travel the length and breadth of studio -land. (Always excepting studio hands who have felt her tongue.) And -that’s going some in a business where the dearest phrase is “I knew her -when——.” - -Give us Mabel Normand and Pearl White on one party and we’ll guarantee -to turn rivers into burning oil. You can’t step so lively or so fast -that you won’t find yourself trailing Mabel. - -It’s a shame to see Mabel start to slip. Won’t somebody bring forth -another “Mickey”? You can’t expect Sammy to do it alone. Won’t somebody -give him an idea? - -He who laughs last laughs loudest. And the former Mrs. Goldfish-wyn— -Jesse Lasky’s sister—is getting too many of the ha-ha lines in the -script. - - * * * * * - ------------------------------------------------------------------------- - - - - - The Final Touch - - -We are reaching the stage in this series of hints on photo play writing -where our readers are beginning to drop us little notes something like -this: “I think now that you have shown me how to build a story but I -don’t know yet how to write it in scenario form. I have never seen a -scenario and know nothing about the technical phrases. Will you please -send me a sample scenario or tell us in an early issue of ‘FILM TRUTH’ -how to write one?” - -To which we hasten to reply: “We will not.” - -And why not? - -Because, aside from the correspondence school experts, no one who claims -to know will let any aspiring writer spend five minutes of his time on -the study of the pseudo-technical junk of a scenario. The men who make -their bread and honey by convincing you that you must learn a lot of -mysterious inside phrases and bunk still work the specimen scenarios. -Naturally, that’s where their gasoline bills are paid. - -But it isn’t done any more by those who know. So don’t let any “FILM -TRUTH” readers bother with a fear of their lack of knowledge on the -scenario score. - -If you think you have gained an idea of the method of discovering story -germs, constructing a plot from them, holding suspense and building a -climax—then prepare to sit down and write your tale. It is called -“writing a synopsis.” Forget the word if it sounds too technical. _Sit -down and tell your story!_ - -I say that because at this point someone has probably asked, “How long -should a synopsis be?” - -Then when you set out to tell them how long most synopses are you -suddenly realize what a damphool you are making of yourself. And you -wind up half-exasperated with, “A synopsis should be just as long as is -necessary to properly tell your story—and no longer.” - -That’s the right answer. Don’t set out with the intention of telling -what happens in each reel in three hundred words—or three thousand. If -your story is a real story it won’t let you set limitations. If you are -a real story teller you won’t run to three thousand words if fifteen -hundred would really tell your plot in a manner that would hold the -interest of the reader. - -_Sit down and tell your story!_ - -Tell every bit of detail and good atmosphere that you feel adds strength -to your tale; tell every bit of action that you can be sure brings -screen pictures to the eyes of the reader. Don’t tell a word more. - -And don’t attempt to get technical. Just because you see it done that -way—and you’ve heard the word—don’t say “Fade-out on the two lovers.” -That isn’t doing your story any good and it is eating up space that -could add strength. - -Put yourself in this position: You’re sitting before a fire-side with a -close friend. You’ve got a story to tell him. You don’t want him to yawn -in the middle of it. You don’t want him looking at his watch. - -That’s the time you are going to tell a story naturally, but also -picking every word. Every phrase and incident is going to be placed at -the point where it will do the most to arouse your friend’s curiosity -and interest in what is to come. - -Can’t you picture the situation? Then bear it in mind when you sit down -to write that synopsis. And for the best lesson ever written on the art -of story telling go to any library and get a copy of the Richard Harding -Davis story, “Out of the Fog.” - ------------------------------------------------------------------------- - - - - - BACK NUMBERS OF FILM TRUTH - - -Scores of requests for back numbers of FILM TRUTH from its first issue -of April, 1920, have been received each month from new readers. - -The filling of these requests has resulted in a dwindling number of -“extra” copies kept on hand, until some issues have been nearly -exhausted. - -A limited number of complete sets of the first six numbers, namely those -dated April to September inclusive, have been made up. - -These will be mailed to the first applicants at one (1) dollar for the -set. - -The number of sets is necessarily limited. - -In the event of applications being received over and beyond the supply -on hand, the publishers will return such money as is sent. - ------------------------------------------------------------------------- - - - - - FROM 800 TO 63,000 - - -The sale of this issue of FILM TRUTH will reach 63,000 copies. - -Eight months ago when the first number of the magazine made its -appearance, just 800 copies were printed. - -_Then_, in but one city of one state was the magazine distributed. - -_Now_, 683 cities in 29 states are served. - -Volume circulation has not been forced. Rather it has been cried down, -owing to the manifold difficulties that have confronted the publishers, -and all publishers in general. - -The public has shown it wanted a magazine of FILM TRUTH’S calibre—a -magazine that lifted the lid off this great, but over press-agented -industry. - -And to its constantly increasing host of friends, FILM TRUTH reiterates -its original promise to tell the truth without fear, favor, malice or -advertising considerations. - - =800 to 63,000= - - =_The figures speak for themselves_= - - - - - -End of the Project Gutenberg EBook of Film Truth; November, 1920, by Anonymous - -*** END OF THIS PROJECT GUTENBERG EBOOK FILM TRUTH; NOVEMBER, 1920 *** - -***** This file should be named 53434-0.txt or 53434-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/3/4/3/53434/ - -Produced by ellinora and The Online Distributed Proofreading -Team at http://www.pgdp.net (This file was produced from -images generously made available by The Internet Archive) - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law 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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