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m9maa9uW II - 4 1 v H ifrAV MORNING, OCTOBER 1, 1922 THE OGDEN STANDARD-EXAMINER It p DEAN S FILM REVIEWS .pnk But Fair Criticisms of Latest Offerings by I A Leading Film Producers M I BV JAMES W. DEAN 9 WT YORK, Sort. 26 The on-' P j that Alloc Brady is best cjulp llR to '1" "'ri the an omo- part H r return to the screen an absence of many months is ed by a photoplav tn.it rives her Scope to show hr ability is an onal t r - 1 "" two more pictures as "Missing Millions" Ql her name will be Mu.i. as tho I story Is based on one of the r dences of Boston Rlackle, the n character r at d by Jack t. It could have been effectively id In two reels or less. Stretch-' l t out to make it serve aa a foa I plm results In loss of color and ydn Abm ben a story, filmed or written. ot . -c , i, to hold IKlHatt- r -ntly. every detail must rlne true. Faults are more wrly phown in l..w motion than ithiOrmal motion "Missing Millions two di b -fUlt visit an iniiM"-'nt susprl He' I "Hnve you lo ate.l your nan"" j fe starts to accompany them to '4 Station house Both are bigger tHh'' They spring upon hi-n. yBK much ado nbo-it the simple utesbesH of putting handcuffs on him. Hfceteetlve will laugh at the s-'.-n- , rioth- r .- t.- 1.--V. - 1 New fork srsbov frantically waving a pape . fe his h ud as he dashes down Hty street, yelling his wares. He j nivifes the paper like it was a flap: r.t fecoralh-n 1 av parade. N.-vvsboys Iine act that way. Newsboys are iHlned. sophlstii ated young men. s.miethintr like the assassina- fefFof McKinlcy or the sinking of Tfc,U8itania or : W "rid Series to Ke them w.t. paper -Love their arel0te who wen interesl d in thflf li series "Making our Own -i fes" ml! I .it.-. I In B jln's ..- , orn.-d "li.. n Ml WilM " That burl. ama-jjprod-.i .1 of 'llr.s It a so satlr lt,rlthe . ..ml. i. . d. by prof' ssi'-na! -if), lucers l0r. s. r. bk.n in oil. 1s ' i Ml while ti - o layers sw. Iter in bear pet i.r.nv n 'o i lei .in lass tank "1 w itei lb tries to -ja fish the fish bites him He I from the fish That Is ju skinny an Incident as any - -cr Bd In a foini lis cored. so reveals a few studio fts .n s tin cj "i ma . i Btlon Tlo ' I'. .-a.;. in Is P de- IKat revolves the background on IBe cylinder to make figures in picture appear to be moving ii t speed dry Aid- n. ' 'n-' i 1 POl ' r lother rob'.s. will soon be si 1 n In SlVomnn s Woman " Although it hyp adapt-iii-.u - S ilbro Bartl !whieh appeared In Ho Saturday ling Post some time ago the pic kery closely follows the story of Freedom." A. S. M. Hutchison's which promises to be a best L The, picture was fllmod before Hutchison va published. REQi PAR V.:: m-1i erson Hough's "Yae Pqverod Ki," a Btory of lh plains in '4!. Ffllmed 1'V James "ru.-.e rman Belby (Kid ) is su- Ssinc tii;bt -i n - in i 'assions be v ut .... h Dia . i" r- i . - -I lor bih-." has been senl to America tir ex hi -it!.- . - It orma and . adgi b; . Lccompany rgseph 5 enck it bis 1 . " dlscui if o-it imi to produce films for the ie I go - mm i nt I .... ttt iolanc- at i". . 11 DeMUle fl I ftsl. 'i.;lit . r" at ti,. Rj oil, "- w i , m.is 142 greater tht first daj Tlt'. itt. nd.iin - ... . ! 1 i m plm; of li'.ood and s md " 0 - 1 Hiley Goethais. flve-yi r-old Cl en .i' tor. has y;M I - - - I i nls 1 I hair-eut ... Rfcnsraughler," Cecil DcMlllc's lat- Dm opus, mon nearly approach Khnb al perfection than any pho- iv pi .-lue. . ii ut its b .i it i - ' 1 1. thai ol . ro e Out Hi-. Ill a I I. ,nr 0 v a ... Ii t Cct'on without any sap or blood S 1U I I u' ' ! I... a i . . 1 1 . . . . i - I kttltu-b- I : I - . ii,. I I hl.s f. dlowmi u He ., pi Im.i: l' ft 0: i . a. HI r.rr II,.,;, . n , rl int . r I soli. I - of Harnnm, b lo ving that I I 1 I ii ! in lint, and i 0 i i Id nough hokum j ou can ii rj minuti at t tu box ol I Ice Common Sense 1 About Eczema iand Eruptions! A Here's Something vboat S. S, 3. J That Yeu'U Be Gld to Hear. eTou might Jwt u weH know It right J. the caufto of akin ftruptlonst I eHiplc blackhaada, bolts and bo oo. .right In the blood. There is no gret mg sway from It Scitn- e has proved sAo provo It. You can prore it. FWhen the rjxuao of skin troublea and Jiptiona Is tn the blood. It Isn't ootn- Js B B. 6. 01t Tee Am AareUs Sklat Ion sense to simply treat the skin bottle , ts. X B win prove to yem aat U h-.ppjjtnc la yoor blood. S.&8. a etcleittmc blood eb.Anser, It drlvea I .the Impurities which caueo eczma, Iter, rash, pimploe. bolls, blaokheads, itches and other eJfln erupUona Ben these Impurities are driven out. !U can't stop several very nice things Dm happening. Your lips turn nat pjly roHy. Your eyes upaxklo, yoyr tnplexlun cleaj-a. It boc.tnos beau-hn- Your faca looks like that of a toSDerous, ruddy, well-fed. rvflned mueman. or If you are a woman, nir complojcion become the real kind !fct tho Whole world so admire. S.S.8. also a powerful body-builder, be g"e It builda new and more blood He. Thatn why it fills out sunken eks. bony necks, thin limbs, helps iln lost flesh, it cost little to this happen to you 8. 8. 8. ts W at all drug stores, In two rttoa. r Arsar sis i the mors economical, J Tho story' of "Manslaughter" Is a 'simple one. It dealo with a rich girl 1 who has a mania for Hpr-d, speed in last rars and fast social pursuits. Fleeing from a motorcycle cop. h 'eausea his death in a wreck. Her fiance la district attorney. He prose cutes and convicts her of mnnslaugh ter. She is eentncd to Jail. Rubbing elbows with other prisoners she realizes the shallowness of the. life .she lias been leading;. Her fiance, rea lizing that lie cent his 'heart to Jail when he convicted her, takes to drink and goes to tho dogs. ! She comes out of Jail, finds him and reforms him. ... Simple handling of that situation would have given it dramatic force Sincerity of narration would have made it Impressive. But Cecil DeMUle les not thhat sort of director. He intro duced scenes of Roman debauchery to glvt a spectacular Hare, to the film. These scenes Of the bacchanal" were splendidly done .appearing like anion-1. d tapestries. How r. these scenes and other interpolations detrai I from tho storv i -Lil LxMillo may not be an art-i 1st In the telling of a story, but there i is no director on this or the other side of the Atlantic who has so compre hensive an understanding of what can be accomplished by light and shadow in the making of moving pictures Figures in Manslaughter" possesses height and o-pth an. I width That, when photographed aralnst plain backgrounds wan no trick of settings to create an Illusion ol three dimen sions. No other film has reached such a high mark of clnegrvp'hla excellence. Few films are blessed with such ex cellence oi ai ling as that contained in "Manalaug'htor " When this film Has re ii 1 1 1 1 into all tr.r nook.- and conyjrs of America. Leatrlcc Joy will be known as une of the foremost fem inine stars of the. screen. She may not be called star by her employers, but she will be made star by the pub 1 11c. Until now "Male and Female," has stood as til" criterion ut Thomas Melghan'e acting Hereafter. "Man-1 (slaughter" will be pointed to as his! hall mark. ' I With these things to commend the ! ;fllm it seems a shame that DeMUle should ha'..- played down to tho as sumed 14-year-old Intelligence of the public. The subtitles are in kindergarten style, capitals bciug Uood to empha sihe their point. Thus the heroine pledges to spend all of her Time and I Eiffort and Money in aiding others i when she geto out of prison. Th boobs who read the titles out J I loud will think "Manslaughter" the best story ever shown on the screen. l I M u.j; VMS Sealeyham dogs which are just be ginning to make their appearance in American kennels are shown in the 'next Milr rhat They are used for ! hunting badgers. June Mathls will write the contin ity tor the screen ursmn of 'lien Hur." $h wrote the continuity for "rb. Knur Horsemen. Hie Conqucr Idk Power," "Blood and Sand." and other film successes. L W Griffith says his new picture Is ready for exhibition, but he's not ready to tell what it's about nce upon a time Mae .Murray was a stage darner. onco upon u tinn she saw Nagimova aet Now tn the ' fi'ms she combines h-r dancing abil ity and a faulty conception of N'azim lOVas mannerisms. All f h"r pic tures are alike. They mM be in or der thai the star's !nnltvd abilitlce may I be shown to best advantage. Tims in "Brcadw i K-. . " h-r laf ost. you lind ber a a girl With danc ing leet. a light head and a heart that yearns for trxn- I v. That oic -tuvc differs little from "Fascination" Which differed littl- from "iv., oi h Alley." ! Miss Murray's gown; are a bit smarter, her settings a hit mon; pre tentious, her dances . nt more .n'i- taming unl her soft focus close-ups a bit moiM numerous in "'Brondwij Ilo:-e'' than tnoy !i i beou in pre vious pictjrc H.-t- ability io u. i has not ben enlarge i. m Mae Murra) ma iabioi) li r nndc of acting after that oi Naxlmova, but that Is us far as the comparison holds In "Broadway f... diss Murray is called upon to Inform one suitor that she has derided to mariv the other suitor I imagine Hat NftZim ova would have stirred the sprtat. r to this intimate scene with some dis play of deep .-motion The reaction to Miss Murray's rejection of the suitor is a feeling of gratitude that so worthy a man as Monte Blue was not accepted by her. Blue saves this scene. H makes you fe. 1 for the moment that on are witnessing the distress of i young man brae enough to sip I h hem lock from the cup and b.e the hand that proffers if. Blue wa.'. a revela tion as Kobersplerre in ' Orphans oi the Btorn." He lives u, to tliat promise as a pantomlnlst in "Broad way Rose." -Vazimova's wild rantlogs, her er ratic mannerisms, do not seem out of plaiu- on the screen because they generally follow some sconn of great emotion. They arford escape men- for pent-up emotional energy Mias Murray's ild tapes find no such excuse because she does not give the impression that she is Inijor Ing under emotional utresc As one watches her in ''Broadway Rose" th Idea occurs that some of the preten tious sets might s ell be in tlo form of padded colls. The theory that criminal tendencies may be eradicated by changing facial features is expounded in Skin Deep," u new movie, produced by Thomas li Ince. Dr. R. H Pylse, a plastic sor- I geon of L-os Augeler. supervised tho scenes illustrating that theory. I Thl3 seems to be mixing caube and effect. Criminologists and Bertllllon experts for many years have pro ceeded on the theory that people l.,rn with certain criminal tendencies were born with or devolopod cortol. facial characteristics that betray those tendencies. These deductions are based chiefly on tho relative positions of th vari ous features as much as on the t.o I or form of any one feature. f will require more than skin-deep surgery to upset criminologists and character ana lysts. TIM MOVIL7TORIUM Jack Plekford will make future plc- tures at an rJanlern studio so that to j may be near Murilynu. Betty C'ompson Is to be starred in "Tho White Flower," i be filmed In Hawid, The scenario was wrltltn I by Julia Crawford Ivere. TIPS ON HOME MOVIES CONCLUDING ARTICLE ON SUBJECT . 4- Thc movies are a language of pie turee. Words are only permlssahle as a means of supplementing the i meaning of these pictures. But the; words In the subtitles must never t. li what is in the .scene, that follows, I otherwise the pictures become mere I illustrations of verbal captions. I There are plonty of scenario writ ers who tell the whole story in sub titles and the picture part of th. Ir stories falls absolutely flat, lor tin- audience knows what to expect In each scene before It appears Be careful " only to hint, that Is, foreshadow, scenes In your titles. Titles should seldom be more than 20 words In length. The first titles you will write wi'l be your theme titles, which should tell the point of your stor as Clearly, cleverly and conclnely as possible. Then come your introductory j titles, introducing ami characterizing the various plot people. Never Intro duce more than one person In one title Never depend solely on the! title for characterisation, but bej sure your title gives the due to the business which follows. The lapse-of-tlme, and change-ot"-place titles connect the various se quences of the picture. Spoken titles should be brief, writ-, ten In the colloquial language that the character ould use although i dialect is to be avoided because It looks foolish on tho screen and should never contain more than one idea in one title. Never let a char acter soliloquize that Is. talk to him self. On the other hand never let him say anything to another charac ter unless thee is a logical reason why he should nay it and unless ho looks as if he were sa Ing It. Illustrations drawn on the subtitle cards aid the picture greatly. These illustrations ar- made on separate cards by artists in soft black and white shades or perhaps are real uhotographs; and afterwards they are double exposed onto the lettered cards. Such illustrations. If not over- j done add' greatly to the atmospheric effect of the picture and can be us- 1 to give the key to the mood of the story where words would be too crude. Also they can sometimes be coupled to form an integral part or the title. These illustrations should be noted on your title sheet and should, as a rule, fade on after the title has been read The other lllu-j-I tratlons, which are merely beautiful backgrounds, should be purely de signs. If you have a good amateur artist In your town, ho rrn letter thr titles, In White on black cards, ana draw the pictures; and you can either film them yourself or send j them to a laboratory to be filmed. I The best scenario writers see to It that all the titles- are In the script In I practically their final form beforo the j picture Is made. Then the actors are j able to give fine shades of meaning I to their speeches Your picture will average about 2f to 40 titles to the reel. Take plenty of time, two hours at least, to write each one. and you will be surprised at the improvement in your photoplay. SELECTING TH I ST. Selecting a cast for an amateur movie Is Just as much an art as it is with the professional casting director. Beware of your friends' Rex Ingram and D. W. Griffith are two of the best models to follow m casting your picture. They look pverj a thousand applicants without play- ! Ing a single favorite until they find the one who la exactly suited to the part. Of course, this won't work for all time as a flat rule in casting Im parl .nt parts because external ap pi urancc isn't enough In itself. Your actor must be able to act. Ingram and Griffith can make almost anyone act, and besides, their can-ll-J dates are almost all trained profes sionals. For your first picture, m the other hand, you can't possibly i know who can or cannot act sol you'd better pick the ones who look the part; after that you can develop your own a.. tors. Frequently the ones who look ex actly right in re.il life, are altogeth -r different on the screon. The only( way of determining the final choice Is by actual film test, after the ac-1 tors have their make-ups on. Youj can't take enough of such tests If you.i want your casting to exactly right. Of course If you have any amateur actors of known talent, you will find that they have a great range in . part. It is not well to cast .:vi young people for very old people, or vice versa; but generally speaking, a really good actor can play almost any part within his age limit. One of the. most complained of faults of manag erial methods Is that they force an' actor who has made a success of one part to play similar parts' until he dies of sheer boredom. You must bear in mind your en semble when you pick your actors If you have a very tall heroine, yon cannot successfully cast a very short man to play opposite to her. On the other hand, if you wish deliberately to dwarf your star, as they did when Mary Plekford played the child part In "Little Lord Fauntleroy," you can1 do so by having all the other parts played by very large people and. in addition, by building tho furniture larger than normal. Make sure your cast will work well together. One or two temperamental, trouble-making, fault-finding people can make a company so unhappy that no one can do their best work. One lazy actor can hold up the entire studio a few minutes each day and run up an enormous total of lost time through the course of a production. Also too many individualistic pco- I Mrs- J. W. Sampson I Tells How Cuticura Healed Her Scalp "I wae troubled for years with a dry scalp and dandruff. There were I f small scales on my scalp end it itched and burned a gTeat deal. My hair was very dry and lifeless, end fell out when I combed it. I be gan using Cuticura Soap and Ointment and after a few spphcatlona could see on im provement. I continued using them and in three months was healed." (Signed) Mre. J.W. Sampson, 4705 32nd Ave. S., Seattle, Wash. Keep your skin clear by using Cuti cura Soap, Ointment and Talcum fore-ery-day toilet purposes. Touch pimples and itching, if any, with Cuticura Ointment; bathe with Cuti cura Soap and hot water. Dry and duet lightly with Cuticura Tslcum, a powder of fascinating fragrance. iHvltltarrHVTVtU AddrMi: "0o L b rMnta, D?- H, M14n U Mui " K..M ty- &no?l OloCrotntUandtOc Tilnim3' 6SSCicur Soap thavaa without mu(. 1 i i I pie will make a discordant effect on the screen: even If you had the op ! portunlty to cast a picture with noth ing but gr. -at stars, I should advise against It from an artistic standpoint. I You would find that each and every star was, by force of natural tab nt biaklng the most of the part and. In I consequence, that your audience was; watching a hlstronic thrc-rlngM I circus Instead of a unified story where ; some parts are naturally as colorless ! as others are colorfnl. sSFMBLING THE FILiM Assembling and editing a moti&n picture is a most Important Job Thl- is called "cutting." and it is both an art and a science Directors usually shoot a: least ten times as much film as they need. Aside from the retakes and duplicated I scenes, the picture, when first put to- j gether in "rough cut" form is always ! too long. "Foolish Wives" cam. out in 27 reels Instead of ten. and took six months to cut down. It Is up to the cutter to select the j best scenes, to eliminate whole se QUences from the story by .arious in genious methods to cut out dead and uninti resting action, to mark tho col- or tints to get the titles In th. ii? r.ght places, to see that close-ups are In serted wherever needed, to make sure, that the story is clear and that its dramatic- sequence is right and If It is not to make It so -an 1 finally to I assure correct tempo. That means, majof surgical operations. To edit a picture you must have ro Winds, purehaseable for about $15 on which to wind the film. and. if pos- j sible. a small hand projector made 1 from parts of an old projection ma- chin. . Thes.- machines can be turned by hand and. without any light other than daylight, give you t tiny animat ed picture at the bottom of the tele scopic tube. Of course It la possible to cut without such a machine, for. With very little practice you will learn how to pull the film quickly through your hands In such a way as to cause a rough effect of animation First take all your film to the local I CllCIClie .mil .n I ,ui(c IIB, v 13 ii. iv.- lected. I nthis way you can pick out the best "takes" from a photographic and acting standpoint. Then put these takes together, following the scenario exactly and insert th titles. This is easy because at the end of each scene a boy walks In front of the cam era with a Blate bearing a number corresponding to tho number of the scene on tho scenario. Thereupon you project It for the cast and director Everyone will In stantly tell you that it is the worst I picture they have ever seen and that they ar-- sorry they ev er were m it Y-.u can't expect people who aren't cutters to understand that a ruugh cut picture is bound to be a bore Mechanically the making of splices between the different pieces of film each scene comes separately is easy. You simply tear tho scene off short I with your fingers where you want it to stop and paste it on the next pieei. with splicer's cement In a small clip called a splicer's block ( purchaseabh for about ?5i. The cement dries in 30 seconds and the film can be run I through a projection machine. I To assemble and edit, the picturo I you must know dramatic construc tion. Y'ou must be able to get the j viewpoint of the audience in order to keep the right tempo that is, in or- j der to go fast enough to keep ahead Of the audience and not bore it. and at the same time slowly enough to let the meaning of the various scenes take hold In the emotions of the spec tator Knowing just how long to let a facial reaction sink In, or just when to cut from the fight scene to tho galloping rescuers is a very' high art. 00 EYE-POKING- ACTS STILL CREATE FUN Bl ' KMES Y. DEAN NEW nRK, Forty-five years ago Lew Fields poked Joe Weber in the eye. That was their idea of fun. A in w genus of American humor was born. Today Weber and Fields are re united on the stage. Tho eye-poking episode , re it. s ua many laughs as it did half a century ago. Their brand Of humor has become a national in stitution. a Grotesque fellows without a joke in their Bystem. Theirs, is the comedy of situation. Analysis of their lines shows not one Joke with a point to it. I asked each of the men to toll me tho funniest Joke he knew. Neither of them knew a Joke. Weber, short and padded out to anl immense girth, plays pool with Fields who is lean and lanky. Fields; constantly places restrictions on W.-h.-r'-; p.aylng. Weber turn, to hinJ Sage Tea .M Hair torn V T hair wfl Sulphur, nrifl cause it's so evenly. ture, H and H cost, you store thcB aration, dition ul called "M Sulphur (jH just dampenH - h V through yourB small strand H morning all ltB pears, and afteH plication or two comes bcautifulH glossy and luxurfl Gray, faded h disgrace, is a si-ifl and as we all deS ful and attractivfl get bury at once H Sage and SulphuB and look years ydV STBBBBSBE1H I Wanted:- A Cave Man I Must be wild and unmarried! Must have pre- I historic ideas about marriage and modern notions H divorc primitive lw CONSTANCE TALMADGE I In her new p?ay of prim husbands and primitive lovers H "The Primitive Lover" I I Directed by Sidney A. Franklin, the man who made "Smilin' Through" fl sorpheum J TODAY, MONDAY, TUESDAY AND WEDNESDAY Matinees, 10c and 25c Nights, 10c and 30c 1 I Shows: 1, 3, 5, 7 and 9 p. m. I cniaH-B---MB-BSB----- and says. "Veil, dldt you write the rules of the game" j The audience is convulsed at that 'line. Web,,- told mi' that he mad' up that line on th sj-ur of the mo ment. Take oft the ipake-up of Wfcber and Fields and they are almost colorless Here are two men known to millions, their names a by-word In the daJ I life of America, yet off-stage they seem to be without personality, with out vitality. That is because the stage is their own life. They started when they were "half paut nine,'' as Weber puts 111 i'hey have butchered ti" queens Fnglish so much on tin- .-tape iH they continue to slaughter It off-a 1 risid.-ri the blKKe.t his life their ;old.-n Jublk-eB 'years uj-'o The box office JlM.000. A C'arusu talked Ipur told lie H his f I n k i ),. Afl 'ami they gel M otln jH i oted our iiv get $1 t.000 fcfl "It u H ence gs u L-M I r'fl this time vH ! up for M Bepsfl I I - - fl I. t. in a chance to function. This latest play of frivolous wives is salacious enough to draw good rnatineo audl from tin- MH tnd flappers from tho provbB the bedroom scene is entireJH to thrill the Hopwood olfl In fact, Hopwood's ' nitflu ;-vns Tor siJI domc8tlcjscH B When "R. U. R." opens at the , Gar rick. "He Who Qeti Blapped'Vjgu on iiL I shki ?!k5l33 sftffjS IsSjBj 9fv9 ff-tKS9HBfewv 9m EBSifSIHsl fili5 ss-i i ?f ill 4fr!&vvfrtEK't 9v9s 3Sfc "- - Ib w&fc!itf58P' SHB ! nislJ s3 isiHrsjsT 9ssR nSS i MArT nWT r! fl I I KSBi U IfS H H iS EH 0 I SB 9sk1 l