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title: 'The Ogden standard-examiner. (Ogden, Utah) 1920-current, October 01, 1922, Page 11, Image 11',
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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
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
"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!
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
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
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
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 "
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
1 About Eczema
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
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
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!
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
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
! 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.
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
-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
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
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
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.
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
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
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
V T hair wfl
- h V
small strand H
morning all ltB
pears, and afteH
plication or two
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
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
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
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
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
C'arusu talked Ipur
told lie H
his f I n k i ),. Afl
'ami they gel M
i oted our iiv
get $1 t.000 fcfl
"It u H
ence gs u L-M
this time vH
I I - - fl
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
When "R. U. R." opens at the , Gar
rick. "He Who Qeti Blapped'Vjgu on
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