Saturday June 3,1922

FOURPENCE

Vol.2 — No.52.

The Motion Picture Studio Juno 3, 1922

it

A Tense Situation From

A PRINCE OF LOVERS

Being the Romance of LORD BYRON

The Great "British Screencraft" Production anticipated to be the finest dramatic film yet produced in England

THE MOTION PICTURE STUDIO

June 3, 1922

ARTISTES IN THE

DOROTHY FANE.

‘‘Corinthian Jack,” -Laughter and Tears,’ ‘Bonnie Brier Bush,” ‘’Lost Leader” ” 'J lnee Liv’ Ghosts, “ Lonely Lady of Grosvenor Square,” “ Creation.

ALEC G. HUNTER,

Character Parts.

Just engaged to play The Dcgal Crater in

“ROB ROY”

(Gaumont).

AD corns. : Kinema Club, Regent 2131.

CECIL MORTON YORK,

Aristocratic, Strong, Characters. During the past year played important parts in 12 big productions, including “ In His Grip ” and “Autumn of Pride.”

Now engaged for Donald Crisp Production. All coins.: KINEMA CLUB, Reg. 2131.

W I L L I A M L U G G ,

Aristocratic, Character and Comedy Old Men.

12, Heathfield Gardens, Chiswick, W.4.

EVA LLEWELLYN,

Character Artiste.

London, Ideal, Samuelson, Barker, Stoll, Welsh- Pearson Companies.

Engaged to play Mother in “ ROB ROY (Gaumont).

All corns. : 39, Gloucester Gardens, W.2,

ARTHUR WALCOTT.

Character Parts,

57, Church Street. Kensington, W.8.

M. A. WETHERELL

LEADING MAN OR DIRECTOR.

RECENT PICTURES:

“The Man Who Was Afraid” x “ Swallow” .... African “ Vultures’ Prey”.

“Sam’s Kid” ....

Film

Productions

“A Man and His Kingdom” “Wee MacGregor’s Sweetheart’ .

Stoll

W elsh-Pearson

Address — KINEMA CLUB, 9, Gt. Newport Street, W.C.2

’Phone— Recent 2131.

W. A. FRESHMAN

Juvenile Lead ,

“Fifth Form at St. Dominic’s

and Three other Films.

Vide Press : —

“ W. A. Freshman has a more difficult part in the character of Lomain . . . it is a most unnatural character, and it is impossible to make very much of it, but at least Mr. Freshman’s ‘ Lomain ’ is a more human person than Talbot Baines Reed’s ‘ Lomain,’ and to make it even that is an achievement.” — The Times.

“ W. A. Freshman is a great find, and whoever is responsible for dis¬ covering him is to be complimented.” — Motion Picture Studio.

“ The schoolbo}' * villain,’ W. A. Freshman, does his thankless part with a maximum of charm.” — Evening News.

" W. A. Freshman had a difficult part as Lomain, and sometimes it must have gone against the grain, though he went through the ordeal finely.” — Films Cinema Trade Journal.

Two years’ thorough technical experience with Gaumont.

NOW OPEN TO OFFERS.

All communications , The Kinema Club, 9, Gt. Newport Street, W.C.2.

0

JUNE 3, 1922

Supplement to THE MOTION PICTURE STUDI

YEAR'S PRODUCTIONS

KNIGHTON SMALL

During the past year plaved “The Butler “in “The Fruitful Vine,” “Rank Outsider” and “ The Scarlet Lady.”

Now playing “ Ihe Butler ’’ in

“WHEN GREEK MEETS GREEK’’

Speciality ; Bank Manager, Doctor, Clergy¬ man, Butler, and parts of a similar character. All Corns :

59, Gloucester Cres., Regents Pk., N.W.5

( Hampstead 889) or The Kinema.Cluh (Regent 2131).

TERRY

CAVANAGH

24, SPRING STREET, HYDE PARK, W.2.

HUGH E. WRIGHT

ACTOR

and

SCENARIST

PLAYED IN

“The Better Ole’*

Kiddies in the Ruin. ’

Victory Derby ’’

“ Garry Owen ’

‘ ‘ Nothing Else Matters”

The Corner Man ’

NOW PLAYING IN

“A SAILOR TRAMP”

( WELCH PEARSON.)

Address :

Mayfields, Lowfield Heath,

CRAWLEY, SUSSEX,

or Kinema Club (Regent 2131)

HENRY

VICTOR

LEADS :

u

11

Beyond the Dream of Avarice. “Diana of the Crossways.” “Romance of Old Bagdad.” “Sheer Bluf f.” “O 1 d W ives T al e.”

NOW PLAYING IN

Alec Alexander, Jnr.

Juvenile.

Forthcoming Releases.

Larrazel o in ‘ Maritana ” (Opera) Joseph in “It’s Never too Late to "Mend.’’

Master Froduc/ions.

“ Mord Em’ly ” (Welsh Pearson)

“ Rounded Corners.”

(G. K. Atthur Production), Etc.

INVITES IMMEDIATE OFFERS

All Corns : —

163, Hackney Road, E.?. rufstonMss.

or KINEM \ CLUB Regent 2131.

A BILL OF DIVORCEMENT”

(DENISON CLIFT PRODUCTION.)

X

Supplement to THE MOTION PICTURE STUDIO

June 3, 1922

MAURICE P. THOMSON

Stephen Greenfield in A. E. Coleby’s success, “The Fifth Form at St. Dominic’s.” (Granger-Davidson.)

FILM RENTER says

‘ . the eagerness, pluck and gallantry of Maurice

Thomson as ‘Stephen Greenfield' are almost beyond praise, so excel ent was the performance.”

Froggy in “ Froggy’s Little Brother,” Directed by A. E.

Coleby. (Stoll.)

DAILY MAIL : — “Or e ol the greatest child actors the screen has yet fou d.

Jimmy in “ What Love Can Do,” Directed by W. P. Kellino.

(Gaumont-W estminster.)

“ Chance of a Lifetime/’ Directed by A. E. Coleby. (Stoll.)

“ Long Odds,” Directed by A. E. Coleby. (Stoll.)

Engaged to play in “Rob Roy” by W. P. Kellino

(Gaumont-W estminster.)

All Communications : —

45, Cavendish Buildings, Clerkenwell Road,

E.C.l

PAULINE JOHNSON

is now playing

‘A SAILOR TRAMP’

( W elsh-Pearson )

and Polly in

‘THE CHRISTIAN’

(Goldwyn)

All communications to be addressed to —

Cumberland House, 1, Park Lane, Wembley. ’Phone : Wembley 165.

the Girl in

Previous leading parts in

“ Blanchette

The Wooing of April."

“ The Great Gay Road."

“ Love at the Wheel."

“ The Imperfect Lover."

“ Class and No Class."

June 3, 1922

Supplement to THE MOTION PICTURE STUDIO

CHARLES LEVEY

15, Stokenchurch Street, Fulham, S.W.6.

1920-1921

PROGRESS SEASONS,

SHOREHAM ~ BY - SEA

(SIDNEY MORGAN, Director).

“ Little Dorrit,” “ Two Little Wooden Shoes,” “By Berwen Banks,” “A Man’s Shadow,” “The Mayor of Casterbridge,” “The Wooing of April,” “The Lilac Sunbonnet,” and “A Litt'e World Apart.”

The Two Portaits shewn here are as

Dr. Sylvanus Torphican

IN

A Lowland Cinderella

“Charles Levey has been provided with a n art tha suits him ideally. As the bad uncle he reveals unquestioned ability and histrionic powers,” — M.P. Studio, Dec. 24, 1921.

CHARLES LEVEY

R. JUDD GREEN

Leading English Character Actor Permanent Address: —

PARK ROAD,

TEDDINGTON,

MIDDLESEX.

Wires : Judd Green, Teddington-

Played leading Parts for The London Film Co. (four years on the Stock Company), Stoll, Hepwoith Ideal, Transatlantic, Barker, Davidson, Windsor, Famous Pictures, Famous Players- Lasky, British Lion, Progress, Masters and Walter West.

In all W. W. Jacobs films down to “THE MASTER OF CRAFT” produced this year.

“J think your rendering of , Old Sans in The Third String most admirable. I certainly cannot suggest any improvement.

14 Yours faithfully A

W. W. Jacobs .”

A letter from Eden Phillpotts, Esq. author of “THE FOREST ON THE HILL,” was full of compli¬ mentary reference to the per¬ formance in the part of Lot Snow, in Hepworth's great production, pro¬ nounced by the Press to be a triumph of English Acting.

“There was Judd Green in a perfect portrayal of the hard¬ hearted Lot Suow.” — Daily Ex¬ press

A few of the latest films in which Judd Green plays leading parts.

THE TIDAL WAVE — Starred. THE RESIDENT PATIENT — (Sherlock Holmes), THE WHEELS OF CHANCE, THE KNIGHT ERRANT, GENERAL JOHN REGAN (all Stoll’s). CLASS JAND NO CLASS — Starred, (Gaumont). MASTER OF CRAFT, (Ideal).: KISSING CUP II. (Walter West).

A few abbreviated extracts from the Critics of above plays : —

‘ ‘ J udd Green gives a vivid character sketch of the Mysterious Patient.” — Bioscope. “ Played by that excellent actor Judd Green.” — Referee. “A fine performance is given by .Judd Green” — The Times. “Ail Artist to his finger¬ tips — Stoll's Weekly, and hun¬ dreds of others,

ACTORS ARE ACTORS AFTER ALL. THE TYPE FOUNDRY SUPPLIES THE OTHER ARTICLE.

MALCOLM TOD

Leads Completed This Year : —

Lieut James Burton, R.N., ii “The Bachelor’s Baby ’ (Arthur Rooke) for Granger-Davidson.

Trade Show, New Gallery, June 15.

Lord George Dereham in “Expiation’’ (Sinclair H .11) for Stoll. To be shown shortly.

The Thief in “The Thief” (George A. Cooper) for Quality. Trade Show shortly.

DONALD

NEVILLE

JUVENILE COMEDY LEAD for

B.G. Film Productions, Ltd.

All communications — 82, St. George’s Road^ South Belgravia, S.W. ’Phone : Victoria 2316

111

Supplement to THE MOTION PICTURE STUDIO

June 3, 1922

KATHLEEN

VAUGHAN

INGENUE.

Leads in — -

“CORINTHIAN JACK” “SINGLE LIFE”

Arabella Ann in “PICKWICK PAPERS” Maudie in “ MAN FROM HOME ” □

All corns.: KINEMA CLUB,

9, GREAT NEWPORT STREET, W.C.2.

Refe. 2131

EDWARD O’NEILL

LEAD AND CHARACTER.

“ GENERAL JOHN REGAN ” “LARK'S GATE,’ ‘ SHERLOCK HOLMES. ’ At present with ALLIANCE in ‘ LOVE AND THE WHIRL WIND. ’

Comrminications — 13, The Avenue, St. Margarets, Twickenham.

BERTIE

WHITE

(Silly Ass Parts)

PLAYING THE SILLY ASS

IN

“Head of the Family”

(Artistic).

LATEST RELEASE:

“Patricia Brent,

Spinster.”

All Corns. Kinema Club. Reg. 2131.

OLAF HYTTEN

Who plays “ Jimmy’' in

“The Wonderful Story.

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 p

The Press says : —

“. . . there is a wonderful acting- scene in which you are made to feel the anguish of the young husband while the doctor is upstairs. In an outburst of emotion, the younger brother appeals to Robert to take off the curse . . . Olaf Hytten, the youneer brother, is well known, of course, as a film and stage actor.” — Daily News (May 26).

“ ‘Jimmy Martin,’ as played by Olaf Hytten, is powerful and living.”

Cinema (May 25).

“ ‘The Wonderful Story ”... affords . . . opportunities for some magnificent acting on the part of . . . Olaf Hytten.

News of the World (May 28).

“ The Wonderful Story ”... certainly justifies its title, and, incidentally, provides opportunities for some magnificent acting on the part of . . . Olaf Hytten.”

People (May 28).

DLAF HYTTEN leaves for the Continent on June 5, but vill be at liberty ■ at the end of June. Kindly address all :cmmunications to the Kinema Club.

iv

June 3, 1922

Supplement to THE MOTION PICTURE STUDIO

MAX ROMA’S AGENCY

3, Wardour St.,

w.i.

’PHONE—

DAY — Regent 3282 NIGHT — Hampstead 3948

“ 23 years’ experience in the entertainments industry.”

NINA GRUGEON.

Just concluded lead “ Paquita,” CAPT. KETTLE FILM.

All corns. : MAX ROMA AGENCY.

3, WARDOUR ST., W.I.

'PKnr»#» DAY-Regent 3282. rnone. NIGHT -Hampstead 3948.

Miss LAURA SMITHSON

Strong Character and Comedy.

Fully Experienced Artist.

ELSIE

PRESCOTT

Strong, Emotional, Character & Comedy.

Fanatic —

“Glorious Adventure.

||l Charwoman —

“ Mammy’s Arms.”

- K Gipsy Hag in

L# 11 ®°^ern'an

WHO’S WHERE.

Several directors nave explained to us the difficulty they have of getting quickly into touch with artistes and others whom they need for their productions, and have suSoest;ed that we publish addresses and telephone numbers of such.

ADELAIDE, GRACE : 103, Morshead Man¬ sions, Maida Vale, W.9.

ATWOOD, ALBAN : 25, Stanley Crescent

W.ll. Park 2892.

BEGG, A. GORDON : 197A, LatchmereRoad, SW. 11. Battersea 21.

BOSCO, WALLACE, 97, Kingsway, East Sheen, S.W. 14.

BROOK, CLIVE : 12, Abercorn Place*

N.W. Hampstead 3083.

BROOKE, EVA : 7, Treborough House,

Gt. Woodstock Rd.,W.i. Mayfair 87.

BROOKS. JOSE, 9, Lodge Road, St. John’s Wood, N.W.8. Paddington 6457.

CANNING, THOMAS: 24, Gt. Quebec St., Bryanston Square, W.i. Mayfair 2344.

DOUGLAS , ERNEST A. : 12, Sunnyside Road, Ealing, W.5.

ESMOND, ANNIE ; 43, Richmond Road, Westbouine Grove, W.2. Park 854.

FORD, BERT : 19, Wvke Gardens, Stock- well, London, S.W. 9.

FANE, DOROTHY : 12A, Sloane Gate

Mansions, S.W.i. Victoria 5225.

KAYE, FREDA, care of The Kinema Club, 9, Gt. Newport St., W.2. Reg. 2131.

LE BRETON, FLORA : care of Kinema Club, 9, Gt. Newport St. Reg. 2131.

LLEWELLYN, EVA : 39, Gloucester Gdns., W. 2. Paddington 494.

LUGG, WILLIAM : 12, Heathfield Gdns., Chiswick, W. 4.

MONCRIEFF. ADRIENNE, 4, Northwick Terrace, St. John’s Wood Road. N.W. 8,

NICHOL, EMILIE : 42, St. John’s Wood Park, N.W. Hampstead 5633.

PAIGE, ROBSON : 159, Franciscan Road, Tooting, S.W. Streatham 264.

RAYMOND, JACK: 53, Coldharbour Lane, Camberwell, S.E.5.

RAYNER, MINNIE : Kingwater Cottage, Churcu Walk, Thames Ditton.

ROME, STEWART: 10, Chisholme Road, Richmond, Surrey.

SEARLE DONALD: all corns. Kinema Club, Regent 2123.

SMALL, KNIGHTON, 59, Gloucester Cres^ cent, Regent’s Park. Hamp. 889.

STANBOROUGH, E. CYRIL : 62, Upper

Richmond Road, East Putney, S.W. 15, or Kinema Club.

STEERMAN A. HARDING : 56 Portland Road, W.i 1. Park 2529.

STERROLD, GERTRUDE: 14. Queen’s Road. St. John’s Wood, N.W.8.

TREE. MADGE : 15, Lancaster Court, New¬ man St., W.i. Museum 7241.

VIBART, HENRY : 24, Cleveland Road, Barnes, S.W. 13. Putney 1945.

Two lines, 12s. 6d. per thirteen insertions, or £2 5s. for a year, prepaid.

Extra lines, is. per insertion-

KATE GURNEY.

Character.

“CREATION,’ “SAILOR TRAMP” (The Mother),

‘A ROGUE IN LOVE” (Mrs. Jemkison).

All corns. :

8, Moor Street, Charing Cross Road

Gerrard 6471,

or The Kinema Club, Reg. 2 131.

CHAS) ASHTON.

STUDIOS

107 ft. by 27 ft., and 35 ft. high, together with exceptional residential accommodation, comprising three reception rooms respec¬ tively 38 ft. by 21 ft., 28 ft. 9 in. by 21 ft., and 22 ft. by 15 ft. 6 in., five bedrooms, etc.

Standing in grounds 120 ft. by 210 ft., in excellent secluded surroundings, with goed LLGH1' FACILITIES; well set back from the road, and in main ’ thoroughfare, within short distance of Hyde Park, and easy , access io all parts of London.

Lease 69 Years, Ground Rent £100 Per Ann.

Will be sold by Auction (unless previously sold by private treaty), on

Friday, June 16, at 2.30, at the London Auction Mart, 155, Queen Victoria Street, E CM.

Particulars and plan from the Auctioneers, Snell & Co., Blomfield Crt., Maida Yale, \\ .9.

( JUVENILE & CHARACTER.)

During one year played important part* in the four W. W. Jacobs Films : — ‘‘Sam’s Boy,” ” Will and A Way” (lead), “Master of Craft ” and "Head oi the Family ” (lead),

All Corns : “Crantock,” Hainault Road, Leytonstone also Kinema Club— Reg. 2131. '

FRANK STANM0RE,

Artiste,

33, CHANDOS STREET, W.C.2.

JOAN MORGAN.

Starring in

“ Lowland Cindere'la, ’ “Swallow,”

“ Dickie Monteiih,” “Lilac Sunbonnet,’’ “ Little World Apart,” “Truants.”

4

V

Supplement to THE MOTION PICTURE STUDIO

June 3 1922

TONY

FRASER

Leads : —

SHIRE ALI in “ Broken Road.”

‘ ‘ Tony Fraser has the only part in which there is any clear definition or development of character, and fills the part efficiently.” — Kine. Weekly.

“Acting honours fall to Tony Fraser.” — M- P . Studio.

ABOU FATMA in “ Four Feathers.”

“ He is well supported by the rest of the cast, including Tony Fraser.” — Kine ■ Weekly.

LO K.1 (Crippled Chinaman) in “ Cocaine.”

“ A choice cameo is the performance of Tony Fraser .... this is a triumph of make-up .... his acting is of a very fine quality.” — M. P. Studio.

“ The best performance in the film is that of the unnamed actor who plays the part of Lo Ki.” — The Cinema.

“ ... . Tony Fraser is consistently good, and gives a brilliant rendering of a difficult part.” — Kine Week y.’’

Open for Offers

18 , Leinster Sq

W.2.

The Kinema Cluh, 9, Gt. Newport St., W.C.2. Reg. - 2131

Tony F RASER

FLORA

LE

BRETON

Rosemary in

THE GLORIOUS ADVENTURE ’

Lead in

“LA POUPEE,” “WHAT LOVE CAN DO ”

(Gaumont),

“ROUNDED CORNERS,”

and

‘‘THE CAUSE OF ALL THE TROUBLE,”

Heroine in

“COCAINE.”

vi

jUNE 3, 1922

Supplement to THE MOTION PICTURE STUDIO

Editorial and Advertise¬ ment Offices 93, Long Acre, London, W.C.2,

Vol. 1 No. 52

the focal

Telegrams — Southernwood, Rand, London Telephone — Gerrard 9870.

June 3, 1922

TO drop the editorial plural for a moment I wish personally to thank those numerous readers who have written or spoken their congratulations on the MOTION PICTURE STUDIO being in the position to celebrate its first birthday. Their kindly wishes and generous tributes to the work of this journal are keenly appreciated. It is exceedingly encouraging to know that the work done in this office is so highly valued, and I take this opportunity of assuring all that we shall spare no endeavour to contribute as largely as possible to the success of the kinema profession.

* * *

One Year Od.

IT may sound rather egotistical but we cannot refrain from expressing our personal pride in the achievement of which the Motion Picture Studio can now boast. This journal is one year old ; and — we are proud to think — it is a sturdy, robust youngster, with all the enthusiasm, energy and initiative of youth. During the past year we may have been guilty of errors of judgment or in tactics — but youth is also the period of indis¬ cretions. One thing that will be allowed by even those few unimportant enemies that we have, and that is that the mis¬ takes in the past year were not due to wrong intent ; we have always tried to do what is best for the industry, and if we have failed in achieving any victory we have the consolation of knowing that we put up a good fight in the effort.

* * *

For the British.

'"THERE has never been — and this is another of our boasts — any possi¬ bility of doubt as to our policy. Firstly, we stood for the British film producing industry and its best interests. And this we never construed to mean that we should be for ever kicking the shins of the American and Continental film industry. We have always been con¬ vinced of the internationalism not merely of films, but also of the art of acting and film making. There are American directors in this country at this moment making films, but we do not conceive it our duty to do anything but give the Welcome Hand to such. There are British actors going to work in Swedish, French and German studios ; there may be Continental artistes come over here. This is not a matter for surprise or in¬

dignation. For the art of mime-acting is international. But this, notwith¬ standing, the Motion Picture Studio has been first, foremost, and fundamentally the official organ of the British industry. Such a journal has never before existed. Directors, artistes, scenarists, cameramen, and every other studio worker right down to the girls in the cutting room have hitherto been powerlessly inarticulate.

FROM OUR NO. 1 ISSUE.

Q " The ' Motion Picture Studio ' will be the mouthpiece of all those concerned immediately in actual productions.

It will devote itself solely to furthering their in¬ terests, and will in no way concern itself in the commercial side of the film industry. It is a paper for film artistes in the very widest sense of the word, and for them only. To help them, to make them more widely known to the producing industry, to watch their interests and to give them an outlet for their ideas and opinions."

But for twelve months they have had a medium for expressing their ideas, aspira¬ tions or grievances. And this is all to the

good of the industry.

* * *

Overcoming Difficulties.

V2ECONDLY, we have made no ^ secret of our unbounded belief in the profession. The very act of starting this journal was a gesture of confidence. A year ago the business was in its darkest days — June, 1921, seemed the most in¬ appropriate date to launch a paper in the interests of the British film producing in¬ dustry. But the parent-journal — the Kine~ matograph Weefly — knew, by reason of its years of keen study of the business, that there were vast possibilities for success in the industry. And so the MOTION Picture Studio was bom. For the first few months even our inherent optimism was sorely tried. We were faced with an

initial difficulty of our own creating, for we decided on a policy of making the Motion Picture Studio a professional paper solely. We were convinced that it is not good for the profession to let the public know too much about the inner workings of the craft. The charm of the film lies in its illusion. That charm must be preserved. A great blow was struck at the popularity of the stage when the public was let into “ Behind the Scenes ” secrets. The film must steer clear of that danger. And while we knew (from experience of the “ fan ” papers that are published from this building) that the public would eagerly buy the Motion Picture Studio if we gave it the chance, we deliberately decided not to give the paper a public sale but to keep it within the profession, That meant a somewhat restricted circulation (howbeit a more valuable circulation to our adver¬ tisers, who knew that they were adver¬ tising straight to the people they wanted), and so we had to base our hopes of success on advertisements. And near the end of the year we were in the enviable position of reporting that this policy was a success. To-day the MOTION PICTURE Studio is stronger and more powerful than ever.

5fC *

A Valuable Goodwill.

IN the brief space of a year we have 1 not only achieved success but have established a reputation that in itself is highly valuable. Those who know us and our methods best are the readiest to declare that the MOTION PICTURE STUDIO takes great care to be scrupulously honest. Our film reviews have spoken the truth about British pictures without having regard to the fact that those who merited adverse criticism ought be ad¬ vertisers in the paper. Nor have we hesitated to attack and condemn any element that we honestly believed could work to the hurt of the British industry. We have, we admit, been well established in our good position by the good fortune of having the unique organisation of the Kine. Weekly at our back. Because of this the Motion Picture Studio has been able to submit to its readers and its advertisers an excellent news and interest service together with an ideal adver¬ tising medium. And we may be forgiven from pointing out that if the MOTION Picture Studio had done nothing during its first year other than launch the Kinema Club, it would have fully justified its existence.

Vll

Supplement	to THE MOTION PICTURE STUDIO					June 3, 1922
M	EN w m 0		II M	E <	r_ r- .

FRED LE ROY

Last British Productions :

“THE HONEY POT”

and

LOYE MAGGIE”

u

Now showing in British and American Kinema Theatres.

a

EDWARD D. ROBERTS

Now directing the first of a Series of Two-Reel Comedies: —

U

The Cause the Trouble

Starring G. K. ARTHUR and FLORA LE BRETON.

AT PRESENT IN

TRIPOLI

directing

THE PRICE OF SILENCE”

starring

PEGGY

HYLAND

BRITISH INTERNATIONAL FILMS,

61, BERNERS STREET, : : W.l

ALBANIAN

All Corns. —

FILM Co., 14, Victoria Street, St. Albans

’Phone — St. Albans 443.

Adrian Brunei

DIRECTOR AND SCENARIST,

19, Randolph Crescent, London, Eng.

His S p a n i s h - Moroccan Drama

“ BROKEN SAND”

is now being edited in Berlin owing to the ruinous Tax on British enterprise by the British Government.

RALPH C. WELLS

Assistant Director to Fred Le Roy Granville, at present in Tripoli directing-

“THE PRICE OF SILENCE” (original Story by Ralph C. Wells;

HUGH CROISE

Sole Adapter and Producer of “THREE MEN IN A BOAT”

and

“ FOUR MEN IN A VAN.” Address : —

c/o Motion Picture Studio ■

BERT WYNNE,

Director,

SEAL FILM COMPANY.

F.MARTIN THORNTON

Address— 84. LEESIDE CRESCENT, GOLDERS GREEN, N.W.ll. Producing- tor Welsh Pearson Film Co. Ltd. Latest Productions — “Belonging-,'’ “Frailty,” “Prey of the Dragon,” “Gwyneth of the Welsh Hills,” “ Lamp in the Desert.”

GEOFFREY II. MALLNS, O.B.E.

( Director of Film Productions).

Latest Successes : —

Watching Eyes, The Recoil/'

a

44

tt

44

44

Bluff/'

The Scourge.'’

VIDE PRESS 1921-1922:—

“Geoffrey Malins' latest productions for the Hardy Film Co., Ltd., are the finest ever

turned out by a British director . He is a master of drama ... . a genius for

extracting the ast drop of emotio alism from h s artistes.”

All Communications, c/o Kinema Club. Regent 2131.

Vlll

JUNE 3, 1922

THE MOTION PICTURE STUDIO

3

CHALLIS N. SANDERSON

(c/o KINEMA CLUB).

Assistant Director to J. Stuart Blackton for the production of

“ The Glorious Adventure.”

Has directed the foil awing :

LAW DIVINE (Masters) ; 'SCALLYWAG (Masters); FAUST (Masters); BRIDE OF LAMMERMOOR (Masters); LA TRAVIATA (Masters); LILY OF KILLARNEY (Masters); FRA DIAVOLO (Masters); MONTY WORKS THE WIRES (Ar.istic).

Besides editing, and cutting all his own pro¬ ductions, has adapted a number of American Photoplays for the British market.

H. Humberstone Wright

DIRECTOR of

“ SEAS OF ROMANCE";

“ CREATION and “ THE MAN WHO DARED."

Offers invited for directing productions.

Address :

THE KINEMA CLUB,

9, Great Newport Street, W.C.2. REGENT 2131.

J. STUART BLACKTON

DIRECTOR of

“The Glorious Adventure”

The First Screen Play to be Photographed in Natural Colours.

Presenting LALY DIANA MANNERS

And an All-Star British Cast.

HAILED IN LONDON, PARIS, AND NEW YORK AS AN EPOCHAL PRODUCTION.

Pre-Release Showings —

Royal Opera House, Covent Garden, London. The Colisee, Paris.

The Capitol Theatre, New York.

General World Release, September, 1922.

Soon starting : GEORGES CARPENTIER

in a Romantic Film Drama.

GEORGE RIDGWELL

{Chairman of the KINEMA CLUB).

[ - ]l - IZZTLJ

Directed :

“The Sword of Damocles.” “ A Gamble in Lives.”

“ The Knight Errant.”

“ Greatheart.”

i 1 r — ■ - ■ — 1 1 □

1 - n ~ii 1

Directed :

“ The Four Just Men.”

“ The Amazing Partnership”

“The Second Series of the Adventures of Sherlock Holmes.”

c _ Ji -ii=n - 2

3

THE MOTION PICTURE STUDIO

June 3, 1922

WHAT I S -

BRITISH

There must be something wrong with British productions — everybody says British film producing industry to find out what exactly is at the root the truth, however -painful and unpalatable, than to live in a Fools' opinions as to whatf exactly is wrong with British productions. Edward staff of the “ Kinematograph Weekly and it is his daily duty to judge the W. A. Freshman, who has played so successfully in several British

SOME time ago, in company with other film pressmen, I had to sit and listen while a prominent member of the Trade took ns severely to task for our prejudice against British Films. The burden of his complaint was that because a film was British therefore we handed out more than usually severe criticism ; whereas in his view the fact that a film was British ought, ipso facto, to ensure for it preferential critical treatment.

Now both these views are fundamentally unsound. Anyone who thinks thus can take it from me that we are overjoyed if we see a good British film, and we lose no time in handing it bonquets. Watching as we do the unending flood of rubbish that passes across the modern screen we are delighted to be able to praise a good film at all ; but we are inclined to overpraise a good British film because, to tell the truth, we are getting a little tired of America, American stories, American atmosphere and American types.

The British atmosphere is not a little refreshing to the somewhat homesick critic.

But to pretend that all British geese are swans would, in the long run, do a grave disservice to the Industry we all want to help and foster.

Why is it we see so few British films we can honestly praise ? It is not at all that we can’t make pictures here. “ Carnival,” ‘‘ The Adventures of Mr. Pickwick,” “ Demos,” " A Romance of Wastdale,” '* The Fifth Form at St. Dominic’s,” are a few that occur to me at random, equal in every way to anything America has sent us, and far more welcome because of their British atmosphere and characterisation. Nor were the critics anything but lavish in their praise.

Nevertheless let us remind ourselves of a few facts. Not long ago the boast was made that a Director had completed 65 reels in 65 weeks. When I see them projected I find no diffi¬ culty whatever in believing it. Again, it was acclaimed as

something to be proud of that a full- length continuity had been written well inside 23 hours, 5 minutes and 2J seconds, or thereabout.

Ye gods ! I’d have believed it if I’d been told he’d written it in the odd minutes and seconds.

One could quote many similar facts, each of them pregnant with meaning in view of the question at the head of this article.

The brutal truth is that there is less care and real workman-ship being put into 5-reel features to-day than went into the 2-reelers of ten years ago. In fact, most of the so-called “ features ” are only the 2-reelers inordinately ex¬ panded, and they don’t stand the strain.

Choose your story on Friday, write the continuity on Saturday, cast on Sunday, start work on Monday, finish as soon as you can — or sooner — that, more or less, seems to be the rule. Can anyone wonder that something goes wrong ?

Footage takes precedence over dra¬ matic values, economy is a cult instead of a virtue, and craftmanship is replaced by what is in reality mass production. These are some of the things that are wrong.

Finance is regarded from the wrong end. The vital question seems to be ‘‘If we spend threepence in this scene will it show on the screen ? ” And if it can’t be seen by the spectator then the threepence is not spent. This is all wrong. The most valuable expenditure is, not infrequently, on things that are only seen indirectly by their general con¬ tribution to the whole result.

, Far better to pay a long price for a sound, dramatic story, make it really worth an expert’s while to write a continuity that is something more than a mere sequence of events, allow a director sufficient time in which to exploit all the dramatic possibilities of his material and

ACCORDING TO

/"HAT is wrong with British produc¬ tions? In the first place — story. It is noticeable that, in proportion to output, Britain uses more adaptations of novels and plays than any other country, and, even making allowance for material having run short, it is fairly evident that the in¬ dividuals who select the subjects for adapta¬ tion are not by any means experts at their job.

The great majority of the subjects chosen for adaptation by British producing com¬ panies are almost totally unsuitable for screening and, even in the hands of expert scenario writers such subjects can only result in more or less strained and uncon¬ vincing picture-plays.

Secondly— continuity. There are not, at the present time, more than three or four really expert continuity writers in this country, and these, having spent lean and laborious years in learning their business, not unnaturally expect a fair remuneration for their work. But there are a host of what one might describe as “half-baked” scenarists who, while understanding the elementary principles of continuity writing are not sufficiently expert to turn out anything like first-class work. But, since they only ask about one third (or even less) of the fee demanded by the expert, the producing concerns, from 'a totally mis¬ taken sense of economy, employ them in preference to the more expensive and more competent writers. This results in ragged continuity and loss of dramatic values through inefficient exploitation.

Thirdly — casting. In casting a production the British producer is almost invariably actuated by three motives — cheapness, name, and suitability of type. A player with a name is cast for a character totally unsmted to his talents; another player is selected for a part, suitable or otherwise, solely because the salary expected is small; another is given a part because he or she '°°t* the type, entirely irrespective of capability to -play it! 1

4

A SCENARIST

Fourthly — hurry. A subject is selected, talked over, and discussed for months. Then (if, as is often the case, it is not scrapped at the last moment and another one selected) it is suddenly decided that it must be done at once , and, without any apparent reason, everything thereafter is done with a rush.

The scenarist gets a week or ten days to do a month’s work, the casting is rushed through in a couple of days, the location man is lucky if he gets as long to do his “spotting ” in, and the actual pro¬ duction is scheduled out so that so many hundred feet of good, bad, or indifferent material must be shot each day — thus a production which might be efficiently done from A to Z in three months is slap-dashed through in one. That it is more or less spoiled in the doing does not appear to matter one iota!

Fifthly— cutting. Injudicious cutting will spoil the most painstaking efforts of even the most expert scenarist, director and players, and yet almost every British pro¬ ducing firm is apt, usually at the last moment (after the director’s official cut), to hand the film to their junior office boy with instructions to cut so many feet out, with the natural result that what may, up to then, have been a reasonably good pic¬ ture, emerges from the operation a ragged and often almost meaningless jumble of fragmentary episodes, loosely connected by (usually) hastily and badly written titles!

(I could name some notable instances of this sort of thing which have occurred in connection with my own work.)

To sum up. The key-faults in British producing are carelessness and extrav¬ agance. As an example: to spend a thou¬ sand pounds on the rights of an unsuitable story and fifty pounds on an inefficient scenario is the grossest form of extrav¬ agance, and to allow anyone but the director . or the scenarist to make the smallest cut m the completed film is sheer carelessness.

The British producing organisations should adopt and take to heart two mottoes:

A thing worth doing is worth doing well ! ” and “Never spoil the ship for a ha’porth of tar. — Wm. J. Elliott.

June 3, 1922

THE MOTION PICTURE STUDIO

— W R O N G WITH FI L M S ?

so ; so it must be so. And if it is so it is wisest and best for the of the trouble. The truth can never harm. And it is best to know Paradise. To this end we have invited three gentlemen to record their

Thompson, who writes the first article, is a Press critic on the review

values of films. William J. hlliott, the well-known scenarist, and films, write from the angle of the scenarist and artiste respectively.

give some attention to character drawing, than to fling money away on lavish sets that in most cases means pinching and scraping on everything else and which emphasise this false economy when the film is complete.

Now all these are things that can be remedied, granted a little foresight and imagination. “ Nothing Else Matters ” showed what could be done by simply studying detail, characterisation and atmosphere. What money was ex¬ pended on “ Four Men in a Van,” was given to essentials and not for the sake of giving work to carpenters. And for sheer poignant drama and true comedy no country has ever excelled these two productions.

Let us dig still further down and tell the truth though the Heavens fall. While good directors are handicapped on every side by the films they are called on to direct and the conditions under which they have to work, a good many stories are equally handicapped by the fact that their Directors are men who would be much better employed in weighing out sugar and cutting up bacon.

And between the upper and the nether millstone many otherwise competent actors and actresses are ground into mediocrity.

What is wanted more than anything else is the infusion of real artistry and dramatic understanding into British film production ; not the mere artistry of technique and mechanical detail, but the vision of artistic conception and treat¬ ment of an idea. Not the mere dramatic exploitation of incident, but the true drama of character with incident as a moulding force.

The tragedy is that Briti h film production is in the main fatally content to remain in the rut. The hope for the future arises from the fact that there is no real obstacle in the way of success.

I mean no real obstacle in an artistic sense. As I have implied, there is an obstacle, and a big one, commercially.

It is obvious in British films themselves, even to those who dp not know the fact firsthand, that the financial control of British productions is very largely in the hands of men who have only the faintest conception of the nature of the business they are engaged in.

It is obvious in continuities which with one eye shut, one can see to be the work of inadequately paid and badly hurried scenarists, in details of production which simply shout false economy to the spectators, and in stories which only too plainly have been screened for any reason but the only one that should count- — the fact that they are really suitable to screen presentation.

So that when I say that the infusion of real artistry and dramatic under¬ standing into British productions is a vital need, though I seem to be blaming

all the craftsmen directly engaged in production for the present general lack of these qualities I am quite prepared to admit that perhaps the real responsibility should be placed on the shoulders of the man further back — the commercial chief who decides what shall be filmed, at what cost and under what conditions.

In order to get better directors and better artistes — or the best out of the directors and artistes already in the business — it is probable that we should first concentrate on getting better managing directors. Certainly a fundamental change in the whole attitude of the business chiefs of the industry is necessary if we are ever to see production in this country rise even to the same level as in America — which is by no means the highest possible, or even the highest attained by present day producing concerns. They have got to learn real values and to sacrifice some cherished illusions in the process.

ACCORDING TO

1Y/TAINLY I would suggest a lack of esprit A de corps in those brought into contact with each other in course of film produc¬ tion — a spirit which characterises Swedish productions more than any others of which I can think — the art of directing for art’s sake, and acting so that one’s portrayal of a character blends with the remaining characters, making the film move more smoothly towards its ultimate end.

The director should be at heart an actor, so that, while allowing his artistes to characterise their own parts, he would be able to prevent them from just overdoing therm. He should have the eye of an artist, and with an artist’s ready perception be able to appreciate the light and shade, the delicacy of pathos, the immensity and grandeur of drama, or the light and airy gracefulness of easy moving comedy in each scene, and yet keep that scene in subordina¬ tion to the whole, and, in so doing, obtain that smoothness of action so necessary to the perfect film.

He should have the brain of an architect, so that the composition of each scene would be perfect, that there would be nothing to detract the attention of the viewer from the action, that there would be nothing out of place on a set, and so that the set would be a reflection in itself of the char¬ acter of the man supposed to live in it. He would, further, endeavour to get con¬ trast for the force of contrast is a far greater weapon than any sub-title.

Take, for example, a masterpiece by a man who is generally regarded as the world’s greatest director — D. W. Griffith’s “ Orphans of the Storm.” Griffith will cut from a great ballroom scene to different views of the architecture of the set, showing the richness of the mouldings or the hang-

AN ARTISTE

ings, all to illustrate how the aristocracy spend their money whilst the poor starved In this way he gets his contrast.

Yet Griffith does this without seeming to interrupt the progress of his film, because he makes it part and parcel of the film; there is no sudden break to detract from the full story value ; always first in his mind he seems to keep the theme.

Therein lies the secret of his greatness as a director, to my mind : the mental capacity for grasping the actual truths of the idea involved and the ability to introduce the unexpected without a sudden jar to thp continuity and without a nasty shock to the spectators’ run of thought.

Now as regards the artistes, I would like to suggest that the perfect film will not be created on the star system. No one character should be brought to the fore and kept there merely because he or she possesses a well-known name.

An artiste should hold the centre of the screen only so long as is absolutely necessary to the action of the story; so also should the length of each part be deter¬ mined; also the degree of strength with which it is acted. Wherefore everything should be decided by the story, or more especially the theme of the film. Let it be like some great pivot, with all else revolving around it and yet in ratio to it — scenarist, director, artiste and cameraman, the four people who make the film. For the theme of a film, is of greater value than the star.

Do not think for one moment that I am suggesting that British directors and artistes lack the foregoing virtues (for virtues they most certainly are), that is not meant. What I am driving at is, that all must work together to form one harmonious whole; all must accommodate themselves to the main theme before we can hope to attain the millennium of film production. — W. A. Freshman.

5

THE MOTION PICTURE STUDIO

June 3, 1922

defying comparison

by Henry Victor.

DURING the existence of the Motion Pictuke Studio a good many dis¬ cussions have taken place, and a recurring subject has been the British film artiste in comparison to his cousin, the American. Why and how is it the American film stars are generally considered our superiors? Is it brains, ability, temperament, or the money behind them? Most people put it down to one or two of these reasons, but as far as the artiste is concerned the cause is attributed to temperament.

It deserves ridicule to state that we lack temperament or ability or brains. What we do not consider sufficiently is finance on a commercially good and sound basis. If the right and proper people, artistes in their art, were only supported adequately, assisted by business peqple, who are far-sighted enough and do not wish art absolutely sacrificed to commercialism, then the whole outlook would be brighter. The completed

work would benefit as much as the artiste concerned.

To return to the subject of my article, I will endeavour to convince with facts, which severe critics almost continuously overlook, why it is so unfair to compare British with American artistes on the same hard and critical lines.

It is a well-known fact that in the States stars are created by sheer force of support. The finest and best talent is first discovered and then treated and nursed.

Let us take our eternal master and tutor— Nature — as an example. The seed of an orchid is to look at, presumably, a most insignificant object, but what wonderful, and to us, mysterious, powers are hidden within — only to be brought out by a force adequate to its properties. Plant it in the surroundings demanded by nature, give it the chances essential to its natural de- velopment and you will bring forth the

beauty and glory, which even the eye of the most unobserving and phlegmatic in¬ dividual cannot pass without being drawn to it with admiration.

Transplant this same seed into a soil, contrary to the demands prescribed by nature, do not observe all the rules laid down for its progress, and what do you get?

So it is with the human being in every case and in every sphere of life. Talent in artistes is a mysterious and hidden power and necessitates the same mysterious power — talent — to be brought out to the utmost. In this way the American star is created and nursed; the director, the cameraman, the scenario department, as a matter of fact all concerned, are working hand in hand and are guided by the one aim, to create and to let the subject of their creation shine to the best advantage.

If I could onjy say that we had the same basis to work on in England, there would be no reason why forty to fifty per cent, of American stars — Englishmen — were made in the States and not in their own country. Give us the same chance, facilities ' and support and then compare.

STORY VERSUS STAR

b'j Muriel Alleyne.

LL the money lavished on production will not improve the British photoplay, if co-operation is not the first and foremost factor in the making of them. The war has set the clock back in the British Industry, and it is for all of us in every branch of the Trade to put our shoulders to the wheel and work hand in hand to make our pictures the best in the world, and to capture the markets in our vast Empire, getting the capitalists in our Overseas Dominions to interest themselves in showing British films to British subjects, but these films will have to be of a high standard, and aim still higher at perfection, to hold the position they have obtained.

We have a beautiful country for our back¬ grounds, and we are rich in history and noble ideals, we have produced writers and poets of great literary talent, but in the words of our immortal Shakespeare, we must realise that “the play’s the thing.”

A good story is worth more than a good star or a much advertised director, but how are the Scenarists treated by the Industry? They have been made the Cinderellas long enough, their works in many cases have been tampered with by the director and mutilated in the cutting-up room, and the door of the studio is barred against them.

Original scenarios submitted to firms are in most cases never seen by the heads of

those firms or intelligent directors. I know of one film director who has done excellent work, who told me that when a few scenarios had been selected by the reading staff, they were put before the board of directors (men finding the money but with no film knowledge at all), yet if this film director, with his experience and judgment, could have selected a play, it would have been of benefit to the firm and their pockets.

We know quite well that there are hun¬ dreds of badly written and impossible scenarios submitted to firms and it is necessary to separate the goats from the sheep, but when they have properly written work sent in, it should at least be read — not the synopsis only, but the finished scenario — by the man at the wheel. Money spent in buying a good story is worth more to a firm than a good star, and as Mr. Smith, of Goldwyn’s, says, “You can always put over a picture directed by an unknown and not featuring any big names, if the story is good.”

But how is the screen play writer treated

to-day? He is kept in the background, and, alas, often robbed of his ideas. For Heavens sake, let us have co-operation. Bring the most promising free lance scenario writers together, let a director of experience and sound judgment, a man who has really done something, tell them what is wanted, let the heads of firms say what they want and' I believe they will have a response.

Don’t try to copy other countries, have the courage as they say in Lancashire to “stand on your own pins,” be original, and re¬ member that the director cannot make a good picture if the story is bad. The artistes can do -their best but will not save it. The cameraman may give us quality but he is helpless.

Encourage your scenario writers, treat them like white men, pay them well because it will pay you, because you are going to make them co-operate in your great work. Indifferent treatment of the backbone of the Film Trade, the scenario writer, is, I think, what is wrong with British productions, and remember “The Play’s the thing-”

THE YEAR’S LESSON

by Challis N. Sanderson.

DURING the last twelve months many producing organisations have begun to realise that a film from the time of pass¬ ing the scenario must be a commercial proposition. British productions with very little exception have had, and continue to have, a limited market, and a certain nominal figure is the most that can be obtained in the United Kingdom.

Here arises the question of foreign sales. Yes, surely, but how many British pro¬ ductions have been sold to America or anywhere else? A very small percentage on our gross output.

A very few years ago it was considered wise to expend as much money as possible, and to advertise your result as a “so many pounds ” production, plus so many artistes, etc., etc. This may have been all right from an American point of view, where all sales outside the U.S.A. are net profit, but when you estimate a British super production with its sales say limited to the United Kingdom where there are only 5,000 theatres, you will have to book your subjects to every hall, and at a good price to guarantee a return or even a covering. So much for big stuff.

Producing companies are, therefore, be¬ ginning to revert back to making the short subjects which placed the kinematograph Trade on the high plane it was, until the

craze brought in hundreds of people who knew little or nothing about films (and did not want to know), but who imagined that Wardour Street was a second Klondike. These people with their pig-headed inex¬ perience are partly responsible for the slump, and for keeping out the capital which the pioneers used judiciously.

Another reason for making shorter sub¬ jects is that the two-feature program, which is so prevalent at many houses, is not liked by the public. Out of seven picture palaces which I have attended during the last fort¬ night, the most interesting item was the news gazette. The five and six reelers could easily have been cut down to one or at the most two reels, without injuring the story; in fact, it would have improved it.

Occasionally one sees a big picture which justifies the amount of footage, but again the most successful of these are eighty per cent, action, with the other twenty per cent, pictorial and effect, the latter carefully intermingled so as not to be boresome. “Way Down East,” and “Orphans of the Storm,” are examples, and in neither of these does one find high-brow matter.

The public is tired of seeing a person walkifig aimlessly along, for, say, fifty feet. The majority want melodrama and good comedy, although they will not admit it. Take the most successful pictures (from a

commercial point of view) analyse them, and you will find they are melodramas and comedies.

You certainly cannot estimate as much profit on a one-reeler as on a five, but in most cases where a contract is arranged with a renting house beforehand, the returns are quicker and more certain. Also any real investor would rather have fifty pounds profit guaranteed than five thousand pounds probable, which has been “promised” on more than one occasion.

We, in the film Trade, do not get our capital from Wardour Street, and we there¬ fore must show our prospective investors more than a gilt-edged security; that is if we want to continue and not close down altogether.

The most beautiful and artistic picture in the world is no earthly use unless you can sell it. Money is to be made out of films for the investor as well as the producer, and I think I am right in saying that more money has been spent on films during the comparatively short time they have been in existence, than in any other business.

I. myself, have only directed a few pic¬ tures, but I guarantee that not one of them has been a loss to the investor. I am out to make money for myself and for the people who employ me. ' If you play fair with your investor, he’ll remember you; if you don’t, he’ll certainly remember you but there won’t be “another time.”

Do not cease making big pictures altogether, as many stories justify and de¬ mand five or six thousand feet, but do carefully consider your scenario and market beforehand.

June 3, 1922

THE MOTION PICTURE STUDIO

IntimaTie Studio Q os sip

Here von have our first Birthclav number. It is more than double tiie usual size, and I strongly advise readers to be sure to read every page, including the advertisements. You will find much interest and valuable information in the announcements in the advertising pages.

Last week I referred to Hal Martin’s accident, and Victor McLaglen, who has returned to London after finishing the sea scenes in “ A Sailor Tramp,” writes to give me fuller details. He says : “ During the closing scenes afloat I had to chase one of the crew (a part which was played by Hal Martin) up the rigging to a yard-arm, from which position he had to jump1 eighty-six feet into' the sea. Hal Martin bravely volunteered to do' the jump instead of an actor whose courage failed him at the last moment. Martin jumped, but unfor¬ tunately seriously hurt himself on striking the water. We rescued him and brought him back to the ship, and made a hasty return to Falmouth, where he now lies in a serious condi¬ tion at the Nursing Home. This is the: first bad accident I have witnessed during my film career, and I assure you it was a very unpleasant one.”

Qn this page is a photo of H. B.

Parkinson, managing director of Master Films, Ltd. Under his management Master can show an out¬ put for the last year of sixty reels, including the now famous “ Tense Moments ” and “ Song Pictures.” These struck a new and wise note in film production, and it is to the credit of H. B. that a British firm was far¬ sighted enough toi see that the kine- golng public would demand short films. In addition to guiding- the destinies^of the company Mr. Parkinson has directed the production of most of the firm’s output; he is one of the few who are a; successful combination of artistic and commercial faculties.

w illiam Fox, the famous American film magnate, is over in this country and has purchased the rights of the popular novel “ If Winter Comes,’’ which will be made into a film for the Fox people. All the exteriors will be made in this country, and so deeply interested is Mr. Fox in the filming of “If Winter Comes ” that he himself will confer with Mr.

Hutchinson, its author, on the scenario, and will make a personal visit to all the locations which he plans to utilise for backgrounds in this pro¬ duction. The1 film rights of this novel were purchased by William Fox for what is estimated to be a record figure for a novel. Although arrange¬ ments. for the filming are by no means

—F if*1* toi^nT.n.’ tx . raa^Essssaaaiiiiifci ■ ■ 1 iiiiCg»e^aHca— iraa

36 PAGES

complete, they are so far advanced as to warrant the prediction that the result will be an unusually elaborate and spectacular production.

The past week has been considerably brightened by the fact, that several artistes have been cast to play in “ Rob Roy,” the next big Gaumont film. David Hawthorne is to be Rob Roy, Wallace Rosco has one of the leading parts, Olaf Hyttem is also in

H. B. Parkinson.

the cast, together with Alec. G. Hunter (the typical Scot !) who- is to play the picturesque part of the Dugaf Crater. Maurice Thomson, who has appeared with, success in a number of leading boy parts, is wondering if he has to wear kilts for his part in the film, for although he has been booked for the film the details of his dress have not yet been given him. Think of little Maurice, David Hawthorne and Alec. G. Hunter as a group of kilties! I understand that the

remainder of the cast will be fixed within a day or two, and the whole company will go to Scotland at the beginning of June. It is interesting to> note that in the selection of David Hawthorne for Rob Roy Gaumont is evidently determined upon making Rob Roy as heroic and physically attractive a person as possible. The real Rob Roy, with his short body and long arms which reached below his knees, was not at all attractive, but the part has always been played on the stage, even in Scotland, by a big handsome man, and Will ’ Kellino, therefore, has theatrical tradition to support his departure from history. The choice is wise from the entertain¬ ment point of view. The builders have been hard at work for over a week erecting the various buildings which will be required for the produc¬ tion in Scotland, and the only reason that the company1 is not going- up earlier is that it will take a full month to get the buildings erected. I learn that the: castlei will be quite an imposing affair about, 90 ft. long by- over 40 ft. high, and 30 to> 40 ft. deep. 1 h is is, of course, considerably larger than the original Inversnaid Fort, which it is to represent. The enlarge¬ ment has been decided upon lor photo¬ graphic: effect and so that the building shall not be too much dwarfed by the surrounding1 hills.

Owing to the extra pressure: on our space, due to the importance of this Anniversary Double Number, we have been compelled to hold over the f opr th article of the “ Saving the Situation ” series and the second of /Colonel Barron’s series on “ Histrionics as a Science.” Both these series will be resumed in our next issue, together with the “ Where they are and what they are doing ” feature, which has had to be suspended this week for the same reason.

Adrian Brunei and Miles Mander wish me to state that it was not owing to' events in Morocco that they severed their connection with Solar Films (as suggested in last week’s Motion Picture Studio), but owing to events A which took place in England | whilst they were in Morocco.

7

THE MOTION PICTURE STUDIO

June 3, 1922

the two new

WALTER WEST PRODUCTIONS

“ Scarlet

Lady”

By J. BERTRAM BROWN,

featuring

VIOLET

HOPSON

LEWIS WILLOUGHBY, CAMERON CARR, Etc.

STEWART ROME

“When Greek Meets Greek”

By PAUL TRENT,

featuring

VIOLET HOPSON

AND

STEWART ROME

Stirring Tale of the Turf. Released lis Year during the Steeplechase Season.

LONDON TRADE SHOW.

(=□

Thursday. . . . June 8,

New Gallery Kine. at 1 1 . 3 0 a.m .

BUTCHER’S FILM SERVICE LTD.,

Camera House, Farringdon Avenue, LONDON, E.C.

'Phone : Holborn 5995 (5 lines). Wires: ** Butcnilms,” Fleet, London.

Cables: “Butchilms,” London, A.B.C. 5th Edition.

No. 1 BRITISH NATIONAL PROGRAMME RELEASED . JAN. 1923

VIOLET

HOPSON

The World’s Rights of Walter West Productions and other important British productions are exclusively owned and controlled by Butcher's Film Service, Ltd., to whom all enquiries should be addressed.

8

June 3, 1922

THE MOTION PICTURE STUDIO

\

Again Frank Tilley reveals him¬ self as a ploi-creator of no mean order. ‘‘frozen Fingers” is an original story, a grim drama such as would make a fine basis for a strong photoplay .

“ sphere’s something wrong with this close-

up,” said ;he cameraman, frowning. lie was developing test-pieces of the negative of Geoffrey Weis ton’s latest starring vehicle, and his remark was made to the director, who was anxiously watching the results.

“Can’t make it out. There’s a shadow right across the top, but yet it’s not alto¬ gether a shadow. Seems to have a shape.

In fact, it seems to be shaping ■ Let’s try a bit more.”

Presently, another half-dozen pictures de¬ veloped, he looked again, and gave a loud shout. “Good God, Guv’nor,” he said, “it has got a shape. It’s a sled crossing a snowheld. There’s one man walking by .the dogs and another. . . .” He broke off

and passed the strip to the director, who held it to the faint red light. As he lifted his eyes and looked to the cameraman, his hands shook and his face was very grey.

Ik

/W eoffrey Weis ton was more pitied than

liked by his fellow artistes. Pie was an exceptionally fine actor, but he was sombre and apt to fall into fits of moroseness. Then, too, he had a queer habit of glancing swiftly over his shoulder which was rather discon¬ certing at times.

His sombreness was excusable, aird it was because of the reason for it that he was pitied. Many years before he had taken to film-playing he had adventured about the world with a friend, and they had been inseparable. There was a very deep affection between, them, and a mutual love of the wilds and of roving.

They had gone into the Alaskan gold rush, these two, and, at the end of their hope and their resources, had made a big strike. In a few weeks, from hapless adventurers they became rich men — so wealthy that they were scarcely able to calculate how much they possessed. So they set out for civilisa¬ tion and home. With dog-sled and all their new-won gold they set out to cross the snow desert that linked the bitter struggle of the mining camp with the sweet softness of white lights and fair towns. But Welston came back alone — with his feet frostbitten, half his dogs gone and a strained, broken look behind his weary eyes.

It was a heartbreaking story he had to tell, but a story that was only too common cn that cruel trek. They1 had struck blizzard upon blizzard ; their food had given out ; they had killed most of the dogs for food — • but Welston ’s partner had not been able to struggle through. Cold, hunger, snowblind- r.ess, fever — and a little mound above a hol¬ low scraped in the frozen snow.

That was the story of the journey, save that Welston did not tell the rest : how he had stumbled, dazed and weary, on and on till he won through, almost too late.

* * *

“ "YXHiat do you think it is? ” said the cameraman to the director, as they sat the next morning in the latter’s room examining the complete take.

“There are more things • . .” began the

director, then paused. “There is an explana¬ tion, if you believe in the genuineness of spirit photogtaphs. Not the spiritualist ex¬ planation, but the idea that strong thought produces actual forms that can only be seen

FROZEN

by FRANK

by psychics . . . and the lens of the

camera. Now if you accept that, and sup¬ pose that Welston had been thinking of . . .”

“Good God!” broke in the cameraman. “You mean that he . . . .”

“Was just letting his imagination run loose,” interjected the director. “There is nothing else we dare suppose . . • yet !

HERE’S TO US

Opinions we have not got on our first anniversary number.

GEORGE ROBEY:

“Well, I’m — shurrup! Now, as a friend ...”

LORD NORTHCLIFFE:

“ I might almost have done it my¬ self, if I had time. The M.P. Studio, like the Daily Mail hat, was a long- felt want. Onlv no one wanted the hat.”

G. K. CHESTERTON:

.“ Beer, as I have said before, is a sign and a symbol, but not modern beer. Beer, in the cosmic sense, stands for liberty. But in these times it mainly stands for licence, and the licence is almost always an off-licence. Here’s to you!”

G. BERNARD SHAW :

“Sell my stories to film producers?

Do without the M.P. Studio. Not . . . Well, Mr. Campbell said it.”

LORD BEAVERBROOK :

“Success comes from push, provid¬ ing you are not the pushed. I pushed the Sunday Express in the days when it was more like a slow local. You have done wonders also in your small way with the M.P. Studio. Do not be discouraged ; my shining example is ever before vou.”

ADOLPH ZUKOR :

“Fine. Famous. Players — sure, all over the ad. pages. It’s a para¬ mount production.”

ALFRED H. MOSES-:

[Held over till we have more pages next year. — Ed.]

JEFFREY BERNERD:

“Maurice Elvev could not have produced anything better.”

MAURICE ELVEY .

“Jeffrey Bernerd could not have exploited anything better.”

H. G. WELLS :

“ Certainly reveals the Secret Places of the Art.”

H. J. BOAM :

“There’s no taste in nothing. But there’s certainly some taste in the M.P. Studio.”

SIDNEY JAY :

“Fifty-two weeks? Ain’t that a fine contract !”

GUY NEWALL :

“Sorry. Far too rushed trying to put the Fox into the Farm.”

FRED WRIGHT :

“ I hope my revue will run as long. Have vou seen it? Oh for the peace¬ ful hush of the studio! ”

FINGERS

A. TILLEY.

All we can do is to run this through and have Welston see it. If it makes no impres¬ sion on him beyond arousing his interest and curiosity, we shall know. But if it produces another effect we . . . shall also know.”

Later in the afternoon the star, with his director and the cameraman, was seated in the little projection room attached to the studio. It was not unusual for Welston to be invited to see shots run through, so he accepted as a matter of course when he had been asked over lunch to see this one.

Through the dead blackness of the room shot the violent ray from the projector, and with a soft purr the picture rippled on the screen. It was a series of close-ups, pictures of varying shades of emotion as the character — played by Welston — was falsely accused, and later tried, for murder.

But presently across the clearness of the picture, across the hunted eyes of W elston and his wrinkled brow there came a shadow — a shadow that moved and became more distinct till it was a dog-sled crossing a waste of snow.

Up at the head of the dogs one man plunged and stumbled, with head bowed to the whirling blizzard. Upon the pile on the sled lay another man, very still. But pre¬ sently he moved, slowly and deliberately till he was almost sitting. Somewhere in his bundled and shapeless clothing he fumbled, then" raised his right arm. A puff of smoke swirled away just beyond his hand ■ . .

and the man leading the dogs stumbled more heavily for a moment, then fell headlong across the foremost dog.

Down from the sled jumped the other figure, and after a glance at the fallen man began feverishly to scratch a hole in the snow. Larger the hole grew till it looked like a grave. Then he turned back to the sled and to what had once been his partner. .

There was a strangled scream, and Wel¬ ston stumbled across the darkness to the screen, tearing and clawing feverishly, furi¬ ously at the wall. '“I didn’t — I didn’t — you — why have you come back? ”

The light came on with a snap, and the director anpl cameraman were on their feet. Welston turned, and the final evil of guilty madness was in his face. He made a rush, and the director swung a chair above his head in readiness. But Welston halted, as a pointer halts— suddenly and stiffly.

“Go back,” he screamed, “I know what vou have come for. All the time, ever since 1 killed you and buried you in the frozen snow you have waited. But you shan’t do it, you shan’t” .... And his hand fumbled at his vest pocket.

Suddenly he threw his head back and struggled with his shoulders and tore at his collar. His breath came in strangled gasps, and his face grew livid. It was as if he fought with Something — Something which the others could not see. Then slowly he crumpled into a heap on the floor and lay very still.

* * *

“ TJeart failure, undoubtedly,” said the doctor, “but I have never seen the face so congested before. It is almost as if he had been strangled. And those five curious marks round his throat. Quite like spots of frost-bite. A most unusual case. Great pity . . . Clever fellow, wasn’t he? ”

The director and the cameraman looked at each other and shuddered— even though the film had already been put deep into the studio furnace-

9

THE MOTION PICTURE STUDIO

June 3, 1922

WE HAVE PRODUCED 60 FIVE MONTHS ALL OF WHICH

1C ONE-REEL SONG STORIES,

1U “FAMOUS SONGS OF LONG AGO.”

Acquired by BRITISH EXHIBITORS FILMS, LTD., 8-9, Long Acre :: :: LONDON, W.C. 2.

1 O ONE-REEL DRAMAS,

1 * “ TENSE MOMENTS WITH GREAT AUTHORS.” Acquired by BRITISH EXHIBITORS FILMS, LTD., 8-9, Long Acre :: :: LONDON, W.C. 2.

1 9 ONE-REEL MODERN SONG STORIES.

Acquired by CAPITOL FILMS, LTD.,

83, Wardour Street, LONDON W.C. 2.

9 REEL DRAMA,

^ “ CRUSHING THE DRUG TRAFFIC.”

Acquired by BRITISH EXHIBITORS FILMS, LTD., 8-9, Long Acre :: :: LONDON, W.C. 2.

WE HAVE OTHER NOVELTIES MAY WE PRODUCE A SERIES

MASTER’S FILMS, LTD., Weir House

10

June 3, 1922

THE MOTION PICTURE STUDIO

REELS DURING THE PAST HAVE BEEN PRE-RELEASED.

ft REEL DRAMA, u “TRAPPED BY THE MORMONS.”

Acquired by THE FREDERICK WHITE CO.,

54, Victoria Street :: MANCHESTER.

ft REEL DRAMA, w "MARRIED TO A MORMON.”

Acquired by THE FREDERICK WHITE CO.,

54, Victoria Street :: MANCHESTER.

ft REEL DRAMA, u “COCAINE.”

Acquired by ASTRA FILMS, LTD.,

89, Wardour Street, LONDON, W.C. 1.

t O ONE-REEL OPERA STORIES,

“ TENSE MOMENTS FROM GREAT OPERAS. ”

Acquired by THE GAUMONT CO., LTD.,

6, Denman Street :: PICCADILLY, W.l.

IN COURSE OF PREPARATION. FOR YOU I — WRITE US :

Studios, Broom Rd., Teddington. Kingston 1617.

THE MOTION PICTURE STUDIO

PERCY CLARBOUR'S

CINEMA

AGENCY

HAS REMOVED TO

PALACE HOUSE,

128, SHAFTESBURY AVENUE,

Telephone : REGENT 2716.

w.c.

FACTS THAT SPEAK FOR THEMSELVES.

CHANNINGS,

MISS CHARITY, CROXLEY MAStER, RODNEY STONE, STELLA,

HARD CASH,

ALL THE WINNERS, WILL AND A WAY, HEAD OF THE

FAMILY,

FIFTH FORM AT ST. DOMINIC’S,

RIGHT TO LIVE,

FROGGIE’S LITTLE BROTHER,

HANDY ANDY,

TANGLED HEARTS,

SHIPS THAT PASS IN THE NIGHT,

SAM’S BOY,

Etc., Etc.

Artistic Films Ltd.,

93 & 95, Wardour Street, London, W.l March 10th.

Dear Mr. Clarbour,

I want to thank you for the help you gave me in the casting of the two W. W. Jacobs pro¬ ductions: “A Will and a Way” and “Sam's Boy."

Thanks to your discrimination and under¬ standing of the types wanted 1 was able to select artistes who were admirably suited to their various roles.

With my regards and thanks 1 remain,

Yours sincerely,

manning Haynes.

PERCY CLARBOUR'S CINEMA AGENCY.

June 3, 19 2 — 2

SUNLIGHT ARCS

PORTABLE GENERATOR BROADSIDE LAMPS AND SPOT LAMPS

SALE OR HIRE.

DUNCAN WATSON & CO.,

Telephone : MUSEUM 2860.

62, Berners St., W.l. •!

Telegrams : Kathode," London.

UALITY

Choice assort¬ ment of Sandwiches

Delicious Ices and Iced Drinks

Fruit Salads and Sundaes

ORNER

First Floor 23 GERRARDST., Shaftesbury Avenue W.L

( One minute from! j Queen's Theatre). [

'<1

12

June 3, 1922

THE MOTION PICTURE STUDIO

THROUGH FRENCH EYES

by E. FLETCHER . CLAYTON.

(“ Motion Picture Studio

ANGLO-

SWEDISH

CO-OPERATION

by JOHN TORNEQU 1ST

When the Swedish film industry looks to England to establish a co-operation of producing films, it is nothing to be astonished about; it is just England which Victor' Seostrom has been thinking of wnen he. while still maintaining the national character, wants to give the Swedish film a super-national character and in some way internationalise it.

We are of the opinion that the English¬ men's view of things is the same as cur own, and we stand in a closer contact with the island people than with, for instance, the Germ;ans. It is ‘the responsibility, the seriousness, and the. correctness of the Eng¬ lish character which attracts us and which always has served as a model for the Swedes in general.

W hat here is said about the English nation may just as well apply to the English actor. He has something in his appearance which makes a sympathetic impression on a character like ours. About six months ago the English film “Carnival” was given, with Matheson Lang as leading man. It was a piece of acting standing on a high level, which was very much appreciated. His Othello was human and intelligent, and when we later saw the prominent German actor, Emil Jannings, in the part of a Moor in a German Othello film we were unable to avoid making comparisons, which are absolutely to the favour of the English actor.

Matheson Lang is this summer going to play the leading man in a great film directed by Victor Seostrom. It is a film with points cf contact with “ Carnival,” a drama of jealousy. The acting artistes may belong to any nation. When Matheson Lang now, for the first — let us not say the last — time nuts his talent in the service of the Swedish film, on Swedish ground (as the film is going to be played in Sweden) he plays a part which is worthy of him.

Matheson Lang is the first instance of the co-operation which the Swedish film trade wants to establish more and more intimately with England. In the summer we trust to be able to engage another artiste — an Eng¬ lish actress.

SEAL FILMS PROGRAM

The Seal Company’s intention is to pro¬ duce, approximately, four features during inis year. They will be on the lines of the last three productions, “ Dick’s Fairy,” “ Jessica’s First Prayer,” and “ Little Meg’s Children.” Bert Wynne is convinced that the morbid type of film now being pro¬ duced and shown in this country must ulti¬ mately harm ihe British Industry, and with this in mind W. Millward and T. H. Davies are determined to place on the British screen stories that will appeal to all classes and ages.

It is the intention of Seal to engage legiti¬ mate screen actors only for forthcoming pro¬ ductions, as it is convinced that they have a much ’ greater appeal to the provincial audi¬ ence, who, in Seal’s opinion, are the best judges of the British films to-day.

JJjXCEPTINCi through the medium of the Press, in the form of Trade news and occasional notes, not very much is known to British studio- Workers of what goes on amongst their very near¬ est foreign neighbours and friends. Film importers and dealers generally know most; but British directors and artistes know practically nothing, owing to lack of contact. There could be nothing more desirable in the interest of kinematc- grapihy in Europe, than something in the nature of a rapprochement between the British and the French film indus¬ tries. It is safe to affirm that such would be welcomed on both sides.

The possibility of such a union of com¬ bined interest and action could only come about if it were found that effective com¬ mercial relationships could be estab¬ lished. Mutual interest in kinema, art 'alone would (no* ble effective . The whole-hearted support of the great financiers on both sides of the Channel is needed, and they, as business men, would Want to know the possibilities, and profitable ones at that, of an interchange of British and French films, of “cross- 0, vers” and mutual workings between directors, artistes, cameramen and all concerned on both sides.

Sometimes the wail is sent up, both in England and in France, that the film industry does not receive the financial support that it ought to have. This is rather a digression from the main theme of this article, but it will serve to show that conditions in France are similar to those in England. Both countries are working in film production under diffi¬ culties.

The big financiers, always ready to put money into profitable enterprises -rather than ventures of a speculative nature, re¬ main practically unmoved. The reason that the British financiers remain impas¬ sive may probably be because they think that, even on a small scale (as one judges a cloth by examining a little sample), the films produced by the various companies in the industry do not appear to have a quality likely to bring adequate returns for a heavy financial outlay.

The brilliant exceptions are few and far between. The British film, judged

’’ Representative in Paris)

by the standard of production of other nations, is regarded by these financiers as being very largely in the experimental stage, and, in the meantime, they know that they can place their money more profitably in other industries. They are not patrons of art, but money-makers.

Such, at any rate in France, is prob¬ ably the real explanation of the lack of financial support. Financiers have not yet sufficient faith in the film producers’ genius, capability as producers, and head for business. They know that .the direc¬ tors’ idea is generally to spend money. A financier never spends money ; he makes use of it. Financial embarrass¬ ment curtails expansiveness, and tends to conservatism. So the French industry keeps much to itself.

In P'rance, the general situation is much the same as in England, only that there would appear to be rather more activity. PYench business men in the film industry (I am not thinking of big financiers) are rather mono speculative than the English, and, when they pull through, their reward is great. One of them has recently given his orders for the production, and that on a generous scale, of (about a /dozen films, jail of which will probably be finished this year. It is a large and risky outlay; but the chances are much more for than against success.

It is the practice of several of the French film producing companies to make the director (or directors) take a percentage of his, or their, earnings out of the profits on the exploitation of the film or films. They sometimes leave the entire work of ordering the construction of settings, the hiring of costumes and properties, etc., to the producer; and he is made responsible for his opinions upon the selection of artistes and their con¬ tracts with the producing company.

Thus the director’s inclination (very strong in an artist, as such is credited with being), to “ splash about ” with other people’s money, is curtailed ; for he knows that if the company should lose upon the nroduction, so does he himself. His artistic soul is kept to earth by busi¬ ness conditions, and, while he really has a free hand, less money is wasted.

FLORENCE WOOD

Now at Liberty for Sta&e or Kinema.

SYMPATHETIC, COMEDY OR CHARACTER.

Mrs. Gaythorne in “The Law Divine” (Masters), Madame Lam- balle in “ Perpetua ” and Joan’s Mother in “The Spanish Jade” (F.-P. Lasky.)

34, Nevern Square, S.W.5.

’ Phone : Western 1936.

13

THE MOTION PICTURE STUDIO

June 3, 1922

The Seal

Film Company

d • , II J. Henry Davies Proprietors JwiUlam yMiUward

THREE GREAT SUCCESSES, 1921

u

DICK’S FAIRY

11

REV. SILAS HOCKING.

a

JESSICA’S FIRST PRAYER

11

HESBA STRETTON.

U

LITTLE MEG’S CHILDREN

11

HESBA STRETTON.

WATCH OUR PRODUCTIONS FOR 1922.

Sole Direction :

BERT WYNNE.

Telephone : REGENT 5326.

SEAL FILM CO,t

181, WARDOUR STREET, W.l

14

June 3, 1922

THE MOTION PICTURE STUDIO

THROUGH THE IMPARTIAL

EYE

by MILES MANDER, F.R.G.S.

TITLES

Are printed or hand-written the best ?

by FRANK KEYES

7"HY this mistaken idea that the printed letter is so infinitely superior to hand¬ lettering by a competent man? It does not seem to be generally realised that every drawing, design and letter which appears in print first has to be drawn by hand. (There is no machine that will design and draw.)

The drawing or lettering has then to be reproduced by a more or less mechanical process, usually involving photography (process reproduction).

Modern process reproduction has attained a very high level of quality. It is possible, nowadays, to reproduce a design very faith¬ fully — in fact, the reproduction in some cases may be almost as good as the original.

With a printed title you have all the lack of elasticity which is inseparable from a mechanically repeated form — and a more or less imperfect reproduction of what is originally a hand-drawn type. In other words, your lettering is second-hand, with the following handicaps (among others) : —

(1) Each letter, being on its own piece of type, makes any “ locking ” or overlapping of the type almost impossible, and severely limits the employment of decorative flourishes or other ornaments.

(2) Uneven “ spacing,” both in (a) the body of individual words, and (b) in the general “ layout ” is almost inevitable. Obvious examples of -(a) occur always in such words as :

BUILT AVAILABLE VACCINATION when set in capitals. Minor instances are just as jarring to a discerning eye.

(3) It is a very difficult matter to obtain a really good “black and white” from a printed title, because : (a) In the case of using the negative as the positive, and taking a black on white title, the “ halation ” and “evening lighting” difficulties crop up; (b) the titles must be printed on boards owing to the pressure required to transfer the white lettering ; (c) it is not yet possible to print a really clean-edged, photographically white letter on a matt black ground.

Do not, readers, think that printed titles are a weak link in the chain of a production. They’re not even cheaper !

FLASH BACKS

Our chief want in life is somebody who can make us do what we can.— Emerson.

A friend should be like money — tried before required, not found faulty in need. —Plutarch.

Wherever duty calls him and binds him down, there a man may be happy. — Norton.

A great many people exhaust themselves getting ready to do something which they they never do. — Marden.

A person may cause evil to others not only by his actions but by his inactions. — Mill.

The country is lyric, the town dramatic. — Longfellow.

Poor, and content, is rich.— Shakespeare.

You must learn to deal with the odd and even in life as well as in figures. — Eliot.

Life does not come in lifetimes, but only a day at a time.

fil^HERE is no one particular element mili- A fating against success. It is rather a question of ‘.lie existence of a series of delinquent features and the paucity of other necessary attributes. Let us briefly outline the position.

It must be admitted that the Americans have always specialised in various forms of public entertainment. Although kinemato- graphy was invented by an Englishman and first exploited by the French, the Americans were not slow to see the tremendous com¬ mercial possibilities in this new form of en¬ tertainment. Financial support for public entertainment was never lacking in the States, as has always been the case in this country. With the methodical tenacity born of |a cosmopolitan 'blooded population, and an admixture of Latin art assimilation, the Industry increased by leaps and bounds until the war gave them their chance to forge well ahead of competitors.

It is probably a fact that, if it had not been for the war, the Germans would be leading the world in the matter of film pro¬ duction to-day ; indeed, even as it is, I know no film like the German for spectacular effects. The praiseworthy effort^ of the Italians cannot touch them. Although the British public is now tiring of the ordinary American feature film, it still looks to them for the majority of big super -features. The Yankee partiality for ostentation and the in¬ correctness of their English scenes, are be¬ ginning to irk a trifle, but I do not think that we can hope to compete with them until production over here is properly organised.

“Jimmy ” White recently described the Trade in this country admirably when he said we were living from hand to mouth. At various centres in America there exist film colonies, the inhabitants of which are continually and for ever in the environment of motion picture production. They talk films all day and they dream of films all night, and it is only natural that they have reduced film production to a very fine art. These film colonies have developed into vir¬ tual schools of production, not the pernicious kinema academies that we know over here, but little worlds where each member of the community is imbrued with the studio atmosphere.

Here in England we have no such natural school. To attempt to learn anything about production in this country is like going to a school of cookery to learn Latin. Film production cannot be acquired by rote, but essentially from -a process of absorption by an artistic, imaginative and preferably emo¬ tional temperament, blessed with immense sensibility, and by \he serious study of aestho-physiology.

Again, until the Kinema Club was formed a short time ago, there was no institution in this country at which members of the profession could meet. Artistes have rarely had any support from producing companies. You must create popular stars before you can make popular pictures. To make stars popular they must have wide publicity com¬ bined with beauty and screen talent.

Wide publicity means spending money, and “there’s the rub,” but by no means the only one. As the English artiste usually has to pay for his or her own publicity, and as the majority of artistes in this country are impecunious people, it is obvious that the struggle to get on as an artiste over here is an extremely difficult one.

The Americans went through a phase of boosting the author, as someone conceived

the idea that it would be cheaper and per¬ haps as efficacious as paying enormous sums advertising the various stars. I notice that they have recently come to the conclusion, which should have been obvious, that the personality of an author cannot hope to get over like the personality of the artiste.

The same lack of cohesumTapplies also to the directors, who, until quite recently, were scattered broadcast over England, and only met if they happened to be working in the same studio.

The much vaunted question of finance has of course, a great deal to do with the in¬ feriority of English pictures, but there have been several instances which I could quote where unlimited m.oney has been forth¬ coming. In these cases, unfortunately, the directors have failed for the most' part to come up to scratch ; imagination, education or ability has been lacking. A union of the right man and the right money has still to be effected.

It is proverbial that the English are not an artistic race as a whole, and this, I am afraid, is indisputable. A people that wdl feign, appreciation or even tolerate clas¬ sical music whilst they are feeding must be despaired of in art. Underlying the average American character is a partiality for what we English call “sloppy” sentiment. Sen¬ timent may be sloppy ; it may be anything you like to call it. It is,' nevertheless, founded on heart lure, which is present in the composition of most of the peoples of the. world, although perhaps less markedly so in the stoical Anglo-Saxon. Cut out Mel- villian sentimentality, but let us have refined sentiment.

Italian, French and Swedish pictures have not as yet cut much ice outside their country of origin. Although some very fine produc¬ tions have been made in these countries, their psychology and the unmanly gestures of the male actors do not present an attractive appearance to the English. Personally, I have never yet seen a French picture which I found pleasing, although -the acting is usually good from the French standpoint.

I may be quite wrong, but it always ap¬ peared strange to me that the majority of directors should be allocated their subject and should then employ another man to write the scenario, which may be totally unsuited to the director’s temperament I know if ever I go in for production I shall not try to elaborate ideas which are con¬ ceived in someone else’s brain.

Undoubtedly directors are, as a whole, badly served. Although our cameramen have a lot to learn, they in turn are handi¬ capped by the inadequate lighting arrange¬ ments that exist in most English studios. When w-e do see a pretty English girl on the screen she is invariably wrongly lit. Heavy eyes, wrinkled features, etc., appear the order of the day, chiefly owing to bad lighting, and her right and wrong photo¬ graphic angle is rarely studied.

Casting is another direction in which we go astray ; it is so often faulty and some¬ times mars an otherwise creditable film.

Colleagues of the studio, we have a long way yet to go. The way is arduous, and those that cannot rise to the occasion must fall out. Give the financier who next ap¬ pears on the horizon a run for his money, and you will find he’ll come again. The industry has no place for incompetency. The game is sufficiently speculative without that element, which has for so long been sapping its vitality.

15

THE MOTION PICTURE STUDIO

June 3, 1922

A QUESTION OF FAITH

by CHRISTABEL LOWNDES-YATES

IIS number completes the first year | of the Motion Picture Studio — a paper that stands firmly for British films. From its first number it has steadily and wisely upheld the British Screenplay. It has given encouragement and, when necessary, criticism, but it has always had the essential fire of faith in the future of the British film. Of how many other journals can that honestly be said ? Most of those published to-day are extra¬ ordinarily international. Nearly all publish, as a matter of course, interviews and articles in which the foreign film is upheld more from the fact that it is foreign than from any technical ex¬ cellence. So many people think that it is clever to extol work because it bears the imprint of a country not their own.

The general public is beginning to see through such futilities. It wants to see good, clever, unhackneyed work of any and every type ; but had England put out work of the character one constantly sees praised in the Press because of its foreign origin, then the English picture trade would not have so many faithful believers as she has even to-day.

However, some of her own people are not blind to what is happening to-day in

the film trade in this country. The com¬ pany directors, the film directors, the writers, the star artistes and the rank and file have been for some time slowly and steadily evolving the essentially British picture — a complete thing that can come from no country but this, and is as decisively national as the Swedish picture is of Sweden.

The British Trade has so far produced no more than the germ of the great thing that will come to life in the future ; but so far, in spite of the pessimists, it is vitally alive. When it is fully developed the British picture will be something new in the Art of the Screen and far bigger than anything we have seen yet from any source. I can see the men who think in dollars and bank drafts smiling at such a statement, but I am not speak¬ ing primarily of dollars, though the type of picture I have in mind will bring both money and power and other things in its train. But the greatest thing in the world to-day is not money ; it is the force behind the money.

But while some of the men and women have been evolving the germ of the British Film, working bravely and courageously as all pioneers must, other

noisy people have been talking. The world has always had its builders and its destroyers, but surely the latter gentry have never been so much in evidence as to-day. These destroyers are great talkers.

Some of them are outsiders whose words carry no weight with people who matter. Others are men of importance, men with great names who will be quoted far and wide as disparagers of British films. Such men are so obsessed by the comparatively advanced state of the kinema in other lands, that they cannot see the excel¬ lencies of production in their own.

It is said that in the great reign of Victoria it used to be the fashion to disparage the young merely because they were young, and as such could never be the Great Men their fathers were. Yet these young people, slighted then, are the great men of to-day, and we, from the vantage point of this age, have relegated many of these old men’s theories to the scrap-heap.

To those great men who disparage British films on public occasions, at dinners and other meetings where their speeches are reported in the Press, I would say : “ Have faith in your own work. If it isn’t worth it, make it so.

If you can’t, throw it up altogether.”

The general public is weary of hearing of the greatness of America on the grounds that it can afford to wreck real trains or can build studios into which the sun never enters, and then fake it with such cleverness that it appears like real sun¬ shine to all but experts. Such things are not Art. They have nothing to do with the real making of greatness. The great pictures they have made in America are not dependent on things like that. It is the man behind the picture, not the machinery that makes or mars it.

There are plenty of people to-day who believe in British pictures both over here and in other countries. If they did not they would not fight so hard to keep her out of the world markets. Of the great American picture organisations, how many of those that have made Screen history would have attained their present position without English brains and English organisation ? You who are not behind the scenes have no con¬ ception of how much America owes to these islands. You, gentlemen, who are reported in the Press as belauding foreign efforts, have faith — faith in your own pictures— faith in your own screen future.

You cannot expect people to invest money in a commercial proposition if your friends after dinner are busy telling them that what you are offering is no good. What is wanted in the British Trade is faith. A man can survive hard times, hard luck, anything and every¬ thing until he loses faith in himself. But to lose faith is to lose all. What is true of the man is true of the Trade. Let the British Film Trade believe in its future and all will be well. It is entirely a question of faith.

REMOVING OBSTACLES IN PAST YEAR

by J. Stuart Blaekton.

THERE are many obstacles in the path of progress, but the greatest that confronts the British Film Industry is' a general lack of confidence. The average British director lacks confidence in his own product. He would like to sell his films in every country in the world, but does not really believe that he can sell them anywhere outside of the United Kingdom. He therefore invests in his productions only as much capital as can be returned to him, with a small profit, out of the United Kingdom.

The head of a large British film producing company recently stated to me that this was the policy of his company. From a strictly business point of view such a policy may be very wise, but it does not tend towards an international market for British films. The banks, financial jnterests and investors of capital, knowing full well that this “ lack of con¬ fidence ” exists, are not disposed to risk their money in what appears to be a half-hearted enterprise.

In a recent interview, “ Jimmie ” White speaks of the “ hand to mouth ” way in which the British Film Industry is carrying on, and makes the statement that “ the financial position of the Trade is pathetic.” The financial position of the Trade in England is, indeed, sadly different from existing conditions in France, Italy and Germany. Since November, 1918, these three countries have been forging steadily ahead, and their picture producing has been financed by big banking institutions and, in some cases, by Government subsidies. In America the banks have been financing the Moving Picture Industry for the past ten years.

Until the British directors demonstrate to the investors that they can turn out pro¬ ductions that will successfully compete with the films of other countries in the world’s market, the investors will “ lack the confidence ” to put their money in films. Until film directors receive the necessary financial support they cannot produce films which will successfully compete with other countries for the world’s market.

The obstacle is apparent. How is the obstacle to be removed ?

It has been demonstrated during the past year that outstanding film productions can be made in England by British directors. It has been demonstrated that these super-films are welcomed in the American market and the other markets of the world, and hold their own with the best of the world’s product. These productions were not cheaply made. They were financed in most cases by individuals or the directors themselves.

I have been told that British financial interests are waiting to have demonstrated to them that British-made films can be marketed at a profit in other countries ; and I believe that when the facts concerning the few recent internationally successful British productions are brought by responsible parties to the direct attention of reliable investors, the “ lack of confidence ” will be overcome and the greatest obstacle removed.

I am more optimistic than ever about the future of British films. Their production, sale and exhibition constitute one of the greatest industries of modern times, and the fourth greatest industry now in America. In the interests of British commerce, British capital cannot much longer afford to ignore the opportunities the kinema offers.

16

June 3, 1922

THE MOTION PICTURE STUDIO

WALTER WEST AT WORK

AN ANGLO-ITALIAN COMBINATION

J-pOR the last (few months the Prince’s Studios at Kew have been a veritable hive of industry. Early in the New Year the studio was taken over by Walter West Productions, since when no less than three five-reel films have been made. The first, entitled “ Scarlet Lady,” was a rac.ng film founded on an original story, in which Violet Hopson played the leading part with Lewis Willoughby opposite her. This added yet another to the long list of sporting films which Mr. West has produced, a British type of production in which he has special¬ ised.

On the completion of this film he turned his attentions once more to the industrial world as a background for an interesting love story^ written by Paul Trent, in “When Greek .Meets Greek.” Violet (Hopson plays the heroine in this production, with Stewart Rome co-starring.

Following this, Mr. West once more sought the racecourse as an inspiration, and has Just completed “ Son of Kissing Cup ” — a sequel to his previous success, “ Kissing Cup’s Race.” Starring Violet Ho.gson and Stewart Rome, this film will contain an uninterrupted film representation of this year’s Derby. The story has a novel turn, which is warranted to prove a big surprise to the most hardened kinemagoer, for the horse which is favourite for the big race is lost on the road to the course, despite the fact that the motor conveyance is carefully guarded and no one sees the disappearance of the precious cargo

Walter West Productions (which for the next two years will be distributed by Butcher’s Film Service) announce a big pro¬ gram, on which iMr. West will be engaged in this country until October.

His next vehicle will be a film version of “The White 'Hope,” from the novel by W. R. Trouibridge, with Violet Hopson and Stewart Rome as stars. This novel was first filmed in the early days of the British Industry, and, strangely enough, both Violet Hopson and Stewart Rome appeared in the same parts as those in which they will play when Mr. West directs the new version. It will be interesting to compare the two renderings.

Following this, Mr. West announces “The Hornet’s Nest,” “The Pruning Knife,” and “In the Blood,” all of which are from the pen of Andrew Soutar. This program Mr. West hopes to have completed by October, when he leaves for the south of France, where he will direct during the winter months.

The studio at Kew Bridge, the actual floor space of which measures 117 ft. by 75 ft., is one of the most satisfactorily equipped in England. Mr. West has had installed every modern device which can help towards the technical perfection of a film. The organisa¬ tion is probably equal to that obtaining in any Amer#:an studio.

Although not of the magnitude of some of the larger studios, equip¬ ment for every possible set is at hand. The property room contains almost everything from a fountain pen to a Persian prayer mat, whilst the lighting installation is the most modern, and probably the best, in any English studio.

Situated as the studio is, almost every type of English scenery is available within a few hours’ car run, and in his two latest productions Mr. West has introduced the English countryside and glimpses of our foremost industries.

“When Greek Meets Greek ” is due for Trade showing early this month.

by CH IkVALIER ARRIGO BOCCHI, Motion Picture Studio

Representative for Italy

HAVE always advised the English film director and everybody interested in the British film industry that a. new outlay for their productions, is in this country. They have the advantage to-day of the public over (here being tired and very bored with the American films that have flooded this country. If the Americans had not rushed in and sold films at any price just f.o take the country and market by storm they would not have bored the public to desperation. To-day the

English artistes were to appear in the various productions.

I thought that this would have been grasped as a great opportunity offered to the British industry; but, alas, all my efforts were in vain. The English artistes would have been received in quite a royal way here, as the .Italians have the greatest regard for all that is English, although several English papers try to tell the public otherwise. It^ only for England to start having some Italian

H . . PI

j RETREAT, NOT ADVANCE |

j by SIDNEY MORGAN j

: YY/ITH very few exceptions the standard of production in the past :

J ” year did not reach that of the previous one. It was tainted :

| from the start by opportunism, an unsatisfactory foundation for a \

: permanent business and fatal to any thought of advance. :

: Two helpful things remain in my year’s memory. •

• , Denison Clift has shown us that it is possible to play dramatic j

: scenes to their full value. He has demonstrated that an audience :

• can be held by a single scene for 1,000 feet. •

| There is need for great caution, however, in taking this lead, because • : in order to spare the footage for this, he has had to link up by explana- :

: tory title, and fade out to such an extent that there is a danger of :

j the film becoming like a play, with the greater part of the action taking •

| place off the stage. :

: The other helpful thing was “ Three Live Ghosts.” Here we had :

| the picture of perfect entertainment value, superlative staging, photo- j

: graphy and acting. A story of such variety of incident and character j

: (a little far-fetched, perhaps) that there was not one moment that did

; not interest, amuse, excite, or intrigue. j

\ Generally the past year has been one of retreat, not advance. If we : spend the present year re-organising, we shall follow our national :

j tradition and win out at the finish. • •

m . . . . . s

people are being suffocated by these films, and a rescuer would be more than welcome, and would be received with both arms.

I do not agree with some remarks made by a well-known man in the kinema world about the Italian productions; still, there is no doubt that the plot, action and stories of these have brought about the. downfall of Italian films. The English^ scenarist has followed a different line to that of paganism, adultery and coarse infidelity^, and I feel sure that their plots would be a relief to the minds of the spectators, especially if the milk and water ones are not sent out as a specimen of British productions.

I have stated over and over again that a studio organised with Anglo-Italian element would meet with great success in this country. I have made several proposals, but each time they have been rejected as absolutely im¬ possible. I found a syndicate which was willing to put up two million lire (Italian) if the British side would in its turn put up one million lire (Italian), and with the benefit of the exchange this would have been a mere song. Of its own free will it would have put up the money on the condition that the prin¬ cipal director was to have been an English¬ man, and that no less than three or four

artistes in exchange, and they would find that this would be most profitable, as the two characters would blend together and make a new attraction in kmematograph art.

It is not true that the different languages would be a drawback, as kinematography is the art of mimicry. This is proved by the many Englishmen who come out to Italy, and although they cannot understand a word of the language, nor do they speak it. yet they can make themselves understood by mimicry.

There would be great scope if the two countries joined together. As a matter of fact, they are the only two countries whose characters could be linked together. The German is too hard, and lias no soft lines, q he Frenchman is too boisterous, too excited, and his manner is so exaggearted that in many cases it becomes painful. The Italian, on the other hand, is a born mimic ; but he must be calmed down. The Englishman is steady and calm ; every movement is thought out — therefore the combination of English and Italian would be a wonderful one. 1 only live in hope of seeing my thoughts materialise. I shall only be too willing to give my humble opinion and suggestions to anybody who takes up this enterprise.

17

THE MOTION PICTURE STUDIO June 3, 1922

Stoll s Cricklewood Studios.

P

A Large Floor to Let in the Largest, Most Modern & Best Equipped Studios in England.

P

All Applications to

The Stoll Film Go., Ltd.,

155/157, Oxford Street, London, W.l.

18

June 3, 1922 THE MOTION PICTURE STUDIO

IF I WERE THE EDITOR

run the “Motion Picture Studio” during its first year.

How others would have

By FLORENCE TURNER F I had been the editor of the Motion Picture Studio I should have run it ■on exactly the same successful lines as it lias been run.

By GEOFFREY H. MALINS, O.B.E.

1 ADMIRE the strategy and resource of the Editor in asking this question, but it is impossible for me to improve upon its present standard. I have not the bite of a Bernard Shaw, the cynicism of a Belloc, the grip of a Sabatini, the majestic .style of Shakespeare, or the vision of Dickens, so I fail to see what good I could do.

But, on the other hand, perhaps I can convince myself that I am a Nortlieliffe — Why not? Others have — and failed.

Then again, why not a Beaverbrook ? Ye Gods — why not?

But no, I must

.... from the dizzy heights of transcendental power descend, into the abyssimal depths of worldliness ....

I am a human being. Pure and simple — very.

An ordinary British Film Director. One of those mortals who, on many occasions are thought of at the last moment. There¬ fore as such, I will tell you what I would do if I were editor'.

First of all, I would not fill my pages with such unbounded optimism — certainly not. My pages would breathe despair in all its horrible nakedness. Despair for our directors. Despair for our authors. Despair for our artistes; in fact, desnair for anything British. My slogan would be “everyday in everyway we are getting worse and worse." Nobody would believe me, I know.

Then, again, I would devote a full page

every week to the names of the directors who patronise the Kinema Club. The half a dozen would have plenty of space to spare. But you never know. Others might turn up some day.

Then, for a change, on the back page I would state that all the companies had completed their casting, and were casting for the next. I feel sure that I should get a rise for being truthful, but I wouldn’t take it.

I would have a page devoted entirely to the opinions various agents have of their artistes — and what the artistes think of them. What a rush there would be every Saturday morning !

Six pages would be allocated and headed as follows: —

“ THE SECRETS OF THE STARS ” or “THINGS SEEN AND UNSEEN.” “WHAT WE OWTE AND HOW WrE PAY IT.” “SMOKING ROOM STORIES AND HOW THEY ARE TOED.”

I could, of course, keep on indefinitely and tell you how I should edit your paper; but being a director I am an extremely modest person — and on second thoughts' I would leave it as it is.

It started its life under the most un¬ favourable circumstances; the marvel of it is that it has pulled through, and for one so young it is wonderful. Its purely British policy is a credit to all concerned.

Continue your great work. God knows we want encouragement and help bad enough. We are fighting hard and fast against the walls of prejudice, but as surely as day follows night we shall break clear and triumph.

Sound co-operation is needed. Strength of purpose and oneness in despair — con¬ structive thoughts and criticisms — whole¬ hearted support of each other — interchange of ideas and learning — financial support instead of financial starvation.

Then the status of the British Film In¬ dustry will take its place amongst the highest of our Empire, and a place of honour throughout the world.

By ADRIAN BRUNEL.

RANKLY I cannot think of any fair criticism of the Motion Picture Studio. Naturally I should like a bigger paper with more photographs, but I realise that such things can only be the reflection of a healthy, prosperous industry. However, you can help us towards prosperity and you are one of the few forces working to that end.

There is another line of propaganda which British directors would be most grateful if you would undertake, and that is the ques¬ tion of the prohibitive tax on negative which we are subject to when, having taken scenes abroad in order to get local colour and so improve our pictures, we bring the exposed stock back to England.

In regard to the pictures I have been taking in Morocco and Spain, the negative tax amounts to seven hundred pounds ! I am informed that the object of this tax was to protect the home industry and that it was never intended to hit us in the way it does. Very comforting 1

The arguments for the adjustment of this Act so that it does not affect British firms are obvious, and the loss of the Exchequer would be very slight, whereas the benefit to our producers would be very great indeed.

BILLIE BRISTOW

Press A^ent

i

175, WAR DOUR

LONDON

Telephone G e r ra r d

2 4 0

STREET

w. 1

19

THE MOTION PICTURE STUDIO

June 3, 1922

vv a SCENES FROM / jr //

eel Prince y L overS

lumonts 9^ Vm Version 0/

uimonis VViim Version

Lady Caioline pi ads for a continuation of their liaison.

Above : Lady Byron requests her husband to give up writing poetry.

Top Centre : Lord Byron and Lady Caroline.

Right Centre : Howard Gaye and his dog.

Above : Byron temporarily suc¬ ceeds in tiring his wife with some of the warmth of his own passion.

Below: Lady Caroline attempts suicide.

Lady Bvron oiscovers Byron in the midd'e of a carousal. Lord a d Lady Byron separate in spite of the pleading of his ha’f-sister, ow arc! Gaye as Lord Lyron, Marjorie Hume as Lady Byron, Mavis Clare as Lady Caroline and Mavis Clare as Byron s half-sister in the latest product of the Gaumont Studios under the direction of Captain Calvert.

June 3, 1922

THE MOTION PICTURE STUDIO

SCREEN VALUES

MEASURING UP THE WEEK’S PRODUCT

Long Odds.

Stoll — Starring Edith Bishop and A. E. Coleby — Supported by Airs. E. W. Royce, H. NichoJls Bates, Frank Wilson, Sam Marsh, Sam Austin, Fred Paul, .Miss Grosvenor, Harry and Sam Marsh — Directed by A. E. Coleby — Scenario by A. E. Coleby — Photography by D. P. Cooper.

]> OUBTLESS_a popular story and picture, one which is a successful booking pro¬ position, but from a technical point of view there are quite a number of small faults to Lc found.

The story is intrinsically episodic — in fact, there are two stories told by the film. It is with the story and the continuity that the faults are to be found.

As a director, however, A. E. C'olebv does exceedingly well, getting the most out of his ailistes and ihe material at his disposal.

There are some fine racing scenes, which aie well worked up and exciting in the extreme.

The British screen has found a new star in Edith Bishop, who was the success of

Long Odds.’’ Miss Bishop photographs wonderfully well, and is an actress of great ability. As the girl in this production she pats to shame the work of many of the American so-called screen stars. This is her first lead, but it should not be her last.

A. E. Coleby can always be depended upon to carry through a part in excellent style ; his work in 'his film is no exception to the rule.

II. Nichols-Bates gives a satisfactory inter- pietation of the secretary.

Ram Austin has a part which gives him ■very little, opportunity; he makes the best of it, however, and gets it over in a convincing manner.

Sam Marsh ,s good enough in the ordinary straightforward scenes, which only require not to look at Ihe camera, but in the scenes that require acting he is useless, or nearly so. His riding in the racing scenes is ex¬ ceedingly fine.

Mrs. E. W. Royce is very good as Mrs. Granville, Frank Wilson has only a small part, which demands little, while Fred Paul makes a fine villain of the characteristic tvne.

7 he story suffers as a result of excessive padding. The theme centres round a certain racing rule, which is unknown to most

EDWARD D. ROBERTS

Now producing' —

“The Cause of all the Trouble.”

" 1

All corns :

The Albanian Film Co., 4, Victoria Street, St. Albans.

G. FORT BUCKLE,

Scenarios

(Originals and Adaptations)

“THE YELLOW CLAW,”

“THE NIGHT HAWK,”

“ M’LORD OF THE WHITE ROAD.”

Address :

41. Glasshouse Street, W. L

’Phone : Regent 4747. or Kinema Club, Regent 2131.

people. This has been worked up .and padded out by the inclusion of one or two subsidiary themes. The continuity is not good.

D. P. Cooper has secured some fine pic¬ tures of the racing. His photography is with¬ out fault throughout.

SUMMARY.

Direction : Excellent.

Leads : Admirable.

Supports : Good.

Literary : Story discontinuous, continuity p&tchy.

Interiors : Fine.

Exteriors : Well chosen.

Lighting : First class.

Photography : Remarkably good.

The Pauper Millionaire.

Ideal — (Starring C. M. Hallard — Directed by Frank Crane— Scenario by Eliot Stan- nard.

TYIREJCTOR, scenarist, artistes, and cameraman seem to have conspired to make this one of the best Ideal productions vet. offered. And they have succeeded. On the basis of an exceptionally interesting story, skilfully scenarised by Eliot Stannard, Frank Crane has built a photo-play in which humour, tragedy, and romance blend ex¬ quisitely. The director’s work is of the highest merit ; his master-mind is obviously behind every phase of the production, and hi.-; casting is excellent.

C. M. Hallard makes no mistakes. His characterisation is perfect because he evi¬ dences sympathetic insight into the emotions of Rye-Smith-

Unfortunately, the rest of the cast is not named. But each of these unnamed players submit performances that come right up to the general level of excellence.

Stannard has made a flawless scenario of a good novel, and the director has preserved his continuity with great care.

I his is another British film that marks' the undoubted superiority of our native cameramen. Throughout the production the photographic work is of the best description, and considerably augments the value of the film.

SUMMARY.

Direction : Excellent.

Lead : Brilliant performance.

Supports : Everyone an artiste.

Literary : Interesting story capablv adapted.

Photography : Perfect.

Lighting : Very good.

Interiors : Well staged.

Exteriors : Aptly selected.

V/ith Father s Help.

Pioneer — Starring Peggy Hyland — Supported by Gibson Gowland and Donald Searle — Directed by Peggy Hyland — Photo¬ graphy by Walter Blakeley.

'TPHIS is one of the few straight comedies we have seen which contains laughs ; it is entertaining enough for all. There are one or two minor faults, but on the whole the picture is a really excellent product- The comedy is not so much dependent upon the situations which arise : rather is it due to the work of the artistes.

Peggy Hyland is very good as the girl, and sustains her part in a natural and convinc¬ ing manner.

Gibson Gowland does well as the father.

Undoubtedly the best performance of all is that given by Donald Searle. His man¬ nerisms are sure of getting laughs.

Walter Blakeley’s photography is good without containing any startling photo¬ graphic innovations and novelties.

MURIEL ALLEYNE,

Screen Dramatist.

In collaboration with Christabel Lowndes Yates.

WINDSOR HOUSE,

AMERSHAM, BUCKS.

MARIE AULT,

Character and Comedy.

Just finished third engagement with Gaumont. Now playing M. Tod in “ Wee McGregor’s Sweetheart,” for Welsh-Pearson. Address *

FLAT 1, 235, KING’S ROAD, CHELSEA

ROMA JUNE BUREAU, Ltd.

H ave SOLD the Motion Picture Rights in

“THE NEW SIN”

By

. BASIL MACDONALD HASTINGS.

Other Plays by this well-known Author are available on application to —

ROMA JUNE BUREAU, LTD.,

ANCASTER HOUSE,

42-43, Cranbourn Street, Leicester Sq., London, W.C.2.

Cables: “Romajune, London.” Telephone: Regent 2637.

21

THE MOTION PICTURE STUDIO

June 3, 1922

TECHNICAL EXPERTS' ANNOUNCEMENTS

WALTER BLAKELEY

Everything for the Cameraman

Model “C" Camera. Model “M” Tripod. Cut-off Attachments. Filters. Masks.

REPAIRS

Orbanora fpouoe,

89 - 91, Wardour Street,

LONDON, W.l-

Telephone — ■ Regent 2702

G. WOODS-TAYLOR

Cameraman.

Direction F. L. GRANVILLE. Starring Peggy Hyland.

10,000 miles in India and Burma with

H. R. H. THE PRINCE OF WALES,

20,000 Feet of Film.

Official Kinemato&raphev to the Government of India.

22

June 3, 1922	THE MOTION	PICTURE STUDIO
MEN who " TURNED ON "	the YEAR'S	FILMS |

Stanley Mumford

During the year has been in charge of the Photographic work of all Progress Prodns . :

“ Lilac Sunbonnet ”

“Little World Apart” “Wooing of April”

“ Mayor of Casterbridge ”

“ Moth and Rust ”

“A Lowland Cinderella”

Now turning on

“Little Miss Nobody.”

Address —

PROGRESS FILM CO., Shoreham-by-Sea.

ARTHUR

KINGSTON

Cameraman to

ALBANIAN FILM CO.

Late of

FAMOUS - LASK V. PATHE’S, Etc.

KENNETH

GORDON

Acting, Secretary K.C.S.

NOW

PHOTOGRAPHING

for

Pathe's Pictorial and Eve's Film Review.

JOHN J. COX

44, Barrowgate Road,

:: Chiswick, W.4. ::

’Phone : Chiswick 294.

T. R. THUMWOOD

MASTER FILMS, LTD.

Private Address :

4, Percival Parade,

Worcester Park.

PHIL ROSS

Cameraman — AT LIBERTY.

Late of Broadwest, Harma, Vanity, etc.

19, Mayow Road, Forest Hill, London, S.E.23.

FRANK CANHAM

Royal Crystal Palace Hotel,

London, S.E.19.

’Phone, Sydenham. 1358.

GEOFFREY BARKAS

IDEAL FILMS, LTD.

>

Address— IDEAL STUDIOS,

Boreham Wood, Herts.

L. G . E G R O T

EXPERT CAMERAMAN.

“ The Better ’Ole ” etc., “ Her Benny ” etc., “ Land of My Fathers.”

Offices and Dark Rooms :

2b, Streatham Pla ce, S.W.2.

’Phone: Streatham 3085.

HORACE M. WHEDDON,

IDEAL FILMS, LTD.

Private Address :

“ LYNTON HOUSE,”

BOREHAM WOOD, HERTS.

F. HAROLD BASTICK

Late

Lo idon Film Co., Samuelson, George Loane Tucker, Harold Shaw, etc.

Now Chief Cameraman Zodiac Films Photographing Walter Forde Comedies.

All comms. : KINEMA CLUB.

(Reg. 2131).

ALFRED H. MOSES.

PREMIER CAMERAMAN- SCIENTIFIC :: OUTFIT.

Formerly Chief Cameraman for Tanhauser, Norma Talmadge, British & Colonial, etc.

9, Gt. Newport Street, W.C.2. ’Phone — Regent 2131.

Emile L. Lauste

Cameraman to Mr. G. Pearson (Welsh— Pearson Films)

OPEN TO TRY-OUT ANY NEW SYSTEMS, OPTICAL, CHEMICAL, MECHANICAL or ILLUMINATING.

Latest Films Photographed “ Garryowen,” “Nothing Else Matters,”

“ The Old Curiosity Shop,” “ Mary — Find — The — Gold,” “ Squibs,”

“Mord Emly.”

Now Photographing: —

“ Wee Macgregor's

Sweetheart.”

All CommunLations : —

70, WENDELL ROAD, SHEPHERD’S BUSH, LONDON, W.l 2.

23

THE MOTION PICTURE STUDIO

June 3, 1922

JOHN EAST,

14, Iffley Road, Hammersmith, W. 6. Ham. 1138.

ARTHUR CLEAVE,

15, Shepherd’s Hill, Highgate, N.6.

’Phone- Hornsey 1784

M A R 1 E A U L 1,

Character and Comedy.

235, King's Road, Chelsea,

SYDNEY N. FOLKER.

JUVENILE.

Leads : London, Samuel- son, Ideal, Broadwest, etc. 103, Fowlers Walk, Ealing-, W.5-

OL AF H YT T EN,

Leads “Sonia,” “The Knight Errant,” “Demos,” “Money,” “Miss Charity,” “Knave of Diamonds.” c/o SIDNEY JAY,

181, Wardour St., W.l

GORDON BEGG

Dramatic — Character — Humorous.

English, Continental, American Experience. 197a, Latchmere Road. Lavender Hill, S.W. 11, 1 elephone : Battersea 21.

JACK JARMAN

•Juvenile, Heavies and Comedy.

London, Samuelson. Broad- we.-t, Masters, S oil.

3 61 , Wymering Mansions, Maida Vale, W. 9. ’Phone: Paddingion 4428.

TONY FRASER

Specialities : — Oriental and Near Eastern Parts Just finished with Stoll.

“ Broken Road,” “ Four Feathers,’ “The Lamp of the Desert.”

OPEN TO OFFERS. Address — 18. Leinster Sq. W.2. ’Phone — Park 4765

REX DAVIS

JOHN STUART.

JUVENILE.

Late — Samuelson, Masters, Hardy, Ideal, etc. Cissburr House, Auckland Road, Upper Norwood, or Kinema Club (Regent 2131)

BERT DARLEY,

Character, Juvenile &Comedy Featured in “ The Hidden Life,' “ The Husband Hun¬ ter,” “ The Shuttle of Life,” “Burnt in,” “ The Beggars Syndicate.” “Laughter and Tears,” “ Our Aggie,” “ She Would Be Wicked.”

31, bt. Augustine’s Road, Camden Square, N.W.l.

ERIC GRAY

as the Idiot in “ Four Men in a Van.”

Care of Kinema Club.

JUVENILE LEADS. Broadwest, Screen Plays, Glen, Masters, l atest Productions:

■ Sinister Street ” 1 lripni

“The Little Mother,” J laedI’ 33, Acacia Road, St. John’s Wood, N.W.8.

MARY ODETTE

Latest Films —

“No. 5, John Street ” and “All Roads Lead to Calvary.” Latest Releases — “As God Made Her,” “ The Double Event ’’and “Cherry Ripe” (Kenelm Foss Production), All corns. : Sidney Jay,

181, Wardour Street.

Reeent 4 329.

WALTER FORDE

Comedian.

ZODIAC FILMS, LTD.

All corns. : — c/o Motion Picture Studio .

GEOFFREY

BENSTEAD,

CHARACTER LEAD. Horseman, Athlete, Stock¬ whip Expert, Axeman Stunts, etc.

At Present Controlling BAND Z PRODUCTION “REPENTANCE.”

D. R. OVERALL HATSWELL

ENA

BEAUMONT

Leads in “The Greater Love,” “ The Golden Web .” “ All the Winners,” “ Patricia Brent, Spinster,” “Our Girls and Their Physique,” “Settled in Full,” “ Watching Eyes,” etc. Corns, c/o Bramlin’s Agency, 241, Shaftesbury AvenUe, W.

David Grey.

Jun. Straight or Character.

Address — 18a, Brixton -Road, S.W.

’ Phone —

Brixton 2366.

BROOKSBANK

WALTON

Heavy & Character Leads, Assistant - Director and Cameraman, Yachtsman, Motorist, Horseman, etc.

F. P.-Lasky, Stoll, Ideal, Hardy. Master, etc., etc, c/o MOTION PICTURE S 1 UDIO.

IRENEE CRAVEN

LEADS.

Dignified, Social, Sporting characters. Three years’ experience. Address : 49a, Clanricarde

Gardens, Bayswater. W.2. ’Phone : Park 1622.

MOLLY ADAIR

Offers Invited. Leads.

' Gladys In

"The Gamble in Lives ” (B.&C.) Stella in “Stella" (Masters) Marv in

“The Beryl Coronet” (Stoll) Jenny Rose In

'• The Puppet Man ” (B.&C.) Sylvia Scarlett In

“Sinister street” (Ideal 18, STANSLAKE VILLAS, W.12

Open for offers. Manly Juvenile Leads.

Address — The Old Manor House, East Molesey. 'Phone : Molesey 72-

SYDNEY WOOD,

Juv. Leads in “ The Warri > >

Strain.” “Her Benny,” “ Ever Open Door,” “ Bars of Iron,” “The Flame,” “The Will,” “Double Event.” “David and Jonathan,” etc Address ; The Laurels Beverley Road, Anerley, S.E.

’Phone : Chancery 7080-7081.

IRENE

MATHEWS.

Character, Emotional and Comedy.

Alliance. Ideal, Stoll.

16, Trentishoe Mansions,

90, Charing Cross Rd., W.C.2 ’Phone: Gerrard 1176.

Photo hij Navana.

MILES MANDER,

Light, Heavy and Juv. Leads, Modern, aristocratic. Exten¬ sive wardrobe. All-round athlete.

Address, 3, Clifford St.. W.l, ’Phone : Regent 1327.

LILIAN

DOUGLAS,

EVELYN

BRENT

Latest Productions,

“ Demos,” “ Sonia,”

“ Laughter and Tears,” etc At present. Famous i’.-L. Bus. toms., Sidney Jay, 181, Wardour Street, W.l Regent 4329.

C. TILSON-

CHOWNE

LEADS.

Stoll, Broadwest. Alliance. Screen Plays, Samuelson, Masters, Ideal, etc.

Address: — 21, Westbourne Street, W.2.

’Phone : Paddington 641

MALCOLM TOD

- juvenile Leads.

'The Bachelor’s Baby ’(Granger Davidson), Trade Show June, Completed playing in ” Expia¬ tion ” Stoll). Just completed lead in Quality Films onereeler.

AT LIBERTY. Address: The Kinema Club, Regent 2131. Private ’Phone No. Western 6832.

HARRY J. WORTH.

Playing in

“ A Sailor Tramp.” Welsh Pearson. Offers invited to follow. ’Phone: Regent 2131,

MARGARET

HOPE,

Character & Juvenile Leads.

Late Ideal, Masters, Stolls, etc., etc.

42, Blandford Square, Marylebone, N.W.l. Phone: Padd. 7111.

Just completed second lead in “PERPETCJA” (Famous Players. Lasky).

At present Walter West Sole Agent, Picture Plays. Sid Jay. 18'. Wardour St. Phone- Regent 4329.

24

June 3, 1922

THE MOTION PICTURE STUDIO

ARTISTES . . .

“THE LITTLE BROTHER OF GOD ’

Featuring

VARIES, AM I EL, NICKAWA as Jean Marie. (Stoll).

Swimmer and Horseman.

Reference :

Colonel W. F. Cody (Buffalo Bill).

Address :

60, Godolphin Road, Shepherd’s Bush, W.12.

%	JACK MITCHELL. LEADS. Parkstone Film Productions. Juveniles. Character, Light Comedy. OPEN FOR OFFERS. All corns. : c/o Motion Picture Studio.
FRED WRIGHT. The Crazy Hunchback in the colour film ‘‘The Glorious Adventure,” Covent Garden Theatre. THE COPSE, WEST DRAYTON, ’Phone ,• Yiewsley 82, or Kinema Club,

DAISY BURRELL

Just finished plaving lead in ‘‘Cinderella’’ panto.

Last Film : Star part in *' Pride of the Fancy. ’

OPEN TO OFFERS. 39, Avonmore Road,

West Kensington. ’Phone : Western 675.

LILIAN HALL DAVIS. JUVENILE LEADS. Samuelson, Ideal, Gra¬ ham Wilcox, etc., etc. All corns. : Sidney Jay, 181, Wardour St., W.l. Regent 4329	■nip - j Jpi ] ■I p- fQ ’H* *? JBk ; it ~rr- M SB
f n, ' fW	LEIGH GOODE Just completed light juv. B. G. Productions. All corns. : “The Wigwam,’’ Thames Ditton Island, Surrey.
FRED HOWARD Dramatic or Humorous Leads. Boxer, Wrestler, Horseman, Swimmer. Motordriver, etc. Now Starring in “Down on the Farm ” (Alldith Films). Address: 1. Blenkarne Road, S.W.ll.
yIL JfjnL	THELMA MURRAY Character & Emotional parts Just finished work in “Crea¬ tion” for Raleigh King Films, now playing lead for Masters. All corns : “LYNDALE ” OAKLEY RD. WHYTELEAFE, SURREY, or to the Kinema Club.

ARTISTES .

MOIRA

VERNEY.

“AN ENGLISH VENUS.”

Gaumont, F. P.-Lasky, Masters, Phillips, Figure Special.

All corns. :

do MOTION PICTURE STUDIO

EVA LLEWELLYN,

Mother and Character parts. London : Stoll, British Actors, B&C Barkers, Samuelson, Gaumonts,

Aunt Martha in “ A Ray of Sun¬ shine,” Hagar in “St. Elmo,” Miss Fairley in “MordEm’ly” (Welsh Pearson), “Mrs. Willow Weeps,” Walter Forde Comedies. 39. GLOUCESTER GDNS..W.2. Phone 494 Padd.. and at the Kinema Club. Recrent 2131.

DONALD

NEVILLE

JUVENILE,

Light Comedy Lead : The

Bridge.” Just finished with B. G. Film Productions. NOW OPEN TO OFFERS. All corns. : 82, St. Georges Road, South Belgravia. ’Phone ; Victoria 2316.

THIS SPACE TO LET 17s. 6d. for 13 insertions

M.A.WETHERELL

LEAD,

African Film Productions. LEAD, STOLLS.

All corns. :

FRANK ZEITLING,

3. Great Windmill Street,

W.l.

ALEC. ALEXANDER

Juvenile Artiste. Jnr.

OFFERS WANTED. All corns.: 163, Hackney Road, E.2

’Phone : Dalston 2583. or KINEMA CLUB, Regent 2131.

NANCY

SIMPSON

Leads in

Australian Productions. All corns. :

12, STANSFIELD ROAD BRIXiON, S.W9.

MILTON ROSMER

INVITES IMMEDIATE OFFERS. Forthcoming Releases —

‘‘GENERAL JOHN REGAN” (Stoll)

“ ROMANCE OF WASTDALE ” ,,

‘‘PASSIONATE FRIENDS”

‘‘WOMAN OF NO IMPORTANCE” (Ideal) 16, WEYMOUTH STREET, W.l. ’Phone: Langham 2243.

LYDIA HAYWARD.

Adapting Stories by W. W. Jacobs for Artistic Films,

‘‘A Will and A Way,” ‘‘Sam’s Boy.” Part author of original story “ Monty Works The Wires.”

Address: KINEMA CLUB.

ARTISTES .

JACK

SELFRIDGE

Juvenile and Character Leads.

Late Turner, Edison, Samuel on, Master, Stoll Film Co., etc., etc.

All communicat ons to — Motion Picture Studio

ADELINE HAYDEN COFFIN.

Sympathetic Mother, Grande Dames. Character Parts, “ Mrs. Gatty,” in “Christie Johnstone ” (Broadwest), “ Margaret Howe” in “ Beside the Bonny Brier Bush ” (Lasky).

55, Campden St., Kensington, W.8.

Tel. : Park 3623.

CHARLES LEVEY

DISENGAGED.

Permanent Address :

15, STOKENCHURCH STREET,

FULHAM,	S.W.6.
MARJORIE	By .. W l
V1LLIS.
Corns. : 4, Lyall Street, Eaton Square, S.W.l.	lip Y J| Iw t* i Cl
’ Phone "• Victoria 974.
DIRECTORS . . . .

GEOFFREY H. MAL1NS,

O.B.E.

Open to Engagement- Producer. Latest Productions :

“ The Great-r Love,” “ Patricia Brent, Spinster,” “Settled in Full.” ’'All tie 'Vinners,” “Watching Eyes,” “Bluff,” “The Recoil,” “ The Scourge,” etc.

All corns; : Kinema Club, 9, Gt, Newport St., W.C.2. Regent 2131.

FOREIGN OFFERS INVITED.

ALBERT WARD,

Producing for British Super Films.

3, Ranelagh Grove. S.W.l.

To Kinema Club Members and others —

PICTURE POSTCARDS -SUPPLIED

From your own Photo, in best glossy style : One position 17 /6 per gross.

Two positions 30/- ,,

PICTURES, LTD., 88, Long Acre, W.C.2.

SCENARISTS

GERALD DE BEAUREPAIRE,

Editing. Titling, Continuities 62. Foxbourne Road, Balham, S.W.l I. _ _

K I N C H E N W OOD,

Scenarist,

Late Stoll and Wm. Fox Studios, Los Angeles. Address :

7, WYMERING MANSIONS. ELGIN AVENUE, MAIDA VALE. W

25

THE MOTION PICTURE STUDIO J^ne 3, 1922

fyut&e -of 1tfvL “StZucLLo-

PRODUCTIONS AND WHO

STUDIO DIRECTORY

Addresses and ’Phone Nos, of all British Studios

, Ideal.

Hardy.

Address: 13, Gerrard St., W.l. Film : “ The Adventures of Billy Bunter.”

Type : Comedy Series.

Stage : Casting.

Hepworth.

Studios : Walton-on-Thames. Film : “ A Sister to Assist ’Er.’ Director : Cecil Hepworth. Stage : Starting.

Address : Boreham Woods, Elstree, Herts

Albanian Film Co.

Studio : Barker’s, Ealing.

Film : “The Cause of All the Trouble.”

Director : Edward D. Roberts. Stars : Flora Le Breton, George K.

Arthur, Olaf Hytten.

Cameraman : Phil Ross.

Stage : Third week.

Alliance Film Co.

Sttdio: St. Margaret’s, Twicken¬ ham.

Film : “Love and the Whirlwind. Director: Harold Shaw.

Star : Clive Brook and Marj orie Hume.

Cameraman : Phil Hatkin Stage : Fifth week.

British and Colonial.

Address : Hoe Street, Waltham¬ stow.

Film : Historical subjects. Director : Edwin Greenwood. Stage : One a fortnight.

British International.

Address : Windsor Studios, Cat- ford.

Film : “ The Price of Silence.” Director : Fred Granville.

Type : Five reel drama.

Stage : Starting.

British Super Films.

Address : Worton Hall, Jsleworth. Film : “ The Faithful Heart.” Director : Fred Paul.

Stars : Owen Nares and Lilian Hall Davis.

Cameraman : S. Blythe.

Type : Drama.

Stage : Fifth week.

Davidson

Film : Sporting drama.

Director : Arthur Rooke. Cameraman : Leslie Eveleigh. Stage : Starting.

Diamond Super Production

Studio : B. & C., Walthamstow. Film : “A Rogue in Love.”

Star : Gregory Scott.

Director : Albert Brouett. Cameraman : L. G. Egrot. Stage : Third week.

Gaumont.

Studio : Lime Grove, Shepherd’s Bush, W.l 2.

Film: “Rob Roy.”

Director : Will Kellino. Cameraman : A. St. Brown.

Type : Historical drama.

Stage : Starting.

Film : “ The Life of Lord Byron.” Director : Capt. Calvert.

Star : Howard Gaye.

Cameraman : Basil Emmott and A. St. Brown.

Type : Super production.

Stage : Cutting and assembling.

Ceorge Clark Productions.

Address : 47, Berners Street, W. 1. Film : “ Fox Farm.”

Director : Guy Newall.

Stars : Guy Newall and Ivy Duke. Stage : Second week.

Alliance Film Co., St. Margaret’s-on- Thames. ’Phone : Richmond 1945.

Barker Motion Photography, Ltd., Ealing Green, London, W.5. ’Phone . Ealing 211 and 1582 — Barmopho, Ealux.

British & Colonial Kinematograph Co., Ltd., Hoe Street, Walthamstow, E. 17. ’Phone : Walthamstow 364 and 712.

British International, Windsor Studios, Catford.

British and Oriental Films, Ltd., Thornton House, Thornton Road, Clap- ham Park. ’Phone : Streatham 2652.

British Famous Films, Ltd., “Wood¬ lands,” High P'ai, Whetstone, N.20. Phone : Finchley - 297.

British Photoplays, Devon Chambers, 28 Fleet Street, Torquay,

British Super-Productions, Worton Hall, Isleworth. ’Phone : Hounslow 212.

Broadwest Films, Ltd., Wood Street, Walthamstow, E.17. ’Phone : Waltham¬ stow 399 - Broadwest Films, Wal¬

thamstow.

Davidson, I. B., 588, Lea Bridge Road, Leyton, E.10. ’Phono, Walthamstow 634

Famous Players-Lasky British Pro¬ ducers, Ltd., Poole Street, New North Road, Islington, N.l. ’Phone : Dalston 3704.

Gaumont Co., 59, Lime Grove, Shepherd’s Bush, London, W.12. ’Phone : Hammer¬ smith 2090-1-2 - Prolougue, ’Phone

London.

Granger — Binger, Haarlem, Holland. London Office : Granger’s, Exclusives, 191, Wardour Street, W.l. ’Phone : Gerrard 1081 and 1728. Telegrams : Exclugrang, London.

George glare Productions, «7, Berners Street, W.l. ’Phone : Museum 3012. Studio : Candlemass Lane, Bcaeons- field.

Glen Film Producing Co., Ltd., 20, Lisle Street, London, W.C., and “ Bel- grave.” Marine Terrace, Aberystwyth.

Hardy Film Co., Worton Hall, Isleworth, Middlesex. ’Phone : Hounslow 212. Barma Clarendon Co., 16 Limes Road, Croydon. ’Phone : Croydon 921 and 2084 - Cinemat.

IS WORKING

Studio Manager : F. A. Kendrick. Stage Manager : F. G. Knott.

Film : “ A Pauper Millionaire.” Director : Frank Crane.

Star : C. M. Hailard.

Stage : Completed.

F ilm : “ A Bill of Divorcement.” Director : Denison Clift.

Star : Fay Compton.

Stage : Second week.

International Artists.

Address: 57, Shaftesbury Av, W.l. Film : “ The Lark’s Gate.”

Hepworth Picture Plays, Ltd., Hurst Grove, Walton-on-Thames. ’Phone :

M alton-on-Thames 16 - Hepworth

Walton.

Ideal Film Co., Ltd., Boreham Wood

Elstree, Herts. ’Phone : Elstree 52 -

Idefllms, Borehamwood.

International Artists Film Co., Ltd., 52 Shaftesbury Avenue, W.l.

Isle of M an Film Co., The Manx Studios, Isle of Man.

J. Stuart Blackton Productions, Bush House, Aldwveh. ’Phone: Central 4048

Kenneth Graeme Film Syndicate, 3-5, Cecil Court, Charing Cross Road, London W.C. 2. ’Phone : Regent 4475.

Lambart Films, Carlton House, Regent Street, London, W. ’Phone: Gerr.4040.

Master Films, Weir House, Broom Road Teddington. 'Phone : Kingston 1617.

Minerva Film Co., Ltd., 110, Victoria Street, S.W.l. ’Phone : Victoria 7545.

Progress Film Co. .The Beach, Shoreham- by-Sea, Sussex. ’Phone : Shorehain 19.

Raleigh King Productions, Wateombe Hall, Torquay.

Regulus Films : '48, Carnaby Street-

Regent Street, W.l.

Screenplays. Ltd., Cranmer Court, High Street, Clapham, W. 4. ’Phone: Brixton 2956.

Seal Productions, 181, Wardour Street, London, W.l. ’Phone : Regent 4329.

Stoil Picture Productions, Ltd.. Tem¬ ple Road, Cricklewood, N.W.2. Willes- den 3293 - Stollpic, Crickle, London.

Thompson Productions, Hoe Street Studios, Walthamstow. ’Phone : Wal¬ thamstow 364 and 712.

Torquay & Paignton Photoplays, Ltd., Public Hall, Paignton, S. Devon.

Union Film Co., Strand Street, Liverpool. ’Phone : Central 325

Walter West Productions : Prince’s Studios, Kew Bridge, Brentford, Middle¬ sex. ’Phone : Chiswick 574.

Welsh, Pearson & Co., 41-45, Craven Park, Harlesden. N.W.10. ’Phone : Willesden 2862.

ON THEM

J. Stuart Blackton.

Address : Bush House, Aldwych W.C.

Film : “ Love’s April.”

Star : Georges Carpentier. Director : J. Stuart Blackton. Stage : Starting shortly.

Masters.

Address : Weir House, Broom Road, Teddington,

Film : One reelers.

Director : H. B. Parkinson. Star : Sybil Thorndike. Cameraman : Theodore Thum- wood.

Type : One reelers.

Stage : Scheduled.

Progress Film Co.

Address : Shoreham-on-Sea.

Film : “ Little Miss Nobody.” Director : Wilfred Noy. Cameraman : Si Mumford.

Stage : Fourth week.

Quality Films.

Address : Thornton House, Clap- ham Park.

Film : Pan stories.

Director : George A. Cooper. Cameraman : Randal Terreneau. Type : One reelers.

Stage : One a week.

Stoll.

Address : Temple Road. Crickle¬ wood

Studio Manager : J. Grossman.. Film : “ Running Water.” Director : Maurice Elvey. Cameraman : J. J. Cox.

Stage : Nearing completion.

Film : “ Dick Turpin’s Ride to

York.”

Star : Matheson Lang.

Director : Maurice Elvey.

Stage : Scheduled.

Welsh Pearson.

Address : 41-45, Craven Park*.

Harlesden, N.W. 10.

Film : “ A Sailor Tramp.”

Star : Victor McLaglen.

Director : F. Martin Thornton. Cameraman : Percy Strong Stage : Thirteenth week.

Film : “ Wee Macgregor’s Sweet¬ heart.”

Star : Betty Balfour.

Director : George Pearson. Cameraman : Emile Lauste.

Stage : Fourteenth week.

Walter West Productions.

Film : “ Son of Kissing Cup.” Director : Waiter West.

Star : Violet Hopson.

Stage : Nearing completion.

Zodiac.

Film : “ Walter Wants Work.”’ Director : Tom Seamore.

Star : Walter Forde. Cameraman : M. Rednap.

Stage : Third week..

AGENCE DEBRIE, LONDON.

Kinematograph Studio & Factory Apparatus.

I ’Phone :

REPAIRS. RENOVATIONS. OVERHAULS. SECONDHAND OUTFITS in Guaranteed GOOD ORDER

23, Mortimer Street, London, W. i

26

June 3, 1922

THE MOTION PICTURE STUDIO

A New Artiste

r

OF THE

'First Order

Juvenile Lead

UGH r,

HEAVY, STRAIGHT or CHARACTER.

Femalesi g Impersonator

STRAIGHT or CHARACTER.

SHE

PRESS SAYS:

THIS ARTISTE’S WORK IS CHARACTERISTIC, CONVINCING & MOSTNATURAL”

&

ME

;

Cyril Butcher

All Communications-

IT

Windsor Cottage, Portobello, Edinburgh Available End of July.

27

ANNETTE BENSON

Just returned from Morocco , playing

“ BROKEN SAND.’’

lead in

Next Release :: “ THE MAN FROM HOME ” :: (F. P. — Lasky).

Printed and Published bv ODHAiVti bKK.^s Lid.. Lon* Acre, VV.C.2,

juiic 3,

“CORINTHIAN JACK,”

“LAUGHTER AND TEARS,”

“BONNIE BRIER BUSH,”

“LOST LEADER,”

“THREE LIVE GHOSTS,”

“LONELY LADY OF

GROSVENOR SQUARE,”

“ CREATION.”

DOROTHY FANE

THE MOTION PICTURE STUDIO

June io, 1922

CAMERAMEN . . .

WHO’S WHERE.

Several directors nave explained to us the difficulty they have of getting quickly into touch with artistes and others whom they need for their productions, and have suggested that we publish addresses and telephone numbers of such.

ATWOOD, ALBAN : 25, Stanley Crescent

W.ll. Park 2892.

BEGG, A. GORDON : 197A, LatchmereRoad, S.W.li. Battersea 21.

BOSCO, WALLACE, 97. Kingsway, East Sheen, S.W. 14.

BROOK, CLIVE : 12, Abercorn Place,

N.W. Hampstead 3083.

BROOKE, EVA : 7, Treborough House,

Gt. Woodstock Rd.,W.i. Mayfair 87.

BROOKS. JOSE, 9, Lodge Road, St. John’s Wood, N.W. 8. Paddington 6457.

CANNING, THOMAS: 24, Gt. Quebec St., Bryanston Square, W.i. Mayfair 2344.

DOUGLAS , ERNEST A. : 12, Sunnyside Road, Ealing, W.5.

ESMOND, ANNIE : 43, Richmond Road, Westboume Grove, W.2. Park 854.

FORD, BERT : 19, Wyke Gardens, Stock- well, London. S.W. 9.

FANE, DOROTHY : 12A. Sloane Gate

Mansions, S.W.i. Victoria 5225-

GRACE, ADELAIDE, 103, Morshead Man¬ sions, Maida Vale, W.9.

KAYE, FREDA, care of The Kinema Club, 9, Gt. Newport St., W.2. Reg. 2131.

LE BRETON, FLORA : care of Kinema Club, 9, Gt. Newport St. Reg. 2131.

LLEWELLYN, EVA : 39, Gloucester Gdns., W. 2. Paddington 494.

LUGG, WILLIAM : 12, Heathfield Gdns., Chiswick, W. 4.

MONCRIEFF. ADRIENNE. 4, Northwick Terrace, St. John’s Wood Road N.W. 8.

NICHOL, EMILIE : 42, St. John’s Wood Park, N.W. Hampstead 5633.

PAIGE, ROBSON : 159, Fianciscan Road, Tooting, S.W. Streatham 264.

RAYMOND, JACK: 53, Coldharbour Lane’ Camberwell, S.E.5.

RAYNER, MINNIE : King-water Cottage, Churcn Walk, Thames Ditton.

ROME, STEWART : 10, Chisholme Road, Richmond. Surrey.

SEARLE DONALD: all corns. Kinema Club, Regent 2123.

SMALL, KNIGHTON, 59, Gloucester Cres^ cent, Regent’s Park. Hamp. 889.

STANBOROUGH, E. CYRIL : 62, Upper

Richmond Road, East Putney, S.W. 15, or Kinema Club.

STEERMAN A. HARDING : 56 Portland Road, W.i 1. Park 2529.

STERROLD, GERTRUDE: 14, Queen’s Road. St. John’s Wood, N.W. 8.

TREE. MADGE : 15, Lancaster Court, New¬ man St., W.i. Museum 7241.

VIBART, HENRY : 24, Cleveland Road) Barnes, S.W. 13. Putney 1945.

Two lines, 12s. 6d. per thirteen insertions, or £ 2 5s. for a year, prepaid.

Extra lines , is. per insertion.

ALFRED H. MOSES.

PREMIER CAMERAMAN- SCIENTIFIC :: OUTFIT.

Formerly Chief Cameraman for Tanhauser, Norma Talmadge, British & Colonial, etc.

9, Gt. Newport Street, W.C.2.

’Phone — Regent 2131.

JOHN J. COX

44, Barrowgate Road,

:: Chiswick, W.4. ::

’Phone : Chiswick 294.

P H 1 L ROSS

Cameraman — AT LIBERTY.

Late of Broadwest, Harma, Vanity, etc.

19, Mayow Road, Forest Hill, London, SE.23.

GEOFFREY BARKAS

IDEAL FILMS, LTD.

Address— IDEAL STUDIOS,

Boreham Wood, Herts.

L. G. E G R O T

EXPERT CAMERAMAN.

“ The Better ’Ole ” etc., “ Her Benny ” etc., “ Land of My Fathers.”

Offices and Dark Rooms :

2b, Streatham Place, S.W. 2.

’Phone : Streatham 3085.*

HORACE M. WHEDDON,

IDEAL FILMS, LTD.

Private Address :

“ LYNTON HOUSE,”

BOREHAM WOOD, HERTS.

WALTER BLAKELEY

Cameraman.

Direction F. L. GRANVILLE. Starring Peggy Hyland.

TO LET,

for long or short periods, fully equipped STUDIO and WORKS, within half-an-hour of West End. For fullest par¬ ticulars and terms apply :

J. LLOYD ,

9, South Molton St., W.I.

’Phone: Mayfair 1011.

MAURICE P. THOMSON

FROGGY

in

“ FROGGY’S LITTLE BROTHER ”

Produced by A. E. Coleby (Stoll).

Daily Mail : — “ One of the greatest Child Actors the Screen has yet found.”

All communications : —

145, CAVENDISH BUILDINGS, CLERKENWELL ROAD, E.C.l.

DIRECTORS . . ■ . .

EDWARD D. ROBERTS

Now producing —

“The Cause of all the Trouble.”

All corns :

The Albanian Film Co., 4, Victoria Street, St. Albans.

RALPH C. WELLS

Assistant Director to Fred Le Roy Granville, at present in Tripoli directing

“THE PRICE OF SILENCE” (original Story by Ralph C. Wells)

BERT WYNNE,

Director,

SEAL FILM COMPANY.

F.MARTIN THORNTON

Address— 84. LEESIDE CRESCENT, GOLDERS GREEN, N.W. 11. Producing tor Welsh Pearson Film Co. Ltd. Latest Productions — “Belonging,” “Frailty,” “Prey of the Dragon,” “Gwyneth of the Welsh Hills,” “ Lamp in the Desert.”

GEOFFREY H. MALINS,

O.B.E.

Open to Engagement.

Producer. Latest Productions :

“ The Greater Love,” “ Patricia Brent, Spinster,” “Settled in Full.” “All tl<e Winners,” “Watching Eyes,” “Bluff,” “The Recoil,” “ The Scourge,” etc.

All coins. : Kinema Club, 9, Gt. Newport St., W.C.2. Regent 2131.

FOREIGN OFFERS INVITED.

2

June io, 1922

THE MOTION PICTURE STUDIO

BERT DARLEY,

Character, Juvenile &Comedy Featured in “ The Hidden Life,' “ The Husband Hun¬ ter,” “ The Shuttle of Life,” “Burnt in,” “ The Beggars Syndicate.” “Laughter and Tears,” “ Our Aggie,” “ She Would Be Wicked.”

31, St. Augustine’s Road, Camden Square, N.W.l.

ERIC GRAY

as the Idiot in “Four Men in a Van.”

Care of Kinema Club.

JOHN EAST,

14, Iffley Road, Hammersmith, W. 6. Ham. 1138.

JOHN STUART.

GORDON BEGG

Dramatic — Character — Humorous.

English, Continental, American Experience. 197a, Latchmere Road. Lavender Hill, S.W.ll, Telephone : Battersea 21.

REX DAVIS

SYDNEY N. FOLKER.

JUVENILE.

Leads : London, Samuel- son, Ideal, Broadwest, etc. 103, Fowlers Walk, Ealing-, W.5.

OL AF H Y T T E N,

Leads “Sonia,” “The Knight F.rrant,” “Demos,” “Money,” “Miss Charity,” “Knave of Diamonds.” c/o SIDNEY JAY,

181, Wardour St., W,1

JUVENILE LEADS Broadwest, Screen Plays, Glen, Masters.

Latest Productions : “Sinister Street,” 1 ij i “The Little Mother,” j laeal’ 33, Acacia Road, St. John’s Wood, N.W.8.

MARY ODETTE

Latest Films —

“No. 5, John Street” and “All Roads Lead to Calvary.” Latest Releases — “As God Made Her,” “ The Double Event ” and “Cherry Ripe” (Kenelm Foss Production), All corns. : Sidney Jay,

181, Wardour Street.

Regent 4329.

ARTHUR CLEAVE,

15, Shepherd’s Hill, Highgate, N.6.

'Phone: Hornsey 1784.

MARIE AULT,

Character and Comedy.

235, Kings Road, Chelsea.

JUVENILE.

Late — Samuelson, Masters, Hardy, Ideal, etc. Cissburv House, Auckland Road, Upper Norwood, or Kinema Club (Regent 2131)

Open for offers. Manly Juvenile Leads.

Address — The Old Manor House, East Molesey. 'Phone : Molesey 72.

D. R. OVERALL HATSWELL

SYDNEY WOOD,

Juv. Leads in “ The Warrior Strain,” “Her Benny,” “ Ever Open Door,” “ Bars of Iron,” “The Flame,” “The Will,” “ Double Event.” “David and Jonathan,” etc Address ; The Laurels. Beverley Road, Anerley, S.E.

’Phone : Chancery 7080-7081,

TONY FRASER

Specialities Oriental and Near Eastern Parts.

Just finished with Stoll. “Broken Road,” “Four Feathers,’ “The Lamp of the Desert,”

OPEN TO OFFERS. Address — 18, Leinster Sq.. W.2. ’Phone — Park 4765

David Grey.

Jun. Straight or Character.

Address — 18a, Brixton Road, S.W.

’ Phone —

Brixton 2366.

IRENE

MATHEWS

Character, Emotional and Comedy.

Alliance. Ideal, Stoll.

16, Trentishoe Mansions,

90, Charing Cross Rd., W.C.2 'Phone : Gerrard 1176.

_ Photo hy Navana.

MARJORIE

VILLIS.

Corns. : 4, Lyall Street, Eaton Square, S.W.l. ’Phone: Victoria 974.

HARRY J. WORTH.

Playing in

“ A Sailor Tramp.” Welsh Pearson. Offers invited to follow. ’Phone: Regent 2131.

IRENEE CRAVEN

LEADS.

Dignified, Social, Sporting characters. Three years’ experience. Address : 49a, Clanricarde

Gardens, Bayswater. W.2. 'Phone : Park 1622.

MARGARET

HOPE,

Character & Juvenile Leads.

Late Ideal, Masters, Stolls, etc., etc.

42, Bland ford Square, Marylebone, N.W.l. Phone : Padd. 7411.

EVELYN

BRENT

Latest Productions,

“ Demos,” “ Sonia,”

“ Laughter and Tears,” etc At present. Famous P.-L. Bus. Corns., Sidney Jay, 181, Wardour Street, W.l Regent 4329.

C. TILSON-

CHOWNE

LEADS.

Stoll, Broadwest, Alliance. Screen Plays, Samuelson, Masters, Ideal, etc.

Address : — 21, Westbourne Street, W.2.

’Phone : Paddington 641

GEOFFREY

BENSTEAD,

CHARACTER LEAD. Horseman, Athlete, Stock¬ whip Expert, Axeman Stunts, etc.

At Present Controlling BAND Z PRODUCTION “REPENTANCE.”

ENA

BEAUMONT.

Leads in “The Greater Love,” “ The Golden Web.” “ All the Winners,” " Patricia Brent, Spinster,” “Our Girls and Their Physique,” “ Settled in Full,” “ Watching Eyes,” etc. Corns, c/o Bramlin’s Agency, 241, Shaftesbury Avenue, W.i.

Juvenile Artiste. Jnr.

OFFERS WANTED. All corns.: 163, Hackney Road, E.2.

’Phone : Dalston 2583. or KINEMA CLUB, Regent 2131.

LILIAN

DOUGLAS,

WALTER FORDE

Comedian.

ZODIAC FILMS, LTD.

All corns. : — c/o Motion Picture Studio.

MALCOLM TOD

Juvenile Leads.

•The Bachelor’s Baby ’ (Granger Davidson), Trade Show June, Completed playing in “ Expia¬ tion ’’ Stoll). Just completed lead in Ouality Films onereeler.

AT LIBERTY. Address : The Kinema Club, Regent 2131. Private ’Phone No. Western 6882.

JACK JARMAN

Juvenile, Heavies and Comedy.

London, Samuelson, Broad¬ west, Masters, Stoll.

161, Wymering Mansions, Maida Vale, W. 9. ’Phone : Paddington 4428.

ALEC. ALEXANDER

Just completed second lead in “PERPETUA” (Famous Players -Lasky).

At present Walter West Sole Agent, Picture Plays. Sid )ay 18 . Wardour St. Phone ■ Regent 4329.

NANCY

SIMPSON

Leads in

Australian Productions.

All corns. :

12, STANS FIELD ROAD HRIXTON, S.W e.

THE MOTION PICTURE STUDIO

June io, 1922

ARTISTES . . .

“THE LITTLE BROTHER OF ! GOD ’

Featuring'

VARIES, A MI EL, NICKAWA as Jean Marie. ‘(Stoll).

Swimmer and Horseman. Reference :

Colonel W. F. Cody (Buffalo Bill).

Address :

60, Godolphin Road, Shepherd’s Bush, W.12.

§Sk *■ raHr •-I HHr f •	M.A.WETHERELL LEAD, African Film Productions. LEAD, STOLLS. All corns. : FRANK ZEITLING, 3. Great Windmill Street, W.l.
FRED WRIGHT. The Crazy Hunchback in the colour film ‘‘The Glorious Adventure,” Covent Garden Theatre. THE COPSE, WEST DRAYTON, ’Phone ; Yiewsley 82, or Kinema Club,	r~ _ _ » ;
'i?	DAISY BURRELL Just finished plaving lead in ‘‘Cinderella ” panto. Last Film : Star part in “ Pride of the Fancy. ’ OPEN TO OFFERS. 39, Avonmore Road, West Kensington. ’Phone : Western 675.

LILIAN

HALL DAVIS.

JUVENILE LEADS. Samuelson, Ideal, Gra¬ ham Wilcox, etc., etc. All corns. : Sidney Jay, 181, Wardour St., W.l. Regent 4329

LEIGH

GOODE

Just completed light juv. B. G. Productions.

All corns. :

“The Wigwam,’’ Thames

Ditton Island, Surrey.

FRED HOWARD

Dramatic or Humorous Leads.

Boxer, Wrestler, Horseman, Swimmer, Motordriver, etc. Now Starring- in “Down on the Farm” (Alldith Films). Address : 1. Blenkarne Road

S.w.ll.

THELMA

MURRAY

Character & Emotional parts Just finished work in “Crea¬ tion’' lor Raleigh King Films, now playing lead tor Masters. All corns : “LYNDALE ” OAKLEY RD. WHYTELEAFE, SURREY, or to the Kinema Club.

THIS SPACE TO LET 17s. 6d. for 13 insertions

ARTISTES

• •

MOIRA

VERNEY.

“AN ENGLISH VENUS.’’

Gaumont, F. P.-Lasky, Masters, Phillips, Figure Special.

All corns. :

c lo MOTION PICTURE STUDIO.

EVA LLEWELLYN,

Mother and Character parts. London: Stoll, British Actors B&C Barkers, Samuelson, Gaumonts,

Aunt Martha in *' A Ray of Sun¬ shine,” Hagar in “St. Elmo,” Miss Fairley in “MordEm’ly” (Welsh Pearson), “Mrs. Willow Weeps, ’’Waller Forde Comedies. 39. GLOUCESTER GDN S. . W.2. ’Phone 494 Padd.. and at the Kinema Club. Regent 2131.

DONALD

NEVILLE

JUVENILE.

Light Comedy Lead : The Bridge.” Just finished with B. G. Film Productions. NOW OPEN TO OFFERS. All corns. : 82, St. Georges Road, South Belgravia. ’Phone : Victoria 2316.

«r .t

ROSINA

WRIGHT,

' amous-Lasky, Stoll, Lon¬ don. Samuelson, Davidson, Ideal, Broadwest, etc.

7 years Film Experience. 8a, GOLDERS WAY, GOLDERS GREEN, N.W.L or Kinema Club.

MILTON ROSMER

INVITES IMMEDIATE OFFERS, horthcoming Releases —

“GENERAL JOHN REGAN’’ (Stoll)

“ ROMANCE OF WASTDALE ’’ ,,

“PASSIONATE FRIENDS’’

“WOMAN OF NO IMPORTANCE” (Ideal) 16, WEYMOUTH STREET, W.l. ’Phone : Langham 2243.

LYDIA HAYWARD.

Adapting Stories by W. W. Jacobs for Artistic Films,

“A Will and A Way,” “Sam’s Boy.” Part author of original story “ Monty Works The Wires.”

Address: KINEMA CLUB.

ART! IUR PUSLY.

At present South Africa Starring in “ The Blue Lagcon” for I.V.T.A.

All corns. : FRANK ZEITLIN,

3, GT. WINDMILL STREET, W.l.

VICTOR McLAGLEN,

Juvenile or Heavy Leads.

Boxer, Wrestler, Swimmer, Horseman, Fencer and Strong Man. “Call of the Road ” and “ Corinthian Jack.”

Address — N.S.C.

ARTISTES .

JACK

SELFRIDGE

Juvenile and Character Leads.

Late Turner. Edison, Samuelson, Master, Stoll Film Co., etc., etc.

All communications to — Motion Picture Studio

ADELINE HAYDEN COFFIN.

Sympathetic Mother, Grande Dames. Character Parts, “ Mrs. Gatty, ” in “Christie Johnstone ” (Broadwest), “ Margaret Howe” in “ Beside the Bonny Brier Bush ” (Lasky).

55, Campden St., Kensington, W.8.

Tel. : Park 3623.

CHARLES LEVEY

15, STOKENCHURCH STREET, FULHAM, S.W.6. ,

or KINEMA CLUB.

HENRY V1BART,

24, Cleveland Road, Barnes, S W. 13.

’Pn ne : Putney 228b.

ARTHUR WALCOTT,

Character Parts,

57, Church Street. Kensington. W.8.

WILLIAM L U G G ,

Aristocratic, Character and Comedy Old Men.

12, Heathfield Gardens, Ghiswick, W 4.

Mr. D ALTO N SOMERS.

Resting. Offers invited.

_ Sleepy Hollow, Peacehaven, Sussex.

WILFRED S. STANFORD.

Offers invited. 20 years experience — Legitimate and Vaudevil e Stages and Screen. Jtw, Cha> acter and Foreign Parts. Corns: Playgoeis’ Club (Regent 1265 _ or Kinema Club), _

FT C R E M LIN.

5 Montem Road, Forest Hill, S.E.23, or Kinema Club

DOUGLAS PAYNE,

29, Arragon Gardens, Streatbam, S.W. 1.

To Kinema Club Members and others —

PICTURE POSTCARDS SUPPLIED

Ftom your own Photo, in best glossy style : — One position 17/6 per gross.

Two positions 30 /- ,,

Apply—

PICTURES, LTD., 88, Long Acre, W.C.2.

SCENARISTS .

GERALD DE BEAUREPAIRE,

Editing. Titling, Continuities.

62, Foxbourne Road, Balham, S.W.17.

KINCHEN WOOD,

Scenarist,

Late Stoll and Wm. Fox Studios, Los Angeles. Address :

7, WYMERING MANSIONS. ELGIN AVENUE, MAIDA VALE, w

4

June io, 1922

THE MOTION PICTURE STUDIO

Editorial and Advertise¬ ment Offices 93, Long Acre, London, W.C.2,

Vol. 2

Three Alternatives.

'T’HAT the position of the British 1 producing industry is really serious is now generally recognised within the industry : those outside must be made to appreciate the same fact. As things now stand there are three alternatives : afford national support to this national industry ; let it die ; allow American or German financiers to commandeer it. They are the alternatives, and in any case they are the concern not merely of the industry, which is only a section of the community, but of the State itself. And it is up to the State (the Governmental departments being its executive officers) to take a definite attitude in the matter that will determine clearly which of these three alternatives

it is prepared to adopt.

* * *

A Chance for the Government.

I— IERE is a powerful State adjunct and the nucleus of an extensive and prosperous industry — what will the State do with it ? It is the hall-mark of true statesmanship to increase the industry and prosperity of the State — will our pre¬ sent decrepit Government set the seal on its self-admitted incompetence by allowing what has become the third industry in America to die of malnutrition in this country ? Or, as we have suggested, it is quite conceivable for foreign film manu¬ facturers to indulge in a course of peaceful penetration until the industry passes out of the hands of Britishers and England becomes a branch office of Los Angeles or Berlin. Should this happen, we do not think members of the kinema profession would be the losers so much as the State. Work would be provided by these American invaders for British artistes and techni¬ cians, while the financial results of this exploitation of British scenic values and histone associations would be diverted

from the State’s coffers to those of America.

* * *

American Advantages.

JT then resolves itself down to this : Will the State, to avoid the foregoing con¬ tingencies, give substantial support to an industry that, besides possessing potent possibilities of becoming a great revenue- producing concern, is also the supreme factor in social life for contributing to the common weal of the British peoples, of preaching pro-British doctrine, and of controverting the stealthy and sinister policy of Americanising the world that American pictures are capable of ? There are several ways of doing this. We will mention two : (a) a direct State subsidy

to the British film producing industry ; ( h ) an indirect subsidy in the form of a concession in the Entertainment Tax to those exhibitors whose exhibitions include a certain percentage of British films. Such assistance would enable British films to be offered to exhibitors at a price that more nearly approximates the price for which American films can be secured. American films can be obtained by exhibitors at about on an average of one-quarter the cost of native products. This is due to the fact that long before these films had reached this country they had made, in America, more than enough money to

If When things are bright it is beautifully easy to be brave and strong — it may be true that most folks are merely strong for want of test.

But now you are right up against it. How do you feel ? Are you getting pannicky ? Are you keeping strong and brave ? Only those who are made of the real right stuff will struggle through the darkness to the dawn.

If So that the Analyst — Circumstance — is putting the acid-test to the cali¬ bre of people and will discover their true worth

cover their cost of production and distribu¬ tion, and also because they are passed into this country at a very low tariff.

* * *

The Fallacy of a Tariff.

IT has been suggested that what would 1 solve the problem would be a stiff tariff on imported films. It would not. Tariffs are ineffective and have a distinctly boomerang effect. And a very stiff tariff on American films is at once a sign of cowardice and the technical inferiority of British films. American tariff on British films is about level with British tariff on American films. We both start dead

Telegrams — Southernwood, Rand, London. Telephone — Gerrard 9870.

June 10, 1922

level. At least in the fiscal sense. Where we are severely handicapped is in the quality of our products. The British industry has got to get its head out of the sand. It must face the bitter truth that in the past the overwhelming majority of its films have not been worthy of sub¬ sidising or capable of competing. The hope for the future, then, depends on the industry vastly improving its products (this is not dependent on money, as Graham Cutt’s excellent production The Wonderful Story ” proves) and in the State giving adequate support to a native industry.

* * *

Expert Knowledge.

/'"AF course, it is only natural to expect the film “ experts ” of the lay press to write upon subjects they know nothing of, but the choicest specimen of film wisdom comes from the pen of a Walter Bayes, who writes in the Morning Post on “ Art and the Film.” He says : ...

when shown 4 by our ultra-rapid camera (why must these lovely things always be sullied by cheap wit).” Mr. Bayes can see a joke in 44 ultra-rapid, but if he only knew more of the subject on which he wrote he would not need us to tell him that the slow motion pictures are taken by a camera the mechanism of which causes the negative to go through at an ultra¬ rapid rate.

* * *

Another Birthday

\]OR was ours the only birthday. ^ ^ Exactly twenty-nine years ago kinematography made its debut. In May- June of 1889 the first motion pictures were shown by the late W. Fnese-Greene and Edison in the same year entertained visitors to the World’s Fair Exhibition in Chicago with an exhibition of kinema films. The first public exhibition of

motion pictures in Great Britain was on

February 20, 1896, during a concert given to the students at Finsbury Technical

Institute. The first company to commence producing film plays in a studio was that formed by Mr. Paul at Muswell Hill, a few months after the debut of his Ani- matograph.” Shortly afterwards Cecil Hepworth, who is still one of our leading directors, followed suit at Walton-on- Thames, as did the Vitagraph Company in America. While thus being retrospec¬ tive, it may be worth recording that the great journalist George Augustus Sala described the first British show of films as ‘‘ a magic lantern run mad with method in its madness.”

5

THE MOTION PICTURE STUDIO

June io, 1922

KINEMA CLUB’S FIRST PRODUCTION

Edgar Wallace Story to be

This week we are in a position to make an announcement which we feel sure is of in¬ terest to the Industry as a whole and to the producing profession in particular. It is that the first Kinema Club production has already bc-en cast, and work has been commenced on the initial scenes, which are now being made at the Davidson Studio at Walthamstow.

This production is a fine example of the spirit that exists in the British studios. It is the combined effort of artistes* producers, manufacturers, directors, scenarists, and cameramen. By the co-operation of all sides of the profession it has been possible to start work on what should be one of the best English pictures ever made. The cast is an exceptionally strong one, and one which few producing firms could afford to include in the one ordinary production. It is only because the artistes are giving their sup¬ port that it has been possible to assemble such a fine list of names in the one film.

The picture has the advantage of being adapted from a popular story by a popular author. “ The Crimson Circle ” is the title of the film, and it is from Edgar Wallace’s serial story which ran for many weeks in the Daily Ex-press. Pat Mannock, who has been responsible for many of the scenarios of the Broadwest and Hepworth successes, has written the scenario.

George Ridgwell, director of the second Sherlock Holmes series, “ The Pointing Finger,” “ A Gamble in Lives,” “The Knight Errant,” “ The Sword of Damocles,” and many other British films, and who, in addition, has worked as scenarist and direc¬ tor in the American studios of Vitagraph, is to direct the film.

I. B. Davidson has put his studio and lighting apparatus at the disposal of the com¬ pany, and has offered to pay personally for the expense of the electricity required for lighting. ! rom the Davidson studios many or our biggest British successes have origi¬ nated, perhaps the most famous being “ The Call of the Road.”

As an indication of the good will of the various Trade sections of the profession, it is interesting to note that on behalf of Kodak Ltd. Ernie Blake has promised to donate 5,000 feet of negative already per¬ forated for the production ; M. Berman, the well-known kinema and theatrical costumier, of 18, Green Street, Leicester Square, has agreed to lend all the costumes that will be required ; and the County Film Co. (underneath the Kinema Club at Great New¬ port Street) has kindly consented to do all the dark-room work free.

The artistes in the cast are all well-known and popular stars.

Madge Stuart, the Stoll artiste, has played

6

Directed bv Club Chairman

j

in many British films, some of the more prominent ones being “A Gentleman oi France,” “ The Passionate Friends,” “Gwy¬ neth. of the Welsh Hills,” “ The Amateur Gentleman, “ A Question of Trust, ” and “ The Tavern Knight.” The fact that she is playing Thalia Drummond in " The Crimson Circle ” is another reason why the film should be a success. Eva Moore, wife of the late H. V. Esmonde, and famous for her stage work, has appeared in “ The Sword of Damocles” and “The Law Divine,” two British film productions. She appears as Prudence Beardmcre in “The Crimson Circle,” Robert English, star of " The Fruitful Vine,” appears as James Beardmore. Fie is a striking type of artiste, and is rapidly becoming popular with the picturegoers. Rex Davis, one of the most popular juvenile leads on the English screen, is appearing as Jack Beardmore. Since demobilisation Mr. Davis has played in “All Sorts and Condi¬ tions of Men,” “ Pride of the Fancy,” and many otner successes, some of which have not yet been seen by the public. Before the war he was a very popular screen star, and was seen in many of Florence Turner’s pro¬ ductions. Fred Groves, who plays Detective- Inspector Parr, was one of tne artistes who played in the old London Film Company successes. More recently, however, he has been seen in “ Master of Cralt ” and ; bquibs.” Sydney Paxton plays Harvey Froyant, La'wlord Davidson Raphael Wit¬ lings, and Clifton Boyne Derrick Fale.

'there still remain a number of roles to be filled, and the names of the artistes selected will be announced in due course.

Eille Norwood and Hubert Willis will be seen in interesting scenes alter the style oi the SnerlocK -Holmes series, and there will be a F ancy Dress Ball involving over 200 artistes. This will be held either at night or during one Sunday — preferably at night — - and it is intended to use every Ciub member available in this scene. Tne idea is for both star artistes and small-part players to take part in the ball scenes, and it is for this reason that all who are willing are requested to hand in their names to the Secretary.

It will be seen that the Kinema Club’s first production should be a real winner — it is after the style of the “Four Just Men” story which George Ridgwell also scenarised and directed, and Stolls “Four Just Men” has been a fine booking proposition to the renter and an excellent box-office attraction to the exhibitor.

In order to give every renter in the Trade an equal chance, the Committee has decided not to acept offers that have been made by certain renting concerns, but to announce publicly that the U.K. rights of the Kinema Club production, “The Crimson Circle,” is in the open market, and that the best offer made will secure it. Needless to say, with such a story, cast and unique facilities, this production should be an unparalleLd success for all concerned.

LATEST.

As we go to press we hear that Madge Stuart is ill with diphtheria in a French hospital, and will probably be unable to play in “The Crimson Circle.” If this is so the Committee will be on the look-out for another artiste to play the important part of Thalia Drummond.

VALUE OF NAMES

by ARTHUR MacARTHUR

I have read with interest Rupert Crew’s article “Nothing Doing,” and have had the same experience with regard to original scripts ; but with his reasons for the per¬ sistent refusal of these, I cannot agree.

I admit that story-writing and scenario¬ writing are entirely different, and for this very reason I question if established writers of fiction are the only people capable of turning out suitable work for the screen. Many very successful works of fiction are quite unsuitable for the silent drama, which calls for action rather than fine phrases.

In any case, why should scenario editors turn down all efforts except those of “ex¬ perienced writers of stories”? If a story has a good screen value, what does it matter who wrote it? A director who' is fortunate enough to get the kind of scenario he is looking for, is not likely to investigate the literary antecedents of the author before acceptance.

There are directors, alas ! who do not want stories. As a writer of short comedies,

I have been in touch with several of these gentlemen, who ask for a more or less connected string of incidents whereon a par¬ ticular star may hang a number of (alleged) laughter-raising stunts.

But, whatever kind of stuff is desired, the merits of a script ought surely to receive consideration, whether the writer be an “un¬ trained amateur ” or not.

Literary editors do not, as a rule, “choke off ” new writers, provided their contribu¬ tions are deemed worthy of consideration. The supply of experienced writers would soon be exhausted if thev did. Why, then, should scenario editors do so?

FOR SCENARISTS

13 ETROSPECTION in photoplay writing should be avoided, says the Photo¬ dramatist , for the reason that it is confusing to the audience, as it is just beginning to find interest in the story for its trend of thought to be interrupted by an entirely new story. However, it is permissible to use retrospection when it is impossible to con¬ struct a photoplay without it. In that case, it should be very brief. It is also inadvis¬ able to resort to dreams and visions, although, in a few instances this has been done with some degree of success. These examples, however, are very rare.

Comedy is more difficult to write than drama for the same reason that the short story is harder to construct than the novel — - the time in which a given purpose must be accomplished is more limited. This fact renders it imperative that a comedy contains many more situations per reel than drama, and each bit of action must count either for a laugh or for working up to a laugh. Also, on account of the limitations of time, the subjects that are suitable for treatment are limited, and that makes it hard to construct comedies that are original.

Sub-titles should not be included in the synopsis of a story. That is the work of a professional title writer. However, if you can help some particular situation by the use of a spoken title, inserted in the form of conversation, use it, as it not only helps the scene, but also the characterisation. The greatest care should be exercised, however, that the spoken subtitles are not overdone. They must be very sho*t and concise.

June io, 1922

THE MOTION PICTURE STUDIO

IntimaJe Studio Q os sip

Last Frida)' I lunched with Peggy Hyland,