Judge — May 8, 1920 — page 26: what you’re looking at

Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.

WA po s - Drown by Tas Paci HEN the late Mr. Alfred, Lord “ > Tennyson. te The “ Fillu marked in one of his lines of im mortality: “You take my word for it, Dickey, the Poor in a lump * he doubtless meant what he said. But I'd be surprised if he meant all the poor, all the time. T bet even in his own mind he never meant to condemn every last Poor in the whole world. It’s almost impossible to believe that even in his own experience he didn’t meet and know, or at least 4 By is hy ir of—some- re—sometime—anyway ene really good Poor. Same way with Motion Picture Directors Fact is, like the Common People: You can condemn all the directors some of the time, and some of the directors all of the time. but there’s no use trying to condemn all the directors all the time—or even all the pictures. It can’t be done. At least not with good sens: Whenever I heat a guy sail in and lambaste ull motion pic tures, and all the men who make ‘em, and tell how he never yet aw a photoplay he couldn't improve on himself, and how all motion picture directors ire boobs, or how you can't find courtesy at any studio, and how all scen writers are thieves ind you dassent send ‘em any sort of a scenario, matter how rotten. ior fear they'll steal it why, whenever I hear a howl like that, [just think: “Old Man, That Lets You Out.” I've seen more bum pictures than you have, and I've ur run against: more poor nish in the motion picture business, and more dis tesy at the studios ind perhaps just as few brains, and I know of wre bona fide cases of scenarios being stolen and all that, than you could prove in a lifetime and I'm willing to admit that some studios seem to have awful few brain cells altogether, and that MTkapecue 1b ck Lmao Rs lots of pictures —most of Ie Proceens 10 Cosvert . maybe—are mainly Cauipas ts tie Screes xoshadinged ” re. also know that there re good tind wial punk. But A business, and that you courtesy at different studios, and that all me vent boobs, and that x Lexso os ion picture diree mighty fine pictures have been turned out, and are being turned out right along, in constantly increasing proportion, and that it you could improve on ‘em. knowing no more of the picture business than you do, you'd have been president of these United States long before this. Why. I even know that the st having their scenarios stolen.and that ry the least writers are most :tfraid the ones who know most about the picture it ume thout having anything pinch y rs. in the words poor but dishonest parents, where father brought up the children while mother brought up th { not true of allof ‘em. Most assuredly not. Nay. And Not So F'rinstance, there's a man named Grifiith, who's apt to be mentioned in almost any discussion of motion pictures. I've ssir. while it may be true that most motion picture direc the old but familiar poem, were born unl coal, it is most assuredly wor had a chance to see and know quite a bit of him, first and last, and Ul have to admit I’ve seen mighty few men. in business. of out of it, ve liked as much, or ad mired more. One has to be with him only a few ny minutes to realize that he's a areal one And he’s a real picture-story teller be- sides, George Shaw, the Irishman—B., not the original—says the busi ess of areal story-teller is primarily to interpret life. Well. the pictures of the man his associates call DLW. do that. reckon. No matter whether vou like them ats a whole, or not, you nd in them the bits of real life—of revea character, of humor, 8." Tutsxs Joun Baxystont agedy, of cruelty Hnsexur raos ax Apoxts 10 A iffection, of pathos and Vexsios or Jekyll ard Hyde (Continued on page 30)