Judge — January 5, 1924 — page 24: what you’re looking at

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

Jud AP. LLOYD HUGHES as “John Trevor” ae 3 LUCILLE RICKSEN as “Mary Heath” CLAIRE McDOWELL as “Mrs. Heath” U~ > The Story that brought tof the Storm almer Production MYRTLE STEDMA’ as “Mrs. Yrevor” Produced by Parmer Puorortay Coxponatiox Distributed by Orrices or Amenica GEORGE HACKATHORNE as “Bob Heath’ 51,000 Cash and Royalties to an Obscure Housewife HE newest and most significant experiment in motion pictures comes before the theatre-goers of the country with the current release of the first Palmer production, “Judgment of the Storm.” ‘This picture is the advance guard of screen drama which is genuinely of the people, by the people, and for the people. It was written by a housewife, the wife of a Pittsburgh factory foreman, It was based on an astounding dramatic episode in the lives of people of her ac- quaintance. Mrs. Ethel Styles Middleton, the author, had never written for the screen! But through its re- markable Creative Test, the edu- cational department of the Palmer Photoplay Corporation, which is SEE THE READ THE BOOK! “Judgment of tho Storm” was written She clipped the coupon, mailed it, and today— as a direct result of that one simple little act—she is on the high road to success as a screen writer. Instead of an obscure housewife known only to a little circle of acquaintances, she is today a famous writer whose name flashes nightly before the eyes of millions of theatre-goers in thousands of theatres. Will This Test Discover You? No cost or obligation of any sort is involved in filling out. the coupon. It will bring the Crea- tive Test—with which a fascinat- ing evening can be spent. If t ult, as determined by’ this in- tion's educational department PICTURE— st shows absence of dramatic crea- now conducting a nation-wide direetly for the sere tiveness, you will be told so frank- search for new writing talent, dis- But its dramatic ap. y and promptly. If, on the other covered her. peal is powerful hand such qualities are indicated, u house of Authors Share in Profits This institution is proud of the the publishing Page & Co., hi lized the screen story. the same co-operation extended to eda the housewife, the salesman, the nov- mechanical engineer, the country doctor and many others who have ecded in this new field will Dou! It. It is proud to stand be- Under the same title su hind the production of “Judsment os the picture be made available to you, ‘of the Storm” as embodying the novel will be on We believe there are hundreds wherever is shown. ideals for which it strives. It is proud to stand behind the other forthcoming Palmer productions which likewise give to the screen the fresh imagination of new writers discovered through the same Creative Test that brought Mrs. Middleton national recognition. T “Unguarded Gai by a former salesman; by a former me- chanical engineer, and ‘a third’as yet unnamed, by a country doctor. An advance of $1,000 cash on royalties has been paid each author and each will receive, besides, a percentage of the producer's profits for five years “Judgment of the Storm,” tells a richly warm and human drama, yet it is not one bit more dra- matic than the personal story of its author. Like hosts of theatre-goers, the Pittsburgh house- wife for years had experienced increasing disappoint- ment with motion pictures. Casts and settings were the best, but the stories told were often cheap, tawdry and insincere. Like thousands of others, she said to herself, “I believe I could write a bet ter story than that.” She Clipped the Coupon ‘Then one day her attention was drawn to a cou- pon—the same coupon that appears at the bottom Of this page. It told of the need for new. screen writers, and of the Creative Test evolved by this institution. Copyright, 1923—Palmer Photoplay Corporation the picture of men and women like this Pitts- burgh housewife who have power- ful stories to tell. We believe there are hundreds with the imagi- nation to see possibilities in novel or play which could be adapted to the screen. Yet, like Mrs. Middleton, these men and women realize that training in photoplay con- struction is vital, and that without such training they would find ‘it difficult, if not impossible, to write acceptable screen drama. To them the same opportunity which Mrs. Mid- dleton seized is freely offered. wee ene- Save time by pocoe------- 4 Palmer Photoplay Corporation Productions Division, Sec. 4301 Palmer Bldg., Hollywood, Cal. 332 S. Michigan Ave., Chicago $27 Fifth Ave., New York Without cost or obligati please send me the Palmer Creative Test which will tell me whe er I have the creative ability—for whi re is such demand in the motion picture in- dustry. 1 Nawe... Street. ‘ Crrv... STATE... beeen ee ew ee ee eee L All correspondence strictly confidential 22 Welcome to Our Cinema by George Mitchell in our mahogany E WERE SITTIN! and onyx offi The witching hour was on the gallop. In a jiffy or two the New Year, reviving old cut-backs, would be in our very midst of midsts. We had looked back over our too-lengthy past and finding no way in which we might improve ourself ‘had spent the day suggesting ways of improv- ing our friends. We were wondering if the New Year was going to bring us the knock of opportunity—the knock for which we have gone blue in the face vaiting to hear. And as we mused, a rosewood coo-koo chased himself twelve times through his little latticed window and simultaneously little Miss Nineteen-twenty-four magi- cally appeared before us and perched her- self upon our typewriter with all the easy nonchalance of a welcome visitor and wondering why we should have a feminine ir we put to her the question of her “This is leap year,” she answere “Watch your step!” “So you're Nineteen-twenty-four?” said we. “Welcome to our cinema.” “Yes, Iam the youngest daughter of old George W. Hoakum,” she answered gaily. “You're full of resolutions “for bigger and better picture “I'm not so sure of that,” said she, “Nineteen-twenty-three wasn’t so bad.” “Better than Nineteen-twenty-two— but room for improvement,” said we, suddenly thinking of our responsibility as one of the best motion picture reviewers at | id we, neteen-twenty-three as he did over Nineteen-twenty-two and so on we may have the perfect picture somewhere along about Nineteen-seventy-five. It’s a lot like our golf. We played for the first time this year and brought our score down from 145 to 130. So we figure if we can knock fifteen strokes off each year it won't take us long to go round in one “But you haven't told me how I can improve.” said she. “Well if we must talk behind the gray- beard of seriousness, a thing we hate to do, we'll try to tell you what we mean. n the first place, let's put a couple of trunk-fulls of costumes back into their mothballs. Most costume play: antique as their periods and quite as creaky in the joints. If you don’t under- stand what we mean, go see Constance Talmadge in ‘The Dangerous Maid’ and compare it with the delicious comedies she used to do under the banner of Emer- son & Loos—the comedies that gave her a unique place on the screen. Norma, too, is harking back to Methuselah— Barthelmess, Marion Davies, Dougla: Fairbanks, Alma Rubens, Mary Pic ford—all of them seem to think they’ve got to spend a ton of money for costumes or the public will walk out on their pic- | comicbooks.com