Moving Picture Age (1920) . thesystematic study of colonial and national these days when the pride of nationality has beenaroused, and the United States recognizes herself as oneof the greatest nations in the worl,d, people are thinkingof our past as well as our future. There is also insistentdemand reaching the National Board for films on Amer-icanization. This inevitably requires the historic settingof our country, if we would tell the foreigner the geniusof American democracy. The results of this study havebeen disappointing. With a few remarkable exceptionslike Witchcraft, E
Moving Picture Age (1920) . thesystematic study of colonial and national these days when the pride of nationality has beenaroused, and the United States recognizes herself as oneof the greatest nations in the worl,d, people are thinkingof our past as well as our future. There is also insistentdemand reaching the National Board for films on Amer-icanization. This inevitably requires the historic settingof our country, if we would tell the foreigner the geniusof American democracy. The results of this study havebeen disappointing. With a few remarkable exceptionslike Witchcraft, Evangeline, The Man Without aCountry, Davy Crockett and The Conqueror, thereis almost nothing which can be used as a setting for aseries of pictures on Americas development. * * * In the ranks of moving picture producers there willbe several recruits this year from among the will make fewer pictures, but better ones, for artssake, and because better pictures mean bigger money. 10 MOVING PICTURE AGE March, 1920. MAR i MOVING PICTURE AGE REEL AND SLIDEEDUCATIONAL INDUSTRIAL VOL. Ill MARCH, 1920 No. 3 Screen Characters Seem Real Ones in Brothers Divided It Is Not a Propaganda Film, an Industrial Problem Play, a Mill Town Story, a Love Tale, Comedyor a Tragedy, But a Little of all These in a Picture of Human Souls Working Out Their Destiny By the Editor of Moving Picture Age IN what we thought a critical mood we saw Brothers Dividedat the neighborhood theater and as we went home we talkedit over. Tom was too good to be true; Max, a spineless, tem-peramental fiddler; Ruth and Harriet too meek; Matthew tooopen and pronounced in his misanthropy and greed; Keenan hoggedthe camera too much; the whole play was too fluffy and light; itdidnt go deep enough into any phase of the life it suggested. Ourhuman balance wheel, trotting along beside us, remarked demurely:You liked that picture, didnt you. It was a statement, not aquestion. No. Why do you say so? Becau
Size: 1359px × 1839px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1920, booksubjectmotionp, bookyear1920
