The Morning Tulsa daily world. [volume] (Tulsa, Okla.) 1919-1927, 1921-04-03

speed--say 90--or too fast or too
slow. lie can regulate the speed OF
the picture with it's aid. In front Of
the musical director In the orches-
ira pit there la a similar dial. and
the leader can know thereby wheth-
or to hasten or to slow UP his music
in order to make his musical cli-
max coincide with the dramatic
climax of tho picture.
Few people. perhaps. realize just
what an Accomplishment that is.
and just how much thought 1t takes
to bring the two into accord. once
upon n time, for instance, for pic
ture having "A great deal to do with
studio life, good deal OF music
from la Bohemc" was played. 1t
most assuredly was not an accident
score to the "They Call Me Mimi"
aria Just as the model, entering the
studio, answered questions OF the
artist about herself Interest and
enjoyment In picture is doubled IL
the music Is regarded as an accom-
paniment and part Of IL, rather than
as a vague background.
AS to what Tulsa people like best
accurate judges of that. Roscoe
Arbucklc In his new comedies is
perhaps the best drawing card
especially OF men. This contrary to
the general belief that 1t is VIII
Rogers and his ilk that draw the
masculine contingent most surely.
VIII Rogers draws just as many
women. Which is effective anesthetic
for the theory that 1t is handsome
faco above a Hart. Schaffner q Marx
effect that constitutes mans fatal
fascination for a woman. This OBJ
servatlon without going into the
question of what Il is about w. II.
that women go to sec.
But 1t isn't the star. The plays
the thing.
1t used to be in the days OF the
celluloid's infancy that the name of
a star was all that was necessary 10
attract the crowd. Now, rendered
blase. in n sense, by the tremendous
strides made by the moving picture
industry, that star is IL waning one
indeed who cannot, by means OF a
good story. well directed. well pho
tographed and we'll produced, hold
his or her own. To poor vehicles
and incompetent directors many q
his or her failure to keep the boz
office thermometer at life saving
temperature. Wallace Reid, for in
stance, has been peculiarly fortunate
In always having had, since the in
ception of his stardom, good vehicles
we'll directed. Marguerite Clark, fol
another instance, has not been q,
fortunate. But be the star ever sc
twinkling, the story ever so absorb
ing, the setting ever so gorgeous ant
the photography ever so artistic, 4
the tale IN too somber and is unen
| livened by a happy ending, the pic
ture is a failure. For instance
Broken Blossoms, for all its ar
tistry and skilled acting was a II
nancial failure: reason why th'
brutality of the Thomas Burl,
story in its Limehouse Night setting
was too much for people. For the
same reason "Intolcrance." for all III
splendor and big conception, carried
out on an immense scale, failed also
People don't like TO go away from :
picture feeling damp and mournfui
Good, clean, really funny comedy
is just about as popular as any on'
type Of picture.
There is lots more to tell-thing!
| of absorbing interest TO the layman
For instance. that the film, from
three-quarters of an inch to an incl
in size is magnified In the theatrica
showing 800 times; that two ma
chimes are used to do away with in
termissions between reels; that NOV
ing pictures are not moving picture
at ALL but an optical illusion. Tha
| last statement alone is rcgula
story all by itself. An operate
could tell just exactly why. s.
could we, after listening and watch
| ing, but one can't tell everything
| one knows in one story.
But there really IS one thing more
and that in spite OF the fact tina
! Clara Smith Hamon, so far as pub
| licity Is concerned, Ia passe. Motiol
| picture exhibitors wish she reall,
were. But the storm of protest fol
| lowing the announcement of her ap
preaching venture into screendon
will not let it be 80. Screendon
doesn't want her-that Ia, legitimat
organized screendom doesn't.
AS president OF the State Associa
tion of Motion Picture Exhibitors
allied with the national association
Mr., Talbot, speaking for Tulsa ex