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otion Picture

RT PORTFOLIO

I. No. 1.

FEBRUARY

Price 25 c.

urge Size Reproductions of Qorgeous Spectacular and

THIS ISSUE

Scenes from

he Big Parade"
Id Ironsides''
he King of Kings"
en Hur"
ichael Strogoff"
orrows of Satan"
and others

]acqneline Logan as Mary Magdalene in the Cecil B. De Mille production, "The King of Kings"

e/fr£ is the mainspring
of human inspiration-

§Motion Picture

ART PORTFOLIO

is devoted to the advancement of the
glorious art creations of the world's
foremost motion picture producers- —

A subscription to this publica-
tion is an investment
in inspiration*

For subscription rates see last page.

JAN1577

©C1B 718864

Motion Picture ART PORTFOLIO

Issued monthly from the printing establishment of Fleming 8C Reavely, Inc., 344 West 38th St., New York City, in the United States of America.

CHARLES J. GIEGERICH, Editor and Publisher

Vol. I.

-0

February, 1927

Axiomatir

HIS is the age of illustration
written and spoken worr"
other arts, pictorial '
t penetrates the intellect and a'

Pictorial art is the
a retreat invested in v

Pictorial art
convinces and ins
may confuse ar
understandable

This i'
explanati^
the answe
The mer
cherisher

are in
literat
man*

i play and the
.rectors. It is also
success than others.
A accepted truth or a
msideration.

players in motion pictures
portraying the finest works of
examples of culture in modern
.s of realistic art.

MO'

inspiring art are presented in the
.^lAO in a size suitable for framing and
..j selected collections of the most artistic scenes from
jture plays will be published in each succeeding issue.

■

N THE palmiest days of

modern horse racing the sums wagered on
turf events were and are insignificant in
comparison with the vast fortunes that
were bet on the chariot races held by the
ancient Romans. And it was due to this

fact that "Ben Hur," after being reduced to poverty and
slavery by the treachery of his friend Messala, retrieved
his fortune in the pompous days of the Roman rule in
Jerusalem.

•J Ben Hur, the son of a wealthy Jew had been the friend
and comrade of Messala, the son of a Roman, since child-
hood. But with the dawn of manhood their friendship
ceased because of racial differences.

€J When a great friendship ends an equally great enmity
takes its place, and when Ben Hur at his castle window
accidentally dislodged a tiling that fell and injured Vale-
rius Gratus, the new Roman ruler of Jerusalem, Messala,
Ben Hur's former friend denounced him for inciting the
Jews to revolt. Ben Hur's property was seized and he was
sentenced to serve as a galley slave.

<J Through good fortune, bravery and physical perfection
Ben Hur gained his liberty and won the affection of
Esther, the beautiful daughter of Simonides. With her
help and influence Ben Hur avenged himself on Messala
in the amphitheatre and won back his fortune.

CJ The beautiful Esther is seen on the opposite page, visit-
ing the magnificent home of Messala in the guise of an
enamored woman but really as the spy of Ben Hur.

<J In "Ben Hur," as produced for Metro-Goldwyn-Mayer
by Fred Niblo, Ramon Novarro is seen as Ben Hur, Fran-
cis X. Bushman plays Messala and May McAvoy is seen
as Esther.

VISION of the pomp and

splendor of the old Russian nobility and a
picture of the savage cruelty of the wild
Tartar tribes was drawn in thrilling
realism by Jules Verne when he wrote
"Michael Strogoff"; and now Michael
Strogoff has taken visual form and motion in the photo-
play as presented by Universal Pictures de Paris.

Across the desolate wastes of Siberia, Michael Strogoff,
the courier of the Czar, disguised as a merchant, made his
way through hostile Tartar encampments to carry a warn-
ing of treason and treachery to the Grand Duke in com-
mand of the Russian army at Irkutak.

•I Love and duty tore at his heart strings as he passed
through his home town where, to serve the Czar and save
the Grand Duke he was forced to ignore his mother who
penetrated his disguise and unwittingly delivered him into
the hands of Ivan Ogareff who had turned traitor to the
Czar and in collusion with the Tartars was planning the
rebellion of which Strogoff was to warn the Grand Duke.

^ Then with fiendish cruelty, the traitor Ogareff prepared
a lavish Tartar entertainment that was a gorgeous display
of wild gaiety and, at its conclusion, Michael Strogoff was
blinded by white hot irons applied to his eyes in the pres-
ence of the multitude.

CJ Left as blind and helpless by Ogareff, Michael Strogoff
led by the hand of Nadia, his sweetheart, continued on to
Irkutak where, in a pistol duel, he fought the traitor to the
death.

tJThe duel between Ogareff and Michael Strogoff pic-
tured on the opposite page is a remarkable portrayal of
deadly individual combat.

fight to the death. — A scene from "Michael Strogoff"

ARIE CORELLI'S story

"The Sorrows of Satan," in which the fam-
ous novelist conceived Satan as being sor-
rowful rather than delighted when mortals
succumb to his temptations, has been given
pictorial form by D. W. Griffith.

•J The scenes in "The Sorrows of Satan" are not laid in
Hades with Satan poking the traditional pitchfork into
suffering sinners. The action of the play is thoroughly
modern in setting with his satanic majesty in faultless
evening clothes grieving for his own delayed redemption
as the men and women about him succumb to his bland-
ishments.

•J The pictorial background is of present day life with
the scenes ranging from the squalor of a starving artist's
studio to magnificent country estates where lavish enter-
tainments are given to feast the eye and fire the imagina-
tion.

•J The elemental passion for youth and beauty and the
natural human impulse to rebel against the restraint of
convention is seen from a new angle in this pictorial com-
position.

§f Mr. Griffith had been for years most anxious to visual-
ize "The Sorrows of Satan" and the production now fin-
ished has been treated to all of Griffith's artistic highlights
and shadow effects, and Marie Corelli's amazingly vivid
story is at last visualized by the master visualist.

•JNew lighting and shadow effects are used to convey
the impression of supernatural power and these effects
add immeasurably to the artistic quality of the picture.

•J In the cast are Adolphe Menjou, Ricardo Cortez, Carol
Dempster, Lya de Putti, Ivan Leberdeff and Marcia
Harris.

HE OPTIMIST tells us that

everything in life is a huge joke while the
philosopher insists that there is nothing at
all funny in existence. — Both are right ; be-
cause everything is wrong; according to
the humorist who discerns some comedy
in every tragedy and discloses much that is tragic in most
comedies.

However, the composite picture of humanity as re-
flected in art and letters shows life smiling through tears
rather than in tears through smiling. And the tragedy of
life as we know it has two forms.

€J There is the tragedy of tears which beats its breast and
cries aloud in agony. And there is the tragedy of silence
which suffers in quiet hopelessness and covers the pain
with a forced, pathetic smile.

CjThe tragedy of silence with its thin veneer of heroic
mirth, comes closer to defining that elusive ache in body
and mind which is aroused by sympathy, love and dis-
allusionment. And this tragedy of silence is exhibited in
exquisite pictorial form in the Fox production, "The
Monkey Talks."

€]J In "The Monkey Talks" the tragedy of silence with its
facets of humor is expressed in the love affair of a mis-
shapen dwarf masquerading as a monkey in a circus. He
is hopelessly in love with a beautiful young girl — and to
be near her he maintains his monkey mask. Following her
silently about to receive her smiles and petting like a real
animal — sitting despairingly at her feet juggling bright
colored balls for her amusement — knowing that to dis-
close his humanity and declare his love would mean in-
stant dismissal.

•J Olive Borden plays the part of Olivette, the girl, and
Jacques Lerner, the celebrated French star, plays the role
of the monkey-man.

OTHING will ever quite

equal the thrill that came in the front line
trenches when, as zero hour struck the roar
of friendly planes overhead was heard by
the men climbing over the top.

•jThe air force was there to help in the
charge — and it seemed, as you remember, like a protecting
power from heaven itself hovering above and backing
that dreaded dash across no man's land.

^ Darting up and on from the horizon back of the lines,
the boys in the air broke the strain of waiting and put new
heart and courage in the men in their hour of desperate
need.

"Wings," the Lucien Hubbard production for Para-
mount portrays the ground history of the famous Second
Division of the American Expeditionary Force and the
aerial action at St. Miheil.

•J Here is a vivid picture of modern warfare with the land
and air forces cooperating in desperate action. The men
on foot rushing on and across the enemy trenches driving
the foe before them, and the Flyers above darting through
the air clearing the way ahead and dashing back to rain
fire on machine gun nests missed in the onward rush.

^ Soaring aloft to meet and fight enemy planes in high
altitudes, then sliding down again to assist the ground
force from positions close over head, the winged warriors
spread protection over their comrades and destruction in
the enemy's ranks.

•J "Wings" was directed by William A. Wellman with
Clara Bow heading a cast composed of Charles Rogers,
Richard Arlen, Ed Brendel, Richard Tucker, Gary Cooper
and Arlette Marchal.

O WRITER of fiction, past

or present, ever conceived such powerful
dramatic situations, such vivid miraculous
action, awe inspiring ensembles, mighty
moral lessons and accurate, unfailing psy-
chologic definitions as is contained in the
bible.

•I The solemn sacred beauty of Judea at time that Jesus,
the Carpenter of Nazareth, preached and prayed for the
salvation of man is now being visualized by Cecil B. De
Mille at his studio in Culver City and under the title of
"The King of Kings," the life of The Christ as he lived
and worked and suffered will be seen in vivid realistic
action when the famous director presents the production
to the public.

<JThe scene in the temple, — where Jesus, after driving
out the money changers who had defiled the house of God
by making it the market place of usurers, — is denounced
by the high priest, is more thrilling than any imaginative
dramatic situation ever written. This scenic sequence is
but one of the many in mighty spectacle of The Christ on
earth.

•I In this portrayal pictorial art performs a thrilling and
inspiring mission — it visualizes the very foundation of re-
ligious beliefs — here the power of art exerts its fullest
force in arousing the senses to spiritual perception.

tj Cecil B. De Mille has made a life-long study of biblical
history and "The King of Kings" may be the culmination
of his greatest ambition which is, the creation of a biblical
drama portraying that spiritual life which humanity in
general recognizes but appreciates only in an indefinite
sense.

f§ The picturization of life of The Christ is a mighty un-
dertaking that is fittingly in the hands of the man who
produced "The Ten Commandments."

NE OF the most glorious

pages in American history was inspired
when Thomas Jefferson in the Continental
Congress made the stirring declaration —
"Millions for defense but not one penny
for tribute."

•J This was the answer of the American Colonies to the
demands of the Barbary pirates who had, for hundreds of
years terrorized the world and collected tribute from all
nations for the right to sail the seas in safety.

•I The United States of America, the youngest and weak-
est of the nations, speaking in the words of Jefferson,
hurled its challenge at Tripoli, the powerful pirate nation,
and to back up the challenge, appropriated funds for the
building of the Frigate Constitution ; later known as "Old
Ironsides" and the most famous fighting ship in the entire
history of naval warfare.

<J The glory of "Old Ironsides" is a romance of invinci-
bility. It is an account of unexampled bravery and the
indomitable spirit of a free people; ready at all times to
fight and die if need be, in the cause of freedom.

•jfThe spectacle of one American ship, "Old Ironsides,"
sailing to Tripoli to attack and capture that powerful
pirate fortress, single handed and unaided by any other
force, is one of the most spectacular and daring episodes
ever recorded in fact or fiction.

tJThen having captured the Tripolian stronghold "Old
Ironsides" engaged and vanquished the pirate ships and
returned home with the freedom of the seas assured for-
ever.

C]J The pictorial spectacle of "Old Ironsides," presented by
Paramount, was directed by James Cruze with Charles
Farrell, Esther Ralston, Wallace Beery, George Bancroft,
Charles Hill Mailes, Johnny Walker, Eddie Fetherston
and George Godfrey in the leading roles.

ONNIE ANNIE LAURIE

famed in song and poetry has taken pic-
torial form in the Metro-Goldwyn-Mayer
production directed by John Robertson
with Lillian Gish in the title role.

fjln the days of fierce feudal rivalry be-
tween the Scottish clans when women were treated with
alternate brutality and tender affection, Annie Laurie was
conceived by the poet as a delicate object of femininity,
born for chivalrous consideration but thrown into the
arena of life with inconsiderate, half savage warriors.

•JBorn for man and desiring his advances but shy and
fearful of his strength, Annie Laurie lived in the prima-
tively artistic atmosphere of cold grey castles and rough
clad men who wrote tender poems to her beauty in one
moment and fought to despoil her or kill a rival in the
next.

^jjohn the Great, of the Maclan clan, who wooed her in
manly fashion when she seemed elusive, turned and mis-
treated her with savage brutality when her love brought
her to his castle at Glencoe.

•J Annie's arrival at Glencoe to warn the Maclans of an
attack planned by her own clan, is pictured on the oppo-
site page. John the Great is seen toasting her in mock
ceremonious greeting.

•Jit was through such trials as this that woman has
struggled upward to the pedestal of respect and adoration
on which she stands today.

•I In support of Miss Gish as "Annie Laurie," Norman
Kerry appears as John Maclan, while Hobart Bosworth,
Henry Kolker, David Torrence, Brandon Hurst and
Creighton Hale are seen in important roles.

HE MAJESTIC grandeur of

vast plains and gigantic canyons, the
beauty of cactus, needle palms and sage-
brush assembled in massive array by nature
in the great American west, is the gorge-
ous, natural setting in which the Metro-
politan Pictures Corporation presents the Peter B. Kyne
story, "Jim the Conqueror."

•Jin this mighty expanse of nature's glorious art, "Jim
the Conqueror" reenacts the drama of those lawless days
when cattle men and sheep herders fought bloody battles
for possession of the vast grazing lands and precious
water holes.

•J Just as the feudal lords of ancient days led their men-
at-arms into petty wars, so did the cattle ranchmen of
yesterday lead their bands of cowboys against the invad-
ing sheepmen and life on the great American plains was
in constant gamble with death.

•I And in "Jim the Conqueror" another parallel to ancient
history is found in a love which first attracts a man and a
woman from opposing factions and in the end terminates
the deadly feud that had existed between them.

€J In this portrayal of western life, William Boyd is seen
in the role of a handsome young sheep herder, and Elinor
Fair plays the part of a fascinating young woman; the
daughter of a cattle man and the natural enemy of the
sheep raiser. Walter Long, Tully Marshall, Marcelle
Corday and Tom Santschi are seen in supporting charac-
terizations.

•I The production was photographed by Hal Rosson
under the direction of George B. Seitz, who has long been
associated with the creation of pictures in natural western
settings.

UAINT old Holland with

its dikes and ditches, its low gabled houses
in picturesque colorings, its slow moving
barges and its white capped hard working
women, composes the artistic setting that
Victor Herbert and Henry Blossom se-
lected for the musical comedy, "The Red Mill," which was
first produced at the Knickerbocker Theatre in New York
City in 1906.

•I Now, after a lapse of twenty years, "The Red Mill"
again comes to public attention. This time as an elaborate
motion picture production with Marion Davies appearing
in the role of Tina, a little Dutch drudge who works like
a slave but dreams of love like a princess.

•I For the screen presentation Frances Marion prepared
the story from the delightful material in the Herbert-
Blossom musical conception with elaborations to give
the screen play greater pictorial depth and beauty. The
production was made for Metro-Goldwyn-Mayer under
the direction of William Goodrich.

tfl The story itself is an odd conception of a comely little
Dutch girl, Tina, driven along in her strenuous daily work
by a hard old taskmaster. Tina cherishes the picture of
Dennis, a young Irish lad who had once visited "The Red
Mill" and in all her troubles she finds solace in dreaming
of Dennis and of the day she feels he will return to see
her. When Dennis does return and Tina learns that in
the intervening years he had never given her a single
thought, a pathetic mental hurricane threatens to destroy
all Tina's air castles.

€JIn the supporting cast of "The Red Mill" are Owen
Moore, Louise Fazenda, George Siegman, Karl Dane, J.
Russel Powell, Snitz Edwards, William Orlamond and
Fred Gambold.

5^.

HE VIEW of Janet Gay nor

as the young wife in "Sunrise" engenders
thought as refreshing as dreams of hills
purple with heather or of fresh cut grass or
the fragrance of heliotrope.

•I She seems so gloriously young; so joy-
ous and symbolic of that instinctive maternity which lends
dignity and mellow charm to a girl just past the border
line of womanhood.

<IThis picture of a sunny room, with geraniums on the
window ledge, conjures an atmosphere warm with the
odor of home-baked bread and happy contentment. Here
there is the suggestion of peace, quiet and rest.

*JOne easily imagines the young mother at other mo-
ments, humming happily over her work or chatting with
neighbors who drop in for a friendly talk.

There is a humanness about the central character in
this composition which associates itself with home fires,
friendly walls and babies. She seems the personification
of every man's secret dream of a good wife and the reali-
zation of his fondest hopes.

•J Here the fascinating eloquence of soft, sweet music is
felt in a melody of art that soothes and delights the senses.

<J The secret of this appeal lies, perhaps, in the fact that
under the direction of F. W. Murnau, the celebrated Ger-
man director, Miss Gaynor is portraying a symbol of "the
eternal woman forever calling man back from agonies and
follies to her savage and pitying breast."

<USo Sundermann describes the woman eternal in his
story, "The Trip to Tilsit," from which "Sunrise" was
adapted for production by Fox.

The woman eternal

A scene from "Sunrise"'

HE lure of Araby with its

starry nights, fantastic shadows, weird
customs and fascinating dream-like loves,
forms the colorful background for the
melodramatic action portrayed in "The
White Black Sheep."

^fHere the Occidental and the Oriental are brought to-
gether in sharp contrasts of temper and temperament,
ideals and ideas, fears and fanaticisms. Here men meet in
mutual moods of antagonism that is more marked and
deadly under the magnetic influence which attracts man
to woman and woman to man in this land of primative
passions.

•I Probably no image ever recorded by the brush of the
artist or the lens of the camera stirs the imagination to
such strange flights of fancy as the picture of a desert
chieftain. In "The White Black Sheep" there is a desert
chieftain at the head of his white robed warriors on mag-
nificent Arabian horses and the wild, reckless charge of
his band is one of the spectacular scenes in the production.

€J Richard Barthelmess, who as the star, plays the title
role in this First National picture is seen as a disillusioned
lover in the Far East to forget a woman. And there under
the influence of the stars, the waving palm trees, the
scented breeze and the mystic charm of the Orient he finds
himself fighting for the love of Zelie, a native girl, more
fiercely than he had fought for the affection of the girl of
his own race.

<I Patsy Ruth Miller plays the role of Zelie with Con-
stance Howard, Erville Alderson, William H. Tooker,
Gino Corrado, Albert Prisco, Sam Appel, Col. G. L. Mc-
Donell and Templar Saxe in the supporting roles under
the direction of Sidney Olcott.

AURENCE STALLINGS in

his story, "The Big Parade," wrote some-
thing more than an epic of the world war
— he recorded the spirit of the conflict and
the mental attitudes of the men who fought
the great fight.

•J And the thrilling realism of the motion picture as pro-
duced for Metro-Goldwyn-Mayer by King Vidor seems
an actual view of actual happenings because it reflects the
thoughts of the men in the ranks when they arrived in
France and when they went into action. It picturizes the
struggle as they conceived it from wherever they were
billeted and as they told the story upon their return home.

•J "The Big Parade" is a psychologic picture of the war
even more than a pictorial story of war action. And as
the tale is told on the screen and thrill follows thrill, one
subconsciously feels as the men felt — heroic, frightened,
tolerant, enraged, happy and sad in the events of the
moment.

<I This is evident throughout the production and particu-
larly in the scene where the new recruits receive their
first taste of war. This scene by its wide expanse of flat
land and its half light conveys the spirit of lonesomeness
and danger, and the attack by the German plane is the
fulfilment of impending disaster. Then the spirit of re-
venge is shown and satisfied when, in retaliation, the Ger-
man plane is brought down by the fire of the American
anti-aircraft guns.

^[The opening scene of this sequence in the motion pic-
ture production, is reproduced in all its beautiful twilight
tones on the opposite page.

•I "The Big Parade" is an artistic masterpiece in con-
struction, acting, direction and photography.

£>o'

EIRD, furtive Limehouse;

London's Chinatown; where life finds ex-
istence in artistic squalor and humanity
moves in a fantasy of faded Oriental color-
ing, Thomas Burke found the fascinating
material for his "Limehouse Nights," and
from Burke's vivid description John McCormick produced
the First National Picture, "Twinkletoes," with Colleen
Moore visualizing the frail pale wisp of young white girl-
hood surrounded by slinking yellow men and villainous,
drug soaked, social outcasts.

^ln the narrow, winding alleys of Limehouse; in the
dark hallways and in the grimy shops where through dirt
covered windows under dingy Chinese signs, inscrutable
Orientals are seen trading with the denizens of this social
no man's land, Twinkletoes, in childish ignorance and in-
nocence, lived a carefree life until old enough to attract
covetous attention. And then the ways of Limehouse dis-
closed itself in all its cruel viciousness.

<HTo those on in years, living in Limehouse is a cold,
heartbreaking battle for existence. For the young there
is some romance that is ardent and real. But the fantastic
artistry of Limehouse can be enjoyed best by those who
view it from a distance ; on canvas or through the eye of
the camera.

1§ In "Twinkletoes" Colleen Moore is supported by Ken-
neth Harlan, Tully Marshall, Gladys Brockwell, Lucian
Littlefield, Warner Oland, John Philip Kolb, Julanne
Johnston and William McDonald under the direction of
Charles Brabin.

<JA view of Limehouse from this safe and appreciative
distance is furnished in the scene from "Twinkletoes" pub-
lished on the opposite page.

In fantastic Limehouse

— A scene from "Twinkletoes

Mammoth

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Of the beautiful scenes published in the MOTION

Picture Art Portfolio may be obtained by mail

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IS LIMITED AND WE RESERVE
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ORDERS AND REFUND
MONEY WHEN THE SUPPLY
IS EXHAUSTED.

PRICES

In Black and White each, $2.00

In Sepia each, $2.50

Hand Colored each, $4.00

These mammoth enlargements
are real photographs and
their size,

16 x 20 inches

make them elaborate and
BEAUTIFUL ART WORKS
for framing and hanging in
any room, in any home.

In ordering, give titles of pictures wanted and mention the issue of the MOTION
PICTURE ART PORTFOLIO in which the scenes were published.

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Motion Picture Art Portfolio

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, 1927, by Motion Picture Art Portfolio

Printed In U. S. A.

To assure you Your Full Share of Laughter, we hare in our great galaxy of sia

JOHNNY HINES

Ask the manager of your favorite theatre when he is going to treat you to an evening of hilarity by showi

"STEPPING ALONG" -with Mary Brian

From "The Knickerbocker Kid", by Matt Taylor. fffiByJ Presented by C. C. Burr. Directed by CHARLES HINES

A FIRST NATIONAL PICTURE — TO PLEASE THE PUBLI

N "FLESH and the DEVIL"

we are presented with an artistic portrayal
of that fascinating type of woman known
to the fabulists as a siren; to poets and
dramatists as a vampire; to modern novel-
ists and medical men as a nymphomaniac;
and to court clerks and jurists as a co-respondent.

<J By whatever noun they are known, women of this type
are exceedingly alluring and exceedingly dangerous.
Their power to charm is exceeded only by their ability
to humiliate the men they first fascinate and then make
miserable. They love to love without caring for the
object of their love just as a child loves to play without
caring for its playthings.

f§ Yet though they know this, men always have and always
will find themselves blinded and lost in the seductive
chimera of love that surrounds the siren, unless saved by
a great counteracting influence such as the strong broth-
erly friendship described by Hermann Sudermann in his
story "The Undying Past" from which the Metro-Gold-
wyn-Mayer production "Flesh and the Devil" was adap-
ted.

•jFor a man to fall madly; desperately in love with a
woman — to fight a duel to the death with her husband
and be forced to flee the country without her — to return
later and find that she has married his best friend is in-
conceivable torture. Then to discover that she is willing
to deceive his friend and renew the old infatuation is a
maddening revelation that can result only in a great
tragedy or complete disillusionment. Such is the story in
"Flesh and the Devil" that has been given realism by the
expressionate art of John Gilbert and Greta Garbo and
recorded pictorially by the camera of William Daniels
under the direction of Clarence Brown.

HE CHARIOT RACE in the

Metro-Goldwyn-Mayer production "Ben-
Hur," is an exceptionally fine representation
of the ancient Roman sport. This scene
was made in one of the biggest settings
ever constructed for a motion picture pro-
duction and thousands of persons were employed in the
impersonation of spectators.

^ The horses and the charioteers who drove them in the
race, were put through a long and thorough training be-
fore this scene was attempted, in order to avoid serious
accidents which usually marked the real races of this
kind when they were held by the ancients.

GjThe driving of a chariot requires unusual dexterity.
There are no springs to counteract the shocks of the un-
even road or to assist in balancing the vehicle when turn-
ing corners. The charioteer standing in the chariot must
balance it by swaying his own weight in counteraction
to every inclination to overturn, and at the same time,
keep his horses racing at top speed to avoid their being
thrown by the chariot's body crowding upon their hoofs.

1$ These dangers, which often resulted in fatal accidents,
were part of the spectacular thrill enjoyed by the multi-
tudes who patronized the sport and in "Ben-Hur" the
excitement that attended these races has been reproduced
with great skill and remarkable realism.

^ At the period of time in which the action of "Ben-Hur"
takes place, chariots were used by the Persians, Egyptians
and Assyrians as war vehicles. They were richly orna-
mented and equipped with sheaths to carry supplies of
arrows. Little effective fighting could be done in a
vehicle so difficult to manage, and the Romans discarded
it as a war vehicle and used it purely in sports.

VISION of old China with

its fields of rice and tea, its quaint flower
gardens blooming in glorious profusions of
colors; picturesque little bridges draped in
wistaria, spanning oddly-shaped lily ponds
alive with shimmering gold fish; pagodas
hazily outlined on the distant opal sky; and over all the
dream-compelling odor of incense.

C|In this entrancing atmosphere "Mr. Wu" is presented
by Metro-Goldwyn-Mayer with Lon Chaney in the title
role, and Renee Adoree portraying his dainty little Chinese
daughter Nang Ping; who, in attempting to span the
great divide between East and West, finds a great tragedy
where she believed there was only a great love.

Cfl There is nothing more delightfully artistic than oriental
compositions; or rather, the occidental conception of
oriental composition. In Chinese settings there is a
wealth of color and form.

•J And in the field of fiction there are no stories more en-
thralling, than those dealing with the attempts of youth
to gainsay Kipling's poetic declaration : "East is East and
West is West and never the twain shall meet."

^ Under the direction of William Nigh, gloriously beauti-
ful Chinese backgrounds were employed in portraying the
story of "Mr. Wu." A romance of bewildering emotions.

^ Wu was a Chinaman of high station and ancient lineage.
He had been highly educated in English universities and
being well versed in the ways of the white races, we can
imagine his thoughts as we see him standing in the orna-
mental doorway of his home, contemplating in sad sur-
prise, the love affair between his daughter Nang Ping
and the English boy, Basil Gregory. Wu knew that in
finding this strange love, both lovers had come to the end
of happiness and that for himself all earthly joy had ceased.

HAT LOVE knows no law

and is bound by no convention save the
sacred edits of its own impulse, is remark-
ably and beautifully illustrated in the story
of Manon Lescaut as pictured by Warner
Brothers in "When a Man Loves" with
Dolores Costello in the role of Manon, and John Barry-
more as her lover, the Chevalier Fabian Des Grieux.

CfDown through the ages; through every social, political
and sectarian attempt to control the basic emotion of the
human race, love has remained ungovernable. It has ever
rebelled against domination and this rebellion has saved
humanity from mental and physical degeneration and ul-
timate extinction.

^ In "When a Man Loves", Manon and Fabian are bound
in that mystic bond of love that no power on earth can
break. Manon, as portrayed by Dolores Costello, is a crea-
ture of dazzling charm and loveliness for whose favor king
and courtiers gamble, bargain, intrigue and fight.

•J Helpless in the hands of powerful betrayers Manon suf-
fers first the indignities of a noble and then bestial cruelty
on a prison ship to which she is vengefully condemned for
her resistance. But through it all the love of Manon and
Fabian remains firm and unaltered.

Cfl On the screen the story is told in exceptionally beautiful
scenes, one of which is shown on the opposite page. This
scene of stage coach travel in France in the time of Louis
XV. shows Manon arriving at the wayside inn where she
arouses the covetous attention of the Comte de Morfon-
taine and her amour with the Chevalier Fabian Des
Grieux begins.

1§ On the cover page of this issue is another scene from
"When a Man Loves" which pictures the remarkable
beauty of Dolores Costello and handsome John Barry-
more.

HE BLONDE SAINT" in

which Lewis Stone and Doris Kenyon play
the leading roles, is the first production to
come from the new $2,000,000 First Na-
tional Studio at Burbank, California. All
the interior scenes of the Sicilian village,
the villa, and the pagan temple seen in "The Blonde Saint"
were photographed on the gigantic stages of this mam-
moth new motion picture studio.

•I The outdoor scenes, of which one is shown on the oppo-
site page, were filmed at picturesque Laguna Beach, Cali-
fornia. The topography of this location is remarkably
similar to Sicilian backgrounds and at this point a com-
plete fishing village was constructed which in accuracy
of detail is a pictorial reproduction of actual Sicilian life.

<I Lateen-rigged sailboats drawn up on the beach, goats
and black pigs roaming through the village, the islanders
garbed in characteristic costumes, form an ensemble that
lends color and realism to the romantic island described
in the novel, "The Isle of Life" from which "The Blonde
Saint" was adapted.

•J Tony Gaudio who photographed this production, is an
Italian by birth and his familiarity with the locations
described in the story contributed much to the realism of
the settings.

€]1 Although this story deals with the love affairs of
modern society persons, there is no suggestion of "jazz,"
or "flapperism". The events are pictured entirely in an
atmosphere of the old world with touches of fanatic moral
prejudices. In the supporting cast are Ann Rork, Gilbert
Roland, Cesare Gravina, Malcolm Denny, Albert Conti,
Vadim Uraneff, Lillian Langdon, and Leo White, under
the direction of the Swedish director, Svend Gade.

HE sublime beauty of pathos

was never more clearly defined than in the
late Charles Klein play, "The Music Mas-
ter," which Fox has now produced as a
motion picture drama under the direction
of Allan Dwan.

•Jin a succession of poignant pictorial compositions this
production reveals the aching void in the heart of a man
when, enfeebled, on in years, with loved ones gone, he
finds himself destitute of everything but dreams of bygone
days.

•J On backgrounds picturing the style of New York City
in 1900, the story is told of an old music master in a pa-
thetic search for his daughter, lost to him in infancy
through the faithlessness of his wife. The slums of the
lower east side, the characteristic missions, and the homes
of the wealthy which graced the streets of the metropolis
a quarter of a century ago, but which have almost disap-
peared in this age of skyscrapers, all lend artistic embel-
lishment to the dramatic characterizations of "The Music
Master."

•J In many of the delicately composed scenes, the presence
of the old music master is subtly suggested even though
he is not actually seen in the grouping. Such a scene is
the one entitled "Contentment" wherein the young lovers,
happy in the exclusion of their own company, are yet
seemingly dreaming of the lonely old man who, after long
years of search, found his daughter only to lose her again.

flj Alec Francis portrays the title role with Lois Moran in
the character of his daughter and Neil Hamilton as her
suitor. Others in the cast are: Norman Trevor, Charles
Lane, William Tilden, Helen Chandler, Marcia Harris,
Kathleen Kerrigan, Howard Cull, Armand Cortez, and
Leo Feodoroff.

IGHT LIFE in New York

with its magnetic glitter of white lights
and the magic of beautiful women. The
Follies with its enchantment of youthful
grace. The glamour of color and the sparkle
of wealth, all contribute tones of vivacious
beauty to the artistic settings of the First National picture
"An Affair of the Follies."

CJA famous stage, a fashionable restaurant, the sumptu-
ous apartments of the modern millionaire, and the unpre-
tentious home of the queen of the Follies are backgrounds
for a story which draws aside the veil of notoriety and
discloses the human side of Broadway.

<J Virtue is not always enshrouded in a cloak of somber
color. On the contrary, virtue being light-hearted is more
often found in bright raiment and enshrined in merriment.
"People are not always happy when they are good; but
they are always good when they are happy" — In this
axiom may be found the soul of the Great White Way and
the real spirit behind the footlights where beauty is con-
scious only of its beauty and indulgent in the pleasure of
artistic display.

fflBillie Dove is an exquisite figure in the ensemble of
feminine beauty with which the producer, Al. Rockett, has
embellished an "Affair of the Follies." Lloyd Hughes is
in the leading role opposite Miss Dove, and Lewis Stone
portrays the pivotal character in the story.

^Prominent in the supporting cast are Arthur Stone,
Arthur Hoyt, and Bertram Marburgh.

•I "An Affair of the Follies" is an elaboration of a short
story by Dixie Willson, staged under the direction of
Millard Webb.

LL 'the melodies of life fitted

into a pictorial symphony" is the poetic
designation given to "Sunrise" by F. W.
Murnau, the celebrated German director,
who has just completed the production of
this picture for Fox. And it may be added
that many of the scenes in "Sunrise" are whole pictorial
symphonies in themselves.

^ Here is a study in contrasts ; in which light and shade
has all the soul stirring appeal of music ; wherein tragedy
is seen in solemn shadows; unruly passion and hopeless
resignation in cold gray tones, and the gaiety of peace,
happiness and love in beams of radiant highlights.

<!The Hermann Sudermann story, "A Trip to Tilsit,"
from which "Sunrise" was adapted, is a verbal reflection
of a soul torn between good and bad impulses. And Mur-
nau's interpretation of the theme is a melodious pictorial
echo of mankind's passions and repressions,

<J In the humble bedroom setting, reproduced on the op-
posite page, grim tragedy stalks in the figure of the man
who, though maddened by the false hunger of illicit love,
shrinks in the shadow ; afraid to cross the beam of sober-
ing light with its soul-awakening reflection of The Cross.

<J In the masterful handling of this composition, the artis-
tic genius of Murnau is seen at its best. In simple grada-
tions of black and white, the pose of two figures discloses
a powerful vision of the passions and frailty of man, and
the eternal spirit that is ever present to council the human
soul.

Janet Gaynor plays the role of the young wife, George
O'Brien is seen as the influenced husband, and Margaret
Livingston portrays the woman actuated only by primi-
tive instincts.

HAT"WESTERNS"havemo-

ments of calm, peaceful beauty interspersed
in their rapid-fire melodramatic action, is
evidenced by the pastoral view of Tom
Mix in a love scene with Carmelita Ger-
aghty in "The Last Trail" presented by
William Fox.

1§ The great west which the novelists have endowed with
a smash-bang history and the historians have recorded in
terms of blood-thirsty fiction, is in reality, the great gar-
den spot of the universe steeped in majestic silence and
silent majestic beauty.

CJAll the glorious conceptions of the artist fade into in-
significance before this overwhelming display of natural
beauty and no more wonderful setting for the finer emo-
tions of life can be conceived than this marvelous stage
arranged by nature.

In the new school of motion picture direction, greater
advantage is being taken of the West's amazing beauty
in the composition of western stories. And in young
America's awakening to a better appreciation of art,
graphic accounts of the great west will lean more toward
natural beauty than displays of gun fighting.
•J This is evidenced in many scenes in "The Last Trail"
which, while dealing with Indian uprisings, banditry and
the heroism of pioneer days has much that is artistic in
the composition of its incidental scenes.
^It must be acknowledged that Tom Mix is always an
artistic figure on horseback and that his characterizations
of cowboy life are picturesque. And it is reasonable to
expect that in portrayals of the many other phases of
hardy western life we may enjoy him in scenes of greater
artistic compass.

<JIn the accompanying illustration from "The Last
Trail" it is pleasing to see this exponent of fast action in
a scene that charms by its spirit of tranquility. There is
perfect harmony in the composition. It breathes of nature
in a moment of happy contentment.

VINEYARD in Normandy

with its quaint, weather-beaten old farm-
house, its orderly rows of closely pruned
grape vines, old fashioned crusher and
wine press, in an artistic atmosphere of
peaceful simplicity, is the dominant pic-
torial note in the Paramount production, "Barbed Wire,"
which has just been completed under the supervision of
Erich Pommer, the German director, and Rowland V. Lee.

<J Simplicity is the determining element in all art. Sim-
plicity discloses truth; and the reflection of truth is the
secret of great art. In its pictorial appeal this old vine-
yard in Normandy is a graphic ballad of nature in her
simplest and most comprehensive mood. It is vibrant in
magnetic contentment and alluring in the suggestion that
here one may find rest that is refreshing and romance that
is real.

•I Most of the action of the play centers in this delightful
setting of pastoral beauty although in theme the story
deals with a phase of the world war wherein German
prisoners, in the prison camps of the allies, suffer the non-
combatant hatred of the French women and yet find ro-
mance in the confounding mystery of love which triumphs
over victor and vanquished alike.

<J "Barbed Wire" is an adaptation of the Hall Caine story,
"The Woman of Knockaloe," in which Pola Negri por-
trays the role of the patriotic French girl, violent in her
hatred of the enemy, and Clive Brook is seen as the im-
prisoned German soldier. Others in the cast are Claude
Gillingwater, Einar Hanson, Clyde Cook, Gustav von
Seyffertitz, Charles Lane, Ben Hendricks, Jr., and Nor-
man Peck.

^fThis is the second American-made picture with which
Erich Pommer has been associated and his unmistakable
style is evident throughout the production.

HE mysterious workings of

destiny which gave to the American Col-
onies their great Commander-in-Chief,
George Washington, is recalled pictorially
in "Winners of the Wilderness"; a melo-
dramatic version of General Braddock's
campaign in the French and Indian War.

•I George Washington, practically unknown and without
especial distinction, was a colonel in the British army un-
der the command of General Braddock when, in the sum-
mer of 1755, that gallant officer marched to the attack of
Fort Duquesne in close military formation, against the
advice of Washington who urged that an open Indian
fashion be followed.

<| Braddock, unused to Indian warfare and overconfident
of established military tactics, paid the penalty with his
life and thereby brought the name of George Washington
into world-wide prominence and created a military hero
for the American Colonies.

<J Through the almost virgin forest, beautiful in beams
of sunlight and gay with the singing of birds, the men
under Braddock pressed on to Fort Duquesne, uncon-
scious of the menace of red men trailing through unseen
paths and lurking out of sight to the right and left of the
marching line.

<I Suddenly the Indians opened fire from the underbrush.
The bright red coats and conspicuous hats of the soldiers
made clear targets for the hidden savages and the line
crumpled. General Braddock fell; mortally wounded; and
Washington took command.

•I Versed in the redman's style of warfare, Washington
deployed in Indian fashion and saved the command from
complete annihilation. This action is one of the most pic-
turesque and dramatic scenes in "Winners of the Wilder-
ness," a Metro-Goldwyn-Mayer production staged under
the direction of W. S. Van Dyke.

HE barbaric splendor of a

great Tartar ceremony as described by
Jules Verne, the author of "Michael
Strogoff," is one of the remarkable scenes
in the motion picture production of this
story presented by Universal Films de
France.

^ This scene pictures a vast assemblage of heterogeneous
Asiatic tribes celebrating a Tartar victory over the Rus-
sian army in Siberia, in an orgie of savage fantasia.

•I In an arena formed by magnificent tents of beautifully
colored silks ornamented with plumes and designed more
like gorgeous draperies for the interior of palaces than
field service abodes for the chiefs of the Tartar horde,
troupes of dancing girls and gigantic effigies of grotesque
demons are seen performing weird gyrations supposed to
interpret passages from the Koran.

•I The dancing girls, all of Persian origin, are adorned
with a profusion of jewels fastened to thin gauze drapery.
Circles of silver about their necks and anklets of the same
metal on their legs, tinkle in rhythm to the gracefully ex-
ecuted steps of their dancing.

•| As a finale to the ceremony when, at darkness the scene
is lighted by torches, men stripped to the waist, their
bodies and arms colored in brilliant tones of red, yellow,
blue and green, join the dancing girls. In the flickering
light the swirling bodies of these painted men seem to sur-
round the girls in a circle of vari-colored flames.

fflThe assemblage witnessing the ceremony is as pic-
turesque as the performers. Here are seen the tribes of
Turkestan mingling with Usbecks, Kirghiz, Afgans, Mon-
gols, Persians and Arabs. And in the shelter of the great
silk pavilions are the languid women of the harems gath-
ered from all the countries of the East.

Gorgeou

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1927

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f{OYAL ENTERTAINMENT

ROYALLY HOUSED

CECIL B.DeMILLE
faster Producer

E.F.ALBEE .
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MARCUS HEIMAN .
President-Orpheum Circuit

The association of
these personalities,
combining the foremost
genius in the field of
photoplay production
with the world's great-
est showmen, repres-
ents a guarantee of sup-
erlative entertainment.

TheHillstreet Theatre,
Los Angeles, one of the
magnif icent show
houses in the great
Orpheum Circuit of
theatres featuring
De M.ille'Metropolitan
Pictures.

(****~{~ INE jewels deserve fine mountings. Royal
^ | entertainment deserves royal presentation.

^ — s This has now been accomplished through
the linking of De Mille-Metropolitan Productions
with Keith-Albee-Orpheum theatres.

The very name of Cecil B. De Mille stands for pic-
tures that realize the dreams of mankind. Over
and over De Mille has opened for us the gates that
lead to adventure, mystery and romance — has made
it possible for us to escape from the humdrum
facts of existence into an exciting new world. His
very name has come to have a magic meaning. To
the initiated it is a guarantee of gorgeous, soul-sat-
isfying entertainment.

It is fitting that these screen masterpieces should
be shown in America's finest theatres. And so,
from the famous Hippodrome in New York clear
across to the magnificent Hillstreet theatre, Los
Angeles, Keith-Albee-Orpheum theatres every-
where twinkle with the names of De Mille-Metro-
politan great films. And, just as the Hippodrome
in New York has become a national institution,
each one of these theatres has become a community
institution — a place where unsurpassable programs
can be taken for granted.

DeMILLE-

METROPOLITAN PICTURES

in Keith-Albee-Orpheum and other first run theatres

Com in a

JETTA GOUDAL in
"FIGHTING LOVE"

With VICTOR VARCON1

and HENRY B. WALTHALL
Adapted by Beulah Marie Dix from the novel
"If the Gods Laugh" by Rosita Forbes
Supervised by BERTRAM MILLHAUSER

Directed by Nils Olaf Chrisander
Produced by De Mille Pictures Corporation

John C. Flinn presents

Marie Prevost in

"GETTING GERTIE'S
GARTER"

With CHARLES RAY. Adapted by F.
Mc Grew Willis from the stage play by
Willson ° Collison and Avery Hopwood
Supervised by F. M c GREW WILLIS

Directed by E. MASON HOPPER

I3TtHtuci'tt by Metropolitan Pictures Corporation

PRODUCERS DISTRIBUTING CORPORATION

JOHN C. FLINN, Vice-President and General Manner

Full Page Illustrations of Beautiful Motion Picture Scenes

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1927

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HA/?1977 ®C1B 736472

Motion Picture ART PORTFOLIO

Issued monthly from the printing establishment of Fleming 8C Reavely, Inc., 344 West 38th St., New York City, in the United States of America

CHARLES J. GIEGERICH, Editor and Publisher

No. 3

CONTENTS

Portraits : —
Olive Borden

William Fox C

Gilda Gray

Famous Flaye-

Greta Garbo

Metro-Qoldwyn-M.

Scenes from: —

"Mr. Wu'
"Tbe Kid Brother"
"Don T uan
"Uncle Tom s Cabin
"White Gold1'
"The Night of Love"
"Les Miserables
"The Venus of Venice
"When a Man Loves '
"The King of Kings
"The B lg Parade
"The Music Master"
"Annie Laurie
"Alias tbe Deacon

Features : —
Adolpb Zukor

Builder of Idols and Ideals

Studio Activities

New Pictures now Being Produced

crt
sen

tUITi

artis
A

mater

Ev
its arti.
motion
trayal b
collectio
artistic s.

It better appre-
/once remarked
immatic estimate
:tion.

entertaining, while
deals — the difference
at are good-looking to
uld deliver preachments
art to accomplish their

pictures which display the
. commonplace manner. Art
e reflection of enobling ideas
nguishes the masterpiece from

ig whatever to do with its value,
/ducer — their value is determined
nsement of artistic worth.

/nents of art are delightfully inspir-
/f the painted medium of art, there
creations of the masters of motion
/ider appeal to the imagination.

a greater degree of authentic realism
The simplicity of natural subjects —
keat dramatic events — or the captiva-
human emotions; with all the vigor of
x)wer not enjoyed by any other artistic

/m the motion picture studios are not the
prks of many geniuses. Each scene repre-
irtists and artizans, lighting experts, cos-
:ure, the dramatic genius of actors and the

/with — the manner in which they treat their
je mediocrities.

jy a collection of still pictures representing
are intended to herald the quality of the
they fail to do full justice to the screen por-
lotion picture is accompanied by a beautiful
be taken as an almost infallible rule that
iotion picture.

t Alluring;

beauty is wholly
eternal power of
le artist who ele-
re beautiful. No
paid a work of
may be said of
t of Love" in
e the featured

nuel Goldwyn
i collection of

George Fitz-
, Fitzmaurice
ut none more
t of Love" in
strength and

the manner in
the action and
In "The Night
lS allied with the
; finer shades of
action, are subtly

>rimative passions,
rcised by medieval
vereign practice of
ibes who recognized
I in Spain in the fif-

ontagu Love, Natalie
ind, and John George,
ed to George S. Barnes

HE creation of laughter is an

art in itself — an art and a power which has
accomplished more in the civilization of
humanity than science, invention, and all
the dogmas in history. In laughter one
finds contentment, and contentment is, or
should be, the acknowledged aim of civilization.

•llEvil thoughts and vengeful impulses are emotions
which flourish in the chill of gloom and wither in the radi-
ant warmth of humor. When humanity laughs it is good
— and the more it laughs the further it draws away from
those evils which stupid reformers and misguided legisla-
tors vainly seek to expel by the ancient method of law and
enforcement.

^ The worth of genius which stirs the world to laughter is
beyond estimation — Its benefaction is beyond limit — Its
only problem is to make itself comprehensive to all races
and creeds — and in this Harold Lloyd has achieved unpre-
cedented success through the employment of pictures for
the expression of his rare genius.

•J When humor takes form in pictorial art its guise is ideal
and its power divine. That Harold Lloyd appreciates this
fact is clearly shown in his motion picture productions.
His stories are based on simple plots of human interest,
staged in settings that are pleasantly artistic. The char-
acter he assumes is drawn from the ordinary walks of life
and his adventures — which in real life are usually looked
upon as misfortunes — are pictured as humorous happen-
ings in Lloyd's philosophic laugh making.

•J "The Kid Brother" is a splendid example of mirth in a
dressing of pictorial beauty. The scene at the old well is
a charming composition and there is a smile to be found
in Lloyd's pose of shy admiration for the pretty girl por-
trayed by Jobyna Ralston.

HE half savage exploits of

warring Scottish clans of the 12th Century;
the strenuous struggle for existence on
barren lands ; and the fierce battles of rival
clans; in and about picturesque feudal
castles; is the subject matter of the Metro-
Goldwyn-Mayer production "Annie Laurie."

^ Pictorially, the subject is rich in artistic appeal and the
players selected by the producers are splendidly repre-
sentative of the powerful, picturesque mountaineers who
made Scotland famous for its fighting men.

<J "Annie Laurie" is a picture of the men of clan Campbell
and clan Maclan who harbor mutual hatreds over wrongs
so old that their nature had been forgotten — the children
of clan Campbell were taught to hate the Maclans, and the
Maclans were reared to hate the Campbells, for grievances
of which even the parents were ignorant. And so for cen-
turies, pillage for clan glory, and assassination for clan
honor was carried on by the kilted warriors of medieval
Scotland ; in much the same spirit as modern nations con-
duct war; but with the ancient, artistic color elements of
battle axe and dagger; rather than the prosaic poisoned
gases of civilized massacres.

<JThe romantic element in "Annie Laurie," pictures the
love of Annie of clan Campbell, for John the Great; the
handsome, stalwart young chieftan of clan Maclan who
is quite as fascinating in appearance as the famous "Shiek"
and equally as audacious in impulsive love making.

<J Lillian Gish is in the title role supported by Norman
Kerry, Hobart Bosworth, David Torrence, Creighton
Hale, Brandon Hurst, Patricia Avery, Joseph Striker,
Russell Simpson and Frank Currier — Oliver Marsh pho-
tograph— the production under the direction of John
Robertson.

RUSTIC splendor distinctive

of the Italian renaissance when life in
Rome under the rule of the Borgias was a
continuous carnival of luxurious licentia,
is seen in glorious profusion in "Don Juan"
in which remarkably beautiful settings con-
tribute immeasurably to the romantic theme of the
production.

•I Just as the ancient Romans established Venus as the
goddess of love, so have the dramatists, authors and poets
of the past four centuries established Don Juan as the god
of love. And now the dramatic artistry of John Barry-
more has established the fabulous reputation of the great
lover in the world's newest art.

<J Since Gabriel Tellez, a Spanish monk in the sixteenth
century, created the character of "Don Juan" in a play
entitled "El Burlador de Sevilla," many stories, operas and
poems have been written with this fascinating character
in the heroic role, but it has remained for the motion pic-
ture art to visualize the romantic piracies of Don Juan
against backgrounds of preeminent magnificence.

•I Essentially "Don Juan" is a story of a handsome, irre-
sistible man and many beautiful women; and the cast of
the motion picture production includes such screen beau-
ties as Mary Astor in the leading role opposite John
Barrymore, Estelle Taylor as "Lucretia Borgia," Helene
Costello, Myrna Loy, Jane Winston, Phyllis Haver and
June Marlowe. Alan Crosland directed the production
with Gordon Hollingshead officiating at the camera.

•I In producing "Don Juan" Warner Brothers have ideal-
ized and glorified incarnate beauty in a pictorial atmos-
phere of exquisite artistry. The backgrounds, the costum-
ing and the masterly lighting effects are all reminiscent of
the picturesque age in which the story is laid.

EART hunger and spiritual

thirst for sympathy; reflected in composi-
tions of vivid dramatic power ; compose the
artistic structure on which the story of
"White Gold" is presented by the De Mille
Pictures Corporation with Jetta Goudal

featured as its star.

tjThe scenic presentations of "White Gold" are excep-
tionally allegoric in portraying the great, suffocating lone-
liness which depresses humanity when deprived of life's
greatest comforts — love and human understanding.

•J In them are seen life's dominating emotions — happiness
and sorrow — In the composition on the opposite page
sorrow sits in dejection and misunderstanding is pictured
in the void between the man and the woman.

•I In producing "White Gold" the De Mille Studio has
employed the full power of art to entertain and enlighten.
In its scenes are to be found the visible reflection of physi-
cal hunger and thirst, and the vivid suggestion of a starv-
ing heart and a parched soul.

^ Superficially, "White Gold" is a drama of sheep ranch-
ing in the vast wilderness of the Great West, in which the
frontiersman struggles heroically to protect his flock from
the ravages of desert-like droughts and to build a home
for himself in the heart of nature. But the protection of
his sheep is not more vital than the protection of his home.
And the water to save his flock is seen as not more impor-
tant than the fountain of sympathy to sustain love.

<I "White Gold" is a pictorial adaptation of a play by J.
Palmer Parsons. It was directed by William K. Howard
and photographed by Lucien Andriot. The cast in sup-
port of Jetta Goudal includes Kenneth Thomson, George
Nichols, George Bancroft, Robert Perry, and Clyde Cook.

VIEW of old Paris with its

narrow streets winding like crevices
through a mass of dull gray stone — Houses
protruding in architectural disarray, with
overhanging window casements and dark
porticos where visions of gallantries, in-
trigues and tragedies are conjured in mysterious shadows
— is part of the appealing endowment of art with which
Warner Brothers have invested their production "When
a Man Loves."

•I In this artistic drama are seen the narrow, uneven side-
walks on which common subjects stepped aside to let
swaggering courtiers pass while sullen men repressed
frowns and sodden beggars lifted voices in appeals for
alms — Little shops dimly lighted through small window
panes ; where great nobles came to abuse the servile shop-
keepers while purchasing trinkets for fair ladies; or to pre-
tend purchasing while really seeking an amourette with a
maid of the bourgeoisie.

•I There is particular charm in the contrast of color in this
scene. The simplicity of feminine attire and the somber
tones of the architecture are in artistic rivalry with the
bright colors and fancy dress affected by the noblemen of
the period. And there is a wealth of romance in the reflec-
tion that affectation in dress was characteristic of the
greatest swordsmen and the most fearless fighters in the
reign of Louis XVI.

<J In the scene reproduced on the opposite page the beauty
of dainty Dolores Costello supplies the appealing note of
femininity to the composition — Warner Oland portrays
the arrogant noble. John Barrymore is the star in "When
a Man Loves," which is an adaptation of "Manon Les-
caut," produced under the direction of Alan Crosland.
The photography is the work of Byron Haskins.

LTHOUGH moral oppression

and social persecution are customs of by-
gone generations and forms of inherited
savagery which most of the passing gen-
eration has abandoned, Victor Hugo's "Les
Miserables" will live forever as an expose
of bigotry and an indictment of an age of fanatic insanity
in which barbarism was mistaken for civilization and in-
tolerance accepted as a mark of culture.

•I There is no doubt that "Les Miserables," as a work of
literature, played an important part in breaking down
society's hypocritical attitude toward women and its sav-
age treatment of man's transgressions. And now in the
animated form of pictorial art Victor Hugo's great story
will extend its enlightening influence. It will be compre-
hended by the illiterate and carry to the bigoted, visual
evidence that "to err is human; to forgive is divine."

<][This production, presented in the United States by
Universal, was produced in France under the direction of
Henri Fescourt with artists from the leading Parisian
theatres in the principal roles. The cost of the production
was in excess of twelve million francs, and a year was
spent in filming the six thousand scenes from which the
production was assembled in its completed form.

<J The interior scenes were made at Vincennes and Join-
ville Le Pont, near Paris, and the exterior settings are
actual views of the locations described by Victor Hugo.
These are principally in the town of Digne and at Mon-
treuil-sur-Mer where streets and public places which had
undergone changes were reconstructed to conform with
their appearance in the year 1815.

CJIt is regrettable that but few of the still pictures se-
cured during the production of "Les Miserables" are of
sufficient artistry to warrant publication. The production
itself is undoubtedly adequately staged, but of the avail-
able still pictures, the composition on the opposite page
is probably the best.

lOURTSHIP and Marriage

and even love itself, affects styles — or is
affected by styles distinctive of each suc-
ceeding age and period of human progres-
sion. The attitudes and actions of young
lovers have never been similar to those of
"grandma's day;" but regardless of form and mannerism,
the ways of elemental love are always charming and of
vast interest to all the world.

•I A love affair differing widely in style from the present
motif of syncopated wooings and saxophonic wedding
nights; is pictured in the Fox production, "The Music
Master." A story set in the atmosphere of New York City
a scant thirty years ago, when homes were institutions
and brides their emblems of sanctity — rather than kitch-
enette embellishments as in this age of capricious one-
room furnished-apartments.

•J A notably artistic conception of the young lovers in
"The Music Master" is the picture of their first moments
alone as man and wife. In the modest dress of the period,
the homelike setting of the room, the soft candle light, and
in the venerating embrace of the bride and groom; there
is a soft strain of tender romance — a gentle intonation of
two souls in perfect harmony — happy and contented in
being — alone at last.

•J In "The Music Master" there is another romance — a
tragic one — in the pictorial story of the aged musician;
bowed in sorrow by a dishonored wife. Grieving in his
heart but cheering all those about him by the melody of
his cherished violin. This part is played by Alec B. Fran-
cis. Lois Moran is seen as the bride, and Neil Hamilton
the groom.

<J The production was staged with special art studies by
Albin, under the direction of Allan Dwan.

Alone at Last — Photo by Albin

— A scene from "The Music Master"

ITH gondolas gliding on placid

waters between sheer walls and stately
colonnades that seem to have absorbed the
soul of ancient glories and to reflect the
spirit of eternal romance in the depths of
the canals — Venice in serene beauty and in
carnival attire contributes its artistry to the backgrounds
of the First National production, "The Venus of Venice."

*i The artistic aspect of Venice exerts a strange influence
over even the most prosaic of natures. It causes the
austere to think of tender love serenades and the humble
to contemplate the most extravagant romances. Venice
and things Venetian are infectious in a malady of love-
madness which seems more virulent with the passing of
the ages and more communicative to those passing on in
age — at least the novelists, poets and some historians tell
us so. And the scenarist contributes to the fabulous re-
nown of the city in the Adriatic lagoon, in the presenta-
tion of "The Venus of Venice."

•J This is a Marshall Neilan production that recounts the
infatuation of an American artist for an attractive young
feminine crook who tries to be good but continues to be
bad in spite of the painter's reformatory efforts. Con-
stance Talmadge plays the role of the Venetian "bobbed
haired bandit" whose felonious habits cause consternation
for her lover and embarassment for his American fiance,
in addition to keeping the police busy.

•I Antonio Moreno portrays the enamoured American
artist at the head of a supporting cast which includes
Julanne Johnston, Edward Martindel, Michael Vavitch,
Arthur Thalasso, Carmelita Geraghty, Tom Ricketts and
Hedda Hopper.

UAINT romances along the

Mississippi River in the days before the
slave question plunged the nation into civil
war, are recalled in many views in the Uni-
versal Picture "Uncle Tom's Cabin" and
the picturesque old side-wheel river boats
which swept so majestically up and down the Mississippi
in the days of its greatest glory add a touch of artistic
realism to the production.

•I The coming and going of these big, gaily painted boats
were gala events in plantation life. When they rounded
the many bends in the big river and came into view
through the trees, dramatic life was given to the sluggish
stream. There was always bustle, music and gaiety
aboard and at the shriek of the landing whistle, the activ-
ity of the boat spread contagiously to the drowsy planta-
tion negroes on shore and monotony gave way to joyous
excitement as long as the old side-wheeler remained in
sight.

1$ The old side-wheeler seen in "Uncle Tom's Cabin" was
the last of the famous fleet which glorified the Mississippi
in the days when Mark Twain was a pilot. It was de-
stroyed as it lay at the levee in Memphis shortly after it
had played its part in the Universal production and all
that now remains of this picturesque fleet are memories
and southern traditions with which the "Kate Adams,"
the "Natchez" and the old "Robert E. Lee" are insep-
arably associated.

<JIn "Uncle Tom's Cabin" the river boat of slave days
figures prominently in the action and the introduction of
an authentic boat of the period lends historic value to the
motion picture production.

<J This is a Harry Pollard production in which the negro
player, James B. Lowe, portrays the character of Uncle
Tom. George Siegman plays Simon Legree and Virginia
Grey is seen in the character of Eva.

LLURING harmony in form

and color is the distinguishing feature of
the ancient settings in which Christianity
was born. And in the domain of artistic
composition nothing more appealing has
ever been conceived than the actual scenes
amidst which Jesus of Nazareth preached to the multitude.

1$ In reproducing the scenes of Biblical history for "The
King of Kings," Cecil B. De Mille constructed many of
these impressive settings, including the great temple of
Jerusalem in all its massive grandeur, the halls of Pilate
and Herod, and the streets of Nazareth and Judea. All of
which, entirely aside from the dramatic action shown in
them, are individually and collectively splendid works of
art.

•J The scenes in the great temple at Jerusalem showing
the multitude worshiping Jehovah or the money lenders
plying their profession are, like the scenes before Pilate
and Herod and on Calvary at the Crucifixion, remarkable
perspective compositions in which realism assumes artis-
tic eloquence.

^ The splendid collection of still pictures of "The King of
Kings" are remarkable examples of the co-ordination of
theme and settings — the backgrounds are in perfect har-
mony with the spirit of the action.

^ In certain street scenes in Nazareth and Judea there is
a softness of form and delicacy of coloring that is roman-
tic in composition. And in them is set the sublime Bibli-
cal romance of righteousness and spiritual love.

tjThe superb artistry evolved in the production of "The
King of Kings" is to be placed to the credit of a whole or-
ganization of research workers, scenic experts, designers,
costumers, students of Biblical history, photographic ex-
perts and dramatic artists all working under the personal
supervision and direction of Cecil B. De Mille.

NDER starry skies in the

stillness of the night tremulous with the
rustling whispers of unseen life — in the
night air scented with the dewy distillation
of wild flowers, grass and new mown hay
— there is an exalted appeal to the senses
which thrills and inspires, and yet defies description.

^ Under its magic spell love is born and finds expression
in clasped hands and silent caresses. And emotions
that are strange and profound beyond expression, are
awakened by nature's magnificent spectacle of creation.

<J The art of nature is overpowering in its grandeur. It
can be appreciated only in silent contemplation. It is in-
finite in its expression of infinity and mystifying in its dis-
play of eternal mysteries.

•I A pictorial reflection of this sublime artistry is seen on
the opposite page in a scene from the Universal picture
"Alias the Deacon," in which June Marlowe and Ralph
Graves are pictured as the lovers sitting entranced by the
enchantment of Nature's beauty.

•I "Alias the Deacon" is a "small town" story in which
rural scenes play an important part as expressive back-
grounds for the action. It is an adaptation of the stage
play of the same title by John B. Hymer in which Jean
Hersholt portrays the character of a pious appearing
"deacon" who in reality is a clever card sharp that turns
the tables on the town gamblers who attempt to take ad-
vantage of his seeming unsophistication.

•J Ralph Graves and June Marlowe head the supporting
cast which includes Myrtle Stedman, Ned Sparks, Lin-
coln Plummer, Tom Kennedy, and Maurice Murphy. Ed-
ward Sloman directed the production and Gilbert Warren-
ton is credited with the photography.

ADOLPH ZUKOR— Creator of Idols and Ideals

The first of a series of articles on the great personalities whose genius guides the motion picture art. — The editor.

urn

iY merely changing
the names of the
characters and mod-
ernizing the story,
the Arabian Nights
tale, "Aladdin and the Wonder-
ful Lamp" may be read as the
story of Adolph Zukor; builder
of idols and ideals — dean of the
masters of art in the magic world
of motion pictures; and president
of the Famous Players-Lasky Cor-
poration.

Aladdin had a wonderful '<
lamp that brought him fame and
fortune and the realization of
his fondest dreams — Adolph
Zukor had an idea in which
there was genius quite as mar-
velous as the fabled lamp. Like
Aladdin, Zukor encountered
trials and tribulations on his
journey into the strange and un-
cultivated field of motion pic-
tures. He had his prized pos-
session copied and stolen, but
retrieved it to accomplish the
amazing results we now behold
in the form of pictorial art on
the screen and in the marvelous-
ly beautiful motion picture thea-
tres which stand like actual cre-
ations of the magic palaces in
the Arabian Nights.

The magic of the fabulous
lamp is, in reality, the magic of

an idea; and its "genius" is the genius of thoughtful applica-
tion— Adolph Zukor possessed a great idea and the mentality
to employ it in Aladdin-like accomplishments. He brought
forth from the caverns of obscurity, priceless gems in the form
of art. He presented beauty in a new form to the world for the
world's entertainment without himself realizing its real intrinsic
value; and his international fame and vast fortune are but the
results of natural genius.

Many idols of the screen owe their fame to the genius of
Zukor. Their beauty, gtace, and the charm of individual per-
sonality, belong to the star alone; but credit for their elevation
to public attention belongs to the vision and judgment of
Adolph Zukor. No idol stands higher than the pedestal on
which it rests; and the pedestal on which most if not all screen
stars are glorified, is the pictorial and dramatic ideal conceived
by the small, modest, soft-speaking man who, fifteen years ago
was poor and unknown — a prophet without fame — ignored by
the powers who were ignorant of their power and of the great
possibilities of the undeveloped screen novelty which they then
controlled.

The old powers of the motion picture industry, known as
the Biograph, the Vitagraph, Lubin, Selig, and Essanay who
would not listen to the plans of progress voiced by the modest,
soft-spoken little man with the big idea, have, have in less than
fifteen years, passed on into almost forgotten history — and the
motion picture which they exploited as a "catch-penny" novelty,
exhibited in dingy store theatres, has become an expression of
magnificent art and an art of magnificent expression, nourished
and developed on Adolph Zukor's idea of beautiful photography

qADOLPH zuko%

portraying famous plays enacted
by famous players.

Biograph, Vitagraph, Lubin,
Selig and Essanay were the pio-
neers in the motion picture field.
But their pictures were all of
short length, crudely made, and
tvretchedly exhibited — so wretch-
edly in fact, that protests were
made against the vile conditions
existing in the dark, unsanitary
places where pictures were
shown, medical authorities de-
nounced the flickering exhibi-
tions as destructive of eyesight,
and public clamor for the abol-
ishment of motion pictures was
mounting to threatening propor-
tions when Adolph Zukor came
with the idea that probably saved
the great new art from oblivion.

To meet success in a field
flourishing in public favor, is
like a prospector striking a
bonanza — it is a matter more of
luck than fortitude or ability.
But to enter a field when it is
threatened with destruction re-
quires the courage of inspiration
and the inspiration of courage.
And it was at such a time in the
progress of motion pictures that
Adolph Zukor made his appear-
ance— a poor young man with
but a few hard earned dollars,
the loss of which would have
been a crushing personal calamity.

He faced not only the threatening public attitude, but the
monopolistic antagonism of the companies who owned and con-
trolled motion pictures, entrenched behind a formidable wall
of patent rights. They would neither listen to propositions for
the betterment of their pictures, nor tolerate the production of
pictures by any one other than their own number.

Their patent rights were extended even further than the pro-
duction of pictures. They manufactured the projecting machines
used in all theatres, and these wete sold under agreements with
the exhibitors which forbade the showing of any pictures not
bearing their trade-marks under penalties which would, in ef-
fect, close any of the little theatres showing an independently
made motion picture.

Failing to interest the old motion picture producers in mak-
ing better pictures, forbidden to engage in making them on his
own account, and confronted by the difficulty of having them
exhibited should they be made by himself, Zukor's inspired
idea of presenting famous plays, the world's greatest stories,
and the famous players on the motion picture screen, met with
resistance and discouragement on all sides. And fostered by
a man of less resolution and genius, the idea that made motion
picture art the great thing it is today, would have perished and
with it, in all probability, the motion picture itself.

There is a strange element of fatality in all human endeavor
— every worthy thing finds a genius to guide its success and all
who oppose this guiding genius go down in defeat. All those
who opposed Zukor have fallen — all who joined with him

{Continued on last page)

GRETA GARBO

- — Metro-Goldwyn-Mayer Star

STUDIO ACTIVITIES —Pictures in the Making

A summary of the players and the pictures now in production at the various motion picture studios.

WIDE VARIETY of subjects are now in
course of production and many exceptionally
artistic creations may be expected during the
spring and summer months.

Scenes from these new productions will be
published in early issues of the MOTION
PICTURE ART PORTFOLIO.

FoX IS PRODUCING several interesting
subjects, including:

OLIVE BORDEN in "The Joy Girl" under
the direction of Allan Dwan.

ALMA RUBENS in "The Heart of Salome"
with Walter Pidgeon and Holmes Herbert un-
der Victor Schertzinger's direction.

BUCK JONES in "The Holy Terror," di-
rected by Lambert Hillyer.

"CARMEN" featuring Dolores del Rio and
Victor McLaglen under Raoul Walsh's direc-
tion.

"IS ZAT SO" featuring George O'Brien,
Edmund Lowe and Kathryn Perry under Alfred
E. Green's direction.

"CRADLE SNATCHERS" with Louise Fa-
zenda and J. Farrell MacDonald under Howard
Hawks' direction.

"7th HEAVEN" with Janet Gaynor and
Charles Farrell under the direction of Frank
Borzage.

rJM.E1RO-GOLDWYN-M.AYER studios are
busy on:

"OLD HEIDELBERG" starring Ramon No-
varro and Norma Shearer under the direction
of Ernst Lubitsch.

"THE TRAIL OF '98" with Ralph Forbes.
Tully Marshall and Harry Carey under Clar-
ence Brown's direction.

"THE 13th HOUR" with Lionel Barrymore
and Jacqueline Gadsden under Chester Frank-
lin's direction.

"ON ZE BOULEVARD" with Renee Adoree
and Lew Cody under Harry Millarde's direc-
tion.

"BECKY" with Sally O'Neil, Owen Moore
and Gertrude Olmsted under John P. Mc-
Carthy's direction.

"CAPTAIN SALVATION" with Pauline
Starke, Lars Hanson, Marceline Day, Flora
Finch and George Fawcett under John S. Rob-
ertson's direction.

^De Ml LLE- METROPOLITAN studios are
engaged in producing:

LEATRICE JOY in "Vanity" with Alan
Hale and Charles Ray under Donald Crisp's
direction.

VERA REYNOLDS in "The Little Adven-
turess" with Victor Varconi, Phyllis Haver and
Theodore Kosloff under William De Mille's
direction.

JOSEPH SCHI LDKRAUT in "The Heart
Thief" with Lya de Putti, Robert Edeson and
Eulalie Jensen under Nils Olaf Chrisander's
direction.

"TURKISH DELIGHT" with Julia Faye and
Rudolph Schildkraut under Paul Sloan's di-
rection.

"THE KING OF KINGS" Cecil B. De
Mille's personally directed production has been
completed and is now being edited under Mr.
De Mille's supervision.

Famous -PLAYERS studios are active in the
production of:

"BARBED WIRE" starring Pola Negri un-
der Rowland V. Lee's direction.

"WHIRLWIND OF YOUTH" with Lois
Moran also under Rowland Lee's supervision.

"WEDDING BELLS" with Raymond Grif-
fith under Earle Kenton's direction.

"ARIZONA BOUND" with Gary Cooper
under John Waters' direction.

"WINGS" with Charles Rogers and Clara
Bow under William Wellman's direction.

"THE WAY OF ALL FLESH" with Emil
Jannings and Belle Bennett under Victor Flem-
ming's direction.

CLARA BOW in "Rough House Rosie" un-
der Frank Strayer's direction.

ED WYNN in "Rubber Heels" under Victor
Heerman's direction.

EDDIE CANTOR in "Special Delivery" un-
der William Goodrich's direction.

BEBE DANIELS in "Senorita" under Clar-
ence Badger's direction.

W. C. FIELDS in a production not yet given
a title, under Gregory La Cava's direction.

"FASHIONS FOR WOMEN" starring Es-
ther Rawlston under Dorothy Arzner's direc-
tion.

"THE BIG SNEEZE" with Wallace Beery
under the direction of James Cruz.

FlRST NATIONAL studios are producing:

"THE SUNSET DERBY" with Mary Astor
and William Collier, Jr., under Albert Rogell's
direction.

"THE TENDER HOUR" with Billy Dove,
Ben Lyon, Montague Love, Laska Winters and
T. Roy Barnes under George Fitzmaurice's di-
rection.

COLEEN MOORE in "Naughty but Nice"
with Donald Reed under Millard Webb's di-
rection.

RICHARD BARTHELMESS in "The Patent
Leather Kid" with Molly O'Day under Alfred
Santell's direction.

"BABE" RUTH in "Babe Comes Home"
with Anna Q. Nillson under Ted Wilde's di-
rection.

LOIS WILSON and SAM HARDY in
"Broadway Nights" under Joe Boyle's direc-
tion.

ADOLPH ZUKOR— Creator of Idols

[Continued from preceding page)

achieved success — and many who left him have passed from the
heights into oblivion.

Adolph Zukor's first effort in the presentation of motion pic-
tures was the importation of a French film, "Queen Elizabeth,"
played by Sarah Bernhardt which he was permitted to exhibit
to motion picture theatres because it was a foreign made prod-
uct which did not conflict with "trust owned" rights. The pic-
ture was a novelty in being five reels in length, and a sensation
because of its famous star.

Permission to make or exhibit other pictures was denied; but
with indications pointing to fallacies in the patent rights of the
movie combine, Zukor, with the cooperation of Daniel Frohman,
organized a little corporation, named after his idea, the Famous
Players Film Company, which produced as its first picture "The
Prisoner of Zenda," starring James K. Hackett. This was fol-
lowed by James O'Neill in "The Count of Monte Cristo,"
Lillian Langtry in "His Neighbor's Wife" and Mrs. Fiske in
"Tess of the D'Urbervilles."

Then came the development of Mary Pickford as a great
screen star following her appearance in "The Good Little
Devil," and the presentation of productions starring Cyril Scotr,
William Farnum, John Barrymore, Gaby Deslys and many other

famous players, in pictures of a length, style and quality which
established the criterion for present-day productions.

With the development of the pictures came the development
of new stars. On pedestals of Famous Players productions a
long and imposing list of players took places as famous screen
idols. These past and present idols include Mary Pickford,
Douglas Fairbanks, Wallace Reid, Rudolph Valentino, Olive
Thomas, Betty Compson, Bebe Daniels, Gloria Swanson, Con-
way Tearle, Milton Sills, Lon Chaney, Thomas Meighan, Theo-
dore Roberts and a host of others.

While creating stars and weaving his ideals into a marvelous
art to entertain the cultured as well as the mass of humanity,
the genius of Adolph Zukor spread its constructive power to
the creation of beautiful theatres to worthily present this new
art to the public. And under his leadership and influence the
standard of the motion picture theatre advanced from tiny,
tawdry, wretched little store theatres, to magnificent palaces
where princely entertainment costing fortunes to produce are
presented at trifling cost to the public.

The stars of the motion picture screen now shine with mar-
velous brilliancy over all the world — their faces are known to
countless millions and their personalities sway the emotions of
all mankind — their artistry and their charm is unchallenged, but
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Motion Picture ART PORTFOLIO

Issued monthly from the printing establishment of Fleming Si Reavely, Inc., 344 West 38th St., New York City, in the United States of America

CHARLES J. GIEGERICH, Editor and Publisher

Vol.

May, 1927'

No.

CONTENTS

Features : —

Cecil B. De Mille

The Star Maker

A biographical sketch of the
famous producing director.

Portraits:—

Vilma Banky

Cover Illustration

Samuel Qoldwyn Star

Margaret Livingston

William Fox Star

Phyllis Haver

Metropolitan Star

Esther Ralston

Famous Players Star

Norma Shearer

Metro-Qolduiyn-Mayer Star

Fred Humes

Universal Star

Scenes from: —

"The Unk nown
"Seventh Heaven

anity
"Camille

"The Secret Studio
"The Heart Thief
"The Dunset Derby"
"Somewhere in Sonora
"Children of Divorce
"The King of Kings
"The Venus of Venice
"Ben Hur

"The Night of Love"

Artistic Melodrama

ITH the exception of the Cecil B. De Mille presentation "The King
of Kings" which recounts Biblical history, the leading motion picture pro-
ducers have, for the present at least, turned from subjects of an historical
nature, to the production of fiction with an international flavor.

Foreign backgrounds and alien customs predominate in the best of the
new picture plays, and melodramatic treatments have been given to even the
humorous subjects.

Backgrounds representative of Spain, France, Italy, Hungary, Jerusalem
and America are seen in the collection of motion picture scenes reproduced
in this issue of Motion Picture Art Portfolio. And the wide pictorial range
is supplemented by a variety of themes equally as interesting. Comedy and
tragedy are about equally divided in the stories, and the dominant human
impulse; love, is presented in many phases.

The fiery, passionate love of the Latin is pictured in two stories with
Spanish settings; tender romance is found in two subjects dealing with the
French; tragic loves are disclosed against backgrounds of Hungary and
ancient Jerusalem; a hoyendish affair of the heart is unfolded in an Italian
atmosphere; love themes ranging from sweet simplicity to an affaire
d'amour of effete aristocracy are recounted in the pictures dealing with
American life; and the universal impulse, spiritual love, is visualized in the
Biblical story set in ancient Judaea.

While melodramatic action predominates the new screen presentations,
all the subjects are of an high artistic order. The costumings are particu-
larly colorful; the backgrounds are exceptionally pleasing; and the various
groupings are eloquent in making the themes comprehensive.

Effective use of intense shadows and brilliant highlights are seen in the
photographic reflection of many of the scenes, and genuine artistic genius
is displayed in the composition of several subjects reproduced in this issue.
These subjects are especially noteworthy as displays of artistic beauty in
combination with dramatic values. Their beauty appeals to the senses and
their subtle suggestion of reality entrances the imagination.

For the Information of Motion Picture Fans and Art
Collectors the contents of previous issues of MOTION
PICTURE ART PORTFOLIO will be found on the last
page of this issue.

PHYLLIS HAVER

— Metropolitan Pictures Star

ESTHER RALSTON

— Famous Players-Lasky

HE PRIMITIVE Passions of

nomadic tribes that sullenly obey, or pre-
tend to obey, the laws of the lands through
which they travel, but secretly recognize no
laws nor moral codes other than the ancient
customs and rites of the gypsy, is the inter-
esting subject portrayed in the Metro-Goldwyn-Mayer
production "The Unknown."

^ Spanish backgrounds and especially the background of
a Spanish-Gypsy circus with its tents and gaudy wagons
in which the performers live, lend an element of distinct
color to the artistic scenes which make up the production.
The character portrayals are, in themselves, exhibitions of
splendid artistry.

•J The story which was written and directed by Tod
Browning, deals with subtle intrigues in the caravan of a
circus and the intimate associations of prodigies, human
monstrosities, and beautiful women. And while there is
a love theme in its plot, the story is a character drawing
of a strange people, their unconventionality, and their
craftiness.

€J Lon Chaney is starred in the title role, "The Unknown" ;
an "armless" wonder who, using his feet, thrills the cir-
cus crowds with exhibitions of knife throwing at a beau-
tiful girl used as a target which he barely misses as he sur-
rounds her with a frame of long keen knives.

•I The girl is the center of a love triangle in which "The
Unknown" and "the strong man" are rivals. The strug-
gle for possession of the girl is an unusual combat between
the gallantry and strength of a handsome man, and the
weird, hypnotic cunning of a grotesque freak of nature.

<JJoan Crawford is seen as the girl, and Norman Kerry
portrays the "strong man." Nick De Ruiz plays the role
of the circus owner and John George appears as a dwarf.

HE beautiful effects

being introduced into the production of
melodramatic "western" picture plays are
seen in the artistic desert scenes from
"Somewhere in Sonora" the First National
picture produced by Charles R. Rogers with
Ken Maynard in the starring role.

•J The picture shown on the opposite page is an impressive
conception of the majestic solitude and the vivid grandeur
of the great American desert. The beauty of this mighty
waste of shifting sand mountains and weird cactus
growths, is unexampled anywhere else on earth. And the
chimera of rain in the form of snow-white cloud banks
which occasionally drift over this vast sun scorched area,
add artistic touches to its magnificent desolation.

•I To obtain the full value of the delicate shades of color,
Sol Polito who photographed "Somewhere in Sonora"
used specially prepared film, particularly sensitive to the
most delicate shades of color and the beautiful cloud ef-
fects, deep shadow and the illusion of distance are due to
this process.

<jThe story told in "Somewhere in Sonora" is based on

the reco-;^ ^ a target which he b,n» and

that fJfs her with a frame of long keom the Unlted States
into American bandits are

p4 The girl is the center of a love trast is drawn between

Unknown" and "the strong man" Mexicans who assisted

gle for possession of the girl is an ui

the gallantry and strength of a h<

weird, hypnotic cunning of a groteing role opposite Ken
_ _ . , . , horse Tarzan, is given

q Joan Crawford is seen as the £ the direction Gf Albert
portrays the strong man. Nk
of the circus owner and John '

HAT "Seventh Heaven", the

acme of happiness, is a mental region at an
altitude but a step higher than one's pres-
ent circumstances, is illustrated pictorially
in the William Fox production, adapted
from John Golden's successful stage play.

<JThe story told in "Seventh Heaven" conjures the com-
forting thought that the lower one may be in the social
scale, the easier it is to reach the heights of perfect con-
tentment. This fact is illuminated by Austin Strong, the
author of the drama, who has taken his hero from the low-
liest of humans ; a sewer man of Paris.

^ The "sewer rat" known as Chico, is "a very remarkable
fellow." He thoroughly believes that a man is exactly
what he believes himself to be. Chico is a very remark-
able fellow — he says so himself; and says it often. And in
spite of what others think, he believes it.

Chico is young and rather handsome and a self declared
atheist. Working down in the vile, dark sewer, he dreamed
of a "Seventh Heaven." To reach this paradise, he asked
three things. — To be elevated to the position of a street
washer where he could work in the sunlight; — A wife with
"yellow" hair and ; — The thrill of a ride in a taxi down the
Champs Elysees, to the Place de la Concord, through the
Arc de Triomphe, then home, and to perdition with the
expense.

<I Chico's "Seventh Heaven" was not far above the street
level. Yet the burning of three candles accompanied by
prayer in the Cathedral of Notre Dame failed to bring him
there and Chico became an atheist until the good Father
Chevillon lent him material assistance.

<I Charles Farrell, Janet Gaynor, Gladys Brockwell,
David Butler and Ben Bard are featured in the cast under
the direction of Frank Boreage.

RUSTIC FANTASY in the

form of settings, and novelty in costuming
are attractive features in the pictorial dis-
play seen in "Vanity," produced at the Cecil
De Mille studio. These distinctive touches
are the creations of two designers; Anton
Grote who conceived the futuristic motif for the back-
grounds, and Adrian the Parisian fashion creator who
designed the bizarre gowns worn by Leatrice Joy in the
stellar role.

<I "Vanity" is a combination of exotic settings and
esoteric impulses. The boudoir of the heroine is an amaz-
ing chamber with towering windows, massive, silk and
velvet draped walls, gorgeous rugs on glistening floors,
luxurious divans on daises, exquisite statuary rivalled by
exquisite femininity veiled in filmy finery, and over all, the
subtle suggestion of subtile perfume and fabulous ro-
mance.

•I Pictorially, "Vanity" is well titled. Many of its scenes
express the spirit of vanity far better than it can be de-
scribed. And if vain impulses have no other merit, they
are at least pleasing in their artistic aspect.

•Jin theme the story swings from a study of luxurious
mannerisms to melodramatic action dealing with primi-
tive passions, and the problem of self preservation. It pic-
tures romance in aristocratic circles embellished with all
the lavish refinement at the command of wealth.

•I The action presents a young, impetuous and imperious
society goddess exposed to the attack of brutal men
through her own folly in seeking a thrill aboard a tramp
steamer on the eve of her marriage.

<J Donald Crisp directed the production with Charles Ray
and Alan Hale in the cast supporting Leatrice Joy.

NOTE of Restful Beauty, as

soothing as the fragrance of Spring, per-
vades the scene from "Ben Hur" repro-
duced on the opposite page. This artistic
composition recalls a quotation from George
Sand — "books whisper to the heart, but
pictures speak to the soul !"

•I Fine art creates a profound impression, even upon those
incapable of defining its meaning; and this scene from
"Ben Hur" is impressive in its reflection of magnificent
simplicity.

"Ben Hur," a tale of Jerusalem in the days of Herod, is
essentially a story of dramatic action. The spectacular
chariot race, with its vast throng of spectators ; The soldi-
ery of the great Roman Empire under the command of
Valerious Gratus, surrounded by the glittering panoply
of war; the gorgeous palaces of the mighty conquerors,
and the precarious positions of the conquered, are toned
in relief and given sharper dramatic values by scenes of
quiet, peaceful life, close to the heart of nature.

•I Credit for the splendid pictorial and dramatic values in
"Ben Hur," as produced by Metro-Goldwyn-Mayer, be-
longs to director Fred Niblo and his staff of assistants,
quite as much as to the players who interpret the virile
characters in the General Lew Wallace story. The pho-
tography is the work of four cinematographers ; Rene
Guissart, Karl Struss, Percy Hilburn, and Clyde De Vinna.
Ferdinand P. Earle devised the art effects, and Cedric
Gibbons and Horace Jackson were in charge of the
settings.

Ramon Navarro portrays the title role; "Ben Hur,"
May McAvoy is seen as his sweetheart, Esther, Francis X
Bushman is in the role of Messala, and Carmel Myers
plays the seductive Egyptian ; Iris. Others in the cast are
Betty Bronson, Mitchell Lewis, Claire McDowell, Frank
Currier, Kathleen Key, Charles Belcher, Dale Fuller, Leo
White, Nigel De Brulier and Winter Hall.

NEW "CAMILLE", modern-

ized and retold pictorially in a manner
which leaves a happy final impression in-
stead of the saddening finale as originally
written by Alexander Dumas, will be seen
in Norma Talmadge's portrayal of the
Parisian siren, produced by Joseph M. Schenck and pre-
sented as a First National picture.

<I Although the story has been brought up to date in the
matter of settings and costuming, the plot of the story
has not been changed and Miss Talmadge will be seen as
the ill-fated heroine conceived by Dumas but appearing
as the author would have viewed her in the present gen-
eration.— A beautiful young woman, elegantly gowned,
the object of many amourettes but dominated by but one
amour.

•I "Camille" followed a fashion and a moral code much the
same as the present day manners and customs of the smart
set. And while she was unique and incomprehensible in
the period that Dumas discovered her, she is a familiar
character in modern life and it is easy to imagine her in an
atmosphere of refinement, surrounded with every luxury.

^ Parisian gowns of exquisite design, sumptuous furnish-
ings, priceless art objects and magnificently decorated in-
terior settings were employed by the producers in the
artistic presentation of the story. One of the exotic
touches is an elaborate sunken bath equipped with a spe-
cial telephone connection, to permit uninterrupted con-
versations with admirers.

tflThe cast supporting Miss Talmadge includes Gilbert
Roland, Lilyan Tashman, Rose Dione, Alec B. Francis,
Oscar Beregi, and Helen Jerome Eddy under the direction
of Fred Niblo.

COLORFUL ROMANCE

reminiscent of love affairs in swashbuckl-
ing days and royal intrigues in ancient
castles, is contained in the pictorial trans-
lation of Lajos Biro's Hungarian play,
"The Highwayman" which the De Mille-
Metropolitan studios have produced under the motion
picture title, "The Heart Thief."

1$ To invest the production with an atmosphere of quaint-
ness typical of Hungary, huge settings covering an acre
of ground, were constructed on property adjoining the
studio. Part of this immense setting represents the court-
yard of a castle, almost a city block in length, leading to
the castle itself which towers to the height of a modern
ten story building. The construction of the characteristic
buildings forming artistic backgrounds for "The Heart
Thief" required the services of a hundred skilled workmen
for more than three weeks.

<J"The Heart Thief" is a romantic drama based on the
inevitable element in love and the assumption that the
man and the woman destined for each other, will event-
ually be drawn together despite all human obstacles, in-
cluding their own efforts to remain apart.

•IJoseph Schildkraut is the star of the production in the
part of an attractive, roistering gambler who, at heart, is
a man of honor and a gallant gentleman. Lya de Putti
plays the part of his sweetheart who renounces and then
rejoins him. Robert Edeson portrays an elderly count.
Others in the cast are Eulalie Jensen, Charles Gerrard,
George Reehm, William Bakewell, Max Montor and Zalla
Zarana.

•J Nils Olaf Chrisander directed the picture with Henry
Cronjager in charge of the photography.

Pleading ■ — Joseph Schildkraut and Lya de Putt! in a scene from "The Heart Thief

VENETIAN Bal Masque

portrayed in a massive setting of excep-
tional design, serves as an admirable back-
ground for a dance of exquisite beauty
in one of the spectacular scenes in the
First National Picture "The Venus of
Venice" starring Constance Talmadge under the direction
of Marshall Neilan.

•I The scene of the bal masque takes place as part of a
great carnival and the setting is a reproduction of the
lobby of a big Venetian hotel. Twelve beautifully formed
dancers, draped to represent marble figures supporting a
fountain, perform an intricate interpretive dance under
the spray of water.

•J While the guests, in their fantastic costumes stand en-
thralled by the beauty of the dancers, the most beautiful
girl among the spectators, Carlotta, known as the "The
Venus of Venice," takes advantage of the opportunity to
wear a mask, and plys her profession of sneak-thief.

€J Kenneth, an American artist, is very much in love with
"The Venus of Venice" to the great disgust of his rela-
tives, and the merriment of the beautiful but tricky, light-
fingered little Venetian.

€| The amazing element in the story is Kenneth's complete
knowledge of Carlotta's weakness for other people's
property. A knowledge, which failing to weaken his ardor,
illustrates the profound foolhardiness of some love affairs.

€J"The Venus of Venice" is a romantic comedy-drama
staged in picturesque old world settings and peopled with
modern characters. Constance Talmadge in the title role
is supported by Antonio Moreno, Julanne Johnston, Ed-
ward Martindel, Carmelita Geraghty, Hedda Hopper,
Tom Ricketts, Mario Carillo, Michael Vavitch, Arthur
Talasso, and Andre Lenoy.

HE SPORT of kings which

by the grace of reform legislators is rapidly
finding itself in the category of criminal
pastimes, is the subject presented by First
National pictures under the title of "The
Sunset Derby." A drama of the American
race track adapted from the short story by William Dud-
ley Pelly.

^ In theme the story is a romance portrayed in melodra-
matuT
culiar
circles

intense suspense pe-
h prevails in racing

•I In

filmec

regul

displa

horse;
associ

^fOn
color
turf i
Willi

exhif

scenes which were
Mexico, during the
duction is a pictorial
lg of thoroughbred
ture to be found in
lg life.

its reflection of rural
i association with the
page. In this scene,
ole of a jockey is seen
y to a typical group of

veteran horsemen, such as may be found in and about
every racing stable.

^ Pictures from this angle are like confidential disclosures
of the real life behind the vivid surging scenes when
the great crowds pack the grandstand and the horses dash
down the stretch to the strains of music heard faintly
above the shouts of the multitude.

•I "The Sunset Derby" was produced by Charles R.
Rogers, under the direction of Albert Rogell, with Mary
Astor playing the leading feminine role opposite William
Collier, Jr.

RidSm Cowboy! ~ Fred Humes, Star

CLARA BOW AND GARY COOPER

— in "Children of Divorce" — Famous Players-Lasky

CECIL B. De MILLE— The Star Maker

The second of a series of articles on the great personalities whose genius guides the motion picture art. — The editor.

^~^HE richest mines of
/ jjfame and fortune in

" any art, are to be
found in visions of
development. And
those who first discover them
reap the harvest of their intelli-
gence.

The supreme achievements in
every art are attained, usually, by
its earliest practitioners. The
great masters of painting are the
old masters. The drama is in-
delibly associated with Shake-
speare and the criterions of liter-
ature are the works of the old
philosophers. And what is trues
of philosophy, painting and the
drama may also apply to the new-
est of arts — the motion picture.

It is too early in the develop-
ment of motion picture art to
assume that it has reached its ul-
timate perfection. But under the
masterful leadership of such
geniuses as Cecil B. De Mille,
the motion picture has attained a
technical and pictorial beauty
that will be difficult to far sur-
pass.

Cecil B. De Mille's eminence
as a director and producer of
motion pictures is due not so
much to the fact that he entered
the field early in its develop-
ment, but because of the fact that he brought to the making
of pictures a thorough understanding of a sister art — the drama.
Mr. De Mille was reared in a highly cultured theatrical family.
His father, Henry De Mille, was for many years a collaborator
with David Belasco; a professor at Columbia University, and
an instructor in the Sargeant School of Dramatic Art. And it
was at this school that Cecil B. De Mille received a thorough
training in all branches of dramatic art; after which he spent a
score of years on the stage as an actor, a producer, and as a
playwright.

When Cecil B. De Mille first turned his attention to motion
pictures, they were for the most part badly produced "two-
reelers," serving only to amuse the curious. They were so care-
lessly and inadequately presented that the better class of amuse-
ment seekers looked upon them with contempt. Yet at this
point — when the motion picture was a drab affair — De Mille
saw visions of its splendid possibilities.

He visualized the possibilities of developing a new technique
in pictorial and dramatic expression and, finding that his ideas
found favor with Jesse Lasky, who was at that time a producer
of vaudeville sketches, a partnership for the production of pic-
ture plays was entered into by these two young men who, in less
than fourteen years have become world-famous as leaders in
the world's greatest art.

The first play secured for presentation by these two young
artistic adventurers, was Edmund Milton Royle's "The Squaw
Man." As Mr. De Mille knew nothing at this time of the mo-
tion picture camera, he paid a visit to the Edison studio, at

CECIL B. De SMILLE

Menlo Park, New Jersey, and
with the slight knowledge of
production gained there, but
with a high purpose, he made his
way to Los Angeles to picturize
"The Squaw Man" as a big, spe-
cial production.

There were no splendidly
equipped studios at that period
in California, so Mr. De Mille
faced the necessity of renting an
old barn, which he found vacant
at the corner of Selma Avenue
and Vine Street, Hollywood.
This "barn" studio eventually
developed into the splendid Para-
mount studio, coveting two city
blocks, which was only recently
vacated for more elaborate quar-
ters.

A mechanical error in the ad-
justment of the film for "The
Squaw Man" nearly ruined De
Mille's first effort as a motion
picture producer. When "The
Squaw Man" was first shown on
the screen, the actors jumped
and jerked about in an incompre-
hensible manner and the produc-
tion appeared as a fiasco until the
mechanical imperfection was cor-
rected. Then "The Squaw Man"
was acclaimed an artistic and
dramatic achievement and a new
personality for art was recognized
in motion picture circles.

De Mille's greatest contributions to the motion picture art are
his discoveries of picture personalities. Some of the screen's
greatest stars have been advanced through his efforts. These
include: Thomas Meighan, Gloria Swanson, Rod La Rocque,
Leatrice Joy, Vera Reynolds, Bebe Daniels, Monte Blue, Wallace
Reid, Elliot Dexter, Mae Murray, Lew Cody, Jack Holt, Ben
Alexander, Wesley Barry, Wanda Hawley, Wallace Beery, Wil-
liam Boyd, and Jetta Goudal.

During the eleven years that Cecil B. De Mille was Director
General of the Famous Players-Lasky Corporation; from Decem-
ber, 1913, to December, 1924; he brought motion picture pro-
ductions to a marvelously high level of artistry. And during
that period, besides supervising one of the greatest motion pic-
ture studios of the world, he personally directed or supervised
fifty exceptionally successful photoplays.

This amazing list, beginning with "The Squaw Man," in
1913, in which Dustin Farnum was the star, includes: "The Vir-
ginian," "The Man from Home," "The Rose of the Rancho,"
"The Girl of the Golden West," "The Warrens of Virginia,"
"Maria Rosa," "Carmen," "The Trail of the Lonesome Pine,"
"The Cheat," "Joan the Woman," "The Little American,"
"Male and Female," "Why Change Your Wife," "Feet of
Clay," "The Golden Bed" and "The Ten Commandments."

During the past two years, as an independent producer, he
has added many noteworthy productions to his artistic achieve-
ments including "The Volga Boatmen" and the great biblical
story of the life of Christ, "The King of Kings," which has just
been presented to the public.

Photographs of
MOTION PICTURE
Aspirants

made at this studio will
be submitted to motion
picture directors and pro-
ducers under special ar-
rangements to be made

with Motion Picture
Art Portfolio.

Send or bring this cou-
pon for particulars.

De SvLirjian

Portraits of Exceptional Beauty

De Mi

Photographer to the Theatrical Profession

1599 BROADWAY, NEW YORK CITY

Previous Issues °fMotionPicture art p°rtf°li°

Contained the following Illustrations

Contents of

FEBRUARY

ISSUE

Portraits: —

Jacquelin Logan
Clara Bow
Olive Borden

Scenes from: —

"Ben Hur"
"Michael Strogoff"
"Sorrows of Satan"
"The Monkey Talks"
"Wings"

"The King of Kings"
"Old Ironsides"
"Annie Laurie"
"Jim the Conqueror"
"The Red Mill"
"Sunrise"

"White Black Sheep"
"The Big Parade"
"Twinkletoes"

Contents of

MARCH

ISSUE

Portraits : —

Marie Prevost
Billie Dove

Scenes from : —

"Flesh and the Devil"
"What Price Glory"
"Mr. Wu"

"When a Man Loves"
"The Music Master"
"Barbed Wire"
"The King of Kings"
"The Last Trail"
"Winners of the
Wilderness"
"An Affair of the Follies'
"Michael Strogoff"
"Sunrise"
"Ben Hur"
"The Blonde Saint"

Contents of

APRIL

ISSUE

Portraits : —

Olive Borden
Gilda Gray
Greta Garbo
Adolph Zukor

Scenes from: —

"Mr. Wu"
"The Kid Brother"
"Don Juan"
"Uncle Tom's Cabin"
"White Gold"
"The Night of Love"
"Les Miserables"
"The Venus of Venice'
"When a Man Loves"
"The King of Kings"
"The Big Parade"
"The Music Master"
"Annie Laurie"
"Alias the Deacon"

A limited number of these back issues are now available to motion picture
fans desiring to complete their collections — They will be sent to any address in
the United States upon receipt of price — 25 cents per copy. Address MOTION
PICTURE ART PORTFOLIO, 344 West 38th Street, New York City.

Gorgeou

Enlargements

In Two Sizes— 11 x 14 inches and 16 x 20 inches

Of the beautiful scenes published in the MOTION

Picture Art Portfolio may be obtained by mail

IN THREE STYLES
Black and White— Sepia— and Hand Colored.

THE NUMBER OF THESE
GORGEOUS ART CREATIONS
IS LIMITED AND WE RESERVE
THE RIGHT TO DECLINE
ORDERS AND REFUND
MONEY WHEN THE SUPPLY
IS EXHAUSTED.

PRICES for 16" x 20" Enlargements

In Black and White each. $2.00

In Sepia each, $2.50

Hand Colored each, $4.00

These mammoth enlargements
are real photographs and
their size makes them elaborate
and BEAUTIFUL ART
WORKS especially suited for
framing.

PRICES for n" x 14" Enlar gements

In Black and White each, $1.00

In Sepia each, $1.25

Hand Colored each, $2.00

In ordering, give titles of pictures wanted and mention the issue of the MOTION
PICTURE ART PORTFOLIO in which the scenes were published.

MOTION PICTURE ART PORTFOLIO

344 West 38th Street, New York City

Gentlemen :

Enclosed herewith is (money order — check) for $ for which send

me 11" x 14" enlargements and 16" x 20" enlarge-
ments, as per attached list.

[Print] NAME

ADDRESS

ATTACH a LIST to this order mentioning titles of pictures wanted and the style of enlargements desired. 3-27

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