File:Moving Picture Age (1920) (1920) (14594543539).jpg

English: Still from the American allegorical film Everywoman (1919) with Wanda Hawley (Beauty), Clara Horton (Youth), Margaret Loomis (Modesty), Edythe Chapman (Truth), Charles Ogle (Time), and Violet Heming (Everywoman), on page 10 of the February 1920 Moving Picture Age.

Identifier: movingpictureage03unse (find matches)
Title: Moving Picture Age (1920)
Year: 1920 (1920s)
Authors:
Subjects: motion pictures
Publisher: Class Publications, inc.
Contributing Library: Library of Congress, MBRS, Moving Image Section
Digitizing Sponsor: Library of Congress, Motion Picture, Broadcasting and Recorded Sound Division

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now writingdirectly for the screen will add not only to the prestigeof the Goldwyn Company, for whom he is writing, butalso to the dignity of the entire industry. The stories Mr. Tarkington will write are twelvetwo-reel comedies, the first eight of which have alreadybeen written. In preparing the stories for the directorsa departure has been made in that Mr. Tarkington hashimself arranged the continuity or scene and stage direc-tions for the use of the directorial staff. The firstEdgar comedy will be shown to the public early in1920 and will be followed by other tribulations in thelife of Edgar in ensuing photoplays. With the winning over of Booth Tarkington to theranks of screen writers, the motion picture takes a stepforward as an art-form of expression. Such writers canhave but one effect on the new art medium. And thatwill be the production of pictures closer to our ideas ofreality and in more intimate conformity with our idealsof genuine art. 10 MOVING PICTURE AGE February, 1920
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F£6 11 (920 -- MOVING PICTURE AGE REEL AND SLIEDUCATIONAL MAGAZINE INDUSTRIAL VOL. Ill FEBRUARY, 1920 No. 2 Modern Allegory Takes Form and Shape on the Screen By the Use of Sustained Metaphor Blended With Twentieth Century ReaHsm Every-woman Conveys a Moral Lesson Sadly Needed in Most of Our Cities and Towns By the Editor of Moving Picture Age WHAT one sees in a motion picture is just about what onelooks for, In the worst of them is good if one has eyesto see it; in the verv best ones are flaws of ethics, morals,oh, a hundred things to minimize the good and over-shadow it, if one dwells upon and misinterprets them. Now, then,Everywoman is one of the best pictures on the screen today. Itis, as its producers call it, The picture beautiful. Its photographyis as perfect as the camera can produce. The setting of its scenes,the costumes of its characters are wonderfull)- in keeping with thestorys theme. Tableaux striking and effective follow each other inprofusion to the final fadeout. The

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