Silent Movie History – Page 6 – Old Magazine Articles

Silent Movie Caricatures (Vanity Fair Magazine, 1922)

When the Five O’Clock Whistle Blows in Hollywood is attached;
it appeared in VANITY FAIR eight years after Hollywood was declared the film capital of the world.

This single page cartoon was created by one of the great American caricaturists of the Twenties: Ralph Barton, and all the kingpins of the young empire are depicted (among others): Douglas Fairbanks, Marry Pickford, Buster Keaton, Harold Lloyd, Bebe Daniels, Bill Hart, Wallace Reed, Gloria Swanson, Nazimova, Charlie Chaplin, Jackie Coogan, Fatty Arbuckle and the writer Rupert Hughes.
Lording above them all, and represented simply by jodhpurs and riding boots, stands the founder of the feast – Cecil B. DeMille (and his brother).

Obsessed with Hollywood Stars (Motion Picture Magazine, 1916)

Attached is a single page cartoon from 1916 that illustrated quite clearly that the relationship between movie fans and their film star magazines have not changed at all during the past ninety years.

Movie Ushers (Vanity Fair, 1916)

A word on movie ushers and those darn flash lights…

A Predictable Silent Movie I (Vanity Fair, 192?)

Attached is a Vanity Fair cartoon from the days of silent film illustrating how unsophisticated those movies truly were and how wildly predictable the plots and characters always seemed to be. This cartoon, along with a number similar magazine articles on this site, illustrate that such thinking was not entirely rare.

Another anti-silent film article can be read here…

This critic didn’t like silent movies either – –

Typical American Films… (Vanity Fair, 1916)

The Conde Nast cartoonist Ann Fish wanted her swank readers to know that she was another Brit who recognized the reoccurring formula that young Hollywood relied on all too often and even though the film business was still in it’s infancy, there was such a thing as a typical American movie.

Predictable Characters from the Silent War Movies (Vanity Fair, 1919)

Here are seven drawings by Henry Raleigh (1880 – 1944) that depict the sorts of silent film characters that were likely to be seen in the 1920s W.W. I movies. These sketches are accompanied by a few dry remarks by the Vanity Fair editors:

No matter how much we may wish to lose sight of the war, it can’t be done. There will always be reminders of it. You suppose that, just because a little thing like peace has been declared, the playwrights, the theatrical managers, and the moving picture producers are going to let a chance like the war get by? Since we have become accustomed to German spies, Red Cross nurse heroines, and motor corps vampires, we could never go back to the prosaic mildness of innocent little country heroines, villains in fur-lined overcoats and cub reporter heroes. No actor will ever again consent to play a society role in evening clothes with flap pockets and jet buttons, when he can appear in a war play wearing an aviator’s uniform and going around in a property airplane.

This 1918 silent movie was certainly mocked for its predictability…

1913 American Films (”Our Times”, 1936)

As the rosy fingered dawn came upon America in 1913 it found Douglas Fairbanks, the man who would soon be Silent Hollywood’s fair haired boy, wowing the crowds on Broadway. The play, Hawthorne of the U.S.A., starred Fairbanks in the title roll and closed after 72 performances; he was also married to a woman who wasn’t named Pickford – but rather named Anna Beth Sully, who had sired his namesake. Life was good for the actor and he wouldn’t turn his gaze West for another two years. By contrast, his future bride, Mary Pickford (né Gladys Smith, 1892 – 1979) had been prancing before the cameras since 1909 and by the time 1913 rolled around had appeared in well-over 100 short films and earned the nickname Little Mary.

Son of ”Fast Facts” (’47 Magazine, 1947)

To be sure, the motion pictures that Hollywood produced during the late teens were very self-conscious, but they were beginning to develop smartness…
Los Angeles and its environs were crowded with new motion picture companies. The American Film Company, the Vitagraph Company, the Universal Company Christie Comedies and Selig found competitors springing up like weeds after rain: the demand for flickers was enjoying its first boom.

Geraldine Farrar on Acting in the Silent Movies (Vanity Fair, 1921)

In the attached article, Metropolitan Opera diva Geraldine Farrar (1882 – 1967) relays her experiences as a film actress in The Hell Cat (1918) and The Turn of the Wheel (1918), and boldly declares that there is a big difference between acting in an opera and acting for the screen (who knew?).

There are a hundred intimate expressions of the eyes, the mouth, the hands, that can only be transmitted through the camera, and the strong and sometimes merciless light of the projection machine. And this is what the motion picture actress must clearly and everlastingly keep in mind: she is acting for an audience which is near enough to detect any insincerity of feeling or any sham in make-up.

Click here to read about physical perfection during the Golden Age of Hollywood.

Promoting Citizenship (Touchstone Magazine, 1920)

To encourage the making and distributing of films that will promote faith in America, the Americanism Committee of the Motion Picture Industry was organized.