English: Still from the American drama film Brothers Divided (1919) with Gertrude Claire and Frank Keenan in a double role, on page 10 of the March 1920 Moving Picture Age

Identifier: movingpictureage03unse (find matches)
Title: Moving Picture Age (1920)
Year: 1920 (1920s)
Authors:
Subjects: motion pictures
Publisher: Class Publications, inc. / Frank Keenan Productions / Pathé Exchange
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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the systematic study of colonial and national development. In these days when the pride of nationality has been aroused, and the United States recognizes herself as one of the greatest nations in the world, people are thinking of our past as well as our future. There is also insistent demand reaching the National Board for films on Americanization. This inevitably requires the historic setting of our country, if we would tell the foreigner the genius of American democracy. The results of this study have been disappointing. With a few remarkable exceptions like Witchcraft, Evangeline, The Man Without a Country, Davy Crockett and The Conqueror, there is almost nothing which can be used as a setting for a series of pictures on Americas development. * * * In the ranks of moving picture producers there will be several recruits this year from among the directors. They will make fewer pictures, but better ones, for arts sake, and because better pictures mean bigger money. 10 MOVING PICTURE AGE March, 1920
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MAR i 1920ICI.B455432 MOVING PICTURE AGE REEL AND SLIDE EDUCATIONAL INDUSTRIAL VOL. Ill MARCH, 1920 No. 3 Screen Characters Seem Real Ones in Brothers Divided It Is Not a Propaganda Film, an Industrial Problem Play, a Mill Town Story, a Love Tale, Comedy or a Tragedy, But a Little of all These in a Picture of Human Souls Working Out Their Destiny By the Editor of Moving Picture Age IN what we thought a critical mood we saw Brothers Divided at the neighborhood theater and as we went home we talked it over. Tom was too good to be true; Max, a spineless, temperamental fiddler; Ruth and Harriet too meek; Matthew too open and pronounced in his misanthropy and greed; Keenan hogged the camera too much; the whole play was too fluffy and light; it didn't go deep enough into any phase of the life it suggested. Our human balance wheel, trotting along beside us, remarked demurely: You liked that picture, didn't you. It was a statement, not a question. No. Why do you say so? Because you scold the characters

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