Moving Picture Exhibitors' Association.

Photoplay (Volume 36 – 37 (Jul. - Dec. 1929)) online

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success. Silent. {May.)

Garbo was never finer than in this story of a
very modern woman. Nils Asther and Johnny Mack
Brown, too. Silent. (Sept.)

SIN SISTER, THE— Fox.— An Alaskan melo-
drama that has good suspense and excellent acting.
Sound. (June.)

SKIN DEEP— Warners. — Pretty good crook vorn.
All Talkie. (.4«g.)

SMILING IRISH EYES— First National. —
Brogues, brawls and bunkum, but >'ou'n like Colleen
Moore's talkie personality. All Talkie. iOcl.)

SOME MOTHER'S BOY— Rayart.— Quickie
hokum. Silent. {June.)

SONNY BOY— Warners.— They've put poor
little Davey Lee in a bedroom farce! The kid is
swell, the film a disappointment. Part Talkie. {May.)

SOPHOMORE, THE— Pathe.— Proving that it is
possible to make an entertaining college picture with-
out necking or drinking. All Talkie. {Aug.)

• SPEAKEASY- Fox.— The talkies' first melo-
drama of the prize ring and the under-cover
barrooms. Fast entertainment. All Talkie. {May.)

SPEEDWAY— M-G-M.— Bill Haines disappoint-
ing in an unoriginal racetrack varn. Part Talkie.

SQUALL, THE— First National.— All about a bad,
bad baby vamp. The film doesn't click. All Talkie.

' STREET GIRL— RKO.— Betty Compson. Jack
Oakie and Jolin Harron in a tale about a girl violinist
and a group of musicians. Good entertainment. All
Talkie. {Oct.)

Paramount. — Photoplay's tlirilling serial
comes to the screen and makes a corking melodrama.
All Talkie. {July.)

SYNCOPATION— RKO.— Gay and jazzy night
club entertainment that will enliven your evening.
All Talkie. {June.)

THIS IS HEAVEN— Goldwyn-United ArUsts.—
Vilma Banky talks and it is charmingl But the
story — Cinderella, No. 123456789. Part Talkie.

ders and more courtrooms. The old story is cleverly
told. All Talkie. {July.)

THUNDER — M-G-M. — Snow storms, train
wrecks and floods, with Lon Chaney at the throttle of
tlie locomotive, Sound. {Aug.)

• THUNDERBOLT-Paramount.— An engross-
ing and well acted story. One of the best of
the gangster operas. All Talkie. {Aug.)


Warners. — Lively comedy of what happens to a foot-
ball hero after graduation. All Talkie. {July.)


TIP-OFF, THE — Universal. — Crooks again I
Silent. (Aug.)

TOMMY ATKINS— World Wide.— English made
production that has the "Beau Geste" atmosphere.
Silent. {July.)


— Easy-going Western, with Tom Tyler just lopin*
along. Tom and Frankie Darro together. Silent.

TRENT'S LAST CASE— Fox.— A mystery story,
treated like a farce. And ver>' good, too. Sound.

Sue Carol goes to old Mother
Nature for her Fall color scheme.
Sue is wearing a fetching street
ensemble of light brown camel's
hair cloth. The lining, of yellow
crepe, is contrasted with a deeper
yellow in the vestee of the finger
tip length jacket. The hat of
light brown soleil is trimmed in
a two tone brown band. Gloves,
shoes and hose are soft brown

TRIAL MARRIAGE— Columbia.— How to hold
a wife overnight in seven reels. Racy and sophis-
ticated. Sound. (,Ocl.)

distinct achievement, in that it is a literal
translation of one of the best recent plays. And a
triumphant talkie debut for Norma Shearer. All
Talkie. iJune.)

TWIN BEDS— First National.— Frothy bedroom
farce with only a mild kick. Jack Mulhall and Patsy
Ruth Miller help. All Talkie. (Ocl.)

TWO MEN AND A MAID— Tiffany-Stahl.— Back
to the Foreign Legion, mates, with William Collier,
Jr. and Alma Bennett. Pait Talkie. {Sept.)

TWO SISTERS— Rayart.— Twin sister stuff.
Silent. (Atcs.)

TWO WEEKS OFF— First National.— A fluffy
little yarn ot seaside vacation love, with Jack Mul-
hall and Dorothy Mackaill. Part Talkie. {Sepl.)

UNHOLY NIGHT, THE— M-G-M.— Swell mys-
terj- stori'. artistically directed by Lionel Barrymore.
Roland Young and Dorothy Sebastian are great. All
Talkie. (.Ocl.)

VAGABOND CUB, THE— FBO.— Mostly just
cowboy stunts. Silent. {July.)

VERY IDEA, THE— RKO.— Broad farce mth
Frank Craven in tlic r6Ie he created on the stage.
All Talkie. {Oct.)

• VIRGINIAN, THE— Paramount. — Good I
Owen Wister's novel gone vocal and presenting
Gary Cooper in his first full-dialogue appearance.
All Talkie. {Ocl.)

fore the hanging, mother. The old one about the
innocent boy, the noose, the reprievel Silent. {May.)


?tuff. written and directed by Willard Mack and
acted by Mr. and Mrs. Willard Mack. All Talkie.

UNTAMED JUSTICE— Biltraore Productions.—
Enough animals — and action — for a circus. Not bad.
Silent. {Aug.)

WAGON MASTER, THE— Universal.- And now
the Westerns have learned to talk! Ken Maynard
.-hyly reveals an excellent voice. .\11 Talkie. {Ocl.)

WHEEL OF LIFE, THE— Paramount— The
romance of a handsome officer and his Colonel's lady
in India. .\l\ Talkie. {Aug.)

has been going on for years. Blue-grass racing
storv. with Helene Costello and Rex Lease. Silent.

Chaney bed-time story, with a touch of Kipling and
Poe. Silent. {June.)

WHY BRING THAT UP?— Paramount.— Study
in black and white of the world's most famous bru-
nettes — Moran and Mack. .All Talikie. {Ocl.)

• WILD PARTY, THE— Paramount.— Clara
Bow's first talkie. Clara is a smooth contralto.
It's a collegiate story — and that's what they want.
All Talkie. {June.)


Gibson gives up his pony and takes the air, with Ruth
Elder his flying partner. \'ague plot. Silent. {May.)


tame drama linked to a wild title. Sound. {Aug.)

WOMAN I LOVE, THE— FBO.— Mad husband
sets out to murder man for making love to wife.
Excited? Neither are we. Silent. {May.)

English production with a slow and sentimental
story. Silent. {June.)

• WOMAN TRAP — Paramount. — Another
crime yarn, above the average, with Chester
.Alibi Morris, Evelyn Brent and Hal Skelley at their
superb best. All Talkie. {Ocl.)

WONDER OF WOMEN— M-G-M.— Strong, emo-
tional drama of a misunderstood genius, a dutiful
wife and the "other woman." played superlatively
bv Lewis Stone, Peggj' Wood and Leila Hyams. Part
Talkie. {Ocl.)

YOU CAN'T BUY LOVE— Universal.— An orgj-
of bad gags. Part Talkie. {July.)

Photoplay Magazine for November, 1929


William Fox

e Parts

- onri clicl rfieu tolled

mii^ou? wow/




—where "Pike' Peters
met Claudine, the

gold-digging griscttc.

ol,, met his so"
-""^L'^d dts-o"cted h. a*-


as "Pike" Peters, saw everything that Paris
had to show — and that's an eyeful. At the
Folies-Bergere he shouted "Pike's peek or
bust." He paixed and paixed at the Cafe
de la Paix. Ooo-la-la-la!

At Notre Dame, he spent all day looking

for the hunchback and thought a chapeau

was a place to live. He was gold-digged from

Montmartre to the Latin Quarter, which he

■ thought was two bits in Roman money.

America's favorite comedian and most
natural talking picture actor is a riot in this
hilarious comedy of a newly rich American
family who tried to crash Parisian society.

Go to Paris via this all-talking Fox Movietone of

Homer Croy's novel, dramatized by Owen Davis.

</iicaetl by iFRANK BORZAGE



_»here Mts. Petets

met the Matqu.s de

t , Brissac Coudrjy and

'-i a possible title fothet

>* Mnmarried daughter.

de CtlCHV

— Claudinc's apartmtnt where
Mrs. Peters went 10 find Pike.
















m* wA.


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Photoplay Magazine foe November, 1929

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How Bachelors Manage Their Homes


"It looks sort of grand, doesn't it?" asked
Charlie. "Yet everything in it is cheap enough.
That twelve-record phonograph, for instance.
Got it at a great bargain and had it redone to
match the other furniture."

The living room extends two stories and the
second floor is reached by an inside stairway
that pauses at a balcony. A grand place for a
dramatic entrance.

CHARLIE'S bedroom is quaintly papered
and contains some iine antiques, including
a cherry and mahogany chest of drawers and
a four poster bed, although Charlie sleeps on
the porch adjoining.

The pictures on the walls throughout the
house show a nice taste for prints. There are
four framed photographs. One of his mother,
one of Fred Thomson (whose devoted friend
he Avas) and one each of Janet Gaynor and
Virginia Valli.

His entertaining is of the "drop around
sometime" variety and the most frequent
.-Iroppers-around are Dick Arlen, Jobyna
Ralston and the inimitable Big Boy Williams.
He has given very few parties but hopes to
give more when he has the time.

Not so Billy Haines. If there ever was an
old-fashioned haus fraii BiUy Haines is it. He

has four servants, all colored, two of whom,
strangely enough, are from Charlotsville,
Virginia, near his home.

They are Edna, the cook; Gilmer, the butler;
Richard, the valet and Lulu, the laundress.

"And Edna is the best cook in town," says
Billy, with a note of pride in his voice.

Would you suspect from what you know of
the roistering Mr. Haines that his house is
run like a battleship?

Well, it is. Each man has a job to do and
does it precisely.

The silver is cleaned once a week on a given

Once every other week the windows are
washed. Laundry is done on a certain day.

Every article in the house from the tin tray
on the antique chest of drawers to the gor-
geous German lamp (there are only two in
existence, by the way — Pola Negri has the
other) has a certain place and must be kept
in it.

THE house runs on schedule. Billy leaves
an order for breakfast at a certain hour be-
fore he retires at night. He does not lunch at

Dinner is served promptly at seven and two
servants wait on the table, in tails, if you

This bit of Old Virginny is where Billy Haines pillows his tired head.

Mahogany four-poster, quaint counterpane, patchwork quilt,

ruffled curtains, all speak to Billy of his Southern boyhood

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Photoplay Magazine for November, 1929


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please, whether there is only Billy or sixteen

The Haines boy entertains splendidly, like
the fine old Virginia fox hunter he is. His
table seats sixteen and sixty can be accommo-
dated at a buffet supper.

Extra help is brought in when there arc big

He usually leaves the menu up to the cook,
although he has favorite dishes.

Rich soups, soft shelled crabs, filet of sole
with almonds, crown roasts of lamb with
potato balls, filet mignons, lemon pie ami
cherry ice are among the favorites. All the
pastries and desserts are made by Edna.

Billy doesn't like cabbage. Theservantsdo.
On days when he is tobeaway they are allowed
to have it.

i'\nd there is never a banana allowed on the
premises. "They smell up the ice box," says

Billy knows how to make up a bed and he
expects his servants to perform the rite in the
old style manner.

It must be severely tailored.

A PPARENTLY the servants like this pre-
■' Vision for he's had them all over a year.
Take a lesson, young matron. I'll wager you
don't keep yours that long and I'll also wager
your house is not run in the orderly fashion
that Billy's is.

The home is too gorgeous to describe. I'll,
leave that to one of the title writers looking
for a job.

From the outside it is just a plain Italian
house on Stanley ."Avenue, without much of a
lawn. But the interior — well, my dear, you
should see it!

It's like a museum, only you don't stumble
over the skeletons of dinosaurs. There are
eleven rooms and they are all dotted with
priceless ohjiis d'arl and antiques.

There is a real Sir Peter Lely painting in the
drawing room (which has gold drapes and
Empire green walls), a priceless Venetian
commode, perhaps the most valuable piece in
the house, a crystal chandelier and an old, old

Five steps lead from the drawing room into
the dining room, where the long table and
chairs are antique.

In the living room there is an Empire fire-
place with griflins and shells getting chummy
with each other, designed by Billy himself.
All the bric-a-brac is of the finest.

The upstairs sitting room gives into the
three bedrooms. Billy's is a study in early
American art, with its quaint wall paper, its
old four poster bed, the mahogany secretary,
the Chippendale table and a marvelous col-
lection of P. F. Cooper miniatures.

In this palace one of the most frequent visi-
tors is Polly Moran.

I've got a picture of Polly picking up a
cigarette box and putting it back where she
found it.

If you think she would, you don't know
Skrijf Nell.

■pACH house expresses the personality of the
-'-'owner. That's why the boys choose homes
rather than apartments which, after all, look
pretty much alike.

The long, white cement wall on Mound
Street in Los Angeles shuts out the view of
the home of Ronald Colman, Esq.

You must add the esquire, after you've
seen the house.

It has alwaj's been surrounded with mystery.
Colman, himself, is as elusive as a cake of soap
in a bath tub.

The walls keep out the curious. It is only
after you're once inside that you realize the
charm of the place.

It is approached by a row of steps that lead
down into the patio, a rambling, winding little
patio connecting the house with a separate
establishment in which Charlie Lane lives.

Lane, a man of sixty-five or so, first played
with Ronald in "The Dark Angel" and again



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Photoplay Magazine for November, 1929

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in "Barbara Worth." After this picture
they took up residence together and when
Ronnie moved into this gorgeous new home
Charhe moved with him into a smaller house
on the property.

The entire house is just the sort an EngUsh
gentleman would have. The living room com-
bines drawing room and library as well, for
one wall is given over to indented book-

These are cut into the wall so that the books
are flush with it. And what an amazing
library !

Every play ever written, I believe.

A complete set of Cabell, and much pnil-
osophical literature. There are about 2,000
volumes in all.

His paintings are also excellent, shomng a
preference for landscapes and portraits.

Another outside patio leads to the tennis
court which is also walled from view. Tennis
is his greatest diversion.

T TNLIKE Billy Haines, Ronald seldom en-
'-^terlains more than si.x or eight people at a
time. But, rumor to the contrary, he enter-
tains often, sometimes three or four evenings a

The meals are faultlessly served by two
Hawaiian boys who, with the addition of
Tommy (as English as a fall "h"), who is his
valet and secretary, constitute the Haines

The dining room looks like an old English

There is a long dining table, heavy chairs
and a big side board which displays price-
less Wedgwood, \Wllow and Staffordshire

English prints, showing bright young men
in red coats, decorate the walls.

The entire house has an air of ease and com-
fort without ostentation. Ronald is, in reality,
a most informal person.

His friends are allowed to "drop in" on
him, even when he does not entertain with

Clive Brook and his wife. Bill Powell,
Ramon Novarro, Dick Barthclmess and his
wife, Ruth Chatterton and Ralph Forbes —
tliese arc his most intimate friends.

The business details of the management of
the place are left to Tommy, who supen'ises

The social hub of Ramon Xovarro's life is
his little theater, the Novarro Theater Intime.
His house remains sacred to his family, large
and Mexican, and no more than five .'Ameri-
cans have ever seen the real home behind the
white walls of his residence in the West
.\dams district, miles from Hollywood. The
house itself is white frame with green shutters
and a brick wall with iron gates.

/~\NE wing has been devoted to the theater
^^ which is Ramon's pride and joy. Here he
gives little playlets — all in Spanish — for Mexi-
can audiences.

The place only seats sixty and his family
take up the first two rows.

Unlike the free and easy manner that many
people employ with their servants, Ramon is
entirely the master, they entirely the serving

It was late summer when I had tea with
him and the man who served wore a starched
striped coat.

The table was placed on the stage of the
theater, neatly laid with an old Spanish cloth
and bright china.

It was the sort of tea one reads about in
smart novels, with tiny finger sandwiches, cut
in hearts and shamrocks, and luscious little
petit fours.

His butler was the most perfect I've ever

There is something old world about the
place, something infinitely fine and peaceful,
Uke Ramon himself.

The theater is Ramon's chief diversion.
Its lighting equipment would make Ro.xy

and Sid Grauman run to the nearest cyanide


The orchestra pit is deep sunken and en-
tirely concealed from view and the Ughts are
all managed from back stage, save for one
spot at the back of the theater itself.

The back of the stage opens into a tiny
garden, which Ramon had planted to be used
in his stage effects.

As I drew up in front of an old-fashioned

Online LibraryMoving Picture Exhibitors' AssociationPhotoplay (Volume 36 – 37 (Jul. - Dec. 1929)) → online text (page 116 of 145)