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

and the Temple house was still silent.

First to reach us was a note from Margaret Lindley, of
Terrel, who remarked that as Paris was some 250 miles from
Temple, it would be a little hard for the good citizens of the
latter to jog over to Paris to shop and to hear a phonoplay.
She suggested that the town we meant was Waco, some forty
miles away.

And it is so ordered. Until the Temple manager gets his
sound equipment, that's our story, and we're stuck with it.

JUST an old Hollywood custom. Headline — "Film
Beauty to Wed Scion of Millions."

This time it's little Blanche Mehaffey fof the old Cali-
fornia Mehaffeys) and the lucky boy with the well-lined
pockets is Mr. Arnold Wallace Staunton of Massachusetts
(of the old Back Bay Stauntons).

WHO'S that blonde gal over on the Hal Skelly set, where
they're making "The Show Off"?
What? No! Yes, it is, too. Helene Chadwick, enjoying
her first job in a big studio for four long, lean years! Hello,
Helene, glad you're back, and all that sort of tosh.

The talkies did it. Where was the mike all Helene's life?

WRITE in the name of your pet hate, and go for this.
A supervisor bought a play called "The Optimist,"
but didn't like the title.

"Why not?" pleaded his stor\' editor. "It's a good name!"
"I know," said the supervisor, "but I'm afraid of it. You



know what an optimist is, and I know- what an optimist is, but
the man in the street, y'understand — does he know it's a guy
that makes glasses?"

Oh, probably not, at that. Let's just drop it.

/"'LARA BOW has figured out a smart way to get the boy
friend on the dot for any and all dates.
She's just given Harry Richman, the current ball of fire,
a diamond-studded wrist watch guaranteed to split the seconds
square in the middle.

WATER stuff very nearly did for Monte Blue.
Shooting off Laguna Beach, JNIonte was riding a raft.
Along comes a big comber and knocks him kicking and yowling
into the sea.

Net result — three broken ribs and numerous cuts and
bruises for the star.

Not to mention, probably, some high class and elegant lan-
guage by the lacerated ^Ir. Blue.

THE Prince Aldivani, the one who has been married to
Negri, may get a new \vife. She is Mary McCormick,
American opera singer who is a protegee of Mary Garden.

But — there are two catches.

First, the princelet must become an Americaia go-getting
business man, preferably in Texas. Second, he must give up
his title and change his last name to McDivan.

Just two trifling changes. But if that laddie makes 'em,
it's sure true love. In the meantime, all Princey has to do is
finally get his divorce from perilous Pola.

IF Rudy Vallee takes Hollywood by storm, as his press agents
have promised he would, it will be because of his indifference
rather than his graciousness. This famous saxophone tooter
is making no effort to win the praise of the Hollywood scribes.

He was being interviewed by a writer last week and he
reclined gracefully and comfortably on a chaise longue in his
dressing room. His eyes were closed and he bore every evidence
of comfort until compelled to give some monosyllabic reply to
the writer's questions.

Finally he said, "I believe I will go home and go to bed and
have you interview me there. "

The young lady, without batting an eyelash, calmly replied,
"The last man I interviewed in bed was George Young."

"Who is he?" queried Rudy, [please turn to page 89 ]




/T BEAUTIFUL thing of light and shadow — and a picture

<l.y2. of a great sound stage in action. In the foreground one

of the crew is adjusting a microphone arm for a talking

scene. And high above, seen through the window, sits the monarch

of the phonoplay, the Man in the Monitor Room— that all-powerful

technician who regulates the flow of sound from actors' lips



Abbe



50



JheDi



sliked



Girl



Folks picked on

Alice White, but

her gameness

won



By Grace Thornley



ALICE WHITE — blonde, cute, hard-boiled — is the \
most disliked girl in Hollywood! V

She's had to fight for everything she has. The suave
diplomacy of the more cultured stars has remained an
enigma to her. She has not learned the value of a tear-filled,
abused look and a gentle word neatly placed. Standing up for
her rights, and doing that vociferously, has been her only •
weapon. But it has been a double-edged blade. And she has
been deeply wounded by it.

Other girls gather together in corners to whisper about her.
Wives draw away at a discreet distance when she enters the
room. And the most pitiful part about it is that Alice White knows it.
Her funny, tempestuous little soul has been hurt.

" I know they hate me — and I don't know why," she said fiercely, draw-
ing a nervous hand through her tousled blonde hair. "I've tried to help
people — I actually have. But nobody's helped me. I've had it tough all
my life. I've had to fight for everything I've got. I've been on my own.
No man has had anything to do with my career. I've fought for ever>'-
thing I've got — whatever it is I've got."

A strange, elemental little creature, she has done the only thing she
knew how to do. She has battled with a bitter tongue, a fiery eye and a
grim determination as her aids. Her path has not been easy. She has
struggled for every triumph.

Perhaps the old bromide, " A prophet is not without honor save in his
own countr>'," explains the situation. Alice was too well known in Holly-
wood. " .â– \lice White a star? Oh, that goofy little script girl? I remember
her. She — trying to be a star? Oh, yeah!" You know that sort of an
attitude? She's just had to show 'em what she could do. She's had to face
daily those skeptical eyes.

HER battles began before she became an actress. Once she worked as
a stenographer in the publicity department at the Pickford Studio.
Mrs. Pickford never liked her. "The girl doesn't wear enough clothes,"
she said. Alice had already discovered the penalty of being young and
cute and full of pep. Bosses' wives had her fired several times because
she was too attractive.

The curse clung to her when she signed a contract as an
actress for First National. The critics invariably noticed her,
to the tune of several paragraphs of encomiums. And exhib-
itors often featured her name above the star. This is not the
best way of bringing about a "big, happy family" feeling at a
studio.

But the exhibitors liked her because the fans did. She
brought in the monej' at the box office. Twice First National
was on the verge of letting her go and twice the theater owners
themselves stepped in and demanded that she be kept.

The kid has box office. No matter what she does, no matter
what sort of part she plays, no matter how bad her stories are —
the public likes her.

"And my stories have been bad enough," she said. "Oh,
but I've had plenty of disappointments. They told me I was to have the
lead in 'The Patent Leather Kid.' They sent out publicity stories to that
eft'ect. I was thrilled with it for, when you think of it, I've never had a
big — a really big — picture. I'm just the stepchild.

"Well, for weeks I kept hearing things about me. They didn't tell ME
a word, mind you; they just kept saying things behind my back. ' White
hasn't got the feeling.' ' ^^'hite hasn't enough depth.' But always behind
my back. I don't talk behind backs. I wanted [please turn to page 147 ]




Spunky, spright-
ly little Alice,
gamest of White
girls, all snap and
cute curves. She's
battled Holly-
wood toe to toe
for success. All
together now,
give this little gal
a hand



^




51



THE NATIONAL GUIDE TO MOTION PICTURES




y^ THE LOVE PARADE— Paramount

SPARKLING as Burgundy, and almost as intoxicating,
"The Love Parade" is one of the outstanding pictures of
the year. It is Lubitsch's most brilliant effort since "The
Marriage Circle. " The little director here conquers light opera !

After the dashing nobleman marries the Queen of Sylvajtia,
he gets durned tired of constantly obeying. So he bludgeons
the queen into letting him be head man.

Maurice Chevalier, a great favorite after his first .\merican
picture, despite a weak stor\', is grand as the prince. His
songs are triumphs. Jeanette MacDonald is an eye-feast as
the queen, and sings well. Lupino Lane amuses.

The music is relatively unimportant, although "Dream
Lover" and "Nobody's Using It Now" mav be popular.
Don't miss "The Love Parade." All Talkie.'




yi^ THEY HAD TO SEE PARIS~Fox

AHORSE doctor's gotta be smarter than any other kind
of doctor because a horse can't tell you where it hurts''
— that's one of Will Rogers' punch lines. The real Will
Rogers steps before the microphone and you'll have to for-
give him for all those silent efforts. He's great!

The story concerns a suddenly rich Oklahoma family who
bear down on Paris for culture and background.

In this Rogers is reunited to Irene Rich , his first leading lady,
who gives an elegant performance. Marguerite Churchill,
as the daughter, is a gal who bears watching, but the femi-
nine hit is a real French "mamselle," one Fifi Dorsay.

This is big entertainment, with Will Rogers giving some of
our first rate emotional actors a run for their Saturday night
remittance. All Talkie.

52



The



Shadow
Stage

(RBO. U. S. PAT. OF-FJ ff V



A Review of the New Pictures




y^ THE TRESPASSER— United Artists

YOU'LL paste this baby in your memory book. Gloria
Swanson, in her first all-talkie, is a sensation.

.\fter the "Queen Kelly'' disaster, it became imperative
for Gloria to rush a phonoplay into the market. Edmund
Goulding and the star hurled this picture into production.
The breakneck speed with which it was made might have
ruined it. Instead, it gave "The Trespasser" superb pace.

But the star! The glorious one never looked more beauti-
ful. Her voice does every trick demanded of it, and she sings
two songs like a meadow lark. And what clothes!

Swanson plays Marion Donncll, a business girl who is
snatched from the side of her husband, a wealthy youngster,
by his father, soon after the wedding. She and the resulting
infant have lean days until her millionaire employer takes
her under his protection. Crisis follows crisis, until she finds
happiness in the arms of the estranged husband. The story
reeks with hokum, but nobody minds.

Gloria gives the greatest performance in her career. The
whole cast is keyed high, too. Kay Hammond is stunning as
a crippled wife. William Holden is the best heavy father in
history. Robert Ames, Henrj' Walthall, Purnell Pratt— all
good. .\nd Wally .\lbright, last in "Wonder of Women," is
a stage kid you don't want to strangle.

"The Trespasser" is an achievement. All Talkie.



SAVES YOUR PICTURE TIME AND MONEY



The Best Pictures of the Month

THE TRESPASSER SUNNY SIDE UP

THE LOVE PARADE

THEY HAD TO SEE PARIS THE LADY LIES

FOOTLIGHTS AND FOOLS FARO NELL

BLACKMAIL YOUNG NOWHERES

DISRAELI

The Best Performances of the Month

Gloria Swanson in "The Trespasser"

Janet Gaynor in "Sunny Side Up"

Marjorie White in "Sunny Side Up"

Maurice Chevalier in "The Love Parade"

Jeanette MacDonald in "The Love Parade"

Will Rogers in "They Had to See Paris"

Irene Rich in "They Had to See Paris"

Walter Huston in "The Lady Lies"

Claudette Colbert in "The Lady Lies"

Colleen Moore in "Footlights and Fools"

Louise Faienda in "Faro Nell"

Donald Calthrop in "Blackmail"

Richard Barthelmess in "Young Nowheres"

Marian Nixon in "Young Nowheres"

George Arliss in "Disraeli"

Casts of all photoplays reviewed will he found on page I SO




y^ SUNNY SIDE UP— Fox

YOU'LL eat this one up, and it furnishes its own cream
and sugar. Janet Gaynor turns loose her cute little sing-
ing and speaking voices in a story of high life and low in New
York, and Charles Farrell is on hand to woo her with more
than gestures.

"Sunny Side Up" is another Cinderella yarn, with the
rich young Farrell finding the poor young Gaynor at a block
party on the New York East Side. This will never do,
thinks Charlie. Before you know it, Janet has cut out the
rich gild friend, played by Sharon Lynn, and the Gaynor-
Farrell love team scores a thumping old touchdown in the
last minute of play.

El Brendel, Fo.x favorite, furnishes a lot of laughs, as does
Marjorie White, a pert little piece from the musical comedy
stage. The De Sylva, Brown and Henderson music is par-
ticularly gay. Janet pipes the theme song, and nearly
everybody has a tune or two in his system.

Something new for Janet and Charlie, after their royal
line of sobby little love stories. But they came through like
good troupers, and you'll care for the result.

The bright little picture shows that we can have our
songs, dances and loves without going backstage for them.
And don't forget to keep your eye on the White girl. She
should go far. All Talkie.




yf^ THE LADY LIES— Paramount

THIS magnificently staged and acted drawing room
comedy is another milestone in the talkie's progress.
Critics of the baby talking picture said the phonoplay wovdd
be good only for action melodramas and the more obvious
sort of story. This picture makes them look silly.

Here is a smart, sophisticated little comedy of New York
life that tingles with punch, done with much imagination by
Director Hobart Henley. It is the story of how two growing
children hurled themselves into the lives of their father and
his pretty shopgirl sweetheart. It has stinging drama and
it has a storm of laughs — many furnished by Charles
Ruggles as a gently stewed friend of the family. Walter
Huston and the beautiful Claudette Colbert are stunning as
the lovers. Claudette wears gorgeous duds. All Talkie.




■^ FOOTLIGHTS AND FOOLS— First National

UNQUESTION.A.BLY this is Colleen Moore's best
picture since "We Moderns." Talkies have given her
a curious break which she's taken big.

Her voice is pleasant and versatile, and the story stan-
dards raised by talking films permit her to chuck the syn-
thetic program stuff and turn to something bigger. This is
it. The story, by Katherine Brush, is a skilful combination
of sophisticated humor and poignant emotional drama.

New York's musical comedy sensation, Mile. Fifi d'Auray,
is a temperamental French whirlwind before the footlights.
Offstage, she's little Betty Murphy, who loves a boy who's
a rotter. As Fifi, Colleen wears a hundred mad gowns and
wigs, and sings French songs with a naughty lilt. As Betty,
her piquant self. Both ways, gorgeous! All Talkie.

53



Sound or Silent, You Will Find the I



FARO NELL
— Paramount -
Christie

*

All Talkie




BLACKMAIL
— Sono Art-
World Wide

*

All Talkie



IT takes something hot in the way of a two-reel talking comedy
to break into this fast company of best pictures, and this
Louise Fazenda howl is the bright baby. "Faro Nell" is a
scream — an airtight, perfectly acted burlesque of the old-time
Western thriller. Louise, in long yellow curls, is a panic. This
is just what we've long wanted — a two-reel talkie we could
bellow at.



AT one bound the British picture makers jump among the
leaders in the talkie race. British International deserves
much credit for this splendid phonoplay. Love and murder
combine in the story, with a shopgirl, a dastardly blackmailer
and a lad from Scotland Yard as the key characters. Some ex-
cellent acting by Donald Calthrop as the miscreant. A few such
will deliver British producers from their inferiority complex.



YOUNG
NOWHERES—
First National

*

All Talkie




DISRAELI-
Warners

*

All Talkie



IF there is today a successor to the simplicity of Griffith, it is
Frank Lloyd. He has proved it by "Young Nowheres."
This is unpretentious, devastatingly human drama. A night
elevator boy in a large apartment house in New York falls in
love with a little maid-of-all-work. Richard Barthelmess, as
Binky, gives a poignantly humble portrayal. Marian Nixon
rises to new heights here. Fine.



THIS X'itaphoning of a play about the great British prime
minister introduces the beloved George Arliss to the speak-
ing screen. The Disraeli role is duck soup to the star — he made
his .\merican reputation in it. His performance is brilliant.
Distinctly a one-man show, for the others haven't a chance.
Thev include Joan Bennett, Anthonv Bushell and Doris
Llovd.



THE

MIGHTY—

Paramount

All Talkie




UNTAMED-
M-G-M

All Talkie



THIS is Bancroft's greatest role to date. He is not only the
he-man, but a handsome one as well, with all sorts of sex
appeal. From a gunman drafted into the war, he returns a
major, with all the honors his town can offer. His first job is
to clean up the city. What a pineapple for the crooks! "The
Mighty" has comedy, drama, and heart interest. Great en-
tertainment.



JUST a little jungle flower getting wilder ever>' hour. When
Joan Crawford strikes oil in one of those Latin-.\merican
republics she moves into a mansion, and falls in love with a
young engineer. He won't marry her on account of her money,
so she shoots him. Then he says yes. Joan gives a grand per-
formance. Robert Montgomery, the hero, is in for a load of fan
mail.



54



First and Best Screen Reviews Here



RICH

PEOPLE—

Pathe

All Talkie




THE KISS-
M-G-M

Sound



EDWARD GRIFFITH directs another sophisticated comedy
drama that should make D. W. watch his namesake.
Who said riches bring happiness? Constance Bennett disproves
this conclusively. She should do it convincingly, having turned
down millions in real life. The picture makes you glad you are
poor and can be wooed and won by the man of your choice.
Guaranteed to delight an intelligent audience.



SWEDEN'S gift, Greta (jarbo, makes silent pictures and >ou
like them or else. But you like them. "The Kiss" is a stereo-
typed triangle yarn, but it is distinguished by another com-
pelling performance by the mysterious Garbo. The story in-
volves the loves of three men for a woman. The husband is
shot and the wife goes on trial for her life. Conrad Nagel is the
"honorable" lover.



THE

SATURDAY
NIGHT KID-
Paramount

All Talkie




THE GREAT
GABBO
James Critze
Prod.

All Talkie



CLAR,\ BOW is sweet, self-sacrificing and plump in this
picture. She's a misunderstood gal who darns her sister's
socks and makes the gambling debts good. While she is about
this highly commendable work, the sister, played by Jean
.\rthur, successfully steals the picture. Beware, Clara! .\
trick headdress can't hide the double chins and your scenes
haven't got the punch they once had.



THIS is a bitter disappointment. Director James Cruze
tried to cross a fine Ben Hecht story of an insanely egotis-
tical vaudeville ventriloc(uist with one of these Hollywood
musical revues, and both suffer. Only a fine performance by
the bullet-headed Eric von Strohcim and a good one by Betty
Compson save the pieces. Cruze seems to have lost his sense
of humor, and the lighting and scenario are terrible.



WELCOME
DANGER—
Paramount

All Talkie




FLIGHT—
Columbia

All Talkie



THIS is the film that converted Harold Lloyd to talkies. It
should. His voice is excellent, and Barbara Kent boosts her
assets a thousand per cent. Story is about a young botanist
who is mistaken for a famous sleuth and forced into detective
service. Being afraid of a mouse, he would "welcome danger!"
Not a gag of any age is omitted, but we wager you will laugh
continuously.



THE first flying talkie, and one of the best of the air pictures.
A tale of marine corps fliers in Florida and Nicaragua, with
a romance involving Jack Holt, Ralph Graves and Lila Lee.
Holt is fine as a hardboiled llier, but honors go to Harold
Goodwin, as a young airman. The air shots are grand, and
credit goes to Frank Capra for direction and dialogue.

[ PLEASE TURN TO PAGE 108 ]

55




Anion Bruehl



CJi WAITING, waiting, waiting — until camera and microphone

J//^ are perfectly adjusted. A film star must know how to

double for Patience on a monument. Here's Corinne

Griffith, sitting on the edge of the camera booth, between scenes

of "Lilies of the Field" — waiting



56




hutins: the Chutes with



The seamy side of Hollywood
night life. Exclusive boot-
legged pictures showing Sal-
ly Eilers and PHOTOPLAY'S
fiend in human form looking
on the pop when it's pale pink



Phot Op/ ay 's Literary Lothario says it doesn V
take a Rolls and a roll to entertain the stars



TAKE heart, you fellows who would give your best
shirt for a date with a movie star. It doesn't take much
more to step out with a proud screen beauty than with
Mayme Glutz, who lives in the ne.\t block in the
Bronx of New York and works at the nickel and dime.

It's an e.xploded theory that it takes a Rolls-Royce, a
Chicago bankroll, and an Arrow collar profile to make whoopee
in Hollywood. Your salary is probably sufficient, but of
course there's the little matter of getting acquainted with
the stars. That's something else again.

After weeks of delving into the gay night life of dear Folly-
wood, returning to my Simmons in the cold dawn, I've com-
pleted my social survey. Hark! Hark! Hark!

E.xample number one. Sally Eilers, one of the prettiest
and most popular girls in Hollywood, and with more beaux
than Peggy Hopkins Joyce.

My date with Sally cost just $6.10. You spend that much
on IMayme Glutz! And it was a swell evening. We had fun
at the beach. There must be something that corresponds to a
beach in your neighborhood.

But be original. Don't all of you take Sally to an amuse-
ment pier. She'd like to go to the Cocoanut Grove and the
Biltmore once in a while. But, at least, she doesn't e.xpect
you to shoot the whole week's salary in one evening.

Of course, you couldn't take every movie girl to the beach.



The girl has to have a love of informality and a good sense of
humor, to say nothing of a sizeable hunk of democracy.

I know girls that shut their eyes tightly, and [udl out the
cologne bottle, when they just drive through the beach.
The sight of a hot dog would make them ill — to eat one would
cause permanent disorder.

If a dance hall Apollo tried to flirt with them they'd call
out the militia and write letters to their congressman. Not
every girl, star, society, or stenographer, has sufficient savoir
faire for the beach.

Now, with Sally, she likes an occasional hot dog. If anyone
tries to flirt with her she can take care of the matter. Sally
is no back number herself when it comes to a little harmless
flirting. She laughs with you. She even laughed when the
stout German lady changed her infant's laundry, where all
the world could see. Sally is young and gay, vivid and
vivacious, and always has a good time.

She is just the sort of girl you've taken to college proms
and Sunday school picnics. You've played tennis with her,
gone swimming with her when she's beaten you to the raft,
and sat in the porch swing with her and looked at 'the moon.
In other words, she's a real girl.

And I found out that you could step with Sally to the
tune of $6.10. Of course, in all honesty, I must confess that
the price was slashed considerably by dining at her house.

57



^i:\



By the well known grapevine circuit I
learned that papa and mama Eilers were
going out Thursday night. I managed
to make the date for Thursday night. At
times I show signs of intelligence.

I arrived at Sally's pleasant and un-
pretentious home at the hour set. A
colored maid ushered me into the living
room. Sally shouted down from upstairs
to know if it were I. I was pretty sure
that it was, and said as much. She came
tripping down the stairs. No waiting
for half an hour. Most girls would have
finished the chapter at least.

A dinner, tcle-a-tcte with Sally, glorious
thought. Alas, poor wretch, that was
what I thought. There were nine tele-
phone calls during dinner, nine men
determined to ruin my evening. All I
could do was to eat fried chicken, corn
on cob, new peas, hot biscuits and honey,
and strawberry shortcake — and listen.

"Oh, I thought you had forgotten me,"
Sally said into the telephone. (It's a
sort of formula, like "hello.") "No, I'm
going out tonight. Tomorrow? I've got
to see about wardrobe for 'She Couldn't
Say No,' over at Warners. Call me the first of the week."

She returned to the table.

"npHAT was a boy I was engaged to. I accepted the ring just
JL a year ago. No, the engagement is off, but it's a sort of

anniversar>-." (What a break, to help celebrate the anniversary,'

of some fellow's broken engagement.) "I gave the ring back.

I don't think a girl should keep engagement rings."