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

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"is not a gold-digger. She goes after plati-
num."

And if a magnate squawks as to their
preciousness, feel for a boy with an agent, a
business manager, a publicity man, a tailor,
a haberdasher, an automobile agent, a land-
lord, and a housekeeper to support; as well as
an expensive miscellany of clubs, professional
societies, friends having a bad year, relatives,
charities, and shops where he must stand for
a raised price on e\-erything he buys because
he is supposed to be a fool with money.

Naturally the young man of the business
gets glassy-eyed in the presence of its young
women. Knowing their penchant for ruining
the remnants of his bankroll, it is a natural
reaction.

TTHAT opaque stare which the girls hold is
-'• now characteristic of his handsom<> eyes,
is far more often caused by fear than by
indifference.

Thus the Hollywood male, less deadly than
the female, realizes that discretion is the
beginning of wisdom. He sticks to his boats,
his games, his little theaters, his books, and
his hermitages.

When in need of feminine solace, he goes
where it is safe — nonprofessionals unskilled in
the mining craft, or a marriage with the one
girl who he is certain will not put a permanent
wave in his future.

Pit)' the poor movie kid. There are game laws
for e\ery form of animal life but him. Is it
odd that he has assumed a protective colora-
tion requisite to his needs?

The defense rests!



Another Fairbanks



By

Phillip Merton



DENNIS KING makes you think
of Fairbanks. King is not tall,
yet he is so active that you never
notice his height. His carriage is
erect, and he has Doug's slim grace.

He can do Fairbanks' "stuff," too,
sword play and all. Even his voice
has that same dramatic quality. Doug
has always been a romantic figure.
So has King.

There is a glamor to King that I
have felt in few people. That is why
I believe he is destined for greatness
on the screen. He was a tremendous
success in New York in "Rose Marie, "
"The Vagabond King," and "The
Three ISIusketeers. "

His first screen appearance will be
in Paramount's Technicolor pro-
duction of "The Vagabond King,"
which brings Rudolph Friml's glow-
ing music to the screen. It has been
in production for many weeks.

If Dennis King is like Fairbanks,
there are times, too, when his resemblance to John Barry-
more is startling. And like Barrymore and Fairbanks, Dennis
King will always be at his best in costume pictures.

King's boyhood explains that, for he was born in Coventrv',
England. In the shadows of the spires of Coventry he heard
of the good lady Godiva who took a little jaunt through the
streets, garbed only in her long hair.

For a romantic boy there is no future but the stage, or




DENNIS KING



writing, or wandering. When Dennis
was fourteen he ran away and became
a call-boy in John Drinkwater's reper-
ton.' theater in Birmingham.

THE war delayed his career four
years. He lied about his age and
joined the conflict. He served for
four years and was wounded.

He was beginning to make a small
success in England when he came to
America with "JMonsieur Beaucaire."
One of his early American successes
was as Mercutio in Jane Cowl's
"Romeo and Juliet." He came to
Los Angeles, but none of the pro-
ducers were interested in his camera
possibilities.

During the long New York run of
"Romeo and Juliet" he took up the
study of voice. His singing teacher
discovered that he had a splendid
voice. Hammerstein sent for him for
the male role in "Rose Marie." His
success was instantaneous. The rest is Broadway histon,'.

His voice is beautiful, a baritone with the lyric quality of
a tenor.

Dennis married a young English girl before he came to
.\merica. Mrs. King joined him in Hollywood before the
picture was completed. Just before he left New York she
presented him with a son, their second. Dennis is a great
man with a rapier. He'll cut his way to film fame.

107



The Shadow Stage



I CONTINUED FROM PAGE 55 1



MEN ARE LIKE THAT— Paramount

A SLICE of life, as American as pie. In
■^ *■ fact, it's Americana straight from the
can, full of homely humor and actors. But
you'U love Hal Skelly's thorough characteriza-
tion of a back-slapping braggart whose trust-
ing young wife believes he's the great man he
says he is. Charles Sellon and Clara Blandick
give spicy portrayals of Babbitt homefolks.
All Talkie.

THE DELIGHTFUL ROGUE—
Radio Pictures

"D ADIO is becoming the home of screen
■'-^-comebacks. First it was Bebe Daniels in
"Rio Rita," and now it is Rod LaRocque in
"The Delightful Rogue." He is aU of that.
Rod, infrequently seen on the screen of late,
comes through with a superb performance as
Laslro, the pirate. Incidentally, we have been
waiting for years for the heroine to give the
hero the go-by and marry the villain. At
last, in this romance, the heroine chooses
Lastro, the pirate. We know that, at least,
she wiJl never be bored. All Talkie,

SWEETIE— Paramount

COLLEGIATE capers provide lively enter-
tainment, although "Sweetie" will not
cause the lighting of bontires. It scores
chiefly through its pleasant youthfulness.
That li'l " boop-a-doop " person, Helen Kane,
romps off with the show. Her songs are
grand. Jack Oakie wows 'em with his Alma
Mammy college song. This will not mean
much to Nancy Carroll, although she is effec-
tive in an unsympathetic role. All Talkie.

MARRIED IN HOLLYWOOD— Fox

"DY far the finest thing about this — the first
•'-'Viennese operetta to hit the screen via
sound — is the exquisite music by Oscar Strauss.
The story jumps from Vienna to Hollywood to
Cinderella to Heaven knows what and where.
An all-stage cast performs. J. Harold (Rio
Rita) Murray and Norma (Show Boat) Terris
sing the leads, and Walter Catlett and Tom
Patricola handle the laughs. Good — but some-
how it should have been better. All Talkie.

MISTER ANTONIO— Tifany-Stahl

T EO CARILLO'S first talking feature is not
■'-'only a personal triumph for that versatile
stage star, but a distinct coup for Tiffany.
Perhaps Carillo had something to say in the
selection of this Booth Tarkington play, for
his accent more than enhances the role Otis
Skinner made famous on the stage. As this is
Virginia Valli's first talking picture, it places
her among Hollywood's fortunate few who
sound as well as they look. All Talkie.

DARK STREETS— First National

""p\ARK STREETS" presents the strange
-•-^spectacle of Jack Mulhall talking to him-
self. Yessir, it's a dual role, and one of the first
in the audibles. Jack plays an honest cop and
his twin, a gangster. He does a good job of it.
Not as much can be said for the picture. It's
just one of those things. Lila Lee is the little
Irish girl who has a tough time picking the
right brother for a husband. All Talkie.

JEALOUSY— Paramount

TpHIS one is a bloomer. Orginally a brilliant

•'- two-character stage play showing the tragic

effects of jealousy on the lives of two tempera-

108



mental people, it here becomes a confused and
boring talliie with more characters and less
punch. The late Jeanne Eagels plays the
woman, and Frederic March does what he
can with the jealous man. Jean de Limur
directed, and badly. All Talkie.

SIDE STREET— Radio Pictures

nPHIS might have been a strong, s\vift-mov-

■'■ ing crime story if it hadn't been botched by

bad recording, or something. We could hardly

hear one word in twenty of the dialogue. It is




Don't be frightened, kiddies — the
young man is playing football,
not having a convulsion. Beneath
that battle-scarred uniform beats
the heart of Douglas Fairbanks,
Jr. Young Doug is gridironing for
First National in "The Forward
Pass"



No. 24689 of the current underworld yarns,
and is only notable because the three Moores —
Tom, Owen and Matt — all appear in it. It is
the first Radio picture to be directed by the
clever Mai St. Clair, but he won't brag about
it much. All Talkie.

DARKENED ROOMS— Paramount

O HENRY might have written " Darkened
• Rooms," but he didn't. It isn't such a
much, despite light handling and a unique
twist. This little comedy-drammer is about
a photographer who thinks he's a spiritualist,



and a gal who proves that he isn't. Evelyn
Brent is the star, but Neil Hamilton wins the
bacon as the photographer. We're starting
a committee to find a good picture for Evelyn.
It's about rime. We're appointing Mr. Lasky
chairman. All Talkie.

BEHIND THE MAKE-UP— Paramount

■PNON'T let the title deter you. We're fed
■'-^up on morbid backstage melodrama of the
clown who hides a breaking heart with a cheery
smile and finally goes mad and bites himself.
We break down and confess all — this is back-
stage, and it's melodrama, but it's also different
and real. Hal Skelly is a restrained "Pagli-
acci," while Fay Wray gives a versatile emo-
tional performance, and Kay Francis slithers
seductively through the siren scenes. All
Talkie.

ONE HYSTERICAL NIGHT— Universal

■n EGINALD DENNY'S last picture was
■'^his swan-song, and this is his post-mortem.
He has, however, only himself to blame. He
wrote the story and dialogue, both in the worst
possible taste. It's not farcical, but revolting
and embarrassingly grotesque. Fritz Feld's
is the only commendable performance. All
Talkie.

NIGHT PARADE— Radio Pictures

T ISTEN, kid, if you want to be a fight
■'^champion, keep away from Aileen Pringle
and her new blonde hair. You should see all
the trouble she caused Hugh Trevor. If you
don't believe your uncle, go and see "Night
Parade," adapted from the stage play,
"Ringside." Good casting and good acting
save a trite string of dramatic situations. The
big fight is staged in a downpour. Can't
somebody write a theme-song, "Fightin' in
the Rain"? All Talkie.

RED HOT RHYTHM— Pathe

TECHNICOLOR sequences and cleverly
staged dance numbers lift "Red Hot
Rhythm" into an importance it could not
otherwise attain. The story is a weak sister
despite occasional flashes of brilliance. It is
about a philandering song-%vriter. .AJan Hale
is the star, and he has quite a difficult time
choosing between Kathryn Crawford and
Josephine Dunn. Golly, wouldn't we all? All
Talkie.

THE MISSISSIPPI GAMBLER—
Universal

EVEN the most blithe of Mississippi colonels
should feel depressed at the assault and
battery of the soft Southern accent in this
picture. Joan Bennett and Alec B. Francis
achieve only a cross between a rich Irish
brogue and California British. Putting
Joseph Schildkraut in the same costumes he
wore in "Show Boat" was an economic fluke
on the part of Universal. At moments the
film achieves a certain charm. Alt Talkie.

A SONG OF KENTUCKY— Fox

YOU just can't tell about pictures these days.
Now here's one where the favorite pony,
"Dixie," doesn't win the race. But don't let
that get you all upset. The singing hero wins
the gal. They can't be too radical, after all.
You may not like Joseph Wagstaff's looks,
but you'U care for his crooning in a large way.
Lois Moran is the decorative heroine. And the
music is nice and sentimental. All Talkie.
[please turn to page 110 ]



Photoplay Magazine for December, 1929



109



Shopping —
American Style

In many places abroad shopping is a matter not to
be approached lightly. It takes time, and the ability
to bargain, haggle and compromise. They like it !

In this country adverfising has simplified the buying
process. \N hen you start out to shop in America you
are conversant with quality, brands, values. The re-
liability of a well-known name is behind most of the
things you buy — guaranteeing you satisfaction. And
the price is the same to you as to everyone else !

Think of the time and trouble you save by reading the
advertisements ! How little thought and effort are re-
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your expenditures! And how much delightful leisure
this decreased shopping time affords you !



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Take full advantage of the modern mode in buy'
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your mind ivell made up xvhen you start out to

shop.



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i



Photoplay Magazine for December, 1929



ai/e...

your skin and i/ou



J-



The Shadow Stage



i/o^r ifouth /




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lock against the rav-
ages of years . .
Time quickly traces
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When strenuous weather . . . keen winds . . .
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Frostilla's soothing touch is swift benediction.
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Frostilla's blue-labelled bottle is beautiful

Large, generous -quantity boudoir bottles
of Frostilla are 50c and $1 at all drug and
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class 5-and-IOc. stores offer a handy 10c
size. Mail orders filled on receipt of price.
The Frostilla Co., Elmira, New York and
Toronto, Can. (Sales Rep. Harold F. Ritchie
&Co., Inc., Madison Ave. at 34th St.,N.V.)

FROSTILLA

SATES YOUR SKIIV



[ CONTINUED FROM PAGE 108 ]



TANNED LEGS— Radio Pictures

THOUGH the story is what happens when
a Slimmer fad becomes a movie title, this
frothy musical comedy will thrill the Tiredest
Business Man. Not oiily are there Ann
Pennington's knees — with Miss Pennington
attached — but June Clyde's legs — the pret-
tiest in Holly\vood — wth eyes and voice to
match. Stranger still, she can act. Arthur
Lake whoops gaily through the picture in his
usual loose-limbed fashion. Exhilarating
music. All Talkie.

THE RACKETEER— Pat he

npHE most elegant gangster with a sumptuous
■'- mansion falls in love with a society beauty,
just in time to give her up to the man she
loves. Beneath their rough exteriors these
racketeers have hearts of gold — if you're to
believe the scenario writers. Nevertheless, this
is a pleasing little picture with excellent per-
formances by Robert Armstrong and Carol
Lombard. This Lombard gal, by the way,
is going to amount to something in talkies.
All Talkie.

HANDCUFFED— Rayart

nPHEY tried hard, but all they have is a
■'■ glaring example of why Poverty Row
should stick to silent pictures. Hackneyed
story, stilted dialogue, amateur action, clumsy
direction. A girl, married to her father's
murderer, falls in love with his supposed
murderer. Rotten bad form, we calls it. All
Talkie.

SEA FURY— Supreme

HTHE producer may have been serious about
■'- this, but we can't believe George Melford,
the director, was. Now that he's had his little
joke on Poverty Row . . . But this is a ripping
pictorial burlesque on ancient salt-water daffy
legends which would utterly rout Joan Lowell
and Corey Ford. The sap hero looks stupidly
on while the leering villain bores holes in the
hull; the heroine's gold tresses get tangled in
the lanyards. Ail Talkie.

THREE LOVES— Moviegraph

GERMANA'' is making some good pictures
these days. If they get around your way,
drop in on them. This one is highly exciting,
very romantic and well spiced. Incidentally,
it is well directed and acted by Fritz Kortner,
Marlene Dietrich and Uno Henning. These
names may be Negris and Jannings of to-
morrow. The Berlin studios are staging a
comeback, and for this reason such films as
"Three Loves" bear watching. Silenl.

HONOR— Sovkino

WE review this because it is a product of
the Armenian studios of the Russian
Soviet National film company, and as such



has documentary interest to American fans.
It's an Armenian love story, with joy and
tragedy commingled, and interesting shots of
old Armenian customs. Its leading man, H.
.•\ppelian, is a John Gilbert to the life, and its
leading lady is named Tatiezan Shahdooda-
kian, no less. Silent.

THE CALL OF THE CIRCUS—
Pickwick Production

npHE really worth-while thing about this
■*- picture is that it gives us an opportunity
to hear the voices of Francis X. Bushman
and Ethel Clayton and realize what good
actors they still are. .\ suggestion of circus
atmosphere, a step toward romance, and a
conglomerate opus that is neither fish nor
fowl — so we laugh at the most tragic moments.
But the crooning melodies of Sunhiirnl Jim
will be popular in rural communities. All
Talkie.

EVIDENCE— Warners

pAULIXE FREDERICK gives a fine per-
■•- formance in this old-fashioned drammer of
circumstantial evidence in the divorce courts.
We all knew that Polly would be grand in the
talkies. If it weren't for a fine cast of stage
and screen vets, this picture would creak even
worse than it does. Conway Tearle and
William Courtenay head an excellent troupe.
All Talkie.

WOMAN TO WOMAN— Tiffany-Stahl

nPHE British crack another little joke at the
•*• expense of the American movie audiences.
Six years ago, Gainsborough made a success-
ful silent version of this picture, starring Betty
Compson, but standards have changed with
the advent of talkies. What was good melo-
drama six years ago is burlesque now. Too
bad Tiffany failed to reckon with this fact
when they exhumed a production which was
better off laid away in lavender. .1// Talkie.

THE DOCTORS WOMEN—
World Wide

"V\ THAT ho! .\nother Chaucerian expresses
*^ ennui. Some unimaginative scribe shoves
the Casanova plot in front of the camera, in
lieu of a worse theme. This is the usual
British clap-trap of the traditional dissipated
roue whose manly charms are utterly irresistible.
SileiU.

SENOR AMERICANO— Universal

V\ 7ESTERN pictures will take no drop in
** popularity if Ken Maynard has any-
thing to say about it. That broncho bustin'
puncher tears across the screen in another mile
a minute adventurous romance. "Senor .Amer-
icano" has its setting in California at the
time of the raising of the Stars and Stripes.
Ken performs miraculous feats of horseman-
ship and sings in Spanish. Kathryn Crawford
is the senorita. .ill Talkie.



Watch for the Winner

of The Photoplay Gold Medal for 1928
Ballots Are Now Being Counted

Ifs Filmland^ s Nobel Prize!



Every advertisement in PHOTOPLAY MAGAZINE is Euaranteed.



Photoplay Magazine for December, 1929



1 I I



Gossip of All the
Studios

[ CONTINUED FROM PAGE 94 ]



son, Constance Talmadge, Bebe Daniels,
Betty Compson, Rutli Roland, Jack Gilbert,
King Vidor, Harry D'Arrast and Sid Grauman
are on the board.

Every Saturday night there will be a Ijig
dance.

nPHE very creme de la crane of filmdom's
^ society turned out to witness the wedding
of Reginald Barker and Nora Claridge Greiger,
one time opera singer.

Barker, you remember, was once married
to the late Clara Williams, whose serials used
to keep you awake nights.

T EATRICE JOY says she doesn't at all
-'-'mind portraying a young matron on the
screen.

But when they asked her to play the part
of mother to someone similar to AdolpheMcn-
jou or Noah Beery she drew the line.

For this reason she mil not be appearing in
the other three pictures for First National as
had been announced.

THE Hollywood boys and girls set
a right high value on their car-
casses.

They think right well of them-
selves.

Mary and Doug are insured for
$1,000,000 apiece. So is Connie
Talmadge. Norma ditto is on the
books for a quarter of a million more
than that. Will Rogers and von Stro-
heim are content with a million each.
But Jack Barrymore figures that im-
mortal profile is worth $2,000,000 in-
surance.

What was it the Preacher said, in
the Good Book? "Vanity, vanity — all
is vanity!"

NILS ASTHER was watching a corps of
workmen moving a big concert grand
piano into the dressing room next to his own
on the M-G-M lot.

"What's that for, a dressing table?" he
asked.

"Lawrence Tibbett, the opera singer, is
moving in, " they explained. " They are going
to use this for his accompanist when he sings
in the shower. "

DAVE KEENE tells this on Chester Morris.
A scene was taking longer than had been
expected.

Everybody noticed that Morris was ex-
tremely nervous.

"Calm down. Let's get this scene," said
Director Wellman.

And then to Morris he said, "What's the
matter with you? "

"It's this way, Mr. Wellman," said Morris,
coming up quite close. " My wife's at a bridge
party and I promised her positively I would
go home at five-thirty to feed the baby. "

You have to live in Hollywood to appreciate
how funny that was.

CHARLIE PADDOCK has announced
that he is engaged to Madeline Lubetty of
New York, Follies girl and motion picture
actress.

Charlie, in addition to being the world's
fastest human on the cinder path, was once
engaged to Bebe Daniels.

But then Bebe has been engaged to so
many famous figures.

Will Rogers once remarked that to make
matters complete Bebe should be engaged to
Herbert Hoover at election time and to Santa
Claus at Christmas.




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When you write to advertisers please mention PIIOTOPLAT MAGAZINE.



I 12



Photoplay Magazine for December, 1929




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TRYING BERLIN is writing the story for
-'■the next Jolson picture and we are told he
was paid twenty thousand dollars for four
hours' work on this.

Of course we didn't see the check, but it
makes a good story.

THE alarming news is broadcast
that Lupe Velez will go to Tampa,
Florida, to make "The Blood of a
Buckaroo."

We always hate to see anybody go
to Tampa.

Someone is sure to say that they
hope the Floridians will not Tampa
with Lupe.

/^NE of the picture companies recently
^-^signed George Marion, Sr., to play a part
in "Anna Christie." A friend of Marion's,
knowing that he was receiving every week a
salary running into four figures, suggested to
a producer that he use Marion to direct a few
pictures while waiting for "Anna Christie"
to be made.

The producer replied, "Oh, I couldn't possi-
bly allow a man ^rithout experience to direct
for us."

The friend hadn't the heart to explain to
him that Marion was one of the finest of stage
directors, having been the first man to direct
Anna Held, the man who directed the original
stage production of "The Merry Widow," etc.

A TELEPHONE call to Josephine Dunn
-''• elicited the following response from her
mother:

"Josephine isn't home. She's gone for
dancing and singing lessons. How can a girl
take dancing and singing on a hundred dollars
a week? And how can she keep from plaj'ing
character parts if she doesn't take dancing
and singing lessons?"

We admit this is a problem, Mrs. Dunn, even



Online LibraryMoving Picture Exhibitors' AssociationPhotoplay (Volume 36 – 37 (Jul. - Dec. 1929)) → online text (page 133 of 145)