Moving Picture Exhibitors' Association.

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Mike has made her better. He's taken that
fazendish giggle of hers and let the citizenry
hear it.

Results? — Louise played in "No, No, Nan-
ette," "Loose Ankles," "The Desert Song"
and plenty more to come.

TERRIBLE MIKE has boosted Betty Comp-
son to the top — for the third time in her
career.

Young Douglas Fairbanks, Jr., who had
the misfortune to be only his papa's son for
a long time in the stUlies, has been going
fine in the talkies since Terrible Mike was
good to him in "The Barker."

These are some that have been given a
helping hand by Mike the Erratic. But look
what happened to Dolores Costello, the sex-
quisite.

Magnificent thing that she is, this Mrs.
Jack Barrjmiore, she's got something in her
voice that Terrible Mike shnply snarls out
loud about.

Headed for the heights she was, until she
played in "Glorious Betsy."

Poor Dolores — there are two opinions in
Hollywood as to what her mike voice sounded
like.

One clique says it sounded like the barkings
of a lonesome puppy; the others claim it
reminded them of the time they sang "In
the Shade of the Old .\pple Tree" through
tissue paper folded over a comb.

It's not Dolores' fault; it's just one of the
Terrible Mike's dirty tricks.

And anyway, Dolores should worry — she
and hubby Jack have gone back East to pre-
pare for a new addition to the BarrjTiiore
family.

If it's a boy, it's certain they won't name
him Michael.

But what Terrible Mike did to Dolores in
"Glorious Betsy," he did just the opposite
in the same opus for Conrad Nagel.

Conrad was just a nice blond leading man
before that.

But suddenly the world discovered he had
a mar\'elous voice.

.\nd now the name of Conrad Nagel in
Holly\vood is as the name of Abou ben Adhem
in that thing you had to learn when you were
a kid.

And now we'll move on to the peculiar
situation of Dick Barthelmess! . . . Dick,
who has been helped and hurt at one and the
same time because of Terrible Mike.

Dick has always turned out darned good
pictures.

More than that, he has turned out a good
talkie.

The word is used advisedly — for while Dick
talks well, Dick is not a singer. AnA yet, in
his talkie, Dick is seen to sing! . . .

And as he is seen to sing, there emerges from
the screen a lovely voice. It synchronizes
perfectly with Dick's mouthings on the screen
— :and if you didn't know better you'd say:
Ah, how he can sing! . . .

But you know better. From East coast to
West, and from border to border, there was
printed in the public prints the news that a
"voice double" had sung the song while Dick
Barthelmess made his mouth go.

LIKE the golden idol with the clay feet, Dick
Barthelmess was not perfection — his feet were
all right, but his vocal cords needed tuning!

And it didn't help a bit when the 24-sheet
billboards tried to kid the public with:

"See AND HEAR Richard Barthelmess in
So-and-So. . . ."

The public, being a number of years older
and wiser than in the days of Phineas T.
Barnum, read the billboards, made a sound




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126



Photoplay Magazine for December, 1929



Do You Ask Yourself
These Questions?

Is it a good picture?

Is it the kind of picture I would like?

Which one shall we see tonight?

Shall we take the children?

Photoplay will solve these problems for
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Each issue of Photoplay contains the most up'to'thc
minute authoritative revie\vs of all the very latest
motion pictures. Refer to the "Brief Reviews of
Current Pictures" department listing all pictures
reviewed for the past six months, also the "Shadow
Stage" department, reviewing the best pictures of
the month and current
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In addition
Photoplay gives you:

A wealth of intimate details of
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Striking editorials that cut, with'
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Authorized interviews with your
favorite actors and actresses who
speak frankly because Photoplay
enjoys their full confidence.

Articles about every phase of the
screen by such authorities as
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and Katherine Albert.



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like a moribund raspberry and wanted to
know how they got that way.

But see and hear hira in "The Drag."
He's our old Barthelmess again.

But don't draw the conclusion from that
that voice-doubling is rare. Ah — no —
Terrible Mike has brought a bag of money
to a group of people who ha\e heretofore
had no chance whatever in the movies . . .
people who can sing.

You who see and hear these talkie ex-
travaganzas \\'ith the dazzling chorus girls,
and wonder how they could find so many
beautiful girls who could sing, too — cease your
wondering. They DON'T SING! It's like
this—

'T'HE cameras are trained on the beautiful
■*■ chorus girls, who dance and move their lips
just like Dick Barthelmess did. But they are
as silent as a bill collector isn't. .And down
below the camera-range, or at one side, are
the microphones — in front of a dozen or so
lo\'ely-voiced creatiues whose loveUness often
ends there.

"Yes, dearie; I've got a job in the pictures."

"You! With that pan?"

"No, dearie — do-re-mi-fa-sol! . . . With
this VOICE!"

And in just the same way as these chorus
songs are "doubled," so, with a httle rehears-
ing, can indi\idual songs be doubled for such
stars as can act and talk for Terrible Mike but
who sing like a S198 piano si.\ months after
you have it paid for. But voice doubling will
soon go out of style.

The one sad Barthelmess experience taught
the movie makers a valuable lesson. In
the future, the stars who can't sing will dance,
or tell riddles.

One could go on and on and on about the
big-timers to whom Terrible IMike has done
so-and-so and this-and-that — Norma Shearer,
who has been definitely located, thanks to
her success in "The Trial of jMary Dugan"
and "The Last of Mrs. Cheyney"; Bessie Love,
who was just drifting and had gotten down to
ukuleleing it in personal appearance stuff
with a Fanchon-AIarco road show, and who
suddenly jumped thro ugh the microphone back
into the starry realms in "Broadway Melody ";
the Duncan Sisters, who left Holly\vood
rapidly after making a silent "Topsy and Eva"
for United .Artists, and whom Terrible Mike
beckoned back because they CAN sing, to make
"Cotton and Silk."

And so on, and on, and on.

But let's forget, for a bit, the actors and
actresses.

Terrible Mike's machinations have had effect
elsewhere.

HE has brought coffers full of golden shekels
— or aren't shekels gold? — to others than
these.

He has fattened the exchequers of the Build-
ing Trades unionists, since every studio has
begun building sound stages on the subdivi-
sion plan.

He has made clinky the pockets of all sorts
of ham-and-eggers who got on his band-wagon
by opening schools of dramatic e.xpression and
elocution, even though they themselves talked
of "erl" wells and "moiders."

He gave rise to a lot of funny stories about
the people who didn't know the mike was
turned on, and expressed their opinion of the
director or supervisor as a bad ancestored
person of amazing habits.

He gave the studio press agents a lot of
things to wTite that never got into the papers
or magazines.

.And he's — he's — well, one more e.xcerpt
from "Mother Goose in Hollywood" —

Hey, diddle, diddle

Mike is a riddle,
He makes 'em both poor and rich!

The joke may be good,

But to Hollywood,
He's a—

gosh-damed mean old thing !



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Photoplay Magazine for December, 1929



127



Chuting the Chutes with Sally



I CONTINUED FROM PACE 58 1



was a sixteen-year-old dope addict. The
feature didn't appear. Perhaps it was her
night off from being a drug addict.

A lecturer was haranguing the mob. What
that man did to the English language made an
Indian massacre look like a Vassar graduation.

"I have given this same letcher," yelled the
reformer, "in choiches and before the Y.M.C.A.
Now, I'll tell you about de evils of dope."

"Let's get out of here," begged .Sally. "If
I stay here another moment I'd never dare
make a talking picture."

V\ TE left, although I did want to know what
''* he was going to say about that choice
collection of aspirin bottles. If you take a pill
for a headache does that make you a dope
addict? Did I do wrong, Beatrice Fairfax?

Sally had never been in a beach dancehall,
so that was the next port of call. It cost
one dollar for loge tickets, M'hich turned out
to be money wasted. Sally didn't care for
the t>-pe of dancing on display. Not immoral
— just athletic.

"I've never learned to do buck and wing,"
she explained.

The roller coaster gave a bit too much for
twenty cents, and the merry-go-round was no
longer a thrill. Another illusion gone.

"I feel like I'm leading a Shrine parade,"
she said, as the silly hobby horse bobbed up
and down.

The most fun of the e\'ening was in the
penny arcade, and the coin in the slot
machines. We cheated by both peering into
the same machine. "Caught at the Bath"
might have been more interesting if the
buxom lady hadn't used such a big bath
towel. I give you my word, I've never seen
such a big towel. It might have served as a
mains'l. "The Artist's Inspiration" was
another hot one, 1910 style. "Strip Poker"
had as its piece dc resistance a young ladj'
removing a corset. Whereupon I decided Sally
had seen enough. One of the girls wjis winning
every hand. I've never seen such luck.

Ten cents squandered in this den of iniquity.
Sally thought it was great fun.

The next sight was the beach photograph
gallery. Four outlandish pictures for a dollar.
Sally was surprised to find comic pictures of
Billie Dove, Bebe Daniels, Ben Lyon, "Hoot"



Gibson, Polly Moran and Ruth Elder. If
they did it, it must be all right for us. We
had "sittings" too.

A fortune teller was also alluring. Madam
Hoopla gave the regulation stuff about letters
and sickness and journeys. According to the
seeress, Sally will be married at twenty-one
and have two children, a boy and a girl.
She has had good "bringin' up" and wouldn't
harm a soul (well, that's true). And surjirise,
surprise, Sally was going to a party within
two weeks. Sally could go to a dozeij parties
every night. One week she had nine dates.

"D V this time it was nearing midnight. .^11
■'-'respectable young men should take home all
respectable young ladies.

We drove back to Sally's house in Holly-
wood. She fumbled for her house key. Just
as MajTiie Glut/, always does. No ringing
for the maid to let her in.

"I've had a grand time," she told me. "It
has been all sorts of fun."

"Er-ah, Sally," I fidgeted. "Do you mind,
would you, er-ah, let me kiss you good night?
It's done at times, I've heard."

She pondered.

"You've taken me to the beach, taken me
on all the rides, danced with me, had my
fortune told — no, I think you've done enough
for me. Really. I couldn't accept anything
else without being embarrassed.

"Good night."

"Good night."

P.S. Dear Editor, here's the damage. .\
few more assignments like this and I'll work
for nothing.

Hopefully vours,
M.B.
(Hollywood's Boy Friend)

The Swindle Sheet

Chute the Chutes $0.20

Merry-go-round 20

Big Dipper 20

Why Girls Go A\'rong 20

Ballroom Loges 1.00

Snappy Snapshots . . 2.00

Pahn Reading 2.00

Penny Arcade 10

Hot dogs .^ ^

Total $6.10



How to Become a Hollywood Hostess

1 CONTINUED FROM PAGE 3i \



course, an open book. His disarming manner
makes that nice, elderly lady want to mother
him.

"NJILS ASTHER— listen to him closely and
■'-^you shall hear tales of long Swedish nights
that you wot not of. The thoughtful hostess
provides a comfortable spot for Nils to park
his dog, who usually accompanies him when he
dines out.

Mary Brian — an old fashioned girl.

Lupe Velez — exceptionally convenient if
one of your guests is slightly hard of hearing,
but must be kept at a discreet distance from
ticklish people. Serve the hors d'ociiwcs
quickly or Lupe will start to gnaw on Gary's
ear.

June Collyer — a nice young person.

Loretta Young — still another nice young
person (What! So many in Hollywood?
We wouldn't fool you, honest).

Constance Bennett — the most sophisticated
young woman who ever laid tongue to daring
epigrams. But in her Paris gowns (she's just



returned from divorcing millionaire Phil
Plant) she graces any mansion.

Joan Bennett — Constance Bennett's sis-
ter. Pardon me, Richard Bennett's daughter.

Mae Murray — just spreads sunshine and
exudes joy. Everything is always all right
when Mae dances in. Mae is happy. Mae is
always happy. My Gawd, but Mae is happy.

Jetta Goudal — mysterious, aloof. She has
quite mastered her Frencl#accent.

Bebe Daniels — a regular fellow.

There's the line-up. Put on your best com-
pany manners and we'll pause while you see
how clever you are at making these twenty-
four people happy at table.

TTHE intermission is over. You should have
■*• it all figured out by this time and be well on
your way toward becoming a social success.
It wasn't as easy as you thought, was it?
You're probably white haired by now. Yes,
yes, we know, we were a Hollywood hostess
ourself.

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Photoplay Magazine for December, 1929



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Here is the answer and here, my good woman,
is the reason that this is the right answer.

You will see by the chart that Corinne won
out after aU and got the place of honor.
Corinne has been on the screen longer, but
Norma doesn't mind, since she is seated
opposite Corinne and since Corinne has pub-
licly said in print that she admires Norma
almost more than any other star. Also, Irving
Thalberg is seated on the right of the hostess
and that makes everything just dandy.

"you may be surprised to find that two mar-
■'■ ried couples are seated next each other. It's
just the idiosyncrasies of these particular
people.

Once somebody separated Walter and Co-
rinne. At the expense of losing his social pres-
tige he went around and changed the place
cards. He's so much in love with his wife that
he won't be parted from her even at dinner.

And Joan and Doug — well, certainly you
knew they'd have to be together, else who
would tell Doug to eat all his spinach? \\'e've
given you enough hints about it in past copies
of Photoplay.

What! You thought of seating Constance
and Joan Bennett near each other? Well, you
would have been sorry. Certainly, we know
they're sisters, but, my dear, haven't you heard
that they're not at all fond of each other?
Joan is way up at the head of the table next to
Ronald Colman, who, having played with her
in "Bulldog Drummond," likes her ever so
much, and Constance is at a nice distance
away where her sophisticated chatter amuses
the languid Nils Asther.

It's nice that Joan Crawford and Constance
are across from each other, so that they can
remember old days when they both played in
"Sally, Irene and Mary."

What's this, what's this? Mary Brian on
one side and June Collyer on the other side of
Buddy Rogers? I'll bet that stopped you and
I'll bet you worried your pretty head trying
to separate Mary and June, but the joke's on
you, for Buddy goes \vith them both and Mary
and June get along fine.

Bebe and Ben together, of course (just try
to separate those love-sick actors), and Bebe
near Norma Shearer who rented her beach
house.

They can talk about the plumbing.

You knew, of course, that Mae Murray and
ICric von Stroheim must be divided. They've
just nevergotten over the unpleasantness that
occurred on "The Merry Widow" set. ilae is



happy, but she's not happy enough to be
pleased if she were seated within calling dis-
tance of Von. Besides, he's heard her call be-
fore and hasn't answered, but Von is rtfear
young Doug Fairbanks, so that Doug can
tell him his ideas for scenarios, and he's across
from Irving Thalberg, so|.they can discuss pro-
duction costs.

It doesn't matter that Lupe Velez is only
separated from Jetta Goudal by Billy Haines,
for that quarrel is all patched up and they're
as friendly with each other as a star is with a
critic before her picture opens.

But I'll bet it surprised you that we seated
Billy between Jetta and Lupe. You see he can
match stories with Lupe, when she isn't telUng
Gary she "lofiFs" him, and he is a great ad-
mirer of the very exotic Jetta, strangely
enough.

Grant Withers and Loretta Young are next
each other. That's the newest romance.

Ramon Novarro was the easiest to seat. He
is the perfect young man and hell talk happi-
ness with j\Iae Murray or airplanes with Bebe
Daniels. He is also across from Ronald Col-
man, whose very dear friend he is.

CO there is the answer to the problem. That
'-'seating arrangement is shock-proof. It's the
perfect party with the guests seated exactly
right.

We know what you're doing. Y'ou're about
to get the scissors to clip this out of the maga-
zine for future reference when you come to
Hollywood and when you, too, become a hos-
tess.

Wait! Don't do it yet. We'll save you
some trouble. This entire chart is utterly use-
less. Y'ou might as well tear it to bits and
throw it from the office window when a hero
comes to town.

This was; a splendid arrangement bad it
taken place when we wrote it. But by the
time you read it, it may be all wet.

By now Constance and Joan Bennett may be
trading paper dolls. All three happily married
couples may be getting divorces. Lupe X'elez
may have taken the veil. Billy Haines might
be getting married.

Buddy Rogers might be going around
with Kate Price, and Mae ;Murray might be
miserable.

So many things might happen. Feuds
change in Hollywood, unlike Kentucky.
Friendsliips change. Husbands change.

So it's all a big mistake.

W'c wish we hadn't thought this up at all!




The latest studio wrinkle, designed for Marion Davies. The star's

new dressing room on wheels. It has electric refrigeration, hot

and cold water, a radio and probably everything else



Erery adrertisemcnt in PHOTOPLAY MAGAZINE is guaranteed.



Photoplay Magazine for December, 1929



Online LibraryMoving Picture Exhibitors' AssociationPhotoplay (Volume 36 – 37 (Jul. - Dec. 1929)) → online text (page 137 of 145)