Moving Picture Exhibitors' Association.

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

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including the new talkies, in the
last ten years, and while I have sat
through many bad ones, yet in the
main I have enjoyed them all. They
portray Life, and to us who have
stepped off the stage and must watch
from the outside, they help us forget
that we have grown old and are for-
gotten in the mad swirl of things.
The younger folks go to the movies,
but they have other things to go to.
But to me, it is my only form of
amusement and my only way of re-
viewing the days when I was young
and enjoying life, and so I am an
enthusiastic movie fan.

The critics say that the pictures are
bad.

Maybe they are, but I have
seen many bad things in my day, and
it seems to me that the movies are
cleaner than lots of things.

T. E.



Photoplay Magazine — Advertising Section



97



pATSY RUTH MILLER means business this
■^ time. The multi-engaged young lady, whose
current fianc6 is Tay Garnett, Pathe director,
has set her wedding date definitely for the Fall
and plans are already under way. Pat writes
from Beverly Hills to say:

"All I hear is talk of weddings, showers,
luncheons honoring . . . etc. What with
Carmel's wedding ne.xt Sunday, and May's a
few weeks later, and my own in the offing, I
can tell you just what the perfect bride is wear-
ing, thinking, and saying." Carmel (Myers)
and May (McAvoy) will be married before the
ink is dry on this page — and Patsy Ruth soon
after.

Pat goes on: "All my life I have looked for-
ward to my revenge. I have donated to showers
for some eight years now, and have been await-
ing my turn with impatience . . . but now
that it has come I somehow hesitate. It docs
seem a%vfully commercial to invite people to a
party on condition that they bring a present! —
so I am side-stepping showers to the best of my
ability, although if anyone wants to give just
a good old-fashioned party for me, I shall ac-
cept eagerly." And that's the kind of a gal
the future Mrs. Garnett is.

HOLLYWOOD always gets more than its
share of princes and princesses on the
loose, but the most interesting nabob it has
ever had, by all odds, is Louis Ferdinand,
Prince of Prussia, second son of the former
crown prince of Germany and grandson of the
late All-Highest, now the old gardener of
Doom.

Louis Ferdinand is a tall, gangling youth of
21 — a Hohenzollern by build, actions and nose.
He is out here on the coast purely on specula-
tion. He has a very modest allowance from
the present German state, and is now padding
it a Uttle by working for the Ford airplane
people at about five dollars a day.

BUT the film colony, always celebrity-hun-
gry, chooses to forget the fact that Louis is
dirtying his hands at manual toil. It throws
him enormous parties and he is a prominent
figure at first nights, usually with a large party
of other invited guests in tosv. He has more
fun for less money than anybody in Hollywood.

He is an old friend of Lily Damita's from
her European era, and is seen places with her
a good deal. But his royal heritage didn't keep
him from being refused admission to the Fo.x
Hills movietone lot — which is harder to crash
than Heaven.

Not long ago Louis was the guest of a well
known dialog writer in Hollywood, and wanted
to stay the night.

There were only two beds in the bungalow —
the spare being normally occupied by the
yellow house-boy.

So the prince of Prussia and a Filipino boy
shook dice for the e.xtra bed! Could the great
leveUing of the democratic ideal go farther?

The stars all lunch in privacy

With but Jive hundred eyes to see —

At every movie opening

They prance aiui strut like anything —

Each, nourishing her precious name,

Just stumbles up the stares to fame!

DOLORES DEL RIO is a lady in search of
a voice. "Evangeline" is to be made into
a sound picture and the producers are looking
for a feminine voice that will match up \\ith
Dolores' smile. No, Sophie Tucker won't do.-

THE sunny beach season is open in Cali-
fornia, and if you haven't a shack at Malibu
you'll have to crash one of the beautiful beach
clubs at Santa Monica in order to spend Sun-
day with the sand and sea.

The Beach Club is a favorite spot. On its
gleaming sand you can see, if you're lucky,
many of our friends. George Bancroft, looking
like the rising sun in an orange bathing suit,
parades there, and Jack Mulhall is a familiar
figure. Cecelia De Mille, daughter of Cecil,
crack horsewoman and smart swimmer, is one



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Photoplay Magazine — Advertising Section




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of the belles. It is a great place for supervisors
and directors and their families. On the sand
you'll see Lucien Hubbard, of "Wings" fame,
and Bertram Millhauser, and Paul Sloan and
George B. Seitz.

Right ne.xt door is the Swinuning Club, haunt
of the Jimmy Gleasons, the Robert Armstrongs
and scads of other aces.

On the sands of Santa Monica the players
spend their weekly day of rest, absorbing
health and handball, while the wild waves have
their immemorial say.

NO opening — and there have been
plenty of them this month — is
quite complete without Stepin Fetchit
who lends color to the gay occasions.
It is his habit to entertain lavishly
for his friends.

At "Show Boat" one of the gents
in his party gave a fine example of
what the well dressed man should
wear. He quite outshone the ermine
coated ladies by appearing in a white
Tuxedo with a large medal that glit-
tered with rhinestones and synthetic
rubies coyly reposing on the lapel.

THE 18-day diet has practically rendered ob-
solete the 18-day bicycle race as a means of
endurance entertaiment— if you like to call it
that.

And, verily, flagpole sitting and marathon
dancing have nothing on marathon dieting as
a form of self-torture.

At a luncheon given for, by, and with Mae
^Murray during her recent visit to New York,
the table conversation did not deal with the
number of talkies which had opened that week.
.\o siree — it dealt with the number of slices of
cucumbers which had been consumed by critics,
stars, directors, etc. Cucumbers, it appears,
get the star billing on the 18-day diet.

Most of the feminine guests cast envious
glances at the sylph-like iliss Murray who
courageously drank unsweetened tea while they
enjoyed a gooey and delectable dessert. It ap-
peared that everyone but Mae was going to
start on the 18-day diet the next morning. " I
can never begin dieting at luncheon, my dear,
can you? Let's start with breakfast."

C.\L went to see Irene Rich in her one-act
vaudeville playlet, "Ask Your Wife."
Celluloidly speaking, Irene is on.^ of Cal's fa-
voiite fcmtncs, but he wasn't surejusthowshe'd
register across the footlights. He was pre-
pared for the worst.



Well, fans, if you like the lady on the screen
at all, you're going to fall for her hard when
you get an eyeful and an earful at one and the
same time. She has one of those simply grand
figures, slim and rounded; she's as graceful and
feminine as the ladies of your dreams; her voice
is fresh and sweet, although just a wee bit
timid and scared.

The timid voice is the reason for Irene's
stage appearance. She's getting some training
and experience for the talkies. She said so,
when continued applause brought her out for a
curtain speech.

I don't know whether that speech was calcu-
latedly naive and young-girlish, or spontane-
ously so, but the effect was great, anyhow, and
everybody loved it. Personally, I think the
speech was the nicest part of her act. And the
act was pretty nice, too.

A T last William Boyd and Elinor Fair are
-' '•celebrating their honeymoon and in Hono-
lulu, at that. Yes, they have been married
se%eral years but there has never been a time
when they could get away until now.

It's quite a fad in the film colony to cele-
brate a honeymoon any time from twelve
months to three years after the wedding. That's
the reason so many never have a honeymoon.
They don't stay married long enough.

THE Constance Talmadge-Town-
send Netcher wedding was sol-
emnized with great formality. Only
the family and intimate friends were
present at the Buster Keaton home
where the event occurred.

It was a most solemn occasion. An
organ boomed the wedding March.
The party walked in, Constance lean-
ing on Buster Keaton's arm. Not a
word was spoken until one of the
Keaton children said in a loud voice,
"Say, who's dead?"

A FUNNY incident occurred while Leo
■''•McCarey was directing "The Sophomore."
Leo needed a few hundred boys for a football
scene, so he called upon the Fraternity house of
U.S.C. and the boys were hired at SS. 50, each
per day.

After two or three days, work, one rather
clever young player learned that two or three
regular players were used in the same scenes
and received §7.50 per day. So the bright boy
incited much rebellion among the other stu-
dents and finally persuaded most of them not
to accept their checks, unless made out for
S7.50, instead of $5.50.




If ve don't vant him, they vant him. When Emil Jannings, accom-
panied by Mrs. Jannings, returned to Berlin, the police were called
out to keep Emil from being overwhelmed by a mob of his enthusi-
astic admirers



Every advertisement In PHOTOPLAY MAGAZINE Is guaranteed.



Photoplay Magazine — Advertising Section



99



When advised of this, McCarey said to
them: "Oliay, boys. You can have the $5.50
if you want it. My terms were made ^^^th my
Fraternity house and if you don't want the
money, it goes to the house." And it did.
Further rcsuhs were not disclosed.

SIXCE a check of the Universal Film Com-
pany's books disclosed the fact that "The
Phantom of the Opera," which starred Lon
Chaney several years ago, is the biggest money
maker they have ever turned out, it's no won-
der they want to repeat on it. For that reason,
•they are going to make "The Return of the
Phantom."

Since Chaney cannot be borrowed for this,
we would like to suggest Paul Muni, who looks
like a youthful Chaney come to light. Perhaps
Fo.\ might lend him.

WHEN "Burlesque" makes its appearance
on the screen, with Hal Skelly in the role
he made famous during the long New York run
of the stage play, it will have the prepossessing
title of "The Dance of Life."

There is a reason why Paramount changed
the title. Outside of New York the play,
"Burlesque," confused the natives. They ex-
pected to see Irish and Hebrew comedians and
a lot of snappy stouts in tights.

In one town in which the play was presented
a clubwoman saw the sign, "Burlesque," in
front of a theater, and went in to view the show.
She was horrified at the risque jokes and scant-
ily clad dames. It was reported to the police.
When the coppers viewed the play they found
nothing WTong with it. A meeting was called
and the prominent clubwoman discovered she
had made a mistake in the theater and had
actually seen a third-rate burlesque show in a
down-at-the-heel playhouse.

Paramount isn't taking any chances.

SOMEBODY happened to speak of
beauty shops on the set the other
day. Karl Dane became interested.
"I got a beauty shop," he said with a
shrug of his shoulders. "Just put a
couple grand in it. Somewhere, you
know, to get a decent manicure."

CLARENCE BROWN, ace Metro-Goldwyn-
Mayer director, is prouder of his flying than
he is of having made famous and rich the Cil-
bert-Garbo film combination.

Brown, an airman during the war, is now a
transport pilot, that rating being the highest
type of license obtainable in this country. He
keeps a fleet little Waco plane at an airport
near the studio, and spends in the air every
minute he can spare away from the lot.

The other day he gave old Cal a dizzy half
hour. For some reason he thought Mr. York
was a flying fiend, so Brown took him up in the
Waco, and for an hour nose-dived, looped and
tail spun. Then he dropped in at another air
field, took up a new Stinson he had never seen
before, and repeated the show with Cal more
dead than alive.

"More?" said Brown.

"WeU," said old Cal, "let's talk about
Greta Garbo for awhile."

TT'EEP your eye peeled for young Frederic
-'^March, whom you saw as the professor boy-
friend in "The Wild Party" with Clara Bow.

March didn't look so much in the Bow pic-
ture, with his studious make-up and sappy
role, but this is just to warn you girls that he
is one of the handsomest men now in pictures,
and a swell actor to boot. In old Cal's mind,
March and Charlie Farrell run a pretty dead
heat in the Hollywood "Handsomest Man"
contest.

March is working for Paramount, is married
more than happily to Florence Eldridge, actress
of stage and screen, has a pretty house in
Beverly Hills and is one of filmland's most
ardent tennis bugs.

Fred, in a straight romantic part, will knock
over many hearts. Don't you girls say I didn't
warn you.



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How to Make a Talking Picture

[ CONTINUED FROM PAGE 53 ]



a cigarette and then at the blonde. His
moustache bristles through its wax.

"Darling," he says, "our two hearrrts are
beating togedder like one."

"Cut," says Dr. Director Schertzinger.

"Unsink," mutters the electrical doctor.

A ND so another masterpiece of sight and
■**-sound has been immortalized in celluloid.

"Very good," murmurs the herr direktor.

"Oh, get the Big H out of here, Hall,"
scream the shhh-men.

We go into the play-back room and hear the
voices played back.

"Ah, that's fine!" said Dr. Schertzinger, as
Dr. Menjou's voice came squeaking out of the
thingamajig.

" You know, we have great trouble with the
playback. Only yesterday I did a scene with
Dr. Menjou and when we played it back we
were astonished to hear Miss Joan Crawford's
voice come out.

We did the scene again and this time, in the



play-back, we found we had recorded Mr. Carl
Laemmle. It is very confusing.

"I think the trouble is in the mixing room.
As you can see from the name, occasionally it
mixes things all up.

" In short, it is not a good mLxer. Am I right
or wrong, boys?"

"Yes, Dr. Schertzinger!" shouted the eighty
electricians with a will.

"Well," said the director, taking a kick at
me, "you have seen a talking picture made.
Now will you kindly get out of here, and stay
out?"

A ND with that cheery goodbye ringing in
-'•■my ears, I picked myself up from the
concrete.

This is a brief exposition of how talking pic-
tures are made. Any Photoplay readerwishing
to ask questions concerning the care and feed-
ing of the talking pictures may send me a
stamped and self addressed envelope. I can
always use stamps.



Revolution in Hollywood



[ CONTINUED FROM PACE 39 ]



Name-.



Addreis..



people through their paces like photoplay
veterans.

And the invasion continued, and for a time
it was bloody war, with throats cut and artistic
bodies left in alleys.

The wise picture folk hurried to the stage for
speaking experience, and the tremendous suc-
cess of Bessie Lo\'e, Warner Baxter, Conrad
Nagel and others shows that the real troupers
had nothing to fear.

The stupid photoplayers, afraid and hyster-
ical, fell back on The Great Mystery they had
made of the art-business of movie-making —
they kept on trying to clothe the industry in
garments that didn't fit. The bones of those
foolish ones are bleaching on the hills over
Hollywood today.

The attack from the East pressed on.

Fear and distrust on the side of the old
guard, cockiness on the part of the Broadway
shock troops — a panic of experiment seizing
all hearts and changing a mighty entertain-
ment force, built in twenty years, almost over
night. Hollywood will never forget the first
ghastly months after speech came to the quiet
screen.

Both sides dug in. There was no fraterniza-
tion — only hate and genuine terror between the
silent and the sound. Out of the confusion
came nothing good — only enmity and mis-
trust.

A wise writer from the East stood up before
the Academy of Motion Picture Arts and
Sciences, in solemn conclave assembled.

"T ADIES and gentlemen," he said, "I and
.'-'dozens of my friends left our happy homes
in the East and came three thousand miles,
across plains filled mth bisons and Red Indians,
because we thought we had something to give
the pictures.

"If we have, let us give it. If we haven't,
we'll go back home without one squawk.
Dozens of us have already left because we
have had nothing to contribute.

"You have persisted in making pictures a
great, impenetrable mystery. Now we are
sohing that mystery you have made. We are
here to work as you are. You can't frighten
us away. If we can offer something of value to
motion pictures, we'll offer it. If we can't,
we'll go back home, disappointed, but not
heart-broken."



As the great war entered its second year,
HoUywooci began to understand. The revolu-
tion went on, but it was no longer bloody.
Benny of Broadway and Harold of Hollywood
began speaking when they met on the street.
Hollywood grew calmer, less panicky. Those
who had gifts found their reward, those who
hadn't quietly faded from the scene.

The old line movie people came down off
their high hobby horses and shook hands. The
Easterners found fine friends and real people in
the film colony, and they ceased to carry chips
on their shoulders.

Fine actor families from the legitimate stage
trekked \\'est, staked out HollyAvood claims and
became citizens of that weird, wonderful world
of make-believe.

People like James Gleason and his wife and
son set up tepees — the Gleasons, for many
years in and of the theater.

" How does it feel to be an exile from Broad-
way?" I asked him.

"Exile? I'm no exile. This is home now!"
said Jim.

And the old guard of Hollywood?

"LJAPPIER, too, but still a little dazed by the
-' - •-speed of the revolution.

"I used to know everyone on the boulevard,"
said one, a little wistfully. " Now- 1 see mostly
strangers."

But for the most part there is happiness in
both armed camps — Broadway and Hollywood
have joined hands and tomahawks and to-
gether are revolutionizing the business of the
films.

Few realize — least of all the old Holly^vood-
ians — the extent of that great change.

Our favorite film stars study lines, when they
used to lie in the sun. The other day Renee
Adoree went to Arrow-head Springs — not to
loaf, but to bone up on the dialogue of her next
picture!

The once quiet studios now hear our English
tongue — not to mention the tooting of tenor
saxophones, the bleat of barber shop tenors and
the rattle of machine guns.

The great invasion from the East goes on.

A check of the studios shows at least 250 of
the theater's best and finest laboring in the
studios sacred to the feared photoplay.

A hundred of these are players, and a half
a hundred are playwTights. Song writers,



Every advertisement in PIIOTOPLAT MAG.\ZIXE is guaranteed.



Photoplay Magazine — Advertising Section



stage directors, stagers of dances swell the
total. Directors of stage and screen work to-
gether on pictures without once biting each
other. Players of the theater and players of
the sunlit stages not only work together in the
same cast, but eat, laugh and live together in
perfect concord.

AND so the first phase of Hollywood's great-
est revolution is over, though the tide of
change rolls on.

The first great advance has been made. The
hosts of the stage and screen are gradually
living down and fighting of! fear and distrust,
and are laboring hand in hand to the greater
glory of the photoplay.

The truest and finest of the theater and the



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