Moving Picture Exhibitors' Association.

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

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pause to consider the example of Renee
Adoree, who found that nothing but trouble
followed after her marriage to William Gill, a
business man?

Madge Bellamy's marriage to Logan Met-
calf, a broker, was a failure. Ethlyne Clair
soon got a divorce from Dale Hanshaw, a non-
professional. And Josephine Dunn who, by
the way, played the leading role in the screen
version of "Excess Baggage," learned, to her
sorrow, what it meant to have a non-pro-
fessional husband and a career.

Those in the profession, WTiters, actors, di-
rectors, executives, editors, publicity men,
understand.

The rest, the brokers, the shoe men, the
salesmen, the millionaires, can only bring
unhappiness to their wives.

They will always be excess baggage.




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Photoplay Magazine — Advertising Section




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The Shadow Stage



i CONTINUED FROM PACE 57 ]



THE CONSTANT NYMPH^
Gainsborough

A N English production of Margaret Ken-
-' *-nedy's novel of the mad Sanger family —
and particularly the tragic story of Tessa,
daughter of the eccentric musical genius,
George Sanger. Done \A-ith taste and intelli-
gence but terribly photographed. Mabel
Poulton is excellent as Tessa and Ivor Novello
admirable as Lewis Dodd. This may not have
general release, but it is worth viewing if you
have the opportunity. Silent.



FATHER AND SON— Columbia

r^LORIFYING the American father. What
^-'happens when dad marries a blonde adven-
turess from Paris — and somebody kills the bad
gal. Papa takes the blame to save sonny boy
and sonny boy to sa\'e papa. But a record
made by a toy record-o-phone reveals the real
murderer. Jack Holt and Httle Jlickey McBan
deserve better by the movie gods. Dorothy
Revier is the bad blonde from the boulevards.
Pari TalL-ic.



THE SOPHOMORE— Pathe

"|\T0 necking, no drinking, and yet the first
■*- 'all-talking college picture is a riot! Leo
INIcCarey has carried forward all his sure-fire
comedy touches, and Bill Conselman has ap-
plied his very best "Dressed To Kill" tech-



nique. The burlesque radio announcer is a
scream. A college prom, a riotous class play,
and a football game with the hero carried off
the field on his first play! That's new. Eddie
Qmllan is the star and his stock -ndll soar after
this picture. Dandy entertainment. All
Talkie.



COLLEGE LOVE— Universal

TTIIS post-graduate edirion of "The Colle-
■*- gians" is one of the first two all-talking col-
legiate pictures to be made. Different college,
different names, but they cut all the cute Cal-
ford capers. Fickle frat pins jump from one
sweater to another — there's football, its sub-
sequent flag-waving, croony jazz, and moon-
light necking. Dorothy GiUliver is the college
yell. The regular series stuff, much elaborated
on and well directed and synchronized. You'll
like it. All Talkie.



THE TIP-OFF— Universal

TvjrO matter what they do with him, they
■'- ^ can't wear Bill Cody out. He moves about
the screen at high speed and at the fade-out
he's not even out of breath. This time — aw,
guess! Crooks! You know. The film fad
that's djing the hardest death of any that ever
hit Hollywood. We can talk crook. Listen.
"One guy steals another guy's dame, so the
first guy squeals to th' bulls." It's quite easy.
Silent.




Overhead expenses on the sound stages are terrific and so Herbert
Brenon has worked out a plan that saves time and money. Re-
hearsals are held on skeleton sets before the permanent sets are
built. In this way a company is ready to work without a hitch once
the production actually gets under way. Here is a rehearsal for
"Lummox" and on the set are (left to right) Karl Struss, camera-
man, Fannie Hurst, author, Herbert Brenon, director, and Winifred
Westover, who plays the title role



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Photoplay Magazine — Advertising Section



1 1 1



PROTECTION— Fox



"DENJAMIN STOLOFF'S direction of
■'-'"Speakeasy" was pood preparation for the
present production, "I'rotection," for there is
much the same atmosphere. Story of a battle
between a newspaper man, who stands for re-
form, and the leader of a bootlcKginp; gang.
Francis McDonald is the bootlegger and Robert
Elliott the newspaper man. Paul Page is the
aggressive reporter and Dorothy Burgess the
paper's sob sister. What more natural than
they should fall in love? The picture has its
exciting moments. Sound.

ALOHA HAWAII— All-Star

CO consistent has been the production of
'-'South Sea pictures these last few months
that it almost looks as though the frenzied
crime wave is lapping langourously at the
bosom of the Islands. " Going native " is infi-
nitely more imaginative than "going straight."
This is a charming fantasy, based on ancient
legend, of the jealousy of Pele, Goddess of Fire.
She directs her malefactions against two native
lovers, with amazing results. Native cast in
Hawaiian setting. Silent.

TWO SISTERS— Rayart

A CUTE story. Twin sisters give a nice boy
•^ *■ the run-around because his fiancee tries to
protect her crook sister. Imagine his embar-
rassment when he takes her home to mama and
she starts walking off with the wall-safe, in
person. Never fear, my children. It's the bad
egg, who locked her pretty twin in a stufly hall
bedroom and then looted her future family-in-
law's home. Viola Dana is clever in the dual
role. Silent.

THE SAP— Warners

TF all the pictures had as many laughs in them
-'•as "The Sap," there would be no worry about
the talking picture. Eddie Horton is at his best
as the dreamer, "the sap," who always
has a big idea, but never does anything
with it, until it becomes necessary to save the
relatives from jail. Then he arises to the
emergency. Alan Hale, Patsy Ruth Miller,
Franklin Pangborn and Edna Murphy render
able support. All Talkie.

THE FLYING FOOL—Pathe

"DILL BOYD and Marie Prevost hit the sky
■'-'in this comedy drama of a high-flyer with
planes and janes. Bill's a self-styled tough
egg who "finds 'em, fools 'em, and forgets 'em."
Marie is one he almost didn't find, didn't fool,
and couldn't forget. So — high drama, roar-
ing planes, then — -well, see it! And the way
Marie croons "If I Had My Way"! It's no
down-payment voice, either. It's all hers.
All Talkie.

THE CLEAN-UP— Excellent

TJERE we have one of those fine, serious
■*• -'■young fellows we all like to meet — and who
hasn't — the youthful city editor whom destiny
has appointed to clean up the world before the
first edition's on the street. He has curly hair,
long points on his collar, and a special hate on
bootleggers. Before he gets through, he has
points in his hair, a curly collar, and a yen to
remove himself as far as possible from the
vicinity of bootleggers. Not bad. Silent.

THE IDLE RICH—M.-G.-M.

•yniS is the stage play, "White Collars,"
•'■ taken word for word and put on the screen
in an uninspired fashion. William de Mille,
Cecil's brother, has not lived up to his work
in "The Doctor's Secret." The acting is capa-
ble enough, with Bessie Love, as usual, walk-
ing away with the honors, but the play is old-
fashioned, even though it was only four or five
years ago that it made its footlight run. All
Talkie.




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1 12



Photoplay Magazine — Advertising Section



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UNTAMED JUSTICE— Biltmore

"pOR a minor picture promising litde, this one
•'- is quite good. Based on a fairly original
crook plot, the action takes an unexpected
trend and keeps you guessing. With several
good actors, a smart dog, horse, and rabbit, to
say nothing of the air maU, thrown in, the film
is a veritable three-ring circus. David Tor-
rence, Virginia Browne Fair, and Plulo McCol-
lough head the cast. Pardon. We nearly for-
got the horse and dog. Silent.

CAMPUS KNIGHTS— Chesterfield

A CELLULOID disaster which even INIarie
Quillan, sister to Eddie and flower of the
Quillan flock, could not avert. The picture is
so unimportant that you forget it is a weak
carbon copy of "The Wild Party." It is in-



tended to portray fashionable boarding school
life, but the most trifling details are so glar-
ingly misrepresented that the director-WTiter
could never have possibly been any nearer a
girl's seminary than a school catalogue. Save
the shekels. Silcnl.

HIGH VOLTAGE— Pathe

A STUPID, morbid movie that's suspiciously
-'•■like "The Sin Sister" — and nowhere near
as good. Three blondes, a banker, a truck
dri\-er, and a dick are snowed in for a week in a
country church. It's intended to scale the
heights of human drama, but due to clumsy
direction, it is utterly vague and ridiculous.
The usual charming William Boyd smile is
hidden behind a week-old beard, and, anyway,
Bill's losing his girlish figure, or so it seems.
All Talkie.



Ten Years Ago in Photoplay



THIS month of .August, 1919, is a great
period in the history of the infant motion
picture — truly the golden age of the silent
drama, now thunderous with sound.

The learned Julian Johnson, with his usual
discernment, goes into a loud chant over a cer-
tain D. W. Grifiith picture called "Broken
Blossoms" — wherein the wistful Gish and a
boy named Barthelmess perform wonders of
beauty and pathos. "The very finest expres-
sion of the screen so far," says Julian.

Mary Pickford hits the top of her cute-kid
stride with "Daddy-Long-Legs," new this
month. Fairbanks is crashing through "A
Knickerbocker Buckaroo." Chaplin thunders
out with "Sunnyside." Dorothy Gish delights
with a new comedy called "I'll Get Him Yet."
ilighty days, the blistering dog days of '19.

WE wipe our brows and bow to the hot spell
by running no less than four pages of
stunning bathing girls, snapped on the comedy
lots with the thermometer 105 and no shade.

lane Starr, Dorothy Terr>', Josephine Hill,
Mildred Kurd, Peggy ba\is, X'irginia Warvvick
—all unfamiliar names in 1929. No doubt to-
day they are all happy wives and mothers —
only stealing away to the attic now and then
to shed one little tear over the mothy bathing
suits of their golden days.

AH.\XDSOjME picture of Wally Reid and
son, Bill— just a shaver. . . . Wes Barry,
when he was cute. . . . .\n article exposing
the fact that .\nna Q. Xilsson's middle name is
Querentia, though I still can't see why. ._ . .
Mickey Neilan becoming an actor again in a
Pickford film. . . . E\-elyn Gosnell and Mollie
King in the roto section. . . . Gloria Swanson
with very long hair — and very uncomfortable,
she tells Delight Evans. . . . Tom Mix adopts
a bear — at least his press agent says he does,
which means about the same thing.

nrWO little girls are in the spotlight.

.i "Two Strange Women," our story calls

them.

One was named Carol Dempster, the other
Clarine Sej-mour.

Both were chosen for great things by D. W.
Griffith.

Now? Well, little Dempster is evidently m
retirement. She never worked for anybody but
the old master.

And Clarine? Many of us remember how,
at the very door-sill of her way to fame in
Griffith films, she contracted pneumonia and
died, taking from the photoplay one of its most
promising and glamorous girls.

WE publish a picture of Bill Hart eating an
ice-cream soda, no doubt causing the sud-
den deaths of thousands of small boys. ...
Viola Dana has a new leading man and his
name is Kenneth Harlan. . . . TomJIeighan,




Remember Clarine Seymour?

Death took her just as she was

growing famous in D. W. Griffith

pictures



"The Miracle Man" safely in the bag, is now
a real star, with his first picture, "Male and
Female." . . . Joe Moore, youngest brother of
Tom,Owenand Matt, has come marching home
from the wars. Heisthehusbandof GraceCun-
ard, the serial queen, and some queen. ... It
is reported that IMrs. Charles Spencer Chaplin
may return to the screen, this Mrs. Chaplin of
the royal line being jSlildrcd Harris. . . .
Monkey, of Rockaway Beach, writes in to
ask Pearl White's exact age — a favorite ques-
tion in 1919 — but the answer man just
snickers it off.

WANDA H.VWLEY has been made a star,
and William Duncan's wife is suing him
for divorce, and Lillian "Dimples" Walker is
trying a come-back.

Syd Chaplin has signed with Paramount, and
!Mae Murray is working in a Jersey studio, and
Tex Guinan's two-reel Westerns are on.

FLORENCE, lOW.A.— Eugene O'Brien has
three leading women in "The Perfect Lover"
— Mary Boland, Lucille Lee Stewart and
jSIartha Mansfield. What's that? He'd have
to be perfect? Oh, you rascal! Write again,
Flo!



Every advertisement in PHOTOPLAT M.iG.^ZIXE is guaranteed.



Photoplay Magazine — Advertising Section



"3



Girls' Problems



[ COXTINTJED FROM PAGE 16 ]

people intelligently and observantly and your
self-consciousness in this direction will fall
from your shoulders like a cloak that you drop
with one motion. When you stop worrying
about how you are impressing other people,
then your natural poise will return and, what-
ever other impression they may get of you, you
mil know that you hax-en't said or done any-
thing foolish in your confusion.

IF you have a talent for dancing and you
knoiv it will bring pleasure to others and per-
haps profit to yourself, then it would be unwise
of you to let self-consciousness stand in the
way of the development of that talent. It's
simply a matter of summoning up courage the
first few times, forcing yourself to get up and
start, concentrating on what you are doing
instead of on your audience, until you become
used to performing before people.

llany professional performers are shy by
nature and, off-stage, are somewhat reserved.
But they have learned the secret of losing
themselves in the performance, the thrill of
doing something that is pleasurable to them-
seh'es and to others. A responsive audience
charms away their stage-fright, once they ha%-e
plucked up the courage to get started. You
will probably have the same reaction, if you'll
uproot your fears and give yourself a chance.

I wonder how- strong a sense of humor you
have, Elise. Can you see the funny side of
situations, can you enjoy the amusing little
eccentricities and oddities of others? You
probably can. But do you turn this softening
light of humor on your own frailties and faults?
Do you laugh at yourself after some awkward
blunder, after some fooUsh escapade? Can you
poke fun at yourself for being a blushing, stam-
mering schoolgirl, mentally stand off and look
at yourself and laugh at the spectacle you
create? If you can do that, if you can laugh
tolerantly at your faults and take note of your
virtues, you will then be able to strike a happy
balance in your actions and thoughts. But the
more you condemn and blame yourself the
more miserable you will be, and the more you
will be impressed with your own inferiority as
contrasted with the perfection of everyone
around you.

You don't have to be the "life of the party"
wherever you go. \'ery often the life of the
party is so busy keeping up the tradition of
being Uvely and making everyone else happy
that she hasn't much time to enjoy things her-
self. If you are rather quiet by nature, don't
attempt to change your whole disposition, your
whole attitude. But make up your mind you
are going to have a good time and add to the
general pleasure. If you have something to
contribute to the entertainment, don't be
selfish and withhold it.

GET up and dance, Elise. Pull yourself out
of the corner. Leave your worries at home
when you go to other people's houses. Get
into the spirit of the occasion.

Cultivate a good disposition and a sym-
pathetic attitude toward others. Never over-
look an opportunity for enlarged education or
greater culture. Don't avoid contacts with
people who know more than you do. Make
them your text-books. Watch how they act,
listen to what they say, study their choice of
words, their diction.

Don't be afraid to express your ideas and
don't merely echo other people's thoughts, un-
less they are yours also. Enter into every
conversation. If you can't contribute to it,
show that you are an interested listener. But
don't sit on the fringe of things, alone with your
own thoughts. It gives your hostess and your
fellow guests the feeling that you do not ap-
prove of their entertainment, that you are
untouched by anything they have to say.



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Online LibraryMoving Picture Exhibitors' AssociationPhotoplay (Volume 36 – 37 (Jul. - Dec. 1929)) → online text (page 40 of 145)