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Moving Picture Exhibitors' Association.

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

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one time army buddy, Ray Monroe, stepped
in. Monroe offered liim the use of his home
until he found a job.

For three months he tramped the White
Way, as so many have done before him. Every
day or so he refused an offer to go on the road.
"It's ridiculous," said Monroe, who had a
second or third cousin in the show business,
"it's ridiculous for you to think you can get
work in New York right away. Why, you've
got to go on the road and get experience before
you'll ever amount to anything."

But John felt that if he left the big city he
was cutting himself off from what contacts he
had. He was determined to stay on.

He at last obtained an interview with Law-
rence Weber's assistant, Friedlander, and sang
for him. The musical director wTote down his
name in a book and scribbled something under
it. Boles, consumed -nith curiosity, risked one
eye on tlie page when Friedlander turned to
answer the telephone. He had written, "John
Boles — a find!"

"Come to rehearsal tomorrow morning,"
Friedlander said. "I've a part for you in
•Moonlight.' "

Strangely enough, the musical comedy was
the composition of William Le Baron, head of
RKa

Boles went to rehearsal the next day and
e\-ery day thereafter for weeks. But he never
rehearsed. Others were singing the leading
roles. He simply appeared every morning as
he had been told to do.

One morning early, he and Friedlander were
alone in the dingy rehearsal hall. Suddenly
the director turned to John.



"Look here," he said, "you're going to open
in the lead in 'Little Jesse James'in two weeks."

The show had been playing at the Longacre
Theater for several months. The leading man
was leaving.

For many days John stood in the wings and
watched the performance of "Little Jesse
James." He knew every stage cue and every
song, but he had no rehearsal ^y\\h the cast
until two days before he opened.

And then he was not allowed to rehearse in
the theater, but in the dingy hall, with only
chairs as props. In the next room a Russian
hussar band was working fiendishly. Above
the din John's clear, true voice rang out.

And when he stepped on the stage two nights
later, to sing the leading role in a musical
comedy hit, it was the first time he had ever
acted in his life.

Other opportunities presented themselves
after that, and it was while he was playing in
"Kitty's Kisses" in New York that Gloria
Swanson saw him and insisted that he come to
California to play the lead in "Sunya."

You might think that this was a marvelous
break, but it wasn't. " Sunya" was not a very
good picture and Boles, although a handsome
enough leading man, did not distinguish him-
self particularly as an actor.

Gloria Swanson's choice became just another
Hollywood trouper. Yet he felt as if he
couldn't go back to the stage. He had made
the break. He had allied himself with the films.

FOR many months he remained in Holly-
wood, getting a part when he could. He at
last managed to get a contract with Universal.
But the odds were against his ever being any-
thing but just a leading man had it not been
for a little mechanical contrivance that made
a noise on film.

The microphone changed John's career com-
pletely. Here he was on the ground, with
screen experience and a voice.

He heard the Warners were to film "The
Desert Song," and he knew he could do it.

He learned the score from beginning to end,
had a test made and then, fearful lest he would
not get the part, went away from Holly\vood,
hoping that fate would take a hand in his
absence.

He drove hectically up north, past San
Francisco. His mind raced as fast as his
motor. The motor went too fast and he found
himself telling it to the judge. The judge
threatened him with a jail sentence, but finally
let him go with a severe fine and a severer
admonition.



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Photoplay Magazine — Advertising Section



Considerably humbled in spirit, he found his
way to a little garage and called Los Angeles
long distance. Abo\e the noise of the me-
chanic's hammer in the back room of the garage
he could hear these words, "Come back at
once. You've got the part in 'The Desert
Song.'"

From there on it's history. Universal loaned
him to Warners for "The Desert Song" and
"Song of the West," and then to RKO for
"Rio Rita" with Bebe Daniels.

After that they plan to star him in three
pictures.

Although slightly bewildered by his sudden
success, Boles takes it as more or less his due.
Certainly his was the proper background.



Certainly he has worked hard enough and
studied long enough hours.

Unlike so many men with good voices he has
good looks as well. He is handsome, tall and
medium dark, with blue eyes. His fan mail
jumped from a few scattered letters into the
thousands after "The Desert Song."

.And the fans ain't heard nothing yet. Just
wait for his next and his next and his next.

And a few months ago he was a second rate
leading man!

Although his life has been devoted to his
work, sentiment has not been lacking. The day
before he was graduated from the University cf
Texas he married a pretty Southern girl, and
he has been married ever since!



Ten Years Ago in Photoplay



READING the issues of Photoplay
which saw the light ten years ago, one is
continually astonished by the way its
directing minds saw into the future, clairvoy-
antly foretelling what the celluloid strip would
do in the days to come.

In October, 1919, the lead editorial has to
do with motion pictures as The Great His-
torian.

People were wondering, then, what the
photoplay would do with the Great War, just
ended by the Peace of Versailles. And our
editorial assures them that, once the dust had
settled, the fjms would tell its history bril-
liantly and enduringly. Well? Think of "The
Big Parade" and "What Price Glory" and
"Mons." And what would we have thought,
ten years ago, if we had known that the
greatest living men were to talk before a




Oh boy! Ten years ago the
Dorothy Dalton dimples made
slaves of us all. In September,
1919, the beauteous Dot was star-
ring in "Other Men's "Wives"



camera and into a microphone, and that their
faces and voices would be preserved for all
time — a new immortality?

npHE little man named Chaplin has just made
-'-a two reel comedy called "Sunnyside."
The Chaplin imagination is hitting on all
24 and Editor Julian Johnson burns red fire
and dances in the street to celebrate it. Who
can forget Charlie ravelling a pair of woolen
socks to make himself a set of spats, or bring-
ing in a hen to lay an egg directly in his
frying pan?



Don't tell this old grey-whisker that pic-
tures are any better now than they were in
1919! Then the little giant cracked out with
a rib buster every month or two. Now we
wait for two years while he sweats and prays
over a film. The world gets no better, and
there is little justice, if any.

A LICE JOYCE is Vitagraph's star of stars,
•'*-says the editor. Her latest is "The Spark
Divine." Yep — motherhood. . . . Louise
Fazenda and Ford SterUng in "Hearts and
Flowers" — oh boy! . . . Dorothy Dalton in
"Other Men's Wives" this month. Daring,
but no commonplace piece wiU do for this
magnificent woman. . . . Charles Chaplin,
Jr., lived only 70 hours, leaving Charlie and
Mildred Harris broken-hearted. . . . Mae
Murray is getting ready to star in "On With
the Dance". . . . Mae Marsh has just had a
little daughter, and Francis X. Bushman and
Beverly Bayne are the proud parents of a
baby boy, Richard. . . . And Mary Miles
Minter, the substitute Pickford, has just
signed a contract that will bring her about
$1,300,000 in three years.

"COR a stunt we have Harriett Parsons, 12-
-*- year-old daughter of Louella Parsons, queen
bee of all Hearst film chatter writers, inter-
view George Beban, Jr., aged four. Young
Master Beban tells Miss Harriett that he does
not like movies and certainly will not become
an actor if he has the say-so.

DroUy enough. Miss Harriett, a pretty
young lady with college and Hollywood life
behind her, is now a member of Photoplay's
editorial staff, and no doubt, if she knew this
was being written, would blush nicely and
say "Fie!"

A GR.^ND interview with Dick Barthel-
■**• mess by Delight Evans, in which the
Chink of "Broken Blossoms" says he's tired
of doing juveniles and wants to play character
parts.

"V\ THO'S in pictures but the perennial Jim
'^ Corbett, one time heavyweight champion
and for many years an actor of sorts! Jim's
picture is ""The Midnight Man," and in it
he cuffs around about ten villains, piling them
up like cordwood at his feet. . . . Metro now
has four stars — ^May Allison, Bert Lytell,
Viola Dana and Nazimova. . . . Paramount
is going to film the morality play, "Every-
woman." Nobody in it but Violet Heming,
Wanda Hawley, Lila Lee, Margery Daw,
Theodore Roberts, Ir\'ing Cummings, Ray-
mond Hatton, Wallace Berry and Tully
Marshall. . . . Mary Pickford is about to
make her last for First National, "The Heart
of the Hills." In the troupe is an obscure
young fellow called Jack Gilbert. . . . Dag-
mar Godowsky threatens to come back.

TT'AY L., UNION HILL.— Charlie Ray is

■'^28, and married. Fatty Arbuckle was born
in 1887. Grace Cunard is married to Joe
]\Ioore, young brother of Matt, Owen and
Tom. Surely, send along the plum cake!




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126



Photoplay Magazine — Advertising Section




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Addresses of the Stars



At Paramou
Studios, Hollywood,
Richard Arleu
Jean Arthur
William AustiB
Olga Baclanova
Oeorge Bancroft
Clara Bow
ICvelyn Brent
Mary Brian
Clive Brook
Nancy Carroll
Kathryn Carver
Robert Castle
Lane Chandler
Ruth Chatterton
Maurice Chevalier
Chester Conldin
Gary Cooper
Richard Dix
Paul Guertzman
James Hall

At Metro-Goldwyn-
ver City, Calif.
Renee Adoree
George K. Arthur
Nils Asther
Lionel Barrymore
Wallace Beery
John Mack Brown
Lon Chaney
Joan Crawford
Karl Dane
Marion Davies
Josephine Dunn
Greta Garbo
John Gilbert
Raymond Hackett
Wilham Haines
Phyllis Haver
Leila Hyams



nt -Famous-La sky
Calif.

Neil Hamilton

O. P. Heggie

Doris Hill

PhilUps Holmes

Emil Jannings

Jack Luden

Paul Lukas

John Loder

Frederic March

Adolphe Menjou

David Newell

Jack Oakie

Warner Oland

Guy Oliver

William Powell

Esther Ralston

Charles Rogers

Ruth Taylor

Florence Vidor

Fay Wray

■Mayer Studios, Cul-

Dorothy Janis
Buster Keaton
Charles King
Owen Lee
Bessie Love
Tim McCoy
Conrad Nagel
Ramon Novarro
Edward Nugent
Anita Page
Aileen Pringle
Dorothy Sebastian
Norma Shearer
I^ewis Stone
Ernest Torrence
Raquel Torres



1401 No. Western
Calif.

George Jessel
Lola Lane
Ivan Linow
Edmund Lowe
Sharon Lynn
Farrell MacDonald
Victor McLaglen
Lois Moran
Charles Morton
Barry Norton
George O'Brien
Paul Page
Sally Phipps
David Rollins
Arthur Stone
Nick Stuart
Don Terry
Helen Twelvetrees



At Fox Studios,
Avenue, Hollywood,

Frank Albertson
Mary Astor
Ben Bard
Warner Baxter
Marjorie Beebe
Rex Bell
Dorothy Burgess
Warren Burke
Sue Carol
Sammy Cohen
June CoUyer
Louise Dresser
Nancy Drexel
Mary Duncan
Charles Eaton
Charles Farrell
Earle Foxe
Janet Gaynor

At Warner Brothers Studios, 5842 Sunset
Blvd., Hollywood, Calif.



John Barrymore
Monte Blue
Betty Bronson
William Collier, Jr.
Dolores CosteUo
Louise Fazenda
Audrey Ferris



Al Jolson
Davey Lee
Myrna Loy
May McAvoy'
Edna Murphy
Lois ^\'ilson
Grant Withers



At Universal Studios, Universal City,
Calif.



Lina Basquette'
John Boles
Ethlyn Claire
Kathryn Crawford
Reginald Denny
Jack Dougherty
Lorayne DuVal
Ruth Elder
Hoot Gibson
Dorothy Gulliver
Otis Harlan



Raymond Keane
Merna Kennedy
Barbara Kent
Beth Laemmle
Arthur Lake
Laura La Plante
George Lewis
Fred Mackaye
Ken Maynard
Mary Nolan
Mary Philbin



Eddie Phillips
Joseph Schildkraut



Glenn Tryon
Barbara Worth



At RKO Studios, 780 Gower Street,
Hollywood, Calif.



Buzz Barton
Sally Blane
Ohve Borden
Betty Compson



Bebe Daniels
Frankie Darro
Bob Steele
Tom Tyler



At Pathe Studios, Culver City, Calif.

Robert Armstrong Alan Hale

William Boyd Jeanette Loff

Junior Coghlan Carol Lombard

Diane Ellis Eddie Quillan

At First National Studios, Burbank,
Calif.



Richard Barthelmess
Doris Dawson
Billie Dove
Douglas Fairbanks, Jr.
Corinne Griffith
Lloyd Hughes
Doris Kenyon
Dorothy MackaUl



Colleen Moore

Antonio Moreno
Jack MulhaU
Donald Reed
Milton Sills
Thelma Todd
Alice White
Loretta Young



At United Artists Studios, 1041 No.
Formosa Avenue, Hollywood, Calif.



Don Alvarado
Fannie Brice
Douglas Fairbanks
Mary Pickford



Gilbert Roland
Norma Talmadge
Constance Talmadge
Lupe Velez



At Columbia Studios, 1438 Gower Street
Hollywood, Calif.



Olive Borden
William Collier, Jr.
Ralph Graves
Jack Holt
Margaret Livingston



Jacqueline Logan
Ben Lyon
Shirley Mason
Dorothy Revier



In care of Samuel Goldwyn, 7210 Santa
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Vihna Banky
Walter Byron



Ronald Colman
Lily Damita



In care of the Edwin Carewe Productions,
Tec-Art Studios, Hollywood, Calif.



Dolores Del Rio
Roland Drew



Rita Carewe
LeRoy Mason



Robert Agnew, 6357 La Mirada Avenue,
Hollywood, Calif.

Jackie Coogan, 673 South Oxford Avenue,
Los Angeles, Calif.

Virginia Brown Faire, 1212 Gower Street,
HoUywood, CaUf.

Gilda Gray, 22 East 60th Street, New York
City.

William S. Hart, 6404 Sunset Blvd., HoUy-
wood, Calif.

Lloyd Hughes, 616 Taft Building, Holly-
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Harold Lloyd, 6640 Santa Monica Blvd.,
Hollywood, Calif.

Bert LyteU, P. O. Box 235, HoUywood, CaUf.

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Tragic Mansions



CONTINUED FROM PAGE 34 ]



Beverly Hills — from one house of sorrow to
another. Charles put a fortune in the building
of this graceful mansion. It was to this place
that he brought his bride, a cultured society
girl.

When Charlie lost his fortune, the house in
Beverly Hills was sold, but the bride and groom
rented it from month to month, loath to leave
the house where they had been happy.

At last they had to give it up. But it may
be that Frances Marion will here find happiness
again.

npHEN there is Harry Langdon's towering
■*■ Spanish castle on the Arg>'le hilltop, in
which he spent so many unhappy days, beset
with domestic trouble and the worries of a
career which had promised so much and yet
did not last. He signed over the house to his
wife and went back to vaudeville. Now he is
back in Hollywood, beginning again, but he is
not living in the Spanish home.

One of Hollywood's most imposing mansions,
known to everyone in the film colony, has had
its two decades of sorrows. Five families, at
different times, have failed to find happiness
back of its white stucco walls and have left for
new surroundings.

Douglas Fairbanks lived there, so did Norma
Taliaadge, and most recently Emil Jannings.
Now it stands vacant again as it has from time
to time in the past.

The big dwelling on one of the world's most
publicized thoroughfares, Hollywood Boule-
vard, was built by the late Albert Ralphs, a
Los .\ngeles grocer. He had started business
humbly, waiting on all customers from the first
families to Mexican day laborers.

Thrift and faith in the future of the city
built the great Ralphs fortune. The mansion
was a monument to his success, but it did not
bring the happiness expected. Soon after tak-
ing possession of the place he was struck by a
falling boulder and never recovered from the
accident.

The family did not live long in the house
after his death.

Douglas Fairbanks lived there during his
early picture career in Hollywood. The film
colony in 1918 and 1919 was agog over the fact
that he paid S500 a month rent. That is
quite a figure for rental now. In those days of
wartime frugality it was considered enormous.



It was a trying period for Fairbanks. He had
just been divorced by the first Mrs. Fairbanks,
the mother of Douglas, Jr., then a youngster of
nine.

Later, when Mary Pickford became Mrs.
Douglas Fairbanks, "Pickiair," the beautiful
home in Beverly Hills, was purchased. Doug
was glad to leave the e.x-pensive sho^^place in
Hollyivood.

John P. Cudahy, a son of the late Michael
Cudahy, one of the great packer barons of the
nation, next took possession of the residence.
His tenancy was one of the gaj^est, and yet the
most tragic. There were many parties at the
Cudahy house, music and dancing, plenty to
eat and drink. Restraint was not one of Jack
Cudahy 's virtues. His name had been
blazoned in headhnes many times. His life
was one continuous law suit. There was talk
at the time that his wife was about to di\'orce
him.

Although the Cudahy fortune \^•as of many
millions the estate could not be divided for
seven years. Payments came at stated inter-
vals.

When there was money there was gayety,
when there was not, there were bills and threats



Online LibraryMoving Picture Exhibitors' AssociationPhotoplay (Volume 36 – 37 (Jul. - Dec. 1929)) → online text (page 68 of 145)