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

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the derby and pays off the mortgage on the old
homestead. "Lucky Larkin " is silent, with no
good reason for being otherwise. Typical,
active Western and not bad, although it does
seem a trifle too far-fetched. Nora Lane is a
gal any hero would rescue. A trick horse wiU
entertain the kiddies. For young people of all
ages. Silent.

THE GIRL IN THE GLASS CAGE—
First National

A POLICE siren is introduced just as the
audience settles down for its second sleep.
Therefore, you are aware that this is a bad
picture. Its only redeeming feature is the
accurate portrayal of sordid small town life.
.\lthough there are murders and trials ("pris-
oner face the jury, jury face the prisoner" — do
you groan, too?) it is not a mystery story. The
girl in the glass cage (Loretta Young) is a
theater ticket seUer. Part Talkie.

HOOF BEATS OF VENGEANCE—
Universal

SOUNDS like a dime novel, doesn't it? But
really, it's worse. It's this sort of thing that
makes the world unsafe for good Westerns.
Rex, Universal's gorgeous black horse, is al-
ways good, but one pony can't make a picture.
Especially when a sap hero does the impossible
for a shrieking damsel in distress. The plot
and action are full of holes. It's enough to
give a horse feathers! Silent.

THE OPPRESSED— William Elliott
Production

A TIRESOME tale of the Spanish Inquisi-
tion during the Sixteenth Century, with
mobs, riots and prisons. Raquel Meller as
Conccpcion, daughter of the Spanish high con-
stable, faUs in love with a Flemish patriot who
defies the governor. Through his stubborn-
ness he is sentenced to be beheaded. After
much weeping, fainting and pleading on the
part of Conccpcion, he is pardoned. Raquel
frequently overacts and is often lost in the poor
photography. Silent.

107



io8



Photoplay Magazine for October, 1929




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Music of the Films



[ CONTINUED FROM PAGE 100 ]



There is some mean saxophone and brass work
which raises it out of the average dance record
class. A vocal retrain by a gentleman \rith
nice diction but not much temperature.
"My Song of the NUe" from "Drag"
Not much could be done with this song, any-
way. It's one of those one-two-three waltzes
that simply won't be jogged out of the even
tempo of its ways. Ben Selvin does his best
with an undistinguished tune — and the vocal
soloist enunciates even more clearly — but all to
no a\ail. Incidentally, it comes as a shock to
be able to understand the words of a song
without putting one's head inside the machine
and repeating the record three times.

Columbia 148672 and 148673

"Do I Know 'What I'm Doing" from
"Why Bring That Up"

This is not a Waters song — there's not a
blush in the whole thing — but it's a tuneful
ditty with a come-hither rhythm. Anyway,
Ethel Waters could sing the " Pilgrims' Chorus"
and make it sound hotter than "Shake That
Thing" if she took a notion. Besides Ethel,
there's a tricky accompaniment which, alone,
would put this on the prize list.

"She - Sbo - Bogie - Boo" from "'Why
Bring That Up"

This is in the coon-shouter idiom and right
up Waters' alley. .\nd there's a saxophone
break that shakes your shoulders and prickles
your scalp.

Ampico 70213F

"Fox Movietone Follies": Selections:
Fox trot

Featuring the four best numbers from the
Fox Follies; "That's 'V'ou, Baby," "Break-
away," "W'alking With Susie," "Big City
Blues." A well-arranged medley played by
those two exceedingly popular young men,
X'ictor Arden and .Adam Carroll. You can
dance to this.

Ampico 211941E. Fox trot

"Do Something" from "Nothing But
the Truth"

Helen Kane's first talkie number, divorced
from Helen and recorded for the .\mpico by
Harrj' Shipman and \'ictor Lane. There is not
enough variety in the Lane and Shipman piano
recording and it registers as decidedly mo-
notonous after the snappy Fox Follies medley

Duo-Art 0655. 'Waltz

"I'll Always Be In Love 'With "you"
from "Syncopation"

A number with a swinging rhythm and a
catchy melody, played with nice shading by
Frank Milne. It's a good dance and song roU
and will make both the hoofers and the
crooners of the family happy.

Duo-Art 104335. Song roll with words

"Pagan Love Song" from "The Pagan"

Watch out — we're going to get excited! This
re%iewer listened to a Duo-.\rt organ recording
of the overworked waltz ballad from "The
Pagan" — and almost bought an organ just
for this one number. But we couldn't fool the
Duo-.\rt people into accepting cigar coupons
for new bills. Lew White plays it — and in our
opinion Lew can lick both the Jesse Crawfords
with one hand tied behind his back.

Duo-Art 0654. Fox trot

"Breakaway" from "Fox Movietone
Follies"

This fast-rhythm fox trot is played by Gene
Kerwin in a snappy manner with plenty of
variety. If you like the piece you'll like this
recording.



Duo-Art 104355. Song roll with words

"■Walkin' with Susie" from "Fox
Movietone Follies"

One of those slow, lazy fox trots for the boys
and girls who like to take their dancing easy.
Gene W'aldron gets some no\-el effects, includ-
ing a nice change of key in the last chorus.

Duo-Art 0656. Fox trot

"That's You, Baby" from "Fox Movie-
tone Follies"

To our mind, this is the catchiest of the three
Fox Follies numbers recorded by Duo-Art. It
has more lilt than the others. As plaj'ed by
Ralph Addison it makes a danceable dance and
a singable song — and that's about as much as
you can ask of a music roll. .Addison pounds a
mean piano and knows his Broadway idiom.

Duo-Art 104365. Ballad

"Little Pal" from "Little Pal"

A typical Jolson heartbreaker and "Sonny
Boy's" successor. Gene W'aldron does well by
this ballad — but to us a Jolson song without
Jolson is just so much misguided emotion.

Duo-Art 104375. Ballad

"'Why Can't You?" from "Little Pal"

This recording by Thompson Kerr is not
quite up to the preceding one — it rather drags
in spots. However, there is a nice variation in
tempo, which helps. We liked especially the
parts where Kerr double-times.

Duo-Art 0659. Fox trot

"Do Something" from "Nothing But
the Truth"
A corking arrangement and a snappy rendi-
tion by Frank Milne. MUne gets the most out
of the rhythm of the piece and adds a little of
his own. There are some swell breaks. Noth-
ing we like so much as a good break, rhythmical
or otherwise — -but most good little breaks —
rhythmical or otherwise — have gone to Holly-
wood.

Victor 22041-A and 22041-B

"Low-Down Rhythm" from "Holly-
wood Revue of 1929"

This is not so low-down. In fact it rates as
one of the best canned tunes made in Holly-
wood so far. It's one of those irresistible fast-
time fox trots with a mad and misbehaving
rhythm. Played by the High Hatters who are
about as hot a jazz factory as you can find any-
where. We Uked the saxophone, banjo, piano
and Mr. Frank Luther, who bursts into song.
"Got a FeeUn' for You" from "HoUy-
wood Revue of 1929"

.Another prize number from M.-G.-M.'s
super-revue snappily recorded by the High
Hatters and Frank Luther. There's more of
that banjo in this one, and a muted saxophone.
Waiter, bring me a muted saxophone — double
portion.

Victor 22057-A and 22057-B

"Orange Blossom Time" from "Holly-
wood Revue of 1929"

Sung by Johnny Marvin, with a saxophone
solo by .Andy Sannella. The combination of
Marvin's voice and Sannella's sax (sax, we
said) deserves a better vehicle than this sickly
sweet melody.

"Singin' in the Rain" from "Hollywood
Revue of 1929"

Marvin is interrupted this time by the
Frohne Sisters Quartet.

\\'hether it's the piece, which is pretty tin-
panny or the Sisters Frohne themselves, we
don't know, but they reminded us a lot of the
old man who used to cry"Ragsoliron" up and
down the street in piercing and monotonous
tones.



Every advertisement in PHOTOPLAY MAG.\ZINfe is Buaranteed.



Photoplay Magazine for October, 1929



109



Clara BoVs



S e ere t



II



''YoM either love her or you hate

her" men all say — and then

fall in love with her



THE secret's out— Clara Bow's secret— the
secret something that brought her up
from obscurity to stardom in a few short
months, and kept her there.

For Qara Bow iloes have something. It's just
as real off the screen as on it, and it's the big
reason why Hollywood herself has taken Miss
Bow into her arms.

Elinor Glyn calls that something "IT."
Others call it personality. Clara Bow, in the
October issue of Screen Book Magazine, de-
fines "IT," describes "IT," classifies "IT," and
even tells you how to get "IT" !

It wasn't easy to get Miss Bow to WTite her
story. For after all, "IT" is an intimate part of
her being. She knew she'd have to boldly con-
fess a good deal of her intimate and private life
that screen stars don't usually talk about.

But she knew the secret, and she knew it wasn't
fair to keep it. For her simple, clear explanation
of how and why she
has "IT" and how
Others can obtain
"IT" -is something
everyone should
know and profit by.

It was on this argu-
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prevailed upon Miss
Bow to write this






\0^ iv



story. Read "Clara Bow's Secret" in the October
issue of Screen Book Magazine. It's on the news-
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who knows she's lacking— for the wise woman
who wants to improve and develop "IT," Clara
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Screen Book is the newest idea in movie maga-
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mid morel Each issue of Screen Book, in addition
to Studio Gossip; News; Movie Reviews; Full-
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stories written by the stars themselves, contains
the equivalent of a $1 book-length novel com-
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Book contains the complete, fully illustrated
novel "Madame X," the movie of which is now
sweeping the country by storm.

"Clara Bow's Secret" is only the first of ?,
series of stories by prominent stars designed to
help women improve their charms. In the No-
vember issue of Screen Book, Lupe Velez writes
"How to Attract the Man," and following issues
all through the year bring you equally informa-
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stars.

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Among the 14 Stars who demonstrate their
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Photoplay Magazine for October, 1929




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Gossip of All the Studios



[ CONTI.NXTED FROM PAGE 104 ]



''It's just too bad you happened to mention
it," said one of the party. "Do you know who
I am?"

" No," admitted Lon.

"Well, I'm the game warden."

Lon thought wixh all the thousand minds of
his thousand faces.

" I see," he said. " Do you know who I am?"

" No," said the warden.

"Well, I'm the biggest liar in the world."

CLIFF EDWARDS, better known
as Ukulele Ike, was having his
five cents' worth about the diet fad
at the studio luncheon round table.

"A pal of mine started on the 18-
day diet," said Cliff, "but he got a
job directing a quickie and had to
rush the diet through in six days."

JUST try to keep this boy Mickey Neilan
J from having his little joke. The Boul' Holly-
wood is buzzing with his latest. They do say
that Jim Kirkwood wanted to have a test
made. Neilan let him speak into the micro-
phone. When he had left the lot the director
got a very effeminate young man to speak
Kirkwood's Hnes and doubled this on the fihn.
The creat day arri\-ed. Kirkwood invited
all his friends to hear him speak on the screen.
Fancy his complete mortification when the
lisping, falsetto voice filled the projection
room. It is further rumored that Mr. Kirk-
wood is none too hilarious about the situation.

A N old friend of the screen may leave us for
■* *-the stage.

Irene Ivich, now married to a millionaire real
estate man, and last year enormously success-
ful in vaudeville, may be starred in a stage play
by manager W Woods during the 1929 season.
Right now, however, she is filming away
opposite Will Rogers in the Fox picture,
"They Had to See Paris."

■p OBERT ARMSTRONG is work-
■*-^ ing in three pictures at once,
doing scenes, rehearsing and learn-
ing lines. His hours number about
twenty out of the twenty-four. The
other morning Helen, his wife, called
him to get out of bed.

"It's eleven o'clock, dear," she
said cheerily.

"Never mind the details,"
mumbled Bob, "what month is it?"

TLJOW can Irene Bordoni, the oo-la-la lady of
-•- -^the stage, peg along on the SIO.OOO she is
said to rate from Warners each week she works
in "The Show of Shows"?

That's a mere bag o' shells! Safety-pin
money! John McCormack. the silver tongued
tenor who hits High K with ease, is to get
8500,000 for ten weeks' work in a Fo.x picture.

TTHE clouds have gone from the usually
-'- happy face of little George K. Arthur.

He and his missus have kissed and made up.

"We're happy again," says George, all
a-beam. "And I've moved my clothes back
home."

Hurrah, huzza and a heigh-ho !

Oh, to be in Paris

Now that Gilbcrl's there!
Oh, to roam the boulevards

With JacI; and Iiia Claire!
Paris must grow high and wide
To hold that bridegroom and that bride!

T EATRICE JOY plans to adopt another
■'—'child for a companion to Leatrice, Jr.

Little Leatrice insists that boys are verj'
fussy and push her down so she doesn't want



any brother. It looks now as if the stage is all
set for a sister as soon as one of proper quaUfi-
cations and about six years can be found.

Baby Leatrice, at the moment, is only "four
and three quarters years old," as she expresses
it and since she is to be kept the baby of the
two, the addition to the Joy household will
have to be in the neighborhood of six.

■DACLANOVA, the Russian tigress Para-
■'-'mount was building up as Negri's successor
in the foreign-menace Une, is leaving the big
company in November.

Grand artist though she is, the mechanics of
the talking picture whipped her. So Baclano\a
will probably go on a vaudeville tour, another
film victim of that harmless looking httlc
"mike."

A NOTHER Blue Monday Musing
**-by the irrepressible Bugs Baer —
"Funny place, this Holl3rwood. I
went out to rent a swell Spanish
hacienda I'd been looking at and it
turned out to be a gas station."

■pQUITY is the word of the moment in
•'-'HoLlywood, and being rather a prolonged
moment, perhaps this is still timely. The
Legion Stadium was packed to the rafters ^^^th
members of the .\ctors Equity Association,
assembled there in the sight of God and man to
discuss the problems of the day.

.■^s one speaker stepped to the "mike" he
stopped to publicly apologize to Gloria Gray,
whom he had professionally compromised in no
uncertain terms at the melee a week before.
.At this meeting she had been reinstated with
due honor. "At the last meeting, Miss Gray,"
he began, "I made some rather bald statements
about you. Equity is always glad to admit its •
wrongs, and I know I have wronged you
deeply. I'm sorrj'."

They shook hands. Then turning to the
audience, the speaker continued: "Now, are
there any other ladies here whom I have
wronjied?"

"j_JOLL\'WOOD has been saying that when
-*• -'Colleen Moore winds up her present
picture and her contract at First National that
she and spouse, John McCormick, will tour
Europe for months.

Xe%er was Hollywood wetter around the
edges.

The pair can't be pried away from the new
shack in Bel-.Air. Colleen and John eat it,
dream it and talk it. John is so proud of it
that he gets up early on Sunday mornings and
rnassages walks and tennis courts. A misplaced
cigarette butt may send him into dangerous
tantrums.

Europe? McCormick doesn't care if it's
hub-deep in matchsticks and old milk bottles,
as long as there's the estate at Bel-Air.

'TPHE current great neckers of the
^ colony are Joan Crawford and
Douglas Fairbanks, Jr.

Down at the Beach Club the
youngsters have discovered a grand
new game of counting the times
Doug smacks his bride on the lips.

Each osculation is greeted with
lust>' cheers and applause. Apparent-
ly Joan and her "Dodo" have no
objections.

T EAVE it to Jetta, queen of all the Goudals,
-'-'to spring the latest bizarre note in himian
get-up.

At a recent Hollywood opening La Jetta
arrived wearing a gardenia corsage hitched to
her wrist, and so long that it cramped the
elbow-joint. [ please turn to page 112 ]



Every advertisement in PHOTOPLAT MAGAZINE is Buaranteed.



Photoplay Magazine for October, 1929 i i i



^^Me and the boy friend''

You know them, bless their hearts. A pair of youngsters,
really, in spite of their self-reliant air and their fast-van-
ishing teens. The girl — slim, clear-eyed, merry; the
boy — flippant, a bit arrogant, full of secret, earnest
plans.

They like each other. They go to the movies together,
dance, quarrel a bit. They don't believe in early mar-
riages. But her eyes shine when she speaks of him. "Me
and the boy friend."

One of these days, suddenly, they'll be grown up.
Man and wife, those fearless youngsters. A home to plan,
life to face. A budget, a savings account, economies.

They'll make mistakes, but they'll learn quickly.
She'll begin to be canny in the spending of money — to
question prices and values. She'll begin to read about
the things she plans to buy, to find out all she can about
them. She'll become a regular reader of advertisements.

They'll help her to become the capable, wise house-
wife she wants so much to be. They'll tell her what
clothes are best and what prices to pay for them. They'll
tell her about the foods to buy, the electric appliances,
and correct furnishings for her home. They'll help her, as
the advertisements in this magazine can help you.

And she'll meet her responsibilities and fulfill her
duties easily and well. She won't become a tired, flus-
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the speedy years she'll retain much of that shining-eyed,
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When you write to advertisers please mention PlIOTOI'LAY MAGAZINE.



I 12



Photoplay Magazine for October, 1929



She looked so
exquisite . but the

evening betrayed her




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Gossip of All the Studios



[ CONTINUED FROM PAGE 110 ]



It was all very elegant, but the big bouquet
forced Goudal to lay that arm on the back of
the seat in front for two hours and a half, as
though the fin were in a plaster cast. And such
is the price we pay for the priceless diilerence
that makes some people Joe Doakes and others
Jetta Goudal!

PRODUCTION activity never prevents
-'- Douglas Fairbanks from having a good time.
For years he has kept one or two assistants
about who are tickhsh.

It just brightens Doug's day to poke a finger
in the ribs of a ticklish person. The big sport
during the making of "The Taming of the



Online LibraryMoving Picture Exhibitors' AssociationPhotoplay (Volume 36 – 37 (Jul. - Dec. 1929)) → online text (page 86 of 145)