MOTION PICTURE D1R)ECT0B fVhat Makes the Star Fade?

This woman, belonging to one of the Four-fifths of you are buried below the very best families, is, in spite of surface and In that four-fifths Is hid¬ her beauty, her wealth and her so¬ cial position, one of the lowest human den, almost smothered, the Real You. dregs of the country. No one, who is not Choked by the senses, by fear and a drug addict, has any idea of the ter¬ inhibitory hindrances, the Real You rible hell she goes through every day. Yet—she could not be despised, for she strives to make itself known through the is mentally sick, mentally diseased— vehicle of intuition. In rare moments, owing to her very low rate of vibra¬ when the senses are stilled, you will feel tion. its urge. 'I he twenty per cent artificial Drug addiction, sin, sickness and all you is but a weak, pitiful thing com¬ other failures, have a common origin in pared to that mighty, glorious 'i ou of a rundown or lowered rate of vibration. BUT, raise their rate of vibration and the other four-fifths. they all come back to normal. Still further increase their vibratory rate Peter Clarke, philosopher and psychologist, and they may reach any pinnacle of world citizen, sojourner in many strange success. lands, is the author and discoverer or this great system of Vibratory Equilibrium. The secret of all existence, all energy, all Vibratory Equilibrium is the resu.t of a vitality, is vibration. You are only as alive as you are vibrant, for it is vibration that lifetime of study and research of the Three vitalizes your whole being. All degrees Eternal Principles of all existence and of life and existence are measured by their progress. It has been evolved for the pur degree or rate of vibration. pose of restoring to you, your lost four- fifths. Inspiration—Creative Inspiration — Con¬ tinuous, Creative Inspiration. T/iis is the These discoveries have been written in a greatest need in Movie!and today. Without series of simple lessons. They are free from genuine inspiration there can never he that undue technicalities and are not only easy “subtle radiation of attraction” nvhirh so to read and easy to understand, but they indelibly stamps the genius. You may he a are fascinating right through to the last star ‘with all the physical perfection of word. They carry with them a vibrant I enus, hut, vcithout that “elusive some¬ thrill which searches out every fibre of your thing” you veil! never shine. being. The truth of these principles has Shooting Dope been proven beyond any danger of contra¬ You ‘u-ill see stars come, flash a vchile, then A .Most Unnecessary Evil diction. flop and go out. They lack genuine in- ■spiration. And yet in every one of them, just as in you, there .Among other achiev'ements, Peter Clarke has the distinction of IS the means of tapping an infinite supply of Creative In- being officially credited by the New York Police Department spiration, a source that

Desert Publishing Co., Dept. D., It shows that in you, no matter who you are, just as in Box M-2, Hollywood, Calif. Please send me without charge or obligation to me. your booklet the greatest genius that ever lived, is the divine spark, and information regarding your course on Vibratory Equilibrium. that illimitable potency which is not a thing of the senses or the body, but of the Ego, the Real You—a God-given Name . heritage, which it is your bounden duty to develop and contribute as your share, to the glorious destiny as a .\l)I>RFSS . whole. 19 27 I THE MOTION PICTURE DIRECTiTOR OF HOLLYW OOD

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IVrite for illustrated booklet 2 THE MOriOS PICTURE DIRECTOR OF HOLLYIfOOI) /" e h r u a r y

T H p: VOICE O F THE INDUSTRY

T^MOTldN PICTURE DIRECTOR \'0LUME 3 PTbruary, 1927 Number 5

% jjol^moa

George E. Bradley, Editor

Lylah Dean Hall, Associate

CONTENTS

The Alan on the Cover.....Charles Ray In the Director’s Chair..J. Stuart Blackton 3 Are Pictures Iinproving.....Raymond Schrock 4 Hollywood’s New Studios....Jay Chapman 6 A Dream Come True.. .Ruth M. Tildesley 8 What the Directors Arc Doin^. . ... 18 Houlevard Bull.. . . .Geo. E. Bradley 19 Everybody Calls Him “Al”. ...Bert Bernard 20 4’he “A'Vave Length” of Success.....June Alathis 22 4'hey Shall Not Pass...... Sam B. Jacobson 24 Our Own Screen Gallery...... - .25-40 Marie Prevost, Gertrude Astor, Dolores Del Rio, Rod La Rocque, Cissy Fitzgerald, Peggy Montgomery, Hazel Dean, Flora Finch, Ena Gregory, Miss Pittsburg, Lamby Lemly, Harrison Ford, Leslie Fenton, William V. Mong, William Orlamond, Gene Gowing.

“AVith Alalice Toward None”...... 42 The Bookworm...... Lucille Peters 43 The Ruthless Law of the Screen ...... Doris Douglas 44 Gas ...... Nate Gatzert 46 Al. Boazberg, a Portrait...... 47 Bobby Vernon—(An and Off. . . . .Renee Ross 48 Impressions of Blanche and Alickey. . ..Margaret Ettinger 50 Photographing Personality...... Lucile Lane 52 Jack Raymond, a Portrait...... 54 A Changeling in Our Alidst... . .Lucile Erskine 62

The Motion Picture Director of Hollywood Published monthly by the Director Publishing Corporation, suite 611 Taft Bldg., Hollywood, California, Tele¬ phone GLadstone 7708; J. Stuart Blackton, President; L. L. Arms, Vice-President; Ernest E. Griffiths, Secretary and Treasurer. Single copies, 25 cents, yearly subscription $2.50. Entered as second class matter, October 1, 1925, in the postoffice at Los Angeles, California, under the act of March 3, 1879.

The MOTION PICTURE DIRECTOR OF HOLLYWOOD is glad to consider manuscripts or art work and exer¬ cises all possible care while such material is in its possession. I'his magazine, however, cannot assume responsi¬ bility for the loss of any material while in transit.

Eastern Coast Editor—Hal. C. Howe, 7 East 42nd Street, New York City, N. Y. Telephone Vanderbilt 2559.

Copyright, 1926, by The Director Publishing Corporation PRINTED IN U. S. A. 3 I '■) 2 1 THE MOTION PICTURE DIRECTOR OF IIOELYH OOD 4 THE MOTION PICTURE DIRECTOR OF HOLLYWOOD February “Are Pictures Improving?” Asks the Editor

liE greatest picture of its type ever screened!” H ow often this slogan strikes the eye, flaming from every billboard, heavily inked into prominence from every printed page, emblazoned on every screen announcement of films to come! It bas become the usual thing—this bold claim—so usual, in fact, that the picture-going public accepts it as a matter of course, something to be expected and possibly ignored while it passes through the doors of the theater to render its own judgment. Yet, the wonder is, not that the boast is made so often, but that so often it is correct, that the picture proves actually to be better than all its predecessors in its own field. Never a year goes by that a new champion is not crowned in every form of film production. In every one of the approximately 25,000 motion picture theaters of the United States, it is probable that at least once every day, some patron gives vent to the question in a somewhat peevish tone, “Why don’t we have better motion pictures?” The only possible answer is that we have them—better pictures than we have ever had before, pictures that are inferior only to those which are yet to come in the future. Comparison of the films of today with those of ten or even five years ago will show such a vivid contrast and such tremen¬ dous strides in every phase of production that the fan of today will wonder what could possibly have aroused his enthusiasm over those earlier efforts. Serious consideration of the subject after an exhaustive probing after facts gave rise to the inquisitorial thought as to just who or what is responsible for the extraordinary advance motion pictures have made in the few brief years of their existence. In seeking a capable authority for an answer, the inspiration came to question a man who though young in years has veri¬ tably grown up in the industry, one who has played an appreciable part in its progress and who today holds one of the most responsible positions in filmdom. So it happened that the problem was placed before Raymond L. Schrock, associate producer with Warner Brothers, who, after a long apprenticeship, rose to his present post in a series of startling strides during the past few years. Mr. Schrock has the habit of originality in ideas and execution. He is one of those rare picture folk with the faculty for starting things that others attempt to follow. For instance, it’s been only recently that he launched the vogue for these Irish- Jewish combinations in film comedy with “The Cohens and The Kellys,” which many other producers have tried and are still trying to emulate. There is no deeper student of pictures in screenland today, no one who has a keener ear to the ground for a murmur that will guide to film improvement. So it was with the confidence that the answer would be intelligent and lucid that the query was placed before him, “Who or what is responsible for better motion pictures today?”

Better By Leaps and Bounds Ansavers Raymond L. Schrock

[IS answer was delayed for just that space of time which is required by a clear- H'thinking individual to prepare for an expression of opinions on a matter to which he has given a great deal of intelligent consideration. “Generally speaking,” he said, “the ‘who’ responsible for better pictures today are exceedingly plural—in fact, there are over 110,000,000 in the United States alone. First in importance I am referring to the people of the world, whose de¬ mand for entertainment creates the market called ‘box-office’ that keeps the wheels turning. “True enough, there was a time in the early history of this great industry when the Motion Picture was a novelty and for that reason the public accepted almost anything. That was the period when most critics and writers coined the phrase, ‘The Motion Picture is in its infancy,’ and producers heard it so often they believed tbe public was also in its infancy and pictures were machine-made products, de¬ signed to appeal to the average mentality of childhood. Then producers suddenly awakened to the fact that the Motion Picture was really in its infancy, because they themselves had arrested its growth, and that it was no longer a novelty to the public, who were clamoring to adopt it as a standard entertainment, because it was within the range of every purse. “Second in importance, I am referring to each and every individual who is a part of the great human machine that executes the making of Motion Pictures to supply the demand of the public,” continued Schrock. “Included in this vast army of humanity we have the producer, director, actor, author, adapter, continuity writer, RAYMOND L. SCHROCK cameraman, film editor and cutter, title artist, title writer, technical director, scenic artist, electrical engineer, glass artist, miniature builder, laboratory chemist, property man, blacksmith, carpenter, draftsman, mill hand, plasterer, paper hanger, painter, interior decorator, plumber, brick layer, set dresser, latbe hand, stunt man, wood carver, upholsterer, tailor, designer, modiste, wig maker, hostler, teamster, chauffeur, animal trainer, the assistants, for each and every trade or profession, and the unclassified laborer and mechanic. In addition we may not overlook the countless inventors who are constantly contributing to the improvement of operation and quality of results, nor the many playwrights and authors of fiction who are ever striving to satisfv the public taste. 19 27 THE MOTION PICTURE DIRECTOR OF HOLLYIV00D 5

If you Jo not think this is an old one all that is necessary—try to name them.

“Last but not least, 1 am referring to blackface age of pictures, because at that if I can call it that. In other words, the the driving spirit of all human en¬ time no one knew anything about make¬ progress that had been made was a cor¬ deavor—Competition. up for the camera, with the result that rection of mechanical defects which “Of course, there are plenty of people anyone who was daring enough to per¬ manifestly had to be overcome before who can not register on their minds the form before it saw that his face ap¬ motion pictures could be considered as fact that pictures are improving, have peared on the screen with a distinctly of any real practical value. And the improved so tremendously that a revival ebony hue. only films made up to that time were of an old-timer considered great in its “From that e.xperimental period, films subjects from one quarter to one-half day, now is treated as a joke and brings merged into the ‘jumpy’ age. In that the length of one of our ordinary reels howls of laughter from the audience. ancient era, which was about twenty of today. When we consider that motion pictures years ago, some of the problems of make¬ “In short, pictures were just floun¬ are only thirty years old, counting from up had been solved and the players did dering around, their makers trying to the day when I'homas A. Edison made look fairly white on the screen, but no find out just what it was all about and his first historic test with Cissy Fitz¬ one had yet been able to make the film what they could do with the finished gerald, at that time the popular ‘Gaiety ‘stay put’ when it was projected. Not product. But the public seized upon Girl’ as the first actress to appear before only did the characters in the play move, even those extraordinary crude products the camera, away back in May, 1896, it but the entire photograph on the screen and the flickering, bobbing pictures were seems all but incredible that they have hopped up and down. the rvonder of the age. They were raced to rank of fourth industry in “Eventually, of course, the jumping shown in theaters, halls, anywhere America. There is only one other field was eliminated and pictures entered the where a square of canvas could be of effort that can be compared to it and stage of definite organization, r\hen stretched, and the people came in in¬ that is the automobile, whose progress companies were formed, devoted exclu¬ creasing numbers. curiously parallels that of films. But sively to the purpose of transferring “Then it occurred to several persons the auto was a necessity, whereas the stories into pictures. simultaneously apparently, that the mak¬ motion picture even today is, primarily, “Now, up to this time, such improve¬ ing of motion pictures might become a a source of entertainment. ments as had been made in films were profitable business. So the various origi- “I suppose 1896 might be called the the work of the engineering department, [Continued on Page 56)

And nonco comes Jean Hers holt, he the master of make-up in a more modern pose—though nj.-e helieve in a fenxc years this side’walk stuff ’will be passe Administration building and main entrance to the nenu Famous Players-Lasky studios on the site formerly occupied by the United Studios. Hollywood’s New Studios

hy J.W ChAPM.AX INCREASED demand for motion howe\er, was only about thirty acres, picture entertainment, more theaters while the new studio contains over sev¬ throughout the country, more pro¬ enty-five acres. duction—these forces are expanding the the east the Mack Sennett studio. All The United Studio plot, which has Hollywood studios. of these plants are approximately the been taken over by Famous Players- And within Hollywood, the village same distance from the heart of Holly¬ Lasky as the new home of that organi¬ of yesterday, the solidly-built city of to¬ wood . zation’s West Coast production forces, day, there is no more room for studio First National is the first of the big is historic ground. It was originally expansion! companies to build a new outlying studio used by W’. H. Clune and other in¬ Hollywood will remain the hub of “from the ground up.” Its site was dependent producers of the early days, the wheel, the center of the motion pic¬ once an alfalfa field, a river bottom and and then became the home of Paralta ture industry; however, the production a dairy farm; in place of these has Plays, Inc., known as Paralta Studios. of motion pictures will—in fact it has— sprung up within the space of only a Among the notable pictures made there, largely taken itself out of the city proper few months the largest and finest equip¬ in part or in their entirety, were the to points north, south, east and west ped studio yet erected. old “Ramona,” “The Birth of a Na¬ of the civic center. The famous old Hollywood studio tion,” and “Eyes of the World,” and North of Hollywood lies First Na¬ most recently known as United, which later “The Miracle Man.” tional’s big new plant, just opened. On was First National’s home prior to the However, for some time it was used the north-west is Universal City. On move to larger quarters in the San Fer¬ mostly as location ground and space for the south are De Mille, Hal Roach and nando Valley was at the time of the exterior sets, although gradually several Metro-Goldwyn-Mayer ; on the west the move the largest in point of area within of the old-fashioned open stages, and fin¬ site of the Fox studio project, and on Hollywood proper. Its available space. ally a glass-enclosed stage was built. In I 2 7 THE MOTION PICTURE DIRECTOR OE IIOEEYIEOOD 1 the meanwliile the name “Paralta Stu¬ dios” had given place to “Robert Brun- ton Studios,” under tlie management of Robert Brunton and later of M. C. Le¬ vee, who is now general executive mana¬ ger of the new P'irst National plant. Colleen jMoore, Mary Bickford, Douglas Fairbanks, the 7'almadges, Bus¬ ter Keaton and many other famous stars ha\e made pictures there. It became the home of First National Pictures practically at the time of the inception of that company’s west coast production activities, and was expanded and im¬ proved to meet the growing demands of the organization, until finally its space became inadequate. No more could be obtained, and the erection of the new First National plant was necessitated. A street on the lot at Lasky's

In much the same manner, and for a center of the village, and when that the old bungalow offices that once graced similar reason. Famous Players-Lasky village gretv into a city its growth had the IMelrose Avenue front of the plant, deserted another historic bit of studio continued to center around what had and behind them, the ground is covered property which has long been a Holly¬ been in the past its most important mo¬ by an orderly arrangement of huge wood landmark, the old Lasky studio tion picture plant. stages and closely-knit supporting units at the corner of Vine Street and Sunset The new Lasky studio, reared upon of production. Boulevard. the site of the United, ex-Brunton, ex- The change from the old rather hap¬ Lasky’s production expansion necessi¬ Paralta, ex-Clune studios, is entirely re¬ hazard method of building arrangement tated the change to the studio that First built upon very extensive plans, and the in the studio lot is also significant of National was leaving, thus for the first new plant will be one of the best-equip¬ the whole movement for production ex¬ time since the Famous Players-Lasky ped and most efficient in the West. It pansion that has forced some studios to company and its parent companies began is built upon a condensed, well-planned seek quarters just outside Hollywood, production on the West Coast, .separat¬ system that muU care for the company’s and others to move to larger space with¬ ing Paramount’s western producing needs for years to come. Office build¬ in the city. Even on the big expanse of companies from their central Hollywood ings that rear skyward and reverse the the new First National lot, the efficient location. "Fhe old studio, which is be¬ entire low-built, rambling tradition of production unit system that uses the stage ing dismantled, was originally in the West Coast studios of the past replace (Continued on Pae/e 55)

Aerial Tic’w of First National plant at Burbank, Cal. 8 THE MOTION PICTURE DIRECTOR OF HOLLYWOOD February A Dream Come True

hy Ruth M. Tildesley

E iMOST advanced step lice window half way down the long ducting “Big Bertha” through her first n motion pictures durinfj store; Evelyn Selbie and a neighbor paces. he past ten years has taken match silk at the dry goods counter in “After the perfection of the new cam¬ )lace with the perfection of the rear, while other small-towners loi¬ era, one of our first ‘takes’ was Niagara ‘Natural Vision” photo¬ ter here and there about the emporium. Falls,” said Mr. Luperti, “The thing graph, and stereoscopic projection. Dr. If this were an ordinary picture made was hard to get and while we were P. John Bergren, Swedish inventor, with a standard camera, Mr. Winter doing it we had to get right down into George K. Spoor, capitalist of Chicago and M iss Selbie and their companions the water. We growled to each other, and one of the earh' picture pioneers, would be out of focus while Bessie and as we slipped and slid about, that nobody and Commodore J. Stuart Blackton, who the girls were registering upon the silver could make anything out of this — we is now directing this first picture of new sheet. But with the magical monster couldn’t see much spray ourselves and type, are responsible for this marvelous grinding away at the commodore’s el¬ what could poor Bertha do? But when invention which experts believe will serve bow, we are assured that every person we saw it on the screen, we gasped, hard- to revolutionize the entire picture indus¬ on the set will be as distinct to the spec¬ boiled as we are. It was so real we felt try. tator as he would be if the scene were we could put our hands In it and touch Dr. Bergren came to George K. Spoor enacted on a stage In any theater. the sparkle of the water! There was a in Chicago more than ten years ago with tree in the foreground, but it was no the germ of an idea—and IMr. Spoor, more distinct than the Canadian shore after listening to the inventor’s plea, be¬ IF INNE R ! miles across the falls.” came interested. That they worked for Because the director and companv can¬ those ten long years to perfect stereo¬ not see rushes of the natural vision film, scopic projection and ‘‘natural vision” there is a Bell and Howell camera on photography, is past history, but that the set, too, which works beside Big they succeeded is the most interesting Bertha. William S. Adams, who has and startling news in many moons. ground the commodore’s cameras since George K. Spoor has long counted 1908, is in charge. Adams is also re¬ Commodore Blackton one of his closest sponsible for the lighting of the un¬ friends and while the former Vitagraph usual sets. “Bill” is the trouble shooter, owner had nothing to do with the lab¬ the watch dog on the set, for a Bell and oratory experiments, his name was con¬ Howell camera cannot get the depth on stantly in the back of Mr. Spoor’s mind the deep sets or the width of the wide whenever a director was mentioned. sets, but it gives a general idea of what Thus it is that J. Stuart Blackton is Is going on. given the honor to bring the first stereo¬ “.My rushes are like looking through scopic motion picture to public view. the wrong end of a telescope, as there Down at the old Fine Arts Studio, are no close-ups in the new method,” ex¬ where ‘‘The Birth of a Nation” and “In¬ plained Mr. Adams, “My camera takes tolerance” were born, this new and won¬ sixty feet of film to Big Bertha’s ninety, so you can imagine the difference.” derful dream is coming true. With this GEORGE K. SPOOR natural vision picture we no longer see One especially wide set used contains shadows moving on a flat surface—shad¬ The natural vision film is twice as the bedroom, living room and kitchen of ows sometimes distorted if we sit too far wide and one and one-half times as high the house where Jane (Bessie Love) to one side of the theatre—but a per¬ as ordinary film, and when thrown on lives. Action in two of these rooms was fect likeness as seen in actual vision. Its the screen the picture is forty-two feet being recorded by Big Bertha while I gift to the screen is the third dimension, wide, twenty-three feet high and as deep watched the scene. depth. as the eye can see. In the living room, Bessie was learn¬ We who are accustomed to regulation “We must progress,” observed the ing the latest dance steps from Ward sets are amazed at the depth and width commodore, “The old film was marvel¬ Crane, the villain of the piece; in the of those used by Commodore J. Stuart ous in its day, but it is hard on the eyes kitchen, Charlie Ray was washing dishes Blackton for “The Flag Maker,” as the now that nickelodeons have grown into while Dickie Brandon, Bessie’s small initial production is called. coliseums. Screens have come to look brother “Niles,” dried them. There is one set which shows a gen¬ like postage stamps stuck on billboards. It was like a scene on the stage, for eral store in a small town—a store con¬ It’s taken us ten years to perfect this they didn’t move the cameras to show taining a post office, a soda fountain and invention, but we have it now.” Charlie at the sink, then move them to departments selling everything from hats Commodore Blackton is one of those show Bessie dancing, then close-up of to Ford cars. The commodore, in his who blaze new trails. He was a pioneer Charlie’s misery, then to a long,shot of white sweater, stands beside the new two in five-reel feature productions, and in little Dickie dancing with the dish towel hundred pound camera, which he affec¬ natural color photography, and he and sugar bowl to the music he hears tionately refers to as his “whirling bath¬ planned and financed the first fan maga¬ from the next room. It was continuous tub,” and lifts bis megaphone. zine. action from the time Bessie admitted the “Camera!” It takes two to handle “Big Bertha,” oily villain bearing the phonograph to In the foreground, Bessie Fove and as the cameramen call their new charge. the moment Charlie passed unnoticed a trio of pretty girls giggle with the clerk Major Marvin Spoor, brother of George through the living room and went out at the soda fountain; Banks Winter, K. Spoor, and Conrad A. Luperti, who into the night. the postmaster, passes out an agricultural has been associated with Mr. Spoor for “This means the end of the ‘beautiful journal to an old farmer at the post of- seventeen years, share the honor of con¬ (Continued on Page 10) 19 27 THE MOTION PICTURE DIRECTOR OF HOLLYWOOD 9

It Is Indeed A Sincere Tribute to be The Original “Stereoscopic” Heroine Thanks to George K. Spoor and J. Stuart Blackton

BESSIE LOVE 10 THE MOTION PICTURE DIRECTOR OF HOLLYWOOD F e b r u a r y

high school when she decided she wanted cupied with small Dickie Brandon, to A Dream Come to “go into pictures.” whom he is a hero. “I went down to the Griffith lot where Wilfred North, who has long been as¬ pictures were being made. It was right T rue sociated with Commodore Blackton, is here at the Fine Arts Studio!” glowed {Continued from Page 8) general manager of the company, and Bessie, “While I was arguing with the Ray Kirkwood and Stanley Orr are as¬ and dumb,’ ” declared Mr. Blaclcton. secretary, D. W. peeked through the sistant directors. J. Stuart Blackton, Jr., “Every actor must have thorough train¬ office door and saw me. The secretary handles the nroduction end of the unit. ing and wide knowledge of technique. had just about persuaded me to go back A word about Wilfred North is not The director in the old pictures tells his where I came from when D. W. sent amiss. North, who has been an asso¬ lovely dumbbell to enter the room and out word that he would like to see me. ciate of Commodore Blackton for many see a mouse. He does it for her. He He gave me a part in a comedy he was vears, was long a director for the old even yaps for her when she sees the making, called ‘The Flying Torpedo,’ in Vitagraph Company, when that organi¬ mouse. Then they cut to the instigator which I was a Swedish girl. The part zation was in the heyday of its glory. of the mouse, and then back to the 1. d. turned out to be tbe lead, much to my North it was who made many of the on the table, holding her skirts as in¬ amazement, and resulted in a five-year John Bunny-Flora Finch comedies then structed by the director. The 1. d. had contract. I’ve been in pictures ever so popular, and later he served as di¬ no occasion to use brains even if she since. rector to the Talmadge girls. In tak¬ had possessed them. “I’ve been doing little gingham girls ing over the General Management of “Every member of this cast is capable most of the time, so I feel right at home the Spoor-Blackton unit North has been and experienced, but even so we must in the gingham sequences of this pic¬ given an important post and one that he have longer rehearsals than is customary ture. I like it all, though. It thrills me is well qualified to fill. He will act as with the old-style camera. The stage to be part of a great discovery.’ the Commodore’s confidential assistant actor will come into his own, for he is Evelyn Selbie, wbo plays the sympa¬ in all matters pertaining to the further used to sustained action.” thetic role of the boarding-house keeper, activities of the Spoor-Blackton organi¬ The author of the screen play is has had many years’ experience on stage zation. Jewel Spencer, and Marion Constance and screen. She began with the Proc¬ It might be well to mention just here Blackton, daughter of the commodore, tor Stock Company in New York, was that Samuel Rothafel, familiarly known adapted it and wrote the continuity. featured head of her own road company as “Roxy” wherever theatre patrons are “I read the story one evening after and is well known and loved in San to be found, bas placed his name at the dinner,” confided the commodore, “and Francisco and San Diego stock. top of those who desire to show the first was much impressed. When Marion Her first picture experience was with natural vision photoplay—and if when came in about 11 o’clock, I gave it to George K. Spoor in Western Essanay the picture is finished it comes up to the her, saying no more than that I should as leading woman, when her riding expectations of George K. Spoor, no like to have her reaction to it. She read stunts created a sensation. Even in doubt but that “The Flag Maker” will it at once, and came to me, delivering the those early days. Miss Selbie realized first be shown to the New York pub¬ classic comment: ‘Pop, it’s a pip!’ . . . that moving pictures were destined to be lic in the “Roxy Theatre.” This is a And it is!” one of the world’s greatest industries; tribute not only to George K. Spoor, but The cast is no less enthusiastic. she also knew that the life of a leading to Charles Ray, Bessie Love, Ward Charlie Ray plays Bill Smith, who woman was short and presently asked Crane, Evelyn Selbie, Mr. Blackton, represents any American boy after the to have a chance to work into charac¬ and everyone who has been connected World War, coming home broken and ters. Later, with Universal, she played with the success of this gigantic under¬ disillusioned to find both his girl and everything from sixteen to sixty in their taking. his job pre-empted by the man who stock company. With this wonderful Further Mr. Spoor has decided that stayed at home. Since all the veterans training, it is not surprising that Miss in the very near future he and Director of the movies, along with the industry Selbie’s old mother in Commodore Blackton will launch the second of the itself, are “still in their infancy,” it is no Blackton’s “Hell Bent for Heaven” “natural vision” pictures. Neither story insult to call Charlie a veteran. He created such a sensation. or cast has been selected, but it is the made his first big hit in the title role of “I am looking forward to the finished plan of the organization to secure the “The Coward,” which was really in¬ picture as if I were a child who had been best possible motion picture material in¬ tended to star Frank Keenan. Charlie promised a new doll for Christmas,” sofar as story goes. Also no expense in played cowards until somebody discov¬ said Miss Selbie, who looks on the new cast will be too great, Mr. Spoor believ¬ ered he made an ideal country boy, when invention with the eyes of the audience. ing that the cast and story is the thing he was condemned to portray bucolic “We will be able to follow the screen —or how many times has it been proven youths. story more closely. Just as we get inter¬ that with a meager screen play the finest In 1920 he branched out for himself, ested in what the villain is doing to his cast has been handicapped, and at the against the advice of his friends, and lost mother-in-law, we won’t be distracted by mercy of motion picture critics when a great deal of money attempting to a close-up of the star looking out of the their efforts came to public view. make an artistic costume picture. He window. We’ll get the glamor of the With the huge expenditure of money hated to be a type and wanted to prove stage on the screen.” so far it would be foolish economy to that he could play anything. In the last Maurice Murphy, who plays Evelyn’s purchase a weak story—and a mediocre few years he has convinced producers son, is once more a patriotic little citi¬ cast for the picture to come. But Spoor that he can make as good a showing in a zen. Maurice is the boy who gave a and Blackton, having their own releas¬ farce as in a tragedy, that he can portray magnificent performance as the child ing organization, will consider first the a man-about-town and a fireman with “Beau Geste,” recently. He appeared finest material with which to make their equal ease. on the screen four years ago, but his first future productions. H is fellow players to a man are loud big role was in “Peter Pan.” Maurice The Commodore leaves for Chicago in praise of Charlie as “Bill Smith.” The is invaluable to any director when there just as we go to press with the final shots role holds chances of comedy, pathos and are other children on the set, for Maur¬ of “The Flag Maker” safely encased in drama and the actor makes the most of ice immediately makes himself responsi¬ “film cans.” He said before departing, every situation. ble for the acting, amusement and in¬ “If the first natural vision motion pic- Bessie Love was a little girl going to struction of such infants. He is now oc¬ {Continued on Page 16) 19 27 THE MOTION PICTURE DIRECTOR OF HOLLYIVOOD 11

Wait Until You See the First Natural Vision Picture!

A scene from “The Flag Maker'—/. Stuart Blackton, Directing

My Sincere Thanks to GEORGE K. SPOOR for the Honor of Directing the First Natural Vision Motion Picture

J. STUART BLACKTON 12 THE MOTION PICTURE DIRECTOR OF HOLLYIFOOD February

Thanks to G. K. S. and my “Dad” for the opportunity to “scenarize” Jewel Spencer’s story “The Flag Maker.”

MARION CONSTANCE BLACKTON

MARION CONSTANCE BLACKTON

Our Facilities Are

Such that the Spoor-Blackton Company imme¬ SAMUEL diately chose the Fine Arts Studio for the First FRIEDMAN Natural Vision Photoplay—a tribute to our effi¬ ciency, and their good judgment.

SAMUEL FRIEDMAN Vice-President Fine Arts Studio 19 27 THE MOTION PICTURE DIRECTOR OF HOLLYWOOD 13

The Villain Says:

‘‘Just to be different-

I hope no one in the motion picture industry will believe Fm as "‘bad” as I appear in J. Stuart Blackton’s “vision’ picture— Fm just a young man who thrives on “hisses.”

WARD CRANE 14 THE MOTION PICTURE DIRECTOR OF HOLLYWOOD February

I wrote “The Flag Maker” and am thrilled to know that it will be visioned in stereoscopic projection.

JEWEL SPENCER Author of "The Flag Maker” JEWEL SPENCER

The first old-fashioned “Mother” you have ever seen— who is her own size on the silver screen.

EVELYN SELBIE EVELYN SELBIE Who plays "Mrs. Williams” 19 27 THE MOTION PICTURE DIRECTOR OF HOLLYWOOD 15

CONRAD LUPERTI MR. J. MARVIN SPOOR WILLIAM S. ADAMS The camera staff of the first stereoscopic photoplay

“Wasn’t it a lot of fun?"

WILFRED NORTH

General Manager

Spoor-Blackton Company 16 THE MOTION PICTURE DIRECTOR OF HOLLYWOOD February

One of tbe nicest things about “na¬ A Dream Come tural vision’’ is that no matter how bad our seats in tbe theatre may be, we shall T rue not behold curious creatures with thin, {Continued from Page 10) spiky heads, noses three feet long and ture is not a complete success it will be strange bottle-like bodies. The scene will the greatest blow of my life. However, be perfect from any angle. I feel that we have made a really fine We have already seen pictures in production in ‘The Flag Maker.’ natural colors and heard voice synchroni¬ George Spoor’s telegrams regarding the zation. This year of 1927 will see the film which has been developed in Chi¬ combining of the three great advance¬ cago, have been most encouraging—and ments in picture production—then we Mr. Spoor is not the man to mince mat¬ will have reached the highest goal in the ters if he is not satisfied. Just a word industry—the ideal picture, natural vi¬ of thanks to all those who have helped sion, color and voice. me in this huge undertaking. I have Coming out of the East about a year never received such marvelous treatment ago, totally ignorant of motion nicture at the hands of my associates as I have production in any of its phases, Samuel during the filming of this picture. I Friedman, now vice-president and gen¬ firmly believe Charles Ray has given the eral manager of Fine Arts Studio, prob¬ finest performance of his career, Bessie ably the largest independent film leas¬ Love was ideally cast, and there is no ing plant in the West, evidences the fact finer ‘heavy’ in the business than Ward that common sense and a business train¬ RAY KIRKWOOD Crane. Evelyn Selbie, Maurice Murphy, Assistant to Mr. Blackton ing are the chief requisites in studio J. P. Lockney, Banks Winter, Dickie management. Brandon and the rest of the players have made me very happy by their work. Formerly one of Cincinnati’s promi¬ nent financiers, Friedman decided to cast They are all wonderful troopers. “Further I must express my sincere his lot in the West with Hollywood as appreciation to the United States Navy, his ultimate destination. Upon his ar¬ rival here early in 1925, he decided to to officials of the Navy Yard in San interest himself in the motion picture in¬ Diego and to the gobs, who gave me such co-operation and assistance. I know not dustry and he purchased a substantial interest in the studio plant he now man¬ what would have happened without ages. them. “And to Sam Friedman, that genial Immediately following Friedman’s host at the Fine Arts Studio, my best advent in the Fine Arts concern, things wishes. We found the boys at Fine began to happen. New stages were con¬ Arts the snappiest go-get-’em crowd at structed and the lighting and property any rental studio in Hollywood.’’ equipment of the plant was augmented It seems that with the general enthusi¬ by several thousands of dollars’ worth of Being modern devices. Another innovation in¬ asm shown by every member of the An Assistant Spoor-Blackton unit, success is the troduced by the erstwhile financier was only thing possible. Safely we may say a an equitable leasing contract, giving pro¬ Director dream is coming true. ducers, large or small, an opportunity to film pictures on a cost plus basis and With with overhead expenses trimmed to the minimum. J. Stuart Blackton In the year Friedman has presided Suits Me over the destiny of the Fine Arts plant, which, by the way, was the original pro¬ to a ‘‘T’ duction home of D. W. Griffith, many large companies have moved into the plant. Among those who produced pic¬ tures in that period at the leasing studio RAY KIRKWOOD are First National, J. Stuart Blackton, Jackie Coogan, Pathe, Charles Rogers, Harry J. Brown, Preferred Pictures, Sterling Productions and scores of others. Friedman is now recognized as one of the leaders of the motion picture inde¬ pendents and although not a producer himself he has done much for that group of screen impressarios who have no regular studio affiliation. Friends of the studio executive predict a brilliant career for him and it is hinted that it will not be long before Friedman will be making pictures himself in addition to supervis¬ MAURICE MURPHY Who gives a fine performance in ing the management of his space leas¬ "The Flag Maker" ing plant. 19 27 THE MOTION PICTURE DIRECTOR OF HOLLYWOOD 17

rT/g m jKTMWCWWL.

^ Tribute N to those who have made this marvelous production, the

IF hrft Stereoscopic motion picture possible: —

rs To Charles Ray—for a perfect performance.

To Bessie Love—for her own sweet self.

To Ward Crane—my favorite “villian.”

To Evelyn Selbie—a true artist.

To Maurice Murphy—my “boy” friend. 3 To Dickie Brandon—without you, Dickie? What then? J To].V. Lockney—a real trooper.

To Wilfred North—my General Manager and true friend.

To Marion Constance Blackton—my scenarist and inspiration. E To Jewel Spencer—for a great story. To “Billy” Adams, Conrad Laperti, Marvin Spoor, Bob Spoor and Charles Kaufman—my technical staff—who have served faithfully and well.

To Ray Kirkwood and Stanley Orr—my capable directorial assistants.

To]. Stuart Blackton, Jr., (my son) and Production Manager.

and finally to

GEORGE K. SPOOR

who made all this possible fe p-" My Sincere thanks w J. Stuart Blackton h 18 THE MOTION PICTURE DIRECTOR OF HOLLYIVOOD February

WHAT THE DIRECTORS ARE DOING

COMPILED FEBRUARY 1, 1927

Del Directinjr an All-Star cast in “The John Preparing “A Broadway Drifter” James Shooting an untitled story with Andrews Wisecrackers” for F. B. O. Gorman with All-Star cast for Gorman Parrot Charles Chase for Hal Roach. Productions. Harry Shooting with an All-Star cast the Edmund Shooting ‘‘Frisco Sal” for M-G-M. Pollard classic “Uncle Tom’s Cabin,” for Preparing his “White Flannels*’ for Lloyd Goulding: Universal. Bacon the All-Star production of Warner Bros. Walter Preparing an untitled comedy fea¬ Graham turing Jack Duffy for Christie. Clarence Directing Bebe Daniels in “The Kiss A1 Shooting “Love Makes ’Em Wild” Badger in a Taxi” for Paramount. David Wark Preparing for his stupendous pro¬ Ray starring Harron-Phipps for Fox. Griffith duction of ‘‘The Holy Grail.” Harold Directing Bobby Vernon in “Shure Herman Shooting “The Gay Old Bird” star¬ Beaudine Fire” for Christie. Also Neal Burns E. A. Preparing “Red, White and Blue” Raymaker ring Louise Fazenda, for Warner in an untitled comedy. Also “Wild Griffith for M-G-M. Bros. and Woozy” with Jimmy Adams. Fred Preparing an untitled story for Mae Steven Directing the tireless Al St. John Spencer Shooting “Melting Millions” for Guiol Busch—a Hal Roach Production. Roberts in an untitled Mermaid comedy. Bennett Pathe. Al Directing Ken Maynard in “Some¬ J. Stuart Shooting “The American” a super¬ David Preparing “Rose of the Bowery” Rogell where South in Sonora” for Charles Blackton production with All-Star cast. The Hartford with All-Star cast for the David Rogers. first Natural Vision motion picture Hartford Productions. drama ever filmed. A. J. Stuart Wesley Preparing one of the “College Ser¬ Blackton Production. Hobart Directing the Davies-Moore combi¬ Ruggles ies” for Universal. Henley nation in “Tillie the Toiler” for Frank Preparing “Seventh Heaven” featur¬ M-G-M. Borzage ing the Gaynor-Farrell combination for Fox, Al Shooting an untitled picture for Al Al Directing Colleen Moore in “Orchids Herman Santell and Ermine” for First National. Howard Directing Rin-Tin-Tin in “Hills of Herman starring Lewis Sargeant. Bretherton Kentucky” for Warner Bros. Edward Directing William Haines in “Slide, Lambert Shooting “The War Horse” featur¬ Sedgwick Kelly, Slide” for M-G-M. Monte Directing the Beery-Sterling comedy Hillyer ing Buck Jones, for Fox. Brice team in “Casey at the Bat” for Lou Directing “The Last Trail” starring Paramount. Charles Preparing “All Aboard” featuring Seiler Tom Mix—a Fox Production. Hines Johnny Hines for the B. & H. En¬ Preparing “Wind” which will star William Preparing “Fast and Furious” to Clarence terprises. Brown Lillian Gish for M-G-M. Seiter feature Reginald Denny for Uni¬ E. Mason Directing “Getting Gertie’s Garter” versal. Mel Directing Reginald Denny in “Slow¬ Hopper with Marie Prevost, for Metro¬ Brown down” a Universal Production. politan. Scott Shooting “No Control” with the Sidney Wm. K. Directing “White Gold” with Jetta Ford-Haver combination for Metro¬ Harry J. Preparing “The Scorcher” with politan. Brown Reed Howes for the H. J. Brown Howard Goudal, for De Mille. Productions. Harry Shooting “Bitter Apples” with Paul Preparing the Irvin Cobb story, Hoyt Monte Blue, for Warner Bros. Sloane “Turkish Delight” with All-Star Clyde Preparing “Clear and Cloudy” for cast for De Mille. Bruckman Monte Banks. T. Hayes Directing Priscilla Dean in a Co¬ Hunter lumbia feature. Edward Shooting a Universal production, Charles Directing Wm. Fairbanks in “Shoot¬ Sloman “The Deacon” with Jean Hersholt. Hutchison ing High” for Bischoff Productions. Frank Shooting “Long Pants” with Harry Noel “Snarl of Hate” in preparation for Capra Langdon for First National. Smith Samuel Bischoff.

Edwin Directing the Dolores Del Rio and Ralph Preparing the “Hello Girl” for Con¬ Ben Shooting “AWOL” starring Camer- Carewe Rod La Rocque team in the Carewe Ince way Tearle—an F. B. 0. Produc¬ Stoloff on-Phipps, for Fox. feature production of Tolstoy’s tion. “Resurrection.” Paul Shooting “Don’t Tell the Wife” Stein with Irene Rich, for Warner Bros. Charles In Statu Quo. Fred Preparing an untitled story for Hal Chaplin Jackman Roach. Frank Preparing a Columbia serial. Strayer Roy Preparing “Wanted—A Coward” Clements with All-Star cast for the Roy Clements Production Co. Robert Directing an untitled comedy with Kerr Bobby Ray for Schlank Productions. Robert Shooting an untitled story with Art Eddie Preparing “Let It Rain” for Doug¬ Tanzey Hammond for Hamtan Productions. Cline las MacLean. Charles Shooting an untitled Tuxedo comedy Francis Directing an All-Star cast in “Mike Lamont featuring Johnny Arthur for Educa¬ Larry Preparing the “Bachelor’s Baby” Corby and Ike” for Stern. tional. Underwood with an All-Star cast for Welch. Sunkist Comedy in preparation for A1 Nathan. Paul Directing an All-Star cast in “The Leni Cat and the Canary,” for Universal. C. Van Preparing an untitled story featur¬ Donald Preparing “Vanity” starring Lea- Robert Z. Preparing “The Grey Hat” to fea¬ Crisp trice Joy—a De Mille Production. Deusen ing Yakima Canut for Goodwill Leonard ture the Cody-Crawford-Myers com¬ Productions. bination for M-G-M. Shooting the “Demi-Bride” featuring Norma W. S. Shooting an untitled Van Dyke A1 Shooting “The Haunted Romance” Shearer and Lew Cody—an M-G-M Van Dyke story for M-G-M with Joan Craw¬ Davis a Davis Hess Production. Production. ford. Frank Robert Directing “Cyclone of the Range” Shooting “Children of Divorce” a Ehrich Directing All-Star cast in the “Wed¬ Lloyd Oe Lacy with Tom Tyler for F-B-0. Paramount feature. Von Stroheim ding March.” Cecil B. Directing his super-production De Mille “King of Kings’* with All-Star cast. J. P. Shooting “Tarzan of the Golden McGowan Lion” with James Pierce for F.B.O. Bill An untitled comedy in preparation John Francis Shooting “The Runaway Enchant- Watson featuring Billy Dooley for Christie. Dillon ress” a Milton Sills-Gertrude Astor J. Leo Directing Belle Bennett in Dorothy combination for First National. Meehan Yost’s “Mother,” for F. B. O. Millard Shooting the June Mathis story Gus Preparing a Stern Brothers comedy Webb “Three in Love,” a Stone-Dove- Allan Shooting the “Music Master” in Meins entitled “Newlyweds and Their Hughes cast for June Mathis Pro¬ Dwan New York with Alec Francis as Baby.” Also shooting the Buster ductions. the star. A Fox Production. Brown Series for Stern with the William Shooting “Wings,” the Paramount Trimble-Turner-Pete trio. Wellman super-production with Clara Bow. Harry Directing McDonald-Horton in “For¬ Paul “Hungarian Rhapsody” in prepara¬ Moody tune Hunter” No. 2, for Sovereign Cliff Directing an All-Star cast in “Eyes Fejos tion for Premier Films. Co. Wheeler of Envy” for Atma Productions. George Shooting the “Night of Love” a F. W. Shooting “Sunrise” with Gaynor Jules • Shooting an Imperial Comedy, fea¬ Fitzmaurice Colman-Banky combination for De Murnau and O’Brien for Fox. White turing the Conley-Lincoln combina¬ Mille. tion. A Fox comedy.

Victor Shooting the Hagedorn story “The Marshall Preparing Constance Talmadge for Ted Directing Harold Lloyd in untitled Fleming Rough Riders” for Paramount. Neilan “Carlotta,” a Marshall Neilan Pro¬ Wilde comedy for Harold Lloyd Produc¬ duction. tions. James Directing Corinne Griffith i n Preparing “The Wedding Ring” to Flood “Purple and Fine Linen” for the Roy Bob Preparing an untitled story with an Corinne Griffith Productions. Neill feature Durant-Valli for Fox. Williamson All-Star cast for the Orin Jackson Fred Directing Norma Talmadge in Productions. Francis Shooting “The Vanishing Breed” Niblo “Camille” for Joseph Schenck. Ford featuring Sandow—a Van Pelt Pro¬ Duke Preparing “Fighting for Fame” to duction. William Directing Lon Chaney in “Mr. Wu” Worne feature Bennie Alexander—a Duke Nigh for M-G-M. Worne Production. Preparing the John Shooting “Upstream” for Fox. Jack Directing “Burning Gold” for Wm. “Trouble Shooter,” featuring Billy Ford Noble Lackey. Sullivan—a Duke Worne Produc¬ Jimmy Preparing “On the Cuss” with tion. Fulton Harold Austin for H. V. Unit. Frank “Shenandoah” with an All-Star cast Robert Preparing an untitled story for the O’Connor in preparation for Preferred Pic- James Shooting “Driven from Home” with Furer Schlank Productions. tures. Young All-Star cast for Chadwick Pictures. 19 27 THE MOTION PICTURE DIRECTOR OF HOLLY IF OOD 19 boulei^ard bull by george bradley WICKED Hollywood! It must A PICTURE director was arguing Poverty Row!—a street in Hollywood, be so, even the newspapers ad¬ the expenditure of additional located at Sunset and Gower. Poverty mit it. Wicked Hollywood! monies on his picture. The producer, an Row—shaded palm trees on either side, Maligned by writers, damned by deacons, independent who was putting up his signs of wealth everywhere, a stone’s laughed at by the own hard-earned throw from the magnificent Hollywood world, yet Hol¬ cash, closed the Athletic Club, one of the finest build¬ lywood has a discussion with ings in the village. Poverty Row!—so main street just the remark: named by the wisecrackers, because a as any town in “Make it as we group of independent studios are locat¬ Iowa! originally ed there. And Mourner’s Corner, a Wicked Holly- planned. You bench on Poverty Row, filled with per¬ w o o d, indeed ? can’t be a Von formers unable to obtain employment. You may throw a Stroheim on my When you come to Hollywood look for stone down the money.” Mourner’s Corner, you’ll find it easily. main street any W hen one night at eleven- readsa“new 44 'HANATOPSIS” contemplation thirty and you name” nowadays t;of death. won’t hit any¬ in the journals George Irving, actor, has builded thing but a lamp post. Yes, we have hereabout one does not know if it should himself a home in the hills of Holly¬ lamp posts in the village, and the cor¬ be applied to a foreign director, star, wood and called ner drug store is here, too. a new drink or a sub-division. it “Manatopsis” Wicked Hollywood is the home of —contemplation music lovers from the far corners of the of the manor. earth, here is offered the Pilgrimage One of our best known free-lance Overlooking the Play, likened to that world famous one feminine stars arrived at the office of her sea, Lanketshim at Oherammergau, here the marvelous agent one recent day. Ushered into his Valley, Univer¬ “Bowl” whose destinies are presided spacious office she said sweetly, “Any sal City and over hy Alfred Hertz and Sir Henry jobs in the offing?” And the manager God’s own moun¬ Wood. Pageants, concerts and recitals with a careless wave of his jeweled hand tain tops, it is play to thousands nightly. On “Bowl answered shortly, “None—why?” well named. Irv¬ Nights” and “Fight Nights” traffic is Still smiling sweetly, with a powder ing says he is harder to handle than at any given hour dah at her pert little nose our heroine literally “up in of Forty-second and Broadway. Wicked replied, “Well, dearie. I’m in escrow, the clouds” when Hollywood! where artists of the movies you know”—which designated of course at home—but Mrs. Irving believes in stay up until the wee small hours and that she was open for an engagement. bringing those who visit “Manatopsis,” throw “wild” parties. I was at one of down to earth. Of a Sunday she pre¬ those “wild” ones New Year’s Eve and sides as hostess over a huge pot of beans. it was as tame as the ferocious lions out There is an ex-extra boy in Holly¬ Beans! in a castle on the hillside—so at the Universal Zoo. There are more wood, who married an ex-extra girl. He much for democracy and the high sound¬ churches and schools in Hollywood as has a smart little home in West Holly¬ ing name George Irving has handed his compared to its size than in the City of wood, a three-year-old youngster, a dog home on the hill. Los Angeles. Come out to Wicked and a Chevrolet. The boy is happy in Hollywood! his home with his wife and family. His What do you like to do that is for¬ bidden? business is good. He runs a pressing establishment on the boulevard. He has Pola Negri enjoys a visit to a little, PROMINENT banker locally is A never burnt a hole in Lew Cody’s vest, out-of-the-way shop in downtown Los said to have remarked, “I dislike Johnnie Walker may send a suit for Angeles, where smuggled dresses can be motion pictures intensely. Fact I cleaning with perfect assurance the gar¬ bought for a song. wouldn’t go to see one if someone gave ment will receive personal attention— John St. Polls, eminent character me tickets,”—yet but the ex-extra boy has steadfastly re¬ actor, likes to play golf of a Sunday at a recent west¬ fused to accept any business from one but his wife forbids him. Honestly. ern premier at of Hollywood’s best known producers. John Gilbert is a speed hound—he has Grauman’s Egyp¬ paid forty fines—now his speeding is for¬ Some years ago the boy was given a tian Theater, I bidden. “test” for a part opposite the great pro¬ saw him standing And I, well. I’d like to write the ducer’s wife and this great producer, with the rest of “true story of the movies”—forbidden. the crowd to viewing the film, said the boy was watch the celeb¬ “punk.” The now-pants-presser has rities of the screen never forgotten. When he passes the make their grande home of his Nemesis I have seen him OlUC O entrance. Mob twirl his fingers to his nose in the gen¬ psychology is a eral direction of the mansion in a most wonderful thing, disrespectful manner. and it’s just the same on Main Street Yet his business is good and he is as on Broadway. happy in his home with his “ex-extra” Show me a novelty and I’ll show you girl wife, his youngster, his dog and his a gawky crowd. Chevrolet. 20 THE MOTION PICTURE DIRECTOR OF HOLLYWOOD February Everybody Calls Him A1 By Bert Bernard IN 1916 he and his brother Charlie ing. Christie varies this procedure a mands of his picture-going public. He started their comedy motion picture trifle on occasion by following “suc¬ admits he is always trying to keep “just company with a bank roll of some¬ cesses.” By that I mean that his idea is a step ahead,” though in no sense is he thing like $6000, and today he owns one to make in two reels a picture that fol¬ an iconoclast or a “set the style” pro¬ of the best equipped studios in Holly¬ lows along comedy lines, the produc¬ ducer. wood, has a kennel of the finest pedi¬ tions of the larger companies. “To save time is to lengthen life,” is greed dogs in the world, is almost finan¬ For instance, should there be a flair a Christie motto, so the Christie’s spe¬ cially independent, makes Europe at for sea pictures Al Christie will order a cialize on two-reel comedies and have least once a year, and still “everybody two-reel comedy of the salty variety; made marvelous strides in development. calls him Al.” should the public demand an army epic Fifteen years ago Christie took the Such is the reputation of Al Christie, Al will construct one in just two reels. first motion pictures to Hollywood with one time director of comedies for Nestor Then there is the topical type such as a little group of then unknown actors. and later Universal, now a producer of Bobby Vernon makes. Bobby for a Today there are twenty-four studios ac¬ the rib-tickling type of film in his own long time featured the country-boy role, tively making pictures in the film center right, and one of the best-known sports¬ and still does to a certain extent, but of which Hollywood is the hub, making men in Southern California. his pictures of late have taken a decided a total of 114 new films in actual pro¬ turn toward public popularity because of duction this date. “Everybody calls him Al.” From the the subjects chosen. You’ll see Bobby When Al Christie took Hollywood’s least important stage carpenter, to his as a Scotchman, an Italian, a Spaniard, first pictures as manager and comedy highest salaried employee, the Boss is and a Frenchman this year. So Al director of the Nestor company which “just plain Al”—and he likes it. keeps up with the times and the de¬ prospected westward in 1911, the first Christie has never known an “up¬ stage” day in all the years he has been associated with motion pictures, accord¬ ing to those who know him well, and to this particular feature many attribute his success. It seems that one may al¬ ways have a word with Al. He’s never too busy to listen, though he has troubles of his own. Al is short on advice, long on cure. Christie says he’s glad “everybody calls him Al.” “I can get more work to the minute from a man who feels he can meet me on even terms, than from one who has the fear of the Lord in his heart for ‘the big boss,’ and if my associates call me Al, they know I’ll call them Jim, or Bill, or other things if they deserve them. “No, sir! They’re aren’t any bosses on the Christie lot, and only one man who has to take the guff every day. There’s plenty of guff, and trouble in this business, you know, so I’ve appoint¬ ed my brother Charlie as chief guffer, and trouble shooter. I’ve turned over all my worries to him; he’s a big, husky fellow and can stand it. Now that the details of the business are in his hands I have time to attend to the production of our comedies. It works great.” The writer wants to delve for a mo¬ ment into the career of Al Christie. His was far from meteoric, as that expres¬ sion is defined today. There have been few sky-rockets in Al Christie’s rise to success. H is has been a matter of hard plugging, trying to make pictures the public wants—and at last Al thinks he has the trick in hand. Christie’s policy is a simple one—but all successful poli¬ cies are simple. Al makes pictures by reading the newspapers, getting the trend of the public mind, feels the pulse AL CHRISTIE of their desires—and then starts shoot¬ California sportsman, just plain "Al" to his friends 19 27 THE MOTION PICTURE DIRECTOR OF HOLLYWOOD 21 movie, a little three-hundred-foot affair, Christie Comedies, which were all of was shot without benefit of fancy elec¬ the two-reel variety. Twenty-four com¬ The A. S. C. and trical equipment in an orange grove on edies were produced in this Christie Hollywood boulevard where now stands Educational first series, and the atten¬ Unionism the Regent Hotel, owned and operated tion of the trade was quickly directed by the pioneer Christie brothers, A1 and toward the sudden leap into prominence In the following statement issued Charles, the latter of whom is now of Educational, which up to that time through Foster Goss, editor of The Am¬ president of the Association of Motion had dealt only in short subjects of a erican Cinematographer, Daniel B. Picture Producers, which numbers in purely educational and scenic nature. its ranks companies capitalized at many Christie continued to distribute its Clark, president of the American Society millions of dollars, and operating in a product through Educational, releasing of Cinematographers definitely estab¬ group of the finest studios in the world, twenty-four Christie Comedies in the lishes the stand of the A. S. C. on the which, the producers say, will always series of 1921, 22, twenty in the series subject of unionism. stay in Hollywood and its environs. of 1922-23, and twenty in the 1923-24 “My attention has been called to the Although A1 Christie pioneered to series. During these years stars were published reports concerning a movement Hollywood in 1911 and started the film developed and the two-reel business afoot in the East to unionize cinemato¬ Capitol’s first studio, it was not until grew steadily in the regard of exhibi¬ graphers. As the president of the Am¬ January 6th, 1916, that the Christie tors and the public. The first real ef¬ erican Society of Cinematographers, Film Company was formed as an inde¬ forts on the part of exhibitors to adver¬ which represents the foremost cinemato¬ pendent producing company and thus tise their comedy attractions were made graphers in the world, I believe it im¬ this month marks the tenth anniversary during these years when Christie prod¬ perative at this time to make known the of the company as an organization. The ucts were forging to the front of the stand of the A. S. C. in this matter. ten years of operation have seen the comedy business. As you well know, we do not oppose comedy business grow with remarkable In the 1924-25 series of pictures but um'ons as a matter of policy or principle. strides and attain a position of respect ten Christie Comedies were released, They are very necessary factors in some in the motion picture industry. while two new star series were pro¬ Today—ten years after the little pio¬ duced, one being Bobby Vernon Come¬ industries. In the motion picture indus¬ neer company was organized with a few dies and the other Walter Hiers Come¬ try itself, I don’t suppose that there is thousand dollars capital. Laugh Month dies. The trend toward star series is any question that the unions have proved is being celebrated through the length further indicated when this year a series the salvation of the calling of the pro¬ and breadth of America, and the entire of Jimmie Adams Comedies was added jectionists. motion picture industry is pointing with to the large program which Christie is “However necessary the union may be pride to the comedies which have been making for release through Educational in other lines, it has no place among the outstanding step forward in the pic¬ Exchanges. cinematographers at this time. I make ture business of the last few years. For the releasing season of 1925-26 this statement as based on the accumu¬ The progress of comedy in the two- four great series of two-reel comedies lated wisdom of the cinematographers reel field as well as in feature pictures have been made. There are eight Bobby for all time past. The idea of a union has received a most remarkable impetus Vernon Comedies, six Jimmie Adams for cinematographers has come up for this last year with the release of pic¬ Comedies, and six Billy Dooleys’, and discussion many times during the decade tures which have focused the attention ten Christie Comedies, the latter featur¬ that the American Society of Cinemato¬ of movie fans and exhibitors on the fact ing Jack Duffy, this year’s most out¬ graphers has been serving the industry. that this is a business of ENTERTAIN¬ standing find, and Neal Burns. Each time all logic and reason have MENT, and in entertaining tbe public A great host of popular supporting proven plainly the fallacy of such a move. it is generally the laugh makers among players are seen in these various two- Aside from the fact that we believe that the successful pictures which ring the reel series; Frances Lee is the regular cinematography is essentially an art and bell the hardest. lead with Bobby Vernon Comedies; the cinematographer an artist, we regard The Christie company specialized in Duane Thompson with Walter Hiers; his work as individual and distinctive to one-reel comedies and released them and Molly Malone opposite Jimmie such a degree that it cannot be stereo¬ through independent exchanges from Adams. Playing supporting leads in the typed into a set basis for a wage scale, 1916 until 1920. The featured players Christie series are such girls as Vera nor do we think that it will permit of in these comedies were Betty Compson, Steadman, and Natalie Joyce. Yola even an “equitable’’ arrangement in the Neal Burns, Billy Rhodes, Harry Ham, D’Avril, Jean Lorraine, Marian Andre form of a sliding scale or the like. Ethel Lynne, Eddie Barry, Jimmie Har¬ and Aileen Lopez are new faces in the “The foregoing represents the views rison, Jay Belasco, Patricia Palmer, stock company. of the American Society of Cinemato¬ Billy Mason, Bobby Vernon, Elinor The comedians in the stock forces are graphers. We do not for a moment take Field, Dorothy Dane, Clarine Seymour, Bill Irving, Eddie Baker, Lincoln Plu- the position that the millennium has ar¬ Earl Rodney, Dorothy Devore, Helen mer, Fred Peters and Bill Blaisdell. rived in salaries or working conditions Darling, Vera Steadman, and many oth¬ Others who are playing good roles in for cinematographers. But we believe ers. At the same time a large number the new season’s product are Gale that the continued recognition on the of Mutual-Strand one-reel comedies Henry, Victor Rodman, Ward Caul¬ part of producers of the constructive were produced by the same company. field, Rosa Gore, George Hall, Blandhe work that the American Society of Cine¬ Then came Christie’s first series of Payson, Kalla Pasha, Billy Engel, matographers has been, and is doing, will two-reel comedies, also released through George French, Charles Boyle and do much more for the benefit of all the state-right market. There were many others. Christie’s idea is to fill concerned, than any union could. If and twelve of these featuring such players up these casts with the best players when this recognition should fail, then as Fay Tincher, Molly Malone, Alice available in the entire picture field in the time might be ripe to talk trade Lake, Colleen Moore, Bobby Vernon, Hollywood. unions for cinematographers; but know¬ Edith Roberts, Neal Burns, and others Looks like the Christie’s will be ing what the A. S. C. is achieving for who continued on through the next era pretty busy chaps in 1927. Though the present and what the magnitude of of Christie pictures. Charlie, the guff taker, hides behind an its plans for the future is, I do not think Beginning in July, 1920, Educational office desk, he’s a regular and fit mate that such a time is imminent in the Exchanges took over the distribution of for the fellow that “everybody calls Al.’’ least.” 22 THE MOTION PICTURE DIRECTOR OF HOLLYWOOD February The “Wave Length” of Success

By June Mathis

Day after day I receive letters a desire to write stories; an indifference more difficult for the amateur to break from various persons throughout to my stage career developed and I be¬ in—why the untrained writer cannot this country and from abroad— gan to make a close study of the differ¬ break down the wall. It is like trying and even letters from Australia, New ent types I would come in contact with, to get China on the radio. Zealand, Japan and other far-away and to watch for little dramatic or The trained writer understands the places—all anxious to know the secret amusing situations that would crop up needs of the studios—is familiar with of my success and asking my advice; here and there. I was mentally placing the pet ideas of directors—the ambitions and as far as lies in my power I try to myself on a different vibration; tuning and ideals of the studio executives. answer each and every one. Nearly al¬ in, one might say, for another station. Occasionally a well-known playwright ways they want to know why their I began to meet writers and others in¬ or author breaks into the business and stories do not sell, and what they can do terested in literature; editors and those succeeds, and learns to like the irregular to make them marketable. Often they who had friends or relatives connected hectic life; but the majority of them send me a sample of their work. In with the writing game. And out of this throw up their hands and declare the many cases these stories are crude, grew my first contact with the moving whole thing is hopeless; in their opinion school-girl or school-boy efforts, and picture industry. Soon I was devoting the motion picture industry, and those have nothing to recommend them. all my efforts to writing, having forgot¬ connected with it, are impossible, and The other day a young man who had ten my former aspirations for the stage. they go back to their own work. They been trying for a long time to get a per¬ have failed to tune in—or to turn their sonal interview with me, finally suc¬ mental dials to the proper wave length, ceeded during a lull in my work. He and have not vibrated to the real had ambitions to write, but confessed June AJathis. perhaps the thought of the industry. For it is a ratber naively that while he had ideas most famous writer of scenarios great industry, with many high-minded he could not find the words to put them in the entire motion picture in¬ men at the head of it. They have fre¬ down on paper. I dismissed him with dustry, has contributed an in¬ quently been criticised as being commer¬ the advice that if he really had the urge teresting article full of meat for cial and money-mad; but this is not to write, the words would come; that the embrionic screen writer. It true. Many of them have a desire to there was no magic talisman that I or is a pleasure to present it here¬ do fine things, and sometimes produce a anyone else could give him that would with. number of strictly “commercial” pic¬ entice them. Miss Mathis has that stick- tures in order to afford tbe losses from And so I say to all those who really to-it-iveness, that necessary go- one great artistic venture that will be have a talent for writing; if they have getter spirit to win—and she for the betterment of the industry. the love of the game in their hearts, to¬ has won only through concen¬ And through all these busy endeavors, gether with the fortitude to work and trated effort and hard work. they are searching untiringly for new carry on, the opportunity will come. Her article, “The Wave Length talent, new ideas, fresh brains to help Many look at the monetary success of of Success," is earnestly recom¬ them, and sometimes they become just well-known writers and their whole mended for serious considera¬ as hopeless in the search as does the thought is centered on that; whereas, tion— and guidance to those young aspirant looking for an oppor¬ if they will forget ultimate success and who would make a success of tunity. simply write because they cannot help screen writing—and there is But, remember, you must be properly writing, and for the very love of the plenty of room at the top. attuned—you must have something to give—and what you offer must be fresh work, success will come unawares— G. E. B. seemingly without striving. and original—not cut-and-dried situa¬ The radio has taught us the value of tions and plots that have long become vibration, and when one is able to tune obsolete. There is a market for new brains that are vibrating to the present in on tbe right vibration through con¬ I took a course in literature and story centrated thought and effort in any construction and began to absorb as demands of the screen. channel, he will come in contact with much as possible along these lines; going So, you writers, get on the right vi¬ people who stimulate and help him; and constantly to the moving picture thea¬ bration. carried along by this same force he will tres to study the output of the various eventually reach success. This, I feel to producers, until I found myself, as if by The appointment of Paul Kohner, be in a great measure the thing to which magic, in a motion picture studio, writ¬ Universal casting director, as a unit su¬ I owe my success. ing seriously for a director. And from pervisor is beginning the inauguration of When I was on the stage I seemed that time on I have been on the wave the unit system of production under only to contact with people interested in length that eventually brought to me Henry Henigson’s direction at Universal theatricals—eithfer those on the stage, or whatever success I have had. City, according to an announcement who had been on the stage or who had Those outside the motion picture busi¬ from Carl Laemmle. a relative there. It was always the ness do not realize that people in the same; I had tuned in on that vibration industry live pictures, eat pictures and Roy William Neill, Fox director, was and could get no other wave length. dream pictures. In other words, they entertaining some guests from Cleveland Stage life began to pall on me, and think of nothing else; they become veri¬ at a downtown playhouse. After the literary ambitions took hold of me. I table slaves to the celluloid, being in a first act one of them consulted the pro¬ first tried writing poetry—a sort of in¬ world to themselves. A scenario writ¬ gram and was advised that the second spirational free verse. This was strange, er’s life becomes just one scene after an¬ act would be “the same as the first.” because, while I had always been a great other; before she is through with one “Let’s not stay,” she said to Neill. “We reader I had never cared particularly story she is thinking about and planning don’t want to see it all over again, espe¬ for poetry. This phase was followed by for another. And that is why it becomes cially while we could still go to a dance.” 19 27 THE MOTION PICTURE DIRECTOR OF HOLLYWOOD 23 Hello Smoky Call a Cop Following a transcontinental trip So that they might be correct in that was attended by publicity usually Announcement every detail the fingerprints of the mem¬ accorded only to royalty and celebrities, bers of the cast of Warner Brothers’ pro¬ Mildred Walker is happily ensconced in duction of “Finger Prints” were made Hollywood. She is better known as 1927 starts off with the by the finger print expert of the city of “Miss Pittsburgh, 1925,” but with the promise of being the Los Angeles. These impressions were exhuberance of youth and beauty, she is made on the same cards with the same hopeful that her own name will some greatest year in the ink in exactly the same manner as those day be emblazoned in electric lights as history of Motion Pic¬ of dangerous criminals. There are a screen notable. marked spaces on the card for the right Miss Walker’s advent to the cinema tures. and left hands and separate labeled lit¬ capitol a day or so ago was among the tle spaces for each finger and thumb. most spectacular in recent annals and So it is with the Mo¬ That famous team, Graham Baker and even startled blase Hollywood. She was Edward Clark adapted the story of greeted at the depot by cameramen, tion Picture Direc¬ “Finger Prints” from the story by Ar¬ newspapermen and representatives of the thur Somers Roche into a thrilling com¬ tor of Hollywood. Los Angeles and Hollywood Chambers edy-melodrama with a good admixture of Commerce, as well as one or two of mystery. Louise Fazenda as the sup¬ women’s clubs. The Pittsburgh beau¬ After three years of in¬ posedly dumb house-maid in the fortune ty’s mission to Screenland is to win a teller’s house and John T. Murray as chance before the camera, the climax of tense labor this publi¬ Homer Fairchild, the rube detective are a goal which she had set for herself when cation has reached its co-starred. The excellent supporting she won pulchrious laurels at the At¬ cast includes Helene Costello, Myran lantic City pageant. place in the sun. Loy, Martha Mattox, George Nichols, So great was the interest of Pittsburgh¬ Franklin Pangborn, William Demarest, ers in her behalf that when she left that Those connected with Robert Perry, Ed Kennedy, Jerry Miley, city December 4, a rousing send-oflf was Doc Stone, and Warner Richmond. Di¬ tendered her at the depot. Two Pitts¬ it have tried to make rector Lloyd Bacon is said to have in¬ burgh newspapers covered her entire the magazine distinc¬ jected more than the usual assortment of trip to Hollywood by means of daily surprise twists. stories and through co-operation of the tive in its policies, fair Northern Pacific railroad. Receptions in its criticisms and F. B. O. announces the purchase of were given her by civic organizations in the final effort in a story way of Larry Fargo, N. D., Milwaukee, Vancouver, worth while in every Evans, who lately passed on. The story B. C., and other cities. is “Down Our Way,” and was recently The young screen aspirant, showing way. printed in the Cosmopolitan Magazine. no sign of fatigue from her strenuous “Down Our Way” will be a Gold Bond journey, won friends immediately upon As each issue goes in¬ special and will go into production on her arrival in Hollywood. Miss W^alk- next year’s program. No cast or director er’s genuine enthusiasm and quick appre¬ to the hands of its has as yet been assigned. ciation of what has been done for her readers we feel con¬ so far, coupled with her determination With nearly a thousand negroes on to “make good,” are among her assets tent—we feel that we the impressive “Palace of Diamonds” that those who have met her believe will have done our best sets at the F. B. O. lot, the big mob carry her far. scenes of the African fantasy, “Tarzan and that the next book and the Golden Lion,” are being taken Marie Prevost will have a scintillat¬ will further endear us under the direction of J. P. McGowan. ing supporting cast in her newest star¬ The rushes on this film are proving it ring vehicle for Metropolitan, “Getting in the hearts of our one of the most spectacular productions Gertie’s Garter.” Charles Ray will ever made, and it is to be one of the sen¬ have the leading male role. Trixie Frig- supporters. sations of the year. anza is another luminary in the cast. 1927—0 UR BIG Dorothy Yost, whose treatment of “Uneasy Payments,” the current starring Jerry Miley, “the millionaire act¬ YEAR. We offer to vehicle for Alberta Vaughn proved so or,” had no sooner completed a feature successful, has been assigned the task of role with Louise Fazenda in “Finger the motion picture Prints” for Warner Brothers than he writing the adaptation of “Mother” was signed by First National to play a public the printed from Kathleen Norris’ story which F. leading part with Anna Q. Nilsson and word of the finest B. O. will shortly produce and which Kenneth Harlan in “Easy Pickin’s,” a will star Belle Bennett, of “Stella Dal¬ las” fame. George Archaimbaud production. writers, and bid for recognition as the John T. Murray, screen comedian, Sol M. Wurtzel, general superinten¬ who plays in “Bardelys the Magnifi¬ dent of Fox Films West Coast Studios, finest magazine of its cent,” is publishing a book of verse on announces that the screen version of type anywhere in the motion pictures. John T. wrote all his “Cradle Snatchers,” the Broadway hit, own songs while he was an Orpheum will be made in Hollywood instead of world. headliner and Winter Garden favorite, in the East as originally planned. How¬ —The Editor. and he finds in the studios much material ard Hawks will direct the production. for verse—both comic and tragic. 24 THE MOTION PICTURE DIRECTOR OF HOLLYIVOOD February

They Shall Not Pass

by Sam B. Jacobson Illustrated by Carroll Graham A play in one act and some scenes

(Scene: The entrance to Uni¬ gether. Oh, Mrs. Flegel! Yoo-hoo, resumed his interrupted telephone con¬ versal City. The sun is shining Mrs. Flegel, come on! We can see the versation. ) and the sparrows twitter in the goldfish later. Now you girls just fol¬ Voice: “Perhaps those are his in¬ eucalyptus trees that stand like low me. Let’s all stay together. structions. Hadn’t we better go?” sentries before the entrance hall. Where’s Mrs. Kemp. Oh, Mrs. Fannie (Determinedly) : “Instruc¬ Ke—emp! Oh, there you are, I didn’t tions, my foot! Go, nothing!” (She The fountain is playing (as are also a see you.” turns to Information, who by now is number of buckaroos from the wilds of Party advances in a body to the in¬ half finished with a chocolate bar, ten- Chicago seeking fame as movie cow¬ formation desk, chattering, giggling, cent-size, and is idly turning the pages boys.) The latter are playing with a choking traffic, sweeping all before them. of the April number of the Hardware pair of black-spotted cubes. and Locksmith’s Journal, left there ac¬ Suddenly, with a grinding of brakes Fannie: “We should like to go cidentally by a salesman who tried to and squealing of tires, a large bus stops through the studio please.” sell Carl Laemmle a new device for before the studio. Doors are opened, Information: “May I see your making eggs bounceable) “I’ll have you heads appear, followed by a varied as¬ pass, please?” understand that my husband is Hum¬ sortment of femininity to the ribald Fannie: “Pass?” phrey P. Snodgrass and he is a per¬ amusement of the interested cow-gen¬ Information: “Pass.” sonal friend of Will Hays!!” tlemen. A large woman seems to be Fannie: “Why, I never heard of in charge of the outfit. This large Information: “I’m sorry, Mrs. such a thing. Pass! The idea. Can woman seems to exert a malign influ¬ Snodcrap, no pass, no studio!” you imagine, Mrs. Tinkle, he actually ence over her sorority sisters, all of whom Fannie: (As she is beginning to find asked me if I had a pass!” aren’t a day under forty. The leader, herself discredited in the eyes of the sis¬ whose name it develops, is Fannie—it Information: {Betraying symptoms terhood, she fears a loss of prestige. Sud¬ would be—marshals her flock together.) of acute boredom) “No pass, no stu¬ denly a bustling assistant director ap¬ dio !” pears. Information opens the door for I F.4NNIE: (Wheels sharply and is him and Fannie sees her chance—a fat Fannie: “Come, girls, let’s organize. about to explode into shocked reproach chance, it developed. Her eyes glitter- We mustn’t scatter. Let’s all keep to¬ when she notes that Information has (Continued on Page 41) 19 27 THE MOTION PICTURE DIRECTOR OF HOLLYH'OOD 25

MARIE P REVO ST

A Box Office Bet for Metropolitan Pictures

-■ ...... 26 THE MOTION PICTURE DIRECTOR OF HOLLYIVOOD February 19 27 THE MOTION PICTURE DIRECTOR OF HOLLYWOOD 27

DOLORES DEL RIO

Soon to be seen in “Resurrection 28 THE MOTION PICTURE DIRECTOR OF HOLLYWOOD February

ROD LA ROCQUE

A marvelous performance is promised when “Resurrec¬ tion” comes to the screen 19 27 THE MOTION PICTURE DIRECTOR OF HOLLYITOOD 29

CISSY FITZGERALD

Suffice to say “screendo?ns perennial flapper” 30 THE MOTION PICTURE DIRECTOR OF HOLLYWOOD February 19 27 THE MOTION PICTURE DIRECTOR OF HOLLYWOOD 31 32 THE MOTION PICTURE DIRECTOR OF HOLLY IT OOD February 19 27 THE MOTION PICTURE DIRECTOR OE HOLLY HOOD 33 li i i 1 r i j t J i 1 1 i

ENA GREGORY

She’s Mrs. Al Rogell, and a contract player for Universal 34 THE MOTION PICTURE DIRECTOR OF HOLLYfl'OOD February 19 27 THE MOTION PICTURE DIRECTOR OF HOLLYWOOD 35 36 THE MOTION PICTURE DIRECTOR OF IIOLLYIVOOD February 19 27 THE MOTION PICTURE DIRECTOR OF HOLLYWOOD 37 38 THE MOTION PICTURE DIRECTOR OF HOLLYWOOD February

jriLLIAM V. MONO

Distinctive characterizations have endeared him to count¬ less fans 19 27 THE MOTION PICTURE DIRECTOR OF HOLLYWOOD 39 40 THE MOTION PICTURE DIRECTOR OF HOLLYlf'OOD February 19 27 THE MOTION PICTURE DIRECTOR OF HOLLYWOOD 41

Continues with his direction, as Fan¬ out and misses Fannie by an inch. She They Shall Not nie assumes a demeanor of hauteur and quails a bit and then steps back.) is heard muttering to the effect that Mr. Fannie: “See, didn’t I tell you he Snodgrass will see Will Hays about this. Pass wants to play!” “Bill” Seiter: “Alright, we’ll shoot {Continued from Page 21) Loud and Raucous Voice: “Get it.” ing, she pulls a Red Grange and with away from those cats!” Whistles, lights go on, camera grinds a flying leap, manages to get her foot and the sisters crane forward so as not Charlie Murphy: “What’s the in the doorway.) to miss a thing. Fannie gradually edges idea? You’ll have to get back, ladies. “Come on, girls. Now’s our chance.’’ ahead. We can’t have our animals annoyed like (With an irresistible surge that can that.” Director Seiter: “Sweet creampuffs be likened only to the lava flow at and glittering butterflies!! 1! Who is Fannie: “Well, I like that! Some Kilauea, the horde of sisters sweep to that in the camera line? Cut!” nerve to talk to us that way. Let’s go, the door, overwhelming three stars, a girls! Come on, Mrs. Muller, we’re Fannie: “Come on, girls, let’s go! property boy and the general manager. going. Mrs. Mul-ler. We’re going No wonder they have censorship They rush through, submerging all in now.” their path, leaving behind them a wake boards!” (They retire in more or less bad or¬ of havoc resembling Rheims.) They exit with ponderous dignity, up¬ der and are greeted by the Chief of setting several spotlights and the still Information: Glub! Glub! Police.) camera in their elephantine retreat, leav¬ {He weakly waves his arms and falls ing the company in chaos. Chief: “Sorry, ladies, but you will back.) have to retire. Your entrance here was Fannie: “I hear they have a zoo not authorized.” II here. Let’s see it!” (At that moment the studio manager passes on his way Fannie: “Of all things! Mr. Hays Scene: A large set on E Stage inside to a conference.) will certainly hear of this. We shan’t the studio. Director Seiter is putting stay a moment longer. We’re going, Fannie: “Here, boy. Ps-s-t. Yes, Reginald Denny and Ethel Shannon girls. Come on, Mrs. Mather. Mrs. you! Which way is the zoo?” through their paces. Suddenly a low Ma—ther, we’re going.” rumble, like distant thunder, is heard. Studio Manager: (Somewhat (The female battalion is escorted It comes nearer and nearer and the sis¬ dazedly points out the proper directions to the studio gates and there boards the terhood is seen approaching. Fannie is and staggers off.) (A quick change bus. It lumbers away dejectedly.) in the van, marching with set mien and shows us the zoo with the indefatigable Fannie: “See, I always told you determined tread. They arrive. dames coming on.) the movies were a fake. Everything is Fannie: “See, this is how they make Fannie: “Oh, see the lions. Yoo-hoo, all front and show, the same as the pictures! You know, it’s all fake—’’ M rs. Bartol. Mrs. Bar-to-o-1, here’s people themselves. 1 m certainly glad Studio Workers: “Sh-h-h-h-h-h-h- the lions. Do you hear the way they’re I came. I’ll have lots to say at the h-h-h!!!’’ growling. They don’t mean that. club. Isn’t it disgraceful, Mrs. Oppen- Fannie {Sotto voice) : “You’d think They’re just trained to do that.” heim? Oh, Mrs. Opp-en-heim, I was they were Sarah Bernhardts, the way (She steps inside the rail on which saying that the movies were all faked—” they act so important. Goodness, a body is printed a sign with the words visitors Her voice trails off as the bus gath¬ can’t even talk!” will not go inside this rail, and ap¬ ers speed and once more all is calm and Director Seiter: “Cut out that proaches the cage of Tom, a handsome peaceful. noise back there I!!’’ lion. Quick as a wink his paw shoots The End 42 THE MOTION PICTURE DIRECTOR OF HOLLYWOOD February

‘‘With Malice Toward None

Our Film Shopper Says:

THAT: TELL IT TO THE MARINES.

IS: A Metro-Goldwyn-Mayer Picture. DIRECTED BY: Tod Browning, with Lon Chaney, Eleanor Boardman, Bill Haines in the cast.

ABOUT: The Marines and the making over of a smart cracking, “stuff-strutting” young weakling recruit into a fine strapping young man with ideals and morals. Lon Chaney, as the hard-boiled Sergeant, does the painstaking making-over for the sake of Eleanor Boardman for whom he feels a hopeless love, and who in turn loves the worthless recruit. All three characterizations are convincingly sustained throughout.

THAT: IT is well worth seeing as the story is strong and full of good humor, pathos and punch. You’ll like it.

THAT:

IS: A Paramount Picture.

DIRECTED BY: Madame Glyn and Clarence Badger, with Clara Bow and Antonio Moreno, playing the principal roles.

ABOUT: That world famous thing “IT.” Clara Bow represents the title and carries it off with the vivacious sincerity that is hers. She is a young clerk in a Department Store who determines to “get” her very indifferent boss. Another damsel has already spoken for him but that means nothing to “its” and of course she “gets” her man. But she almost loses him in the end. The two jilted ones mournfully decide that they are two “itless- its” and that’s all.

THAT: This picture is entertainment plus. There is a whimsical bit of humor throughout, which is typical of Madame Glyn. You’ll enjoy it and spend the next two weeks trying to discover the priceless “it” in yourself.

THAT: THE YANKEE CLIPPER.

IS: A P. D. C. Picture.

DIRECTED BY: Rupert Julian—With William Boyd, Eleanor Eair, John Miljohn, Junior Coughlan in the cast.

ABOUT: A Clipper Ship race for the commercial supremacy of the seas between England and America. The Eng¬ lish girl, the American boy, the villainous and cowardly heavy aboard the Yankee Clipper. There is a typhoon with storm pictures unsurpassed, fights, mffodrama, almost tragedy and thrills galore with plenty of Romance throughout.

There is a touch of history with Queen Victoria and Zachary Taylor being reproduced for the occasion. There is a tobaccy chewing, tough little stowaway. Junior Coughlan, furnishing many and sundry laughs and a thrill finish worth the price of admission.

THAT: The whole family will enjoy this. The girls—(all ages)—will sigh over Bill Boyd as a hard-fisted, red-blooded picturesque Yank who believes in high-banded methods with capricious ladies and seems most successful. The men will get a “kick” and chuckle out of the thing en toto—and the kids will—whoop 'er up. So take the family and go.

THAT: THE NIGHT OF LOVE.

IS: Samuel Goldwyn Production.

DIRECTED BY: GEORGE FITZMAURICE, with Vilma Banky, Ronald Coleman, Montague Love in the Cast.

ABOUT: The old Spanish Gypsy custom of “The Right to the First Night.” The Duke of the Castle and mas¬ ter of all he surveys, comes across a Gypsy wedding just as the Groom is taking off his Bride. The Duke claims the right to the first night and the bride takes her life.

The Gypsy Bridegroom swears in blood and fire he will have vengeance on the Duke. When the Duke is about to marry a Princess for the sake of political policy, the Gypsy, with his band of desper¬ ados, claims the right to the first night. Of course, they fall in love and the Duke is branded by the Gypsy and sent back to his Castle.

The Princess returns and finds the Duke not making himself particularly miserable in her absence and denounces him. They capture the Gypsy and the Princess saves him through a very amazing and effec¬ tive miracle—and they live happily ever after.

THAT: This picture will please artist and artisan alike. It has the most exquisite sets and lighting effects pic¬ tures have ever known. More swashbuckling romance to the square inch and thrills to the foot than one can count and close-ups of Vilma and Ronald incomparable.

THAT: Women and romantic and unmarried men will rave about it and staid business men and husbands will pooh pooh it, but everyone will secretly—or openly enjoy it. It is well worth the price and the time to see it. 19 27 THE MOTION PICTURE DIRECTOR OF HOLLYWOOD 43

Confessions of An Actor, by John these lines, stealing his grandmother’s over five hundred animals were the only Barrymore (published by Bobbs Merrill jewels and hiding them while the de¬ ones he was unable to tame), eagles, Co.). tectives searched the house—only to have hawks, vultures, monkeys, wart hogs, The wit and modesty with which his crime detected by the clever Mrs. zimba cats and a varigated conglomera¬ John Barrymore tells his story entitles Drew, who dismissed the detectives and tion of others. Mr. Hubbard gives due him to a place in the ranks of the humor¬ used a well-worn slipper upon her erring credit to the courage and bravery of ist equal to that he has attained as a grandson. Before this he had pilfered his wife, who assisted in recapturing a celebrity of the footlights—and the Kleig money from other members of the fam¬ young leopard, which had broken out fights. He is frank throughout the en¬ ily to buy a rosary for a “symmetrical from his cage where he had been cap¬ tire cheerful narrative. In inimitable lady in Philadelphia” many years his tive for many months. This animal, style he gives us an amusing glimpse of senior with whom he fancied himself in though partly tame, had become excited his early appearance on the stage when love. by the monkeys caged nearby and break¬ at Cleveland's on Wabash Avenue in Mr. Barrymore admits that he “did ing loose from his confinement, had gone Chicago, as a humble beginner he ap¬ not want to be an actor”—that only the after a meal of monkey meat. Not wish¬ peared in the part of “Max” in Suder- dramatic prestige of his famous family ing to kill or wound the leopard the man’s Magda in a uniform made for an forced him into this line of artistic ex¬ Hubbards attempted to capture him by actor of generous proportions. As the pression and, knowing him only for the grabbing him by the tail to pull him uniform could not be taken up, he had excellent work he has done in this pro¬ away from the monkey cages. Mrs. Hub¬ to be built out for the uniform. After fession—having no way to measure the bard attempted this dangerous feat while the performance, feverishly he waited up fame he may have attained in any of the her husband kept the animal covered by all night for the morning newspapers to above outlined careers, we are thankful his rifle. After several attempts, she ac¬ see what comments had been made upon for what we have gained from his con¬ tually grabbed the leopard by the tail his work. Only one newspaper carried tribution to the drama, unmindful of and talking gently to him pulled him a notice mentioning him and that one what our losses may have been. back in this strange manner to his wire cage and snapped a new collar around read: “The part of Max was assayed by The Confessions are rich in anecdote his neck. The book, profusely illustrat¬ a young actor who walked about the stage and reminiscences and the style is charm¬ ed, is full of such interesting and inti¬ as if he had been all dressed up and ingly unconventional. The book only forgotten.” From this modest begin¬ goes to prove that Mr. Barrymore may mate experiences and one is impressed by ning to what heights has this brilliant have attained still another niche for a Mr. Hubbard’s extraordinary sympathy actor attained! career, as it definitely places him among for and understanding of the animals. Mr. Barrymore was blessed with great the literatti. For the general reader and the sports¬ versatility of talent and had he not be¬ * * % man the book makes absorbing reading. come an actor might have chosen one Wild Animals, by Wynant D. Hub¬ * * * of several vocations. He wanted to be bard (published by D. Appleton & Co.). Less Than Kin, by Charles Caldwell a painter and once at an artists’ exhibi¬ Mr. Hubbard spent three years in Dobie (published by John Day Co.). tion had the thrill of seeing a sticker Northern Rhodesia and Portuguese East This book, the first off the press of with the magic word “Sold” on a draw¬ Africa hunting wild animals, capturing, the John Day Co., who since have ing of his—a morose subject titled “The training and shipping them to the zoos brought out many remarkable works of Hangman,” of which Andrew Carnegie in America. Mr. Hubbard’s wife—of fiction, will prove doubly interesting to became the proud owner for the sum of that stern stuff of bravery of which most of our readers owing to the fact ten dollars! He even attempted news¬ women hunters are composed—accompa¬ that Mr. Dobie is a native son and that paper illustrating on the New York Eve¬ nied her husband on his expeditions into his novel has for its background San ning Journal. His drawings, after the the jungles for his catches. With them Francisco, and the neighboring hill coun¬ style of Dore, gave impressive weight was a moving picture operator and the try. The dominating character of the to the optimistic poems of Ella Wheeler usual native boys. Mr. Hubbard has story, Salina Parsons, who strangely in¬ Wilcox, who protested to Arthur Bris¬ most vividly given accounts of his experi¬ fluences the fortunes of the varied group bane: “Don’t let that pessimistic old ences, describing in detail his first wild about her, is modeled after a woman who swine illustrate anything more of mine,’’ elephant hunt and the killing of his first was a notorious figure in San Francisco’s only to be insistent that no one else illu¬ lion. The thrill of this hunt is com¬ social history. The heroine of the story, strate her poems after the artist’s inter¬ municated to the reader by Mr. Hub¬ Adrienne, lovely and rebellious, grows view with her when he modestly con¬ bard’s dramatic recital. An interesting to womanhood under the shadow of the fessed his inability to draw the feet of peep into the life of the “babies of Wild older woman’s dark plan for vengeance his figures which were always buried in Africa” is given in the early part of the which stirs to drama the lives of those long grasses in his drawings. Further book wherein he recounts episodes in the about her. The story is told with re¬ than this, if we are to believe Mr. Bar¬ care and feeding—as well as the train¬ straint and contains all the necessary in¬ rymore’s humorous recital, he might ing—of the captured young of many gredients of conflict, passion, intrigue even have been successful as a thief, species—the leopard, cheeta, little ante¬ and fire, which go into the making of having achieved a deft proficiency along lopes, baboons, civet cats (which among a truly gripping novel. 44 THE MOTION PICTURE DIRECTOR OF HOLLYWOOD February The Ruthless Law of the Screen

by Doris Douglas

POOR people in public life! The world is so ready to criticize and rejoice in cruel glee over any little morsel of scandal that may come its way concerning them! We who know intimately these famous ones of screen or stage know they have hearts and natures as big as themselves. The little intimate tales of kindness and help extended to some less fortunate fellow struggler that form a warm undercurrent of brotherly kindness in Hollywood, comes from a little unwritten code of honor among “professionals” concerning the “under dog.” These hidden little deeds of kindness, in obedience to this law, must NEVER be used for publicity, and are never told to ANY one by the benefactor at any time. Instinctively all obey these unwritten laws. There is no more sincere, deep and appreciative sympathy shown in life than that displayed by every good trouper. Perhaps it is because most of them have been through privations, have rubbed shoulders with starvation, have stalked with failure, discouragement, hopelessness. Cruelty, kicks, knocks, hisses have been theirs, from the very world, who, so readily and swiftly offers them of its best when they GET there. Every stage star’s story tells of a grim battle against odds, such as the knights of old, who rode forth in quest of the golden grail, never dreamed of! This is seldom so of the screen. But the screen public is far more cruel and relentless. The screen is yet a baby, and children are unreasoningly cruel.

The screen thrusts someone utterly That’s the stuff screen idols are made can give us nothing but illusion, faces unprepared into sudden glaring of! That’s why when success did come and forms in shadow? Perhaps it is be¬ prominence. Publicity and exploitation she was prepared for it and she didn’t— cause they see each one in dozens of char¬ does the rest! toboggan. That is also why the policy acterizations in a year and their manner¬ The glare of popularity blinds young, of today thrusting a pretty face, form, isms are much the same in all roles. ambitious eyes to the yawning pitfalls or just youth into immediate prominence There is no voice, no personal contact of sudden acclaim. They revel, they go will never make screen idols. They will to the screen. All the public can learn MAWKISHLY mad, radiant over their flare and flame—and—toboggan ! to love are face, form, mannerisms, pho¬ own success! They become drunk with But the screen is fickle at best and tographic charm. But the lasting things successful intoxication. Like the moth even these old favorites will soon have to — personality, personal contact — the —so often recited—they fly in maddened let go for new faces and forms. Five voice, the personal vibrations, are utterly exultation, around and around the glor¬ years of fame for the screen Star and lacking on the silver sheet. iously brilliant flare of popularity and then—oblivion. Off with the old and It is all gray and white, soundless fame . . . They fly too close . . . are on with the new, ruthlessly demands the shadows, moving before the eyes in pan¬ scorched . . . burned . . . fall out of screen. tomime. There is nothing compelling sight! . . . Where? . . . Who knows Remember Theda Bara, Mable Nor- but story, titles, beauty—it is all shadowy —or cares? mand, Mary Fuller, IV'Iary Miles Min- illusion, nothing lasting or compelling! Mary Pickford, Norma Talmadge ter. Jack Warren Kerrigan, Maurice The public may be intrigued with a and Mae Murray have held sway longer Costello, Dorothy Dalton, Marguerite screen personality-—the way she wears than any other screen stars. This is be¬ Clark, Dustin and William Farnum, her clothes, her mannerisms, her stories cause they went through the pioneering, Clara Kimball Young, Marie Doro, and characterizations, etc., BUT let her struggling, soul searing days of trial BE¬ jVIae IMarsh, Pearl White and Beverly stories be poor, everything be sacrificed FORE they achieved success. The strug¬ Bayne? Idols—all! Where are they to the favorite one and she will—tobog¬ gles, the privations, the school of hard now, what are they doing? Occasionally gan slide—to oblivion. knocks, made them level headed, solemn¬ some one asks. Someone else says, “I Valentino, he who held the feminine ly grateful for success when it came. wonder!”—and that’s all! hearts of the world in the palm of his Many tales are told here in Holly¬ They are all still 3'oung and would hand! A second Don Juan! His name wood of Gloria’s sad days of struggle. just be coming into tbeir own on tbe stood for a type—and was on the lips of One man told me the other day she used stage. Now and then you hear of them all. He took too much for granted— to ask him to drive her out to Universal in a minor part, or playing bits and parts started to toboggan—then tried to pull City because she didn’t have the bus fare in small pictures—or striving to come himself back. It took a melo-dramatic —10 cents! back in a big w'ay! director — Death — to bring him com¬ She said to him, “I can’t even get a By a peculiar twist of screen prece¬ pletely back into the hearts of the people. JOB—but someday I’m going to have dence—they CAN’T come back! It is Otherwise it could not have been done. the whole world bowing to Gloria Swan¬ like a woman striving to regain a lost Why? No one ever seems to know why son! Just see if I don’t!” This man lover’s affections. They simply cannot this is so—it seems to be the ruthless said of her, ‘“She was a cute kid! I gain the applause of their audience again. law of the screen. liked her courage and spirit but I didn’t It is gone! Public sentiment is as im¬ The toboggan is getting more crowded think she’d ever get anywhere—much! placable as fate itself! each year. This is because fame has be¬ But she sure did! Went to the top and ^Vhy does this merciless fact exist in come such an easy thing for the screen stuck F’ the screen public? Is it because tbe screen aspirant. Pretty face, form, manners—

Doris Douglas knows her Hollywood. She knows her motion picture public. She knows the public’s favorites. Here we have impressions forcefully, yet tactfully expressed by a writer who is intimately acquainted with every worth-while artist in Hollywood. It is with sincere pride we offer Doris Douglas’ caustic story, “The Ruthless Law of the Screen.” Watch out for the toboggan.—GEB. 19 27 THE MOTION PICTURE DIRECTOR OF HOLLYWOOD 47

HIS TITLES BRING CHUCKLES!

AL BOASBERG He’s “Frivolous Al,” wherever laughter is paramount 48 THE MOTION PICTURE DIRECTOR OF HOLLYIEOOD February Bobby Vernon—On and Off

By Renee Ross

IT WAS a small picture house in Just been working one day on this pic¬ all day upstairs—and I couldn’t make Glendale. In the crowded lobby ture and see what happens. Lots of fun my feet behave. The boss seemed to hung a huge lithograph announcing playing in comedies. Want to feel this think I could wrap more and better the evening’s comedy. Beside it stood finger? I broke it last year and it didn’t packages if I wasn’t dancing all the time, the manager of mend right, but I’m a lucky fellow— so you can see my experience in the busi¬ the theatre in only had minor accidents so far. ness world was what you might call deep conversation “ ’Course in that Catalina picture we limited.” with a boyish did, I nearly croaked. I had to hang Soon he discovered that he possessed looking, blue-eyed onto a torpedo and be chased through the a singing voice and it was this that won chap. A ragged sad sea waves by a swordfish. Knowing him a part in Kolb and Dill’s musical newsboy rounded the picture business, you have already comedy. the corner and guessed they picked the coldest winter “Picture actors say to me, oh, I should emitted a shrill day on record. I had a cold anyw'ay, so think you’d get so sick of doing the same “Whoopee!” at I borrowed a rubber suit to wear under thing night after night on the stage, pic¬ sight of the litho¬ my clothes in hopes of keeping some of tures must be a relief. But it isn’t the graph. For a the water out. The fool thing sprung same every night. New business is minute or two he BOBBY VERNON • • a leak, filled up with most of the ocean added or you see a better way to do the Studied It in ec¬ and made me heavy as lead—if I hadn’t old, or accidents happen or a thousand stasy, then he tugged at the young fel¬ held onto the torpedo like grim death and one things. Stage life has plenty of low’s coat. and yelled bloody murder. I’d be fish- variety, at any rate.” Bobby was sure “Hey, mister, who are you?” he de¬ food in Davy Jones’ famous locker this of this. manded, curiously. minute!” Back to the set again . . . The frantic The conversation had evidently reached All this with a happy smile—Bobby young prisoner starts to leave the court a critical stage, for the young man was does seem to enjoy everything so, even room with his fierce-mustachioed guard; too busy to answer and merely pointed to flirting with death. both their backs are toward the heartless the comic figure on the lithograph. The He’s such a school boy sort of person judge. Written in chalk on the broad, little boy stared, unbelievingly. it’s difficult to believe he’s had as much blue back of the guard is the scrawled “Aw gwan!” he hooted, derisively, stage and screen experience as lies to his plea; “Please, judge, have a heart! If “that’s BOBBY VERNON—and he’s credit. At the mature age of eleven, he you don’t let me go, I can’t graduate ten times crazier’n’ you are!” faced his first audience back of the foot¬ and I’ll lose my girl.” The stern face lights in a five-cent musical comedy. of justice thaws a trifle and he calls the You might have agreed with the little “Roscoe Arbuckle was the head of the prisoner back to the bar . . . boy if you had come to the Christie Stu¬ company,” remembered Bobby, setting Bobby bounded off the set to greet a dio with me the other afternoon and the crazy little cap more firmly on his round little Irish peasant who had wan¬ watched Bobby Vernon work in his head, “I thought he was the cat’s pa¬ dered in from an adjoining stage. Kiss¬ latest comedy. Bobby Vernon off the set jamas and used to hang around the the¬ ing her enthusiastically, he dragged her is a normal and likeable young man, but atre every minute I could escape from over to me. Bobby Vernon on the set is ten times school or home. Finally, just to get rid “Guess who this is!” he demanded, crazier than any human being that ever of me he offered me a part in the show. boyishly. lived. I talked my folks into letting me do it The same clear eyes of blue, the same It was a court room set with a sober, and earned a whole dollar a week bring¬ chubby innocent face—it didn’t take a glum-looking judge on the bench. Be¬ ing a message to the queen every night. scientific mind to discover the relation¬ fore him stood two figures—a fearsome, Gee, I was proud!” ship between the two. Bobby’s mother awe-inspiring guard from the jail tower¬ Once inoculated with the insidious is just as enthused with the screen as her ing above the shaking, chubby boy in ill- virus of the stage, there was no going son and takes a delight in playing neigh¬ fitting blue prison jeans with a funny back. After the company disbanded. borhood busybodies, sweet mother roles little square cap wobbling over his fright¬ Bobby was forever entering tryouts for or Irish peasants. ened eyes. local theatre amateur nights. This ended “I’ll never forget the first time Bobby “P-please, judge, I g-gotta graduate abruptly one disastrous evening. The played in pictures,” she began, cosily, as this afternoon!” stammered the prisoner, ambitious young actor was in the middle if we had always been friends, “His all blue-eyed innocence. of his black-face singing act when he saw father and I lived in San Francisco and “You’ll graduate to the rock pile,” a broad grin on the piano player’s face, Bobby came home for a visit after his rasped the grim dispenser of the law. felt an unaccountable draft, looked down first screen engagement. Bobby’s round face was a kaleidoscope and discovered that his trousers had “ ‘Why, mom,’ he said,‘there’s a funny of emotion . . . parted company from his shirt and were guy in little boy’s clothes who talks No, on second thought, I can’t ex¬ making rapid progress down his short through a cornucopia and tells everybody plain how crazy Bobby is on the set. If legs! what to do. In one picture, there was you want to enjoy a hearty laugh, go to It was not long after this that his a poor actor on the floor supposed to be the nearest picture theatre running a father persuaded him to take a job in a dead, with two fellows fighting all Bobby Vernon comedy and see for your¬ jeweler’s shop. around his body; and he pokes his head self. “Dad hated the stage and thought if up and yells: “‘Get off my face!” and H e came off the set with a charming he could once get me started in a real the guy with the cornucopia bawls him smile. “Lookit, what I got!” he beamed, business, all would be jake. I had to out. “But they’re stepping on my face!” pulling up his sleeve and exposing an wrap packages in the store but the trou¬ “That’s all right,” says the boss, “we angry-looking, jagged cut on his wrist. ble of it was there was a piano playing gotta get this picture.” ’ Well, we 19 27 THE MOTION PICTURE DIRECTOR OF HOLLYIVOOD 49 laughed and laughed over Bobby’s ex¬ and hid the fancy socks and shining When they both went over to the periences. shoes; the last word in campus headgear Sennett lot (through the kindness of Bobby’s mother owes her quaint little topped his sleek hair and a glorious Ford Sterling) Bobby lost his playmate accent to the fifteen years of her life blazer covered his silk shirt and showed and found another in Gloria Swanson. spent in the North Friesian Islands. a natty tie. He and Gloria romped through number¬ These islands lie in the North Sea be¬ tween the British Isles and Schleswig- With Bobby was his charming leading less comedies with the villainous Wallie Holstein and were settled by the Vikings lady, Frances Lee. Frances is a Wam¬ Beery pursuing them. One day, feeling but came under German domination in pus Baby Star this year, but she isn’t the that Mr. Sennett did not truly appre¬ 1864. ciate their art, they went together to a first important person to play opposite “It’s very cold there and I used to rival producer and offered themselves at the comedian. Gloria Swanson, Louise dream of California. I’d read every¬ a cut rate. Looking at the chubby boy Fazenda, Laura La Plante, Mary Lewis, thing I could about it and drew pictures and the bit of a girl, he shook his head. of palm trees on the frosted window grand opera prima donna, and Dorothy He didn’t feel he could risk his money panes. My father would tell me not to Devore are among the well-known names on either of them. be foolish. And then one day, in looking that have been featured with Bobby over some old family papers, I came on Almost every actor in Hollywood who Vernon. a scribbled address—Something Watsess- amounts to anything has been directed ing Street, Philadelphia, Pennsylvania, It was at Universal that he met Louise at one time or another by D. W. Griffith U. S. A. I rushed to my father with it, Fazenda. The sparkling comedienne ... So has Bobby. It was his first and and he explained that a remote connec¬ was not much past sixteen and the two tion of the family had gone to America last experience in heavy drama. “The young actors gaily experimented with a many years before. Black Sheep” w^as the name of the pic¬ different make-up for each two-reeler. “He discouraged me by telling me ture and our hero played the title role, They played papa and mamma to a lead¬ they hadn’t been heard from in years, but doing ever3n;hing but steal the pennies ing man on the shady side of forty— I wrote them a letter telling how I from his dead grandmother’s eyelids and long beards, ferocious whiskers, putty longed to come to America and by return only omitting this villainy because the noses and wads of gray hair disguising mail came my passage money. Weren’t script didn’t call for a grandmother. their youth. they good?’’ her blue eyes sparkled with Laura La Plante and Dorothy Devore tears, “I was just fifteen and had no w'ere among his leading ladles at the English. How my father hated to see Christie Studio, but the leading lady of me go! Nothing could stop me—Phil¬ his heart has never been on the screen. adelphia was not California, my land of Mrs. Bobby Vernon has a life-sized dreams, but it was at least a step toward career of her own—by name, Barbara my goal.” Vernon, age five years.

A transformed Bobby interrupted us. “My mother used to like me until Gone were the dreary prison clothes Barbara came along,” teased Bobby, but while the latest collegiate mode adorned something in his smile told me that he’d his person. Bell trousers so long and so have a poor opinion of anyone who didn’t wide they completely engulfed his feet adore his beloved daughter.

Bobby Vernon, ’with Florence Gilbert and Louise Fazenda—t'wo of his former leading ladies 50 THE MOTION PICTURE DIRECTOR OF HOLLYWOOD February Impressions of Blanche and Micky

By Margaret Ettinger

IT HAS been my good fortune for stead weighs well any decision before roundings. She could never be happy the past year and a half to be in making it. I could never think of in the ready-made type of home. The constant contact with two extremely Blanche Sweet being unfair in any of place her husband has bought for her in interesting and charming screen per¬ her dealings. Fair play goes hand in Beverly Hills is uniquely done. There sonages. Two geniuses of the cinema hand with her ability to read character. is nothing about it that suggests any whose unusual fabric has stamped some Though she determines slowly upon other home in California, the United indelible impressions upon my mind. I friendships, those she makes are lasting States or the world, for that matter. am referring to Blanche Sweet and and she now numbers among her friends Each article was purchased carefully by Marshall Neilan. the ones she acquired years ago when her. Completed, it represents Blanche I think one of the greatest charms of she first entered pictures. Sweet’s ideas and moods, coupled with Blanche Sweet is her originality. There She has an amazing memory. She her exquisite taste. She is well poised, would never be the slightest reason to regards detail as tremendously impor¬ well read and fortified to stand inde¬ say, “Be yourself,” to her. She is. Nor tant and concentrates upon it in han¬ pendently on her own two feet as an in¬ could you visualize her as one of a dling business and in her manner of dividual. mass, following a single leader. In living. fashion, in her mode of living, in all She forces herself to do the things As for Marshall Neilan, he is the things, she guides herself. that she knows are good for her even genius type. Therefore he is a whimsi¬ There are two predominating factors though they may be distasteful. Exer¬ cal man of moods who is guided entirely about her. One is her untiring energy cising twice daily, in the morning and by his emotions. to perfectly complete anything she may at night, she finds beneficial to her. He is called the Mark Twain of the go after and the other her flair of in¬ Therefore, nothing interferes with the movies, for his wit has brought him dividuality which is sponsored by a routine of it, though she gets no amount laurels from some of the great brains of great thinking brain. Blanche Sweet of pleasure out of it, other than know¬ the world. will always be an influence in pictures ing it is good for her. as long as she cares to stay in them. One of her predominating thoughts He has made a business of making Where other stars run the gauntlet and is, “Do the things that you do not want other people happy and in the mad rush fade out with scarcely an audible flicker, to do.” Following this thought closely of things has found time to pause be¬ Blanche, like the magician with a bag she has achieved much that might other¬ side the roadside to offer a helping hand of tricks, will always have something of wise have been impossible. to many a faltering traveller. All of interest up her sleeve. If she should Being human, she has influences. Two the down-and-out stars, actors, direc¬ leave the screen tomorrow, I should look of them in fact. Her grandmother, tors and producers come to him for aid, for her to strike forth with a successful Mrs. Alexander, who reared her and whether they know him or not, and plunge into something else. Her versa¬ guided her through childhood, and her they are never refused help by him. tility would savour success with any¬ husband, Marshall Neilan. Her affec¬ H e is the most misunderstood man in thing she might choose to specialize in. tion for them is tremendous. No one Hollywood. Only those who know him There is a great spirit of bravery else can change her mind, once it is made well recognize him for what he is. He about her. Though slight and ex¬ up, for after determining upon which coats his greatness with an exterior that tremely feminine, she e.xhales a power side of the fence she is sitting she is makes him appear happy-go-lucky. With¬ that could combat tbe world. Perhaps there like the rock of Gibraltar—not to in there is an active and ingenuous it is because sbe has been on the de¬ be budged. Before she has made a de¬ brain that never stops working, and a fensive since early childhood when side cision, however, she listens to and ac¬ soul that only comes to light when one by side with her grandmother she car¬ cepts counsel from those she depends is fortunate enough to glimpse him in ried on the battle of earning a living. upon and trusts. one of his rare moods. She is not the impulsive type, but in¬ She takes a keen interest in her sur¬ (Continued on Page 64)

cci

TWO INTERESTING HOLLYWOOD PERSONALITIES Mr. and Mrs. Marshall Neilan. Informal poses of this charming Hollywood couple. "Micky” directs and of course, you know Blanche Sweet— 19 27 THE MOTION PICTURE DIRECTOR OF HOLLYIVOOD 51

glanohe 52 THE MOTION PICTURE DIRECTOR OF HOLLYIVOOD February Photographing Personality

By Lucille Lane

EAUTY to the right of us! Beauty “Many women who can boast but one I don’t even touch the drapes about her. to the left of us! feature of real beauty have so completely I think women resent being touched, in¬ Into the dazzling display of beauty mastered this secret of the projection of stantly stiffen and that easy relaxation dashed the dauntless interviewer. personality that they appear in their pho¬ so necessary to grace is lost. Mrs. Carsey Photographs! Photographs!! Photo¬ tographs—and likewise on the screen— assists me in these matters. All my in¬ graphs !!! Stacks upon stacks of photo¬ to be women of exquisite loveliness, flaw¬ structions are merely suggestions, my ob¬ graphs of beautiful women. less visions of perfection.” jective being to get natural results. A mystery had come up for solution. “What is the secret of projecting per¬ “The secret of posing is to gain the There had arisen the query: “Why is a sonality?” I asked, anxious to know so confidence of the sitters and have them woman more beautiful on the screen— important a thing. at ease. If they feel that a studio is like in a photograph—than in reality?” “Ah, now you touch the crux of the an operating room and they are about to The answers had been varied: matter,” Mr. Carsey said, “the hidden undergo an ordeal similar to having “Because she is artistically posed,” secret of the ages. The art of projecting their appendix removed—well, you know contributed the artist. personality through the camera is the what your own reactions would be under “Because her defects are hidden and self-same art which projects personality such conditions. I want them to feel at her good points over-emphasized,” stated across the footlights, in the ballroom, home here, which is the reason why the cynic. in the business office—any place where the studio is so far from the beaten path “Because she generally keeps her individuals come in contact with one an¬ of commerce. When my clients come up mouth shut,” bitterly said the husband. other—that jealously guarded secret of here in the mountains they forget the Opinions flew heatedly to settle the humanity which comes naturally to some hustle and rush of business. They are question. I had been sent direct to an fortunate people and is sought out and not trying to get away to finish some authentic source—to the lovely studio- achieved at great cost by others. shopping or keep a business engagement. home of Harold Dean Carsey, interna¬ “Safe to say the more often one is pho¬ I turn the house over to them and make tionally famous photographer of beauti¬ tographed the more readily personality them believe it is theirs—and it is for ful women. gets over. Especially is this noticeable the time they remain in it—and I try to Here in the charming atmosphere of in people I have photographed who come do everything for their comfort and “Laurelhurst,” one of the loveliest homes again to me after they have been work¬ pleasure which can be done. in Laurel Canyon, perched high on the ing in some photoplay under a good di¬ “Anita Stewart is one of our cherished side of the hill, I put the question to the rector. clients. We have made some very beau¬ oracle. “In the case of Dolores Del Rio this tiful photographs of her here—rare and “Why is a woman more beautiful in was decidedly outstanding. I have pho¬ charming studies, stamped with her wist¬ a photograph than she is in reality?” tographed her many times. In those pic¬ ful personality. After she finishes with her sitting she generally puts on a pair “She is not—she merely seems so be¬ tures made of her since she has worked of overalls and makes her way out to the cause in life one judges her at a glance under the excellent direction of Rauol garden, where she works among the flow¬ not sensing the beauty of the soul within, Walsh in ‘What Price Glory,’ she shows ers she has planted there. We have sev¬ or one knows her faults too well to find marvelous development. Her pictures eral plants in our garden which we call her lovely. In a photograph, the artist radiate personality. brings out her beauty, the woman pro¬ our ‘Anita Stewart plants,’ and she never “Clara Bow is one of the most inter¬ jects her personality and there you have fails to go out to see how her garden esting of the many charming women I the perfect blending which makes the grows. have photographed. She is absolutely un¬ alluring ensemble.” “Miss Stewart has a marvelous in¬ spoiled, unsuppressed, and has been stinct for feeling light when she is being “A merely beautiful woman,” con¬ brought up to be perfectly natural in all photographed, and the same is true of tinued Mr. Carsey, “generally does not things. Her greatest beauty is, of course, Rod La Rocque. They respond to light¬ photograph well.” her wonderful eyes. She has an uncanny ing effects intuitively and wonderful At my look of amazement, he laughed instinct for projecting her personality and explained gently, so I could grasp through the camera and her photographs studies in lights and shadows are ob¬ such radical remarks—“A beautiful are dazzlingly alive. tained in their photographs.” woman—and by that I mean a woman “Then again there are women who Mr. Carsey’s work is internationally of flawless loveliness—generally has been feel that certain features, caught in an known, as he has spent many years in so interested in the development of her unfortunate light in some earlier photo¬ Europe, China and India, and has ex¬ own beauty that she photographs as a graph, are very bad. They have become hibits in London, Paris, Copenhagen, beautiful statue would—without pro¬ sensitive on this subject and instantly Berlin, Vienna, Petrograd, Hong Kong, jecting a personality. start telling the operator at the begin¬ Manila, San Francisco and practically “Personality is as vital an element in ning of the sitting, ‘This side of my face all of the key cities of the United States. the success of a photograph as it is in is had ;’ ‘Do not take me from this an¬ He has truly been a rolling stone—a the success of an individual, and unless stone which seems to have lodged in the a woman—or a man, for that matter— gle. You will get a bad view of my has developed and can project personality nose;’ ‘My hands photograph atrociously. hills of Hollywood. He has been here to the photographic likeness, that likeness Please don’t get them in the picture.’ three years, an eon as he figures time. is not vital, living, arresting in its charm. “There is no such thing in photogra¬ “But,” he continued, “I have found “Often I am asked how I like photo¬ phy as a ‘bad side of the face’ and simi¬ the Garden Spot of the World. We may graphing so many women who are ‘beau¬ lar bugaboos. All of these things are take trips away—sometimes even to far tiful but dumb.’ My answer is that taken care of by a proper lighting ar¬ countries—but Hollywood will always many of them are not so beautiful as rangement. call us back. Hollywood will always be they seem and none of them are dumb. “I never touch a woman to pose her. home.” 19 21 THE MOTION PICTURE DIRECTOR OF HOLLYIVOOD 53

DAVID HARTFORD Independent producer of popular box office attractions 54 THE MOTION PICTURE DIRECTOR OF HOLLYWOOD February

IT IS TO LAUGH

JACK RAYMOND

Comic film actor recently arrived in Hollywood. He has played in many of the Eastern Coast productions for First National. Raymond is now working in “Fashions for Women" with Raymond Hatton and Esther Ralston for Famous Players 19 27 THE MOTION PICTURE DIRECTOR OF HOLLYIVOOD 55 New Flower Shop Hollywood’s Harry Marks, long known about New Studios Hollywood both for his own personality and because he is the owner of Napoleon, (Continued from Page 7) the dog star who has been seen in a great as the central feature and places scene number of films, has surprised his many docks, work shops, dressing rooms and friends in the profession by opening a other structures connected directly with new shop called “Stars Florists”—lo¬ cated at 714 North Bronson, near Mel¬ the stages in close connection with them, rose. “Stars Florists” is located almost has been inaugurated.

At this date there are four giant stages completed on the First National grounds, and four more laid out to take care of projected increase in production, under the management of John E. Mc¬ Cormick. Each of the stages measures 135 by 250 feet, giving a total floor NAPOLEON space per stage of 33,000 square feet. The Screen Wonder The stages are two-story structures in Dog Belongs to HARRY MARKS effect, as runways and overhead lighting equipment occupy the space under the He has just finished “KING OF THE PACK” arched roofs. However, from floor to for Renaud Hoffman under the eaves of the Famous Players’ ceiling of the space “ in the clear” there NAPOLEON Studio, so it was perhaps very natural is room for the highest “set” that cam¬ ''Made” the Picture that Harry’s first customer should be era angles will allow, and trap doors one of Famous’ brightest lights—Miss Every one says this dog is the most through the floors take care of any sub- beautiful and intelligent on the screen Greta Nissen. Harry will busy himself today. floor-level work that may be necessary. HARRY MARKS with supplying not only flowers to match Owner the blonde beauty of Miss Nissen, but An innovation in motion picture stage GRanite 7370 or 595-554 blossoms of all hues—blossoms, if we construction is introduced at First Na¬ may be permitted an atrocious pun, to tional by making floors solid enough to oooooooooooooooooooooooooooo* match the stars themselves. support the heaviest motor trucks at any point with the stage. Instead of prop¬ erties and scenery being loaded and un¬ A Veteran loaded at the stage doors, trucks will drive into the stages to whatever point Trooper they are required. An idea of the number of buildings A famous stage star of twenty years ago is today playing a “bit” in support required in the big, modern film plant of Lewis Stone, Billie Dove and Lloyd will be gained from the following list Hughes, in First National’s “Three in of major structures only, to be found Love.” His name is Burr Mackintosh on the First National “lot.” There is and his duties in the picture are to marry a group of three large office buildings Miss Dove and Hughes, in his role of two blocks in length across the front of groceryman and Justice of the Peace. He the studio ; the stages already mentioned ; appears in just a few scenes. Mackin¬ a huge lumber mill of steel and concrete; tosh was internationally known as a a scene dock building for each stage; a stage star, some of his better-remembered carpenter shop building; a generator vehicles being “The Man from Missis¬ building; two lumber storage buildings; sippi,” “Trilby” and “The Old Home¬ r a garage building; two very large dress¬ stead.” His stage career was of about ing room buildings and a number of ^tars Jflortsts fifteen years’ duration. He retired after smaller ones; a film laboratory building; Stars Florists, whose store is lo¬ his popularity had passed its zenith and cated at Bronson and Melrose, devoted himself to various hobbies, chief a cutting room and film vault building; supply many of our best-known of which was photography. A great a property building; a wardrobe build¬ stars at Lasky*s and other studios, ing, and many smaller structures. as well as the public of Hollywood with friend of the late ex-President, Theodore rare and beautiful flowers at a popular Roosevelt and of former President Taft, price. While that list includes a few struc¬ Above is pictured the Swedish star, he accompanied the former on one of his Greta Nissen, making a selection just tures not found at other studios, it is African big game expeditions as official prior to her return East. fairly typical of the requirements of the Stars Florists are admirably equipped photographer. He was with Taft on for supplying flowers at short notice for great modern film plants; the sort being the decoration of the home, for weddings the latter’s trips to Panama and the or for funerals and special occasions. Philippines, in the same capacity. Mil¬ built as the exodus from the business A telephone call to GRanite lard Webb is directing “Three in Love,” center of Holl5rwood to its outlying dis¬ 7370 will receive prompt which is being produced for First Na¬ tricts continues, and production volume and courteous attention. oooooooooooooooooooooooooooo tional by A1 Rockett. increases. 56 THE MOTION PICTURE DIRECTOR OF HOLLYIVOOD February

Are Pictures Improving

{Continued from Page 5)

nal film companies were organized. At first there was no real competition. The market, limited as it was, was yet too great for the production facilities. Every picture made, no matter how weak, was in instant demand. A one-reel picture could be produced for somewhere be¬ tween $100 and $125 complete, and the turnovers were rapid with profits big, so that soon more and more companies en¬ tered the game. “Now film makers encountered for the first time that greatest incentive to improvement and progress in every field —competition. At the same time, the public became more discriminating. With the evolution of the full length one-reel film from the former quarter and half reels, pictures ceased to be merely a novelty and instead became an interest¬ ing medium for telling stories. “The man whose picture told the story most interestingly and told the most interesting story soon found that the demand for his product was greater than that of others and consequently he could charge more for it. When the others discovered this fact, there re¬ |OOD taste in home furnishing mained but one thing for them to do— either make a better picture than the _J is an art—Let us help you leader or accept a lower return. They chose to make better pictures. The few cultivate this art—Economy in home who didn’t soon found themselves so far behind that they vanished from view furnishing is a science—Call on us entirely. “As the competition became keener, and see how much we can save foryou. there was a constant searching for some¬ thing new, better players, better stories, better photography. And always the public taste grew more and more exact¬ ing and discriminating. The two-reel picture was the next big development. This allowed greater scope for telling stories, more finished action, better back¬ grounds, improvement all the way up and down the line. Then came the great day when ‘Cinderella’ was pro¬ duced in three reels. ART STUDIO “Three-reel films became the rule after that and they held sway as the F

O period. By this time competition was so keen that the specialist in production became a necessity, with a resultant loose banding together in groups. Some companies made only society dramas, others made only westerns, others come¬ 1122 N. Western Ave. HOlly 3963 dies. “Once again the public demanded something more, and the producers Hollywood, Los Angeles, California fought each other to give it to them. Then one of them launched upon a de¬ parture which was declared to be im¬ possible of success—the five-reel picture. Far and wide the company chiefs de- 19 27 THE MOTION PICTURE DIRECTOR OF HOLLYH OOD 57 dared, ‘Five reels is too long. The pub¬ lic does not want to see one story for so extended a period.’ But as soon as it became evident that the public found the five-reel picture the ideal length for the telling of the average novel every producer found it necessary to fall rap¬ idly into line, and so the next great step was taken. “Then D. W. Griffith, who had been doing a lot of new things ever since he came into the picture world as a direc¬ tor for Biograph, conceived the most stupendous project pictures had ever known. Against all protests and over the jeers of competitors he made the first twelve-reeler, ‘The Birth of a Na¬ tion,’ and presented it, not in motion picture houses, but in the regular legiti¬ mate theaters at legitimate attraction prices. The success of that enterprise is too recent in film history to require com¬ ment. “This act of Griffith proved the crowning event in the general stabiliza¬ tion of the industry in so far as it re¬ garded picture length. From that time on there has been no variation to speak of from the established rule—from five to seven reels for the average run of program picture—ten to twelve reels for the spectacle feature. Value Comparisons “As a result of that fixation of length, the competition which was causing con¬ tinual improvements, turned swiftly to Invited the artistic and actual production side of films. Here again it was a matter of N'ieing with all comers for the best in ECAUSE the “California” confines its talent, the best in photography, the best selections to unusual home furnishings in direction, with an eye always toward and does not indulge in “so-called” Bar¬ something better in each of these fields. “One producer would seek to make a gain Sales, some people may get the false im¬ better five-reeler than any other because pression that prices are higher here than else¬ of the greater market that lay before where. him. Another would attempt to make a greater super-feature than ‘The Birth of a Nation.’ Frankly, it must be ad¬ Your own comparison of values will quickly mitted that this proved a task, but change any such conclusion. though that picture will always stand as one of the greatest of all time for Everything here is marked in plain figures—on theme and treatment, it pales in com¬ parison with the superlative finesse and a close-margin basis, with no provision for an¬ lavishness of a dozen productions made ticipated price reductions later on. in Hollywood during the past few years. The photography of today is better than it was when ‘The Birth of But we prefer that you—yourself—should be a Nation’ was made, the general acting the judge of values here. Feel free to come to is better, lighting is improved. If ‘The make comparisons whenever you will, even Birth of a Nation’ were to be presented now as a new and unheard-of picture, though you may have no intent to buy. in its original form, I do not believe it tvould stand up as a production com¬ parable to big features of the past year. “When John Barrymore made ‘The Sea Beast’ it was better than ‘Beau Gafiforwcb^^urtiiture(2 Brummel.’ Now ‘Don Juan’ admit¬ 544.545 BROADWAY. tedly surpasses ‘The Sea Beast.’ That’s just symbolic of the whole industry. INTERIOR DECORATORS Everybody working to surpass previous effort, with improvement as inevitable as the sun and moon. (Continued on Page 60) 5

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TAFT BUILDING, Inc. Hollywood Boulevard at Vine Street, Hollywood, Calif. Telephone: HOllywood 7190 60 THE MOTION PICTURE DIRECTOR OF HOLLYfVOOD February Are Pictures Hollywood School for Girls oldest Private School in Ilollyviood—Accredited Improving BOARDING AND DAY PUPILS (Continued from Page 57) KINDERGARTEN—GRADF:S—H1GFI SCHOOL “Vogues are a form of competition Languages — Music—Dramatics—Art—Dancing that really have done much for film im¬ Intensive college preparation for high school graduates ivho wish provement, It has become an accepted to complete their credits fact in the film world that when a cer¬ tain new type of picture is a success, ALL SPORTS there will be many prototypes from the After-School Playground Director Second Semester Opens February First cameras of other producers. And each Louise Knappen Woollett, Principal of those ‘follow-up’ films seeks to sur¬ pass all previous works of the same type. 1749 La Brea Avenue, Hollywood, California Phone: GRanite 4801 For instance, ‘The Sea Beast’ estab¬ lished a vogue for sea pictures which is still going on. ‘The Big Parade’ started an avalanche of war pictures. There have been two vogues of pirate stories, k. ciuiFFiTiis one begun by ‘The Sea Hawk,’ another now in programs, started by ‘The Black C EHTIE'IKD PUBI>IC ACCOL NTANT Pirate.’ ‘The Covered Wagon’ was fol¬

MEMBER CALIFORNIA STATE SOCIETY OF CERTIFIED PUBLIC ACCOUNTANTS lowed up by almost countless pictures MEMBER AMERICAN SOCIETY OF CERTIFIED PUBLIC ACCOUNTANTS of a similar type. Each of these vogue MEMBER AMERICAN ARBITRATION ASSOCIATION pictures does its bit toward film im¬ provement by attempting to outdo its registered practitioner before u. s. board of tax appeals competitors in the same field. Some¬ II—H where along the line its makers catch WISHES to ANNOI NCK THE OPENING OF A KHANCH OFFICE AT something that is permanent for the bet¬ fill TAFT BUILDING, lliSO NOKTII VINE .STHEET, FOR THE CON. terment of films and another step is VENIENCE OF HIS HOLLYWOOD CLIENTS IN CONNECTION WITH HIS PUBLIC ACCOUNTING PRACTICE AND INCOME T.\X SERVICE. taken. “In the last analysis there are so Office, (iLAiisTO.VE T~08 Reside.vck, HE.mpstead .adOO many factors responsible for the making of better pictures, that a separate article could be written about each one—yet I consider the public the most important because after all it is the public for American and European Novelties whom the entertainment is made and it must be satisfied or else the pictures will VALUES VARIETY not show a profit. Public demand places the motion picture in the peculiar position of being unable to stop improv¬ J/f 'y/iousand Gifts of Distinction “ ing. It dare not stand still. The in¬ centives for improvement are too great and the penalties for not improving too severe. The high water mark of today Ho%u>O0d will only be the sea level of tomorrow, and there is always the encouraging 6326 HyLLy'VWP-BLVP- H'7LLyWW[7't;/9UF- realization that there is no permanent pinnacle, but there is always a tem¬ Near Vine St. Watch Our Windows porary one which it is worth while to reach while seeking to climb to unat¬ tainable perfection.”

Rex Taylor will be responsible for the continuity of “The Road to Ro¬ MILLS & CAPUANO mance,” to be produced by First Na¬ tional under tbe management of Charles TAILORS R. Rogers. This is the story which will glorify the commercial traveler and for which a contest will be inaugurated and among traveling men to select a fitting BREECHES MAKERS permanent title.

Leatrice Joy has completed her star¬ ring role in “Nobody’s W^idow,” under Venice Boulevard at Western Avenue the direction of Donald Crisp, and will Phone EMpire 7480 take a brief vacation before facing the cameras again for her next De Mille picture. 19 27 THE MOTION PICTURE DIRECTOR OF HOLLYWOOD 61

Galloping OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOt Tintypes LEON HOLMES

by Duke Orbach

A Hollywood girl is reported to have slapped a man for telling a bed-time story. 4f! ^ ^

Marie Prevost, while driving to her home from the Metropolitan Studios re¬ cently, learned effectively that it is not necessary to strip the gears in order to cool the motor. * * * Rupert Hughes, the author, “provides the material from which the director de- parteth.” The quotes are his, as stated before a Wampus Club meeting.

^ ^ ^

“Anne Cornwall, graduate of come¬ dies, went back to ‘water stuff’ yester¬ day but without the bathing suit,” writes her industrious press agent. Gosh !

* ■* * Cissy Fitzgerald, famous screen star who is credited with having been the first to pose before a motion picture cam¬ era, tells the following story which she says typifies 100 per cent: “In a small Joseph Schildkraut as Judas, Ernest Torrence as Peter, and Leon Holmes as the demented child in "King of Kings’’ THAT IT’S ALWAYS POSSIBLE —Phone'. HEmpstead 8187 KX>OOOOOOOCXXXXX>OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOi

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by LuCILE ErSKIXE

ONE LAl'E afternoon, I lingered The East got him for awhile and at Elms” wanted to make sure that the Los with a group watching Arthur the Carnegie Institute of Technology in Angeles presentation would sustain the Lubin at work in a picture. He Pittsburg, where he obtained a college play’s international reputation. Arthur was playing a young pool room shark in degree, he took so thorough a course in Lubin was drafted to be a sustaining pil¬ a small town of the Middle West, and everything pertaining to the theatre that lar in each. cr hen he uttered some lines, the voice Arthur can paint a scene or design a cos¬ ^Vhy does he risk alwat's winning his was so coarse with the true INEuldle West tume and finish it up with needle and audience anew, instead of re-pleasing nasal twang. thread. them with a type they like? To turn That very same evening at The Writ¬ A good start on Broadway fell to the out the same brand of acting is often ers’ Club, while enjoying the tones of lot of the well-trained novice, but the done in the “factory,” as IMichael Arlen an old Jew in one of the plays, “The lure was still in his West, and he re¬ calls Hollywood. Poem of David,” as he sweetly brought turned here, where he believes a new Perhaps the solution can be found in to one the purple and gold of Solomon’s civilization is springing up, in which art this anecdote of Beerbohm Tree. When dav, I mused on the contrast between the will take its place as a daily necessity for anyone would apply to him for a place two voices. in his company, he 'would invariablv ask: When the lights were turned up and “Are you Irish or better than that, are I saw the program, I gasped! you Jewish? If vou’re Celtic, you have But such exclamatiotis of surprise gen¬ a culture three thousand vears old, but erally greet this changeling of the screen, if you’re Jewish, it’s five thousand.” who follows on the heels of one charac¬ Arthur Lubin belongs to the race terization to another so astonishingly dif¬ that produced the Songs of David, when ferent that in these days of just one type, the rest of us were in our lairs. Such he is something to he spotted. a deep cultural heritage lashes him past “Serve art as a slave.” William Dean the easy places to the heights. Pleasing Howells says somewhere, “and the day the mob would mean nothing. Satisfy¬ will come when it will make you a mas¬ ing his own exacting spirit everything. ter.” “In the last analysis there are so But Arthur speaks modestly of why many factors responsible for the making he has chosen this harder way. of better pictures, that a separate article “The speaking stage,” he says with a could be written about each one—yet I gravity that seems to belie his boyish consider the public the most important look, “is an art, of course. The movies because after all it is the public for —well they maybe tomorrow, but hardly whom the entertainment is made and it today. And then I suppose I yearn for must be satisfied or else the pictures will expression rather than success, so I go not show a profit. Public demand on with my double life, one sort of per¬ places the motion picture in the peculiar son before the camera by day and some¬ position of being unable to stop improy- body vastly different before a living au¬ ing. It dare not stand still. The in¬ dience by night.” centives for improvement are too great But if the movie clay be worked on ARTHUR LUBIN and the penalties for not improving too by many as he, won’t it shapen finally severe. The high water mark of today into an art? even the man in the street, as it was in will nnlv be the sea level of tomorrow, Those who have previewed “Bardelys the days of Athens. the Magnificent” say his Louis the Thir¬ I know a stage hand here who garbles On his return, he found the movies teenth is a fresh contribution. Yet how the English language more terribly than no longer sheds, but imposing and im¬ often the foppish Louis has been done! anyone in the world. He was holding a passable fortresses. With a young come¬ With Ann of Austria and Richlieu he somewhat lengthy conversation with an dian who then kept fasts as he now keeps forms a perennial trio always appearing extra girl recently. He said, “If I’d a feasts, they used to walk from one shut on the screen. And while one audience knowed you woulda came I wouldn’t door to another. will follow him in this Sabatini story, a went out.” another will watch him at The Pasa¬ One desperate day, Harold (you can The girl, with a knowing wink to guess his last name) said to Arthur, “I dena Community Theatre perform one a nearby companion, answered: “If I’d of the most difficult feats ever attempted have an idea. I shall introduce you as a knowed you wanted to went I’d a took in theatredom. Eor in Eugene O’Neill’s my uncle, and say you are President of you.” the Lubin Picture Corporation. That “Great God Brown” he must degenerate from a normal boy of eighteen into a rav¬ might get us past the gate-keeper.” When “The Rough Riders” is fin¬ ing maniac of forty. It worked and the versatile Arthur ished, Hermann Hagedorn, biographer And it is all the more gratifying that soon “caught on.” for Theodore Roosevelt, will have de¬ this young idealist hails from our own After one of his most definite achieve¬ voted nearly two years to a task of rever¬ Los Angeles. When his eves opened on ments on the screen, the disloyal son in ence. More than a year ago, Hagedorn. Eighth and Flower, the movie industry “His People,” he might have followed who is secretary of the Roosevelt Me¬ was in the shed stage of its evolution. this success by always playing a type sim¬ morial Association, dedicated himself to Yet as he grew up, he said he felt Los ilar. But instead he turned his back on the work of creating on the screen for Angeles reach out a groping hand for it. millions of Americans, the glowing ex¬ art, due no doubt to the relic of Span¬ ^Vhen “Liliom,” St. John Irvine’s ploits and personality of Roosevelt, in ish blood still here. “Jane Clegg” and “Desire Under the the Spanish-American War. 19 27 THE MOTION PICTURE DIRECTOR OF HOLLYH’00D 63

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Impressions of Blanche and Mickey M. C. Freeman S. D. Mills

{Continued from Page 50)

H e is all artist. His slender expres¬ One could never imagine Mickey Alpha Floral sive hands denote it as do his accom¬ Neilan doing anything in a methodical plishments and his tastes. way. A picture directed by him exactly Company He had a struggle to get to a place according to script would not be one of 5566-68 Hollywood Boulevard of prominence and importance, but he his best. He has that great gift of im¬ acquired neither bitterness nor conceit pulse which tells him spontaneously Phone HEmpstead 5606 on the road. He remembers well those what to do, and it is much better done Hollywood 4255 less palmy days as he also remembers by him than something he has handled HOLLYWOOD, CALIF. the friends he made while en route to according to rule. fame. I know he would feel stifled if he He is sensitive, proud and lovable. were forced to stay within certain bounds on his screen productions. The He has not allowed himself to become things that he has done on his own, let¬ disillusioned, and he places faith in WE CATER TO ting his moods dictate, have been his everyone with whom he comes in con¬ best. THE MOTION PICTURE tact until they prove they are not to be When he is interested in a sequence trusted. TRADE he works like fury. When he is not he Instinctively he knows good art, good comes to a sudden halt and goes away music and good literature. His educa¬ from the set until he gets an idea that tion was limited to grammar school so he likes. Then he comes back and he had no opportunity to cajole or spoil shoots the scene in a jiffy. It would be this understanding. It has retained a no use for him to attempt to do it half¬ naturalness and a strength that is charm¬ heartedly. He must feel that it is right PAUL A. CRUGER ing and amazing. before he can go on. Scenarist He excels in music, composing and In an instant he may go from a se¬ playing with rare quality and tone, rious to a jovial mood or visa versa. under exclusive management of though he has never had a lesson, nor Of course his genius takes precedence TOM WHITE can he read a note. over all else in summing up Mickey, but He is sympathetic, generous to a fault his humanness and kindness join it to 301 Taft Bldg. GR. 2148 and understanding. make him a really great personality.

extends thanks to the Cast in “EASY PICKINGS ’ Angle Shots

Anna Q. Nilsson—K e n n e t h And now we have the “Comedy Con¬ Word has just been received here that Harlan—Philo McCollough— sultant.” Charles Grapewin, one of William Beaudine has the distinction of Jerry Miley—Zake Williams— vaudeville’s foremost entertainers, is to being the only director who was award¬ Billy Bevan and G e r t r u de fill this new position during the produc¬ ed two mentions on the list of 1926 mo¬ Howard. Also Director George tion of “No Control” at the Metropoli¬ tion pictures endorsed by the Parent Archainbaud and Frank Griffin. tan Studio. Grapewin has written and Teachers Association and the Educa¬ starred in a number of vaudeville tional Committee of the National Board sketches and is expected to bring to the of Review. “Boy O’ Mine,” and “Lit¬ screen a new type of humor to supplant tle Annie Rooney,” both Beaudine pro¬ the usual “gags.” He is working closely ductions filmed last year, were highly with Director Scott Sidney on the mak¬ acclaimed by the official previewers. The motion picture di¬ ing of “No Control,” a screen version Beaudine, who recently joined the M- rector is the representa¬ of Frank Condon’s Saturday Evening G-M directorial staff, in collaboration tive publication of the Mo¬ Post story, in which Harrison Ford and with A1 Cohn and Vernon Smith is now tion Picture Industry, published by Phyllis Haver are co-featured. preparing “Erisco Sally Levy,” an orig¬ members of the industry both for the industry and the general read¬ inal story by A1 Cohn, for filming. Pro¬ ing public. duction will begin sometime within the Does not depend for its existence Another independent producing com¬ next two weeks. The director will as¬ upon its ability to exploit the mo¬ pany has joined the ranks of the units tion picture industry, nor does it semble his personal staff and cast next now working at the Fine Arts Studios. cater to either the class of reader week. who is appealed to by way of sex This time it is Atma Productions, head¬ suggestion or vulgar curiosity into ed by Gavin De La Torres, general There were enough prospective lamb the personal lives of those who manager. The concern, which is newly chops used in filming “Jim the Con¬ comprise the film industry. organized, will produce a series of fea¬ queror” to feed a goodly share of the SUBSCRIBE NOW! ture pictures for the independent film starving Armenians. In the sequences market. Other companies now working of this Metropolitan picture, which were Advertising Rates On Request at Fine Arts are H. J. Brown, Roy taken in Arizona, 4000 sheep were used. All Checks Payable to. Clements Productions, Tiffany Produc¬ The woolly quadrupeds were owned by tions, Milliken Productions, Premier the Navajo Indians and pressed into Director Publishing Corp. Film Company, Preferred Pictures, service as a very necessary part of the 611 Taft Building Hollywood, Cal. David Hartford Productions, Pathe, filming of this Peter B. Kyne story in Goodwill Productions and H. V. Pro¬ which William Boyd and Elinor Fair ductions. have featured roles. Amazing Indeed

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